Essential Guitar Lessons

Including Basic Music Theory, Keyboard & Songwriting

By Desmond Allen, PhD

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 Essential Guitar Lessons

Unauthorized copying, arranging, recording, Internet posting, public performance or other

distribution of the printed music in this publication is an infringement of copyright. Violators
are liable under the law.

Desmond Allen
406 N. 5th St, Opelika, AL. 36801

Create Space

Copyright © 2013 Desmond Allen

All rights reserved.

ISBN-13: 978-1482508222

ISBN-10: 1482508222

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 Desmond Allen

Table Of Contents

TABLE OF CONTENTS 3
INTRODUCTION 7
ESSENTIAL THINGS PART 1, THE GUITAR 9
GUITAR PARTS 9
STINGS 11
FRETBOARD DIAGRAM 11
ESSENTIAL THINGS PART 2, TUNING 13
ELECTRONIC TUNER 13
TUNING TO A REFERENCE NOTE 13
Pitch Pipe 13
Keyboard 14
Tuning Fork 14
Basic Tuning Method 14
Advanced Tuning Method to the Fifths 15
ESSENTIAL THINGS PART 3, BASIC TECHNIQUES 17
HOLDING THE GUITAR 17
FRETTING FINGERS 17
STRUMMING TO THE BEAT 18
STRUMMING TECHNIQUES 19
THE TONIC AND DOMINANT CHORDS 19
CHORDS & MUSCLE MEMORY 19
YOUR FIRST TWO SONGS 21
SCALE DEGREES AND CHORDS OF THE DIATONIC MAJOR SCALE 21
A TWO CHORD SONG 21
A THREE CHORD SONG 22
SEVERAL POPULAR THREE CHORD SONGS 25
INTRODUCTION TO MUSICAL SCALES 27
THE CHROMATIC SCALE 28
THE MIDDLE OCTAVE 29

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A SIMPLE TWIST ON A SIMPLE SONG 31

THE CHORD
I7 31
ANOTHER CHORD . . . ANOTHER KEY 32
DIATONIC MAJOR SCALES 33
WHOLE TONES AND SEMITONES OF THE DIATONIC MAJOR SCALE 34
5 MAJOR DIATONIC SCALE PATTERNS FOR GUITAR 36
CONSTRUCTING CHORDS ON THE GUITAR 39
CHORDS, DEGREES, INTERVALS 39
TRIAD AND EXTENDED CHORD STRUCTURES 40
DEGREES OR NOTES TO FROM CORRESPONDING CHORDS 41
ADDITIONAL RELATIONSHIP OF CHORDS TO SCALE 41
ASSOCIATED CHORD FAMILIES 42
DOUBLE STOPS 44
USING THE KEYBOARD TO UNDERSTAND CHORDS AND SCALES 47
THE C SCALE 47
CHORDS AND MELODY 49
ARPEGGIO 49
THREE ARRANGEMENTS OF THE SAME SONG 50
Simplified Version 50
Adding the ii, II7, III7, and vi Chords 51
Advanced Version 52
Alternate Arrangement 52
BASIC TABLATURE 53
Chords in Tablature Format 54
BASIC FINGER PICKING 54
Three Count 54
Four Count 54
Six Count 55
Home On The Range In Tablature 55
Additional Songs in Tablature and Notation 56
America 56
Ashokan Farewell 56
Blue Moon Of Kentucky 56
America The Beautiful 56
Amelia’s Waltz 56
BASIC NOTATION 61
THE MUSICAL STAFF 61
GUITAR & STAFF 62
MEASURES & TIMING SIGNATURES 63
ACCIDENTAL NOTES 64
KEY SIGNATURES 64
SONGS TO PRACTICE IN NOTATION 65
THE CIRCLE OF FIFTHS, MODULATION & MODES 83

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CIRCLE OF FIFTHS 83
MODULATION 84
THE SEVEN MODES OF WESTERN MUSIC 84
Ionian Mode/Major Scale 85
Dorian Mode/Minor Scale 85
Phrygian Mode/Minor Scale 85
Lydian Mode 85
Mixolydian Mode 85
Aeolian Mode/Natural minor scale 85
Locrian Mode/Minor Scale 85
MINOR & BLUES SCALES 87
THE BLUES 88
Hexatonic Minor – 5 Blues Scale Patterns 89
ROMAN NUMERAL CHORD SYSTEM 91
THE NASHVILLE METHOD 95
SONGWRITING 97
MELODY AND CHORDS 97
CHORD PROGRESSIONS 98
MELODIES AND LYRICS 100
THE SONGWRITING EXPERIENCE 101
RODEO COWBOY 101
GOD’S SPECIAL GIFT 103
TIME IS COMING TO AN END 105
NEVER THOUGHT I WOULD END THIS WAY 108
THERE AIN’T NO SHORTCUT TO LOVE 109
CHORD CHARTS FOR GUITAR AND KEYBOARD 113
MAJOR CHORDS ON GUITAR AND KEYBOARD 113
MINOR CHORDS ON GUITAR AND KEYBOARD 115
DOMINANT SEVENTH CHORDS ON GUITAR AND KEYBOARD 116
MAJOR SEVENTH CHORDS ON GUITAR AND KEYBOARD 117
MINOR SEVENTH CHORDS ON GUITAR AND KEYBOARD 118
NINTH CHORDS ON GUITAR AND KEYBOARD 120
AUGMENTED CHORDS ON GUITAR AND KEYBOARD 121
SUSTAINED FOURTH CHORDS ON GUITAR AND KEYBOARD 123
DIMINISHED CHORDS ON GUITAR AND KEYBOARD 125
OTHER CHORDS 126
BARRED E CHORDS 126
BARRED A CHORDS 129
SCALES FOR THE GUITAR 131
DIATONIC MAJOR SCALE PATTERNS 131
NATURAL MINOR 138
PENTATONIC SCALES 138
PENTATONIC MAJOR 139
PENTATONIC MINOR SCALE 141
HEXATONIC MINOR BLUES SCALE 143
ADDITIONAL PRACTICE SONGS 145

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Introduction

I received my first guitar at age 14. It was an inexpensive, department store, classical, acoustic
guitar. I do not remember the brand. I do remember that my vigorous and awkward strumming
had broken all the strings within a week or so. But my determination to learn the guitar remained
undaunted. I continued to practice the major and minor chord positions, and to strum against the
string-less guitar thereby creating various percussion sounds. I even practiced finger picking
techniques by systematically and rhythmically thumping my fingers against the guitar. By the time
I got new strings several weeks later, I had these chords memorized, and my picking and
strumming had improved immensely. Like most guitar players, I then learned a few simple songs
and riffs. Slowly, over the next few years, my collection of chords, songs and riffs grew larger.
Unlike most guitar players, I also began to study music theory and chord construction. This
knowledge has proved invaluable. I cannot overstate the importance for guitar players (as well as
players of any musical instrument) to understand basic music theory. It is virtually impossible to
make certain advancements without this knowledge. Of course, some musicians demonstrate a
decided degree of creativity and musical sophistication without possessing a clear understanding of
music theory; however, these relatively few musicians are the exception rather than the rule. After
more than four decades of playing, studying, songwriting and teaching music on a casual basis to
anyone willing to learn, I am more convinced than ever that every guitarist should learn scales,
basic music theory, the theory of chord construction and basic keyboard. Even those relatively few
naturally gifted musicians—those exceptions to this rule possessing an intuitive talent—can
enhance their abilities with this knowledge.
Unfortunately, because beginners are generally very anxious to get on with playing songs, all
too often they neglect to learn basic music theory or even proper guitar technique. This negligence
ultimately inhibits their ability to play—at least correctly—the very songs they were so anxious
play in the first place. It also inhibits their ability to play by ear, to jam with others, and to write
their own songs. Thus, learning basic music theory, chord construction and proper technique must
not be averted.
To better facilitate the learning of music theory and chord construction it is extremely
important to have at least a basic understanding of the keyboard. I am not saying one must master
the keyboard, but understanding its rudimentary construction makes understanding scales and
chord structures easier and, thus, learning the guitar easier.
But the real hurdle to learning the guitar is not the learning of scales, chords, music theory, or
even proper technique; the real hurdle is pain. Beginners will experience a decided swelling and

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burning pain in their fingertips for several weeks, until the requisite calluses form. There is no
avoiding this pain, other than neglecting to practice, which eventually translates into abandoning
the guitar altogether. Understandably, real-time practice will be limited during these initial weeks
of pain; however, rather than abandoning the guitar as most would be guitar students eventually do,
use this time to concentrate on the academic side: music theory, chord construction, scales and
keyboard. The basics of these concepts can be learned even before your fingertips develop their
toughness and you will be well on your way to being a guitar player.
The following pages consist of lessons in basic music theory, basic and advanced guitar, basic
keyboard, chord construction and chord charts for guitar and keyboard, scale charts for guitar and
keyboard and finally, lessons in songwriting techniques, which includes a selection of songs I have
written through the years. Because students are better motivated if they learn songs early in their
musical education, several songs are interspersed throughout the various lessons. Because of
copyright restriction, and because I wanted to begin with tunes with which nearly everyone is
familiar, these practice songs are simple, traditional works now in the public domain. But do not
be dissuaded, they are standards which have withstood the test of time for good reason. They are
good tunes; and they are excellent for beginners to begin formulating some skills.

Desmond Allen

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Essential Things Part 1, The Guitar

Guitar Parts
It is very important to know the parts of the guitar, if for no other reason than to not sound illiterate
when discussing the guitar with other guitarists. Here is a short glossary of terms.
 The body of the acoustic guitar consists of the back, the sides and the front.
 The bridge is mounted to the body of the guitar. The bridge is made of hardwood that it
might better transmit the string vibrations to the soundboard.
 The frets span the width of the neck. They are strategically placed to create successive
semitones for each string when depressed against them.
 The fretboard is the entire set of frets on the front of the neck. Because each fret equals
one semitone, it is equivalent to moving from one note to an adjacent note on a keyboard.
 The fret markers provide a visual aid for locating the finger on the fretboard. Although the
design and total number of markers will vary from one manufacture to another, their
location, when present, is standard. The following frets often have markers: 1, 3, 5, 7, 9,
12, 15, 17, 19, 21, 24. It is not uncommon for the 1st and even the 3rd frets to be without
markers. Classical guitars generally have no markers.
 The headstock is at the top of the neck.
 The machines (or tuners, which adjust the tension of the strings) are mounted on the
headstock.
 The neck stretches fourth from the body with strings running the length of the
neck. Guitarists often speak of moving up and down the neck. To the guitarist, up the neck
speaks of moving to notes of higher register, which are nearer to the body of the
guitar. Moving down the neck speaks of moving to notes of a lower register; thus toward
the end of the neck, nearer to the nut.
 The nut is similar to the saddle; only it is at the other end of the guitar. Strings rest upon
the nut at the end of the fretboard. Like the saddle, a quality nut is made of bone; lesser
quality nuts and saddles are made of plastic.
 The pegs hold the strings to the bridge.
 Essential Guitar Lessons

 The pick guard protects the soundboard from pick damage.

 The rosette is a decorative pattern that often surrounds the sound hole.
 The saddle is mounted on top of the bridge. This is where the strings rest.
 The soundboard is the front of the body. This is the speaker, as it were, amplifying the
sound created by the vibrating strings. A quality soundboard has a tight grain pattern and is
often made of spruce.
 The sound hole in the soundboard allows the displaced air (caused by the vibrating
soundboard) to escape from inside the body. This gives the soundboard room to vibrate
and amplify the sound.
 The strings vibrate when struck to create the sound.
 The tailpiece, rather than pegs, is an optional way to secure the strings. It is not a matter of
quality but style.
 The truss rod runs the length of the neck under the fretboard. Generally only the
adjustment head is visible. Truss rod adjustments affect the action (the height of the strings
from the fretboard).

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Stings
The bass and middle strings of the guitar are wound with wire to create the lower tones. The
treble and sometimes the middle strings are unwound steel. Classical guitars use nylon strings,
which provide a softer, less treble sound. While strings are available in several different gauges,
light, medium and heavy gauge are the most common. Light strings are easier on the fingers and
easier to bend; but they have less timbre, project less volume than heavier strings, and they break
more easily. Light strings also tend to have a slight buzz, which can be desirable or undesirable
depending upon the sound you wish to achieve.
While some guitars can tolerate any string gauge, others cannot. For example a small parlor
guitar such as the Baby Taylor, or a specialty guitar like Martin’s Backpacker guitar, require light
gauge strings because of their delicate construction. For this same reason, classical guitars should
always have nylon strings; steel strings will warp the soundboard. It is best to consult the
manufacture’s recommendations as to string gauge and type. Barring manufacture restrictions,
ultimately, string choice is a personal issue. I personally prefer heavier gauge strings, due to the
volume and tone quality they provide. However, due to the pain the strings inflict while learning,
beginners generally prefer lighter gauges.
The six strings are identified in two ways: by numbers 1 though 6, starting from the bottom
treble string (#1) up to the top bass string (#6); and by their particular tone. In their open positions
(i.e. void of fingering) these tones are as such:
E - 1st string, the bottom string (329.6 Hz middle octave).
B - 2nd string from the bottom (246.9 Hz middle octave).
G - 3rd string from the bottom (196.0 Hz first octave below middle octave).
D - 4th string from the bottom (146.8 Hz first octave below middle octave).
A - 5th string from the bottom (110.0 Hz first octave below middle octave).
E - 6th string from the bottom (82.4 Hz second octave below middle octave).

Fretboard Diagram
For instructional purposes, diagrams are often
employed to represent the placement of fingers on the
strings and frets. To interpret the diagram, imagine the
guitar standing upright in its stand; the diagram
represents the fretboard in such a position. As pictured
in the diagram of the D major chord, strings are
identified as vertical lines. The left line is the E bass, 6th
string; the line next to it is the A bass, 5th string; then the
D middle tone, 4th string, the G middle tone, 3rd string,
the B treble, 2nd string, and the E treble, 1st string. The
horizontal lines represent the frets. The top line is the
nut. The “0” depicts an open string, while the “X” tells

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us not to strike the string at all. These diagrams have numbers to indicate correct finger placement,
however, many diagrams will merely have unnumbered dots; it is assumed the player knows which
fingers to use.
Attempt to form this D chord. Practice it as you continue reading. Do not be discouraged at
the pitiful, muffled, muted or buzzing sounds. They are expected. With practice you will soon
hear clarity. For the next several weeks it is more important to concentrate on chord structures,
scales, and the development of rhythm and timing than it is to create pristine sounds. Clarity will
come once your fingers have toughened and your technique is honed. This comes by practice and
repetition. In the meantime, simultaneously seek to understand music theory and chord structures.
The following figure explains the format of commonly used chord diagrams.

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Essential Things Part 2, Tuning

Electronic Tuner
The tuning gears, called machines, are used to increase and decrease string tension, which
increases and decreases a string’s vibration frequency, which raises and lowers the tone or pitch
accordingly. Adjustments are made until the
correct tone is achieved.
Digital tuners are the easiest and most
accurate method to assure proper tuning.
They are simple to use and can indicate sharp
or flat tones to the cent—100th of a semitone.
Some employ a needle to indicate the pitch;
others use a green and red light system.
Some, as in the picture seen here, employ
both.
While the digital tuner is a nice tool,
every guitar player should be able to tune the
guitar by ear. There are different methods for
tuning by ear; all of them require listening to
the vibrations, or waves of vibrations, made by two notes, originating from different sources: one,
the reference note, the other, the note being adjusted. To tune a particular string, strike the two
notes simultaneously. String tension is then adjusted to bring its wave of vibrations into concert
with the reference note. The following section discusses
various methods for tuning to a reference note.

Tuning To A Reference Note

Pitch Pipe
A pitch pipe has six pipe holes that correspond to the six
strings. Blow the desired tone or pitch and adjust the string
accordingly; so that the tone being blown on the pipe (e.g. 82.4
Hz, E) and the tone of the 6th string (82.4, E) agree. Then
 Essential Guitar Lessons

move on to the next string, blow the pipe to sound the

110.0 Hz, A to tune the 5th string. Do this for each of the
six strings.

Keyboard
Similar to using a pitch pipe, strings can be tuned
against corresponding notes on another instrument, such
as a keyboard.

Tuning Fork
A fundamental tuning method can also be employed
with a simple tuning fork or a single note from another
instrument. Once the string is tuned to this particular
note, use the fretboard as shown below in the Basic
Tuning Method to tune the next string. Once tuned, each string creates an additional reference note
for tuning the next string.

Basic Tuning Method

Once a reference note is
determined (either by tuning fork,
a note from another instrument,
or merely by ear) simultaneously
strike both the reference note and
the note being adjusted. Adjust
the string tension until the sound
frequency waves for each note
(the reference note and the note
being adjusted) are in agreement.
Proceed as follows.

Finger on 5th fret of the 6th E-string = open A - 5th string

Finger on 5th fret of the 5th A-string = open D - 4th string
Finger on 5th fret of the 4th D-string = open G - 3rd string
Finger on 4th fret of the 3rd G-string = open B - 2nd string
Finger on 5th fret of the 2nd B-string = open E - 1st string

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Advanced Tuning Method to the Fifths

A slightly different tuning method is often used to achieve fine adjustments in intonation.
This process is similar to the basic tuning method, however, rather than tuning root note to root
note this method employs the fifth tone from the root. The root note can be divided into various
degrees or intervals, which are referred to by number: 1 (the root), 2, 3, 4, 5, 6, 7 and 8. The 8th
degree is the octave of the 1st degree and thus the same tone. The following figure illustrates the
vibration waves produced by the various degrees. The 1st wave pattern is the root. The 2nd through
7th wave patterns are intervals or degrees of the 1st or root note. These are the tones of the Diatonic
Major Scale. We will learn more of this scale later.
Certain tones resonate well with their root. The 3rd and the 5th tones resonate especially well
with their root. In fact, as we will see later, the major chord consists of the 1st, 3rd and 5th degrees.
But for now, let us use the 5th as a tuning method. So that, if we begin with the open E, 6th string
as our root, its 5th is the ‘b’ note. By striking both notes so that they ring fourth simultaneously we
can hear them resonate together. Although their wave patterns are different frequencies they are
synchronized and in agreement with each other, so that they are euphonically pleasing to the ear.
With the guitar in tune, practice listening to the 1st and 5th notes resonating together. With a
little practice you can become quite proficient at hearing
this resonance. Once you learn to distinguish these
vibrations, fine tuning to the 5th is very helpful.
6th string, open E and its 5th B, on 5th string 2nd fret
5th string, open A and its 5th E, 4th string 2nd fret
4th string, open D and its 5th A, 3rd string 2nd fret
3rd string, open G and its 5th D, 2nd string 3rd fret
2nd string, open B and its 5th F#, 1st string 2nd fret

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Essential Things Part 3, Basic Techniques

Holding the Guitar

Guitar players hold their instrument in any number of positions: standing with the guitar
strapped high on the chest or low at the hip, or sitting with it balanced on one of their thighs. But
for the beginner there is only one way to hold the guitar.
It is the proper method as used by advanced classical
guitarist. Sit with knees and buttocks on an even plane.
Right-handed players place a small footstool under their
left foot; left-handed players place the stool under their
right foot. Rest the body of the guitar on the raised
thigh. It may not look like a rock star but it will make
learning to finger the guitar much easier. Once the
fretboard is mastered, you can develop your own
personal style to look like the star within; unless you are
an aspiring classical guitarist; which is far more difficult
and, as such, requires holding the guitar correctly if you
are to reach the desired notes. Study this picture of the
late Andrés Segovia Torres, one of the greatest classical
guitarists ever. Seek to emulate his posture.

Fretting Fingers
Fingers on the fretting hand are identified in
numerical order from index finger (1), middle finger (2),
ring finger (3), and little finger (4). The thumb is placed
on the back of the neck, thereby providing the opposing
vice-grip action necessary for depressing the strings effectively. It is extremely important to bend
the last knuckle of each finger. This allows agility, adequate pressure for depressing the string, and
clearance so the finger does not touch the adjacent strings. As depicted below, for maximum tone
quality (especially for beginners, for whom depressing strings can be difficult) place the fingertip
behind the fret, about ¼ to ½ the distance to the previous fret.
 Essential Guitar Lessons

Strumming to the Beat

Later we will learn various finger picking
methods, but first we must learn to strum. Beyond
making the strings ring out, the objective of the
strum is to produce the desired rhythm. The rhythm
of a song corresponds to the timing in which the
song is written. The totality of the song is divided
into measures. Each measure receives a specific
number of counts or beats. For example, a song
written in 4/4 time receives 4 beats per measure,
which is signified by the first number in the
equation; thus (1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4).
A song in 3/4 time receives three beats per measure
(1 2 3 / 1 2 3 / 1 2 3 / 1 2 3); a song in 6/8 time receives six beats per measure (1 2 3 4 5 6 / 1 2 3 4
5 6 / 1 2 3 4 5 6 / 1 2 3 4 5 6) and so fourth. Generally, we do not have to read music to ascertain
this, for we can hear it in the beat. It is to these various beats that we tap our foot, clap and dance.
The second number in the timing signature (e.g. 4/4) signifies which note length equals one
count or beat per measure. In musical notation (which we will look at in more depth later),
numerous variations signify the length of a note: quarter note, eight note, etc. So that, 4/4
timing has 4 beats per measure and each quarter note (/4) equals one beat. A song in 6/8 timing
has six beats per measure with each eighth note (/8) equal to one beat. A song in 3/4 timing has
three beats per measure and each quarter note is one beat.
We will discuss more aspects of notation later, but for this lesson it is sufficient to know each
measure receives a certain number of beats. The beats per measure dictate certain parameters to
the rhythm of our strum. When strumming to a song with 4 beats per measure we can strum to any
or all of the beats. The beats to which we strum will add a different texture to the song. For
example:
 By strumming all four beats (1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4) we might be playing a
march or a hymn.
 By strumming only the first beat of each measure (1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4) the
song will appear more relaxed and reflective.
 By strumming the second and fourth beats (1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4) we can get
more of a boogie beat.
We can also strum to multiples of the actual beats by executing two or more strums per beat. For
example, with 4 beats per measure we could strum as such to each beat:
 1 strum, strum, 2 strum, strum, 3 strum, strum, 4 strum, strum
 1 strum, strum, strum, strum, 2 strum, strum, strum, strum, 3 strum, strum, strum, strum, 4
strum, strum, strum, strum
 Of course the same concept holds true for any timing (3/4, 6/8, etc.).

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By employing multiple strums per beat and then skipping or muting specific strums, we can get
very creative; as long as it stays within the proper count.

Strumming techniques
Although there are several techniques for strumming, certain time honored methods have
proven very effective and should be mastered. The easiest strumming method is to simply drag the
thumb across the strings.
Another method, which provides a greater variety of sound, is to loosely place the thumb and
middle finger together; then roll the wrist using the fingernail for the down strokes and the
thumbnail for the upward stokes. Although many variations of up and down strokes can be
employed, a down stroke is generally used for the dominate beat or any other beat being
emphasized: for example: 1, 2, 3 / 1, 2, 3 or 1, 2, 3, 4 / 1, 2, 3, 4.
A very useful technique for developing both a fluid strumming technique and an ear for
rhythms is to strum deadened strings. This is done by lightly holding the fretting fingers on the
strings somewhere around the middle of the neck. The precise location is not important. As we
strum this allows us to be creative, to make various rhythms without concern for the tone quality of
a chord (with which the beginner doubtless has an issue). By moving the hand, which is deadening
the strings, up and down the neck we create various interesting tones. Use these tones to enhance
creative strumming.
Once strumming with the fingers becomes comfortable, try using a pick. Holding the pick
between the thumb and index finger, strike the strings in both the downward and upward motions.
You will notice the sound is crisper, louder, brighter, more of a treble sound. Thus, whether to
strum with fingers, fingernails or pick is determined by the desired sound. Finger picking will be
discussed later.

The Tonic and Dominant Chords

In the key of G Major, the 1st note, or tonic of the scale, is G.
So then, the tonic, I chord, is G as well. The 4th note, or
subdominant of the scale, is C. The chord associated with it is the
subdominant IV chord, C. The 5th degree, or dominant note, is D.
The chord associated with it is the dominant V chord, D. Earlier,
when describing the chord diagram, we learned the D chord. Now
we will learn the G and the D7. The D7 is a variation of the D.

Chords & Muscle Memory

Always, while constructing a chord or even playing a single
note, make certain to bend the last knuckle of each finger—the knuckle next to the fingertip. If the
knuckles are not bent the fingers are likely to touch the adjacent strings, thereby deadening their
sound. Also, it will be difficult to apply the appropriate pressure to adequately depress the strings
behind the fret so they do not buzz. It will likely take time and practice before this technique
comes naturally, but keep working at it, it is a necessity. Do not be discouraged at the fuzzy,
unclear sound of the chords. It generally takes several weeks of practice before clarity of sound is
achieved. But it will happen once the fingertips form the requisite calluses. Unfortunately, until

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the fingertips toughen up, several weeks of burning pain must be experienced. This pain is the
downfall of many would be guitarists.
A technique I devised while learning these chords myself (more
than forty years ago), and have since recommended to many students,
helps with muscle memory. The idea is to practice new chords by
repetitively tightening and relaxing the fingers while still in the chord
position. Begin tightening and relaxing at a slow tempo. Strum each
time the fingers are tightened; then relax them. Once this is
comfortable, repeat the process with another chord, then another. Pick
up the tempo and even try changing the rhythm. Start changing between
the various chords as you strum. As proficiency grows, increase the
tempo until the ability to change rapidly between chords can be
accomplished with a single strum for each chord. It will sound
monotonous, but it will help the fingers to form these chords with such ease they become second
nature. It will also help with various strumming techniques.

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Your First Two Songs

Scale Degrees and Chords of the Diatonic Major Scale

Much of Western music is based upon the seven degrees of a diatonic scale, which was
mentioned earlier, on page 17, with the graphic of the seven harmonic vibrations. Each degree is
also known as a musical note or tone. We will discuss all of this in more depth later; but for now it
is helpful simply to know about these seven notes that we might better understand the correlation
between the chords we are about to learn.
These seven tones of the Diatonic Major Scale are referred to in Arabic numbers: 1-2-3-4-5-6-
7. They are the Do-Re-Mi-Fa-Sol-La-Ti-Do, which most of us have known since childhood. The
last Do (the 8th note) of course, is the octave of the first. These seven degrees of the major scale
are also known as the tonic-supertonic-mediant-subdonminant-dominant-submediant-subtonic.
Each of these seven degrees of the major scale also has a family of chords associated with it.
While these chords share the same names as their associated degree (e.g. tonic, supertonic, etc.) the
chords are generally referenced by Roman numerals (I, ii, III, etc.) rather than the Arabic numbers
(1, 2, 3), which speak to the individual notes or degrees of the scale. Major chord structures are
identified in upper case Roman numerals (e.g. I, IV, V), while minor
chord structures are identified in lower case (e.g. ii, iii, vi, vii). The Tonic = I
chords associated with the Diatonic Major Scale are I-ii-iii-IV-V-vi-vii. Supertonic = ii
Again, later these will be discussed in greater detail, but it is crucial to Mediant = iii
have an early understanding of this concept.
Subdonminant = IV
Many songs in the various Western music genres from country, rock,
blues, hymns, pop and even classical, revolve around the three major Dominant = V
chords: the tonic (I), subdominant (IV) and dominant (V). It is not that Submediant = vi
other chords are never used, but these three chords are the core around Subtonic = vii
which most songs gravitate; and many songs actually use only these three
chords.
First we will learn a song that uses only the I and V, then a song that uses all three, the I, IV
and V.

A Two Chord Song

Now we will play a simple arrangement of a very familiar song using only these two chords.
G is the tonic or I chord; five degrees hence is the D chord, V. For this song we will use a
 Essential Guitar Lessons

variation of the D, the D7 or V7 chord. Strum in a 3 count with 3 beats per measure, placing the
emphasis on the 1st beat of each measure: (1 2 3 / 1 2 3 / 1 2 3 / 1 2 3). While the slash (/) is not a
symbol used in musical notation, it is often used in guitar tablature (something else we will learn
later) to signify measures. Take note, that I have provided the beat counts, 1 2 3, above the first
line of the song. Also notice how the syllable “val----“ is held for the entire three counts of the
second measure. Then in the following measure, the syllable “ley” receives only one count, as the
melody for the remaining two counts of the measure rests. The sixth measure has no lyrics at all.

Down in the Valley - Traditional

G 2 3 / 1 2 3 / 1 2 3 /1 2 3 / D7 2 3 / 1 2 3 /
Down in the val------ ley, val-ley so low.
/ / / /G / /
Late in the eve----ning, hear the train blow.
/ / / / D7 / /
Hear that train blow----ing, hear that train blow;
/ / / /G / /
Late in the eve----ning, hear the train blow.

Roses love sunshine, violets love dew, "If you don't love me, love whom you please,"
Angels in Heaven know I love you, "Throw your arms round me, give my heart ease,"
Know I love you, dear, know I love you, "Give my heart ease, dear, give my heart ease,"
Angels in Heaven know I love you. "Throw your arms round me, give my heart ease,"

Build me a castle, forty feet high; Write me a letter, send it by mail;

So I can see her as she rides by, Send it in care of the Birmingham jail,
As she rides by, dear, as she rides by, Birmingham jail, dear, Birmingham jail,
So I can see her as she rides by. Send it in care of the Birmingham jail.

A Three Chord Song

By simply adding the subdominant IV, C chord, we have the three chords around which so
many songs revolve. Of course many of these songs are in different keys, but they use the I, IV
and V chords of those keys. As a side note, the key in which a particular song is played is
generally determined by the vocalist’s range.
Once these chords G, C and D7 are somewhat comfortable, attempt the following, simplified
version, of another traditional tune: Red River Valley. Strum in a 4 count with 4 beats per measure,
placing the emphasis on the 1st beat of each measure: (1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4).
As you play, listen for the movement of three chords, it will be mandated by the melody. The
chords must agree with the melody. As the melody progresses, from the tonic, I chord, we hear the
melody yearning to move to the subdominant, IV chord. Then the melody demands that we return
to the tonic. As the tension mounts the melody then moves us to the dominant V chord for relief.
It then resolves once again to the tonic.

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 Desmond Allen

Once you are somewhat comfortable with the song, alter the strumming. Change it up with
various up and down strokes; get creative, experiment. Rapidly relax and tighten your fingers,
thereby momentarily deaden the chord to achieve various percussive sounds. Of course, these
techniques take time to master, and you will get better as you practice them; but there is no time
like the present to experiment. There is something about having a decided lack of knowledge and
ability that opens the door to creative thoughts. One caveat, however, to creativity born in
ignorance is that bad habits and incorrect technique might develop. So then, as proper technique is
learned, employ it to enhance your creativity and promptly abandon any improper technique you
might have invented.
Notice that I have removed the dashes (/) which signify the measures. I did this for two
reasons. If it is a song with which we are familiar, we generally do not need the measure markers
to strum along correctly, for we can hear it in the beat. Secondly (unless we have the sheet music),
measure markers are seldom provided when we find the chords and lyrics to a song we want to
play.

Red River Valley - James J. Kerrigan, 1896

G C
From this val-ley they say you are go-ing.
G D7
I will miss your bright eyes and sweet smile.
G C
For from me you are taking the sun-shine
G D7 G
That has bright-ened my path-way a-while.

Chorus
G C G
Come and sit by my side if you love me.
D7
Do not hast-en to bid me a-dieu.
G C
Just re-mem-ber the Red River Val-ley,
D7 G
And the cow-boy that loved you so true

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 Desmond Allen 25

Several Popular Three Chord Songs

We will learn more chords shortly . . . a lot more chords; but

for now, with these few chords you now know, let’s take a short
journey into the world of playing by ear. This little excursion will
prove very beneficial to your budding skills. Once we understand
how songs are constructed,
playing by ear is not as magical as
it might seem.
Listed below are several
songs that can be played with
three simple chords. For
copyright reasons I am not free to provide the words and music to
these tunes; however, most of them should be familiar. Because
many of these songs are not recorded in the key of G (in which
you will be playing) you will not be
able to play along with most of
these recordings at this point. Once
you learn more chords this will change. But you can still listen to
them and identify the chord changes. Then attempt them yourself.
Most songs begin and end with the tonic, I chord. Similarly, the
chorus of most songs begins with the
subdominant, IV chord. Allow the
melody to dictate the chord movements.
Even if the words are forgotten the
melody can be hummed to indicate the
appropriate chord changes.
In the key of G Major we have learned the tonic G, I chord, the
subdominant C, IV chord, the dominant D, V chord, as well as one of
its variations, the D7, V7 chord. Start each song with the I chord and
follow the melody. At a certain point the melody wants the chord to
change to the IV or V (V7) chord. At some point the melody demands
resolution back to the tonic. Trust your ear. Remember, most songs (but not all, as we saw in Red
River Valley) begin with the tonic chord while the chorus often begins with the subdominant, IV
 Essential Guitar Lessons

chord. Once more chords are learned, these songs can be played in any of the 12 different keys.
For example:
I IV V V7 (Optional)
A D E E7
C F G G7
D G A A7
E A B B7

A Boy Named Sue – Johnny Cash Midnight Special – CCR

Amanda – Waylon Jennings Mama’s Don’t Let Your Children Grow Up to
be Cowboys – Waylon Jennings
Bad Moon Rising – CCR
Ob-La-Di, Ob-La-Da – Beatles
Blowin’ in the Wind – Bob Dylan
Old Time Rock and Roll – Bob Seeger
Blue Suede Shoes – Evis Presley
Paperback Writer – Beatles
Cold, Cold Heart – Hank Williams
Peaceful Easy Feeling – Eagles
Donna – Richie Vallens
Rock Around the Clock – Bill Haley
Folsom Prison Blues – Johnny Cash
Satisfaction – Rolling Stones
Gambler – Kenny Rogers
Save the Last Dance for Me – Drifters
Heart Break Hotel – Elvis Presley
Son of a Preacher Man – Dusty Springfield
I’ll Fly Away - Hymn
Sweet Home Alabama – Lynyrd Skynard
Johnny B. Goode – Chuck Berry
Unicorn – Irish Rovers
King of the Road – Roger Miller
Whole World in His Hands – Traditional
Knockin’ on Heaven’s Door – Bob Dylan
Margaritaville – Jimmy Buffett Why Me Lord? – Kris Kristofferson
You are my Sunshine - Traditional
Me and Bobby McGee – Kris Kristofferson
Your Cheatin’ Heart – Hank Williams

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 Desmond Allen 27

Introduction to Musical Scales

Musical scales consist of certain harmonic tones that occur at specific intervals from their root
tone. In Western music the shortest possible interval is called a semitone or a half step. On the
keyboard, moving from any note to the note immediately next to it in either direction, equals a
semitone or a half step. On the guitar this is accomplished by moving from one fret to the next.
Moving two semitones or half steps equals a whole tone or a whole step, which is often simply
called a tone. Music is littered with alternative names for the same thing.

The seven natural notes, a, b, c, d, e, f and g, are easily identified on the keyboard as the white
keys. Identifying them on the guitar fretboard is more difficult; we will cover this later. In
addition to these seven natural notes are five other notes, which occur at specific intervals between
 Essential Guitar Lessons

the seven notes. These five notes are easily identified on the keyboard as the black keys. Again,
they are not so easily identified on the guitar fretboard. Each of these five notes has two names,
one is a sharp (indicated by the # symbol), the other is a flat (indicated by the b symbol). As such,
we have: a#/bb, c#/db, d#/eb, f#/gb and g#/ab. Each sharp/flat note is located between the two notes
with which it shares its name. The key in which the song is played determines whether the note
will be signified as a sharp or a flat. For example, the g#/ab is located between the ‘g’ and ‘a’. In
the key of E this note is a g#, but in the key of Eb it is an ab note.
The sharp/flat does not exist between either the ‘b’ and ‘c’ or the ‘e’ and ‘f’ notes. This is
easily identified on the keyboard. So that, by moving up the keyboard to the right from the ‘c’ note
to the black note next to it we have a c#/db, we have moved ½ step or a semitone. Similarly, by
moving down the keyboard one note to the left of the ‘c’ we arrive at the ‘b’ note. This too is ½
step or a semitone. On the guitar, the concept is similar. Each fret on each string is ½ step or a
semitone. If we start with our fingertip on the 1st string 8th fret, we have a ‘c’ note. Move the
fingertip up to the 9th fret and we have a c#/db. Move the fingertip down one fret from the 8th to the
7th fret and we have a ‘b’ note.
Semitones (half steps) and whole tones (whole steps) are depicted below on both the keyboard
and the fretboard. Notice there is no distinction between white and black keys on the keyboard as
far as semitones and tones are concerned. Any movement up or down the keyboard or the
fretboard by one key or one fret is a semitone or half step. Any movement by two keys or two frets
is a whole tone or whole step.

The Chromatic Scale

The chromatic scale is not a scale from which we
create music. It is, however, the twelve note scale from
which we build those musical scales with which we do
create music. We might say it is the foundation; therefore,
understanding it is essential. From these twelve notes
various musical scales are constructed: diatonic and
pentatonic, major and minor. We will learn more about
these scales soon.
The chromatic scale can be played easily on both the
keyboard and the guitar fretboard. Select a root note and
begin moving up the keyboard or fretboard one note at a
time. Each of the twelve notes or degrees is one semitone
further removed from the root. If we start with ‘a’ as the
root note and move up successively one key or fret at a
time we have a, a#/bb, b, c, c#/db, d, d#/eb, e, f, f#/gb, g, g#/ab,
a. The 12th degree or note is the octave of the root.
On the guitar, moving up or down the fretboard on a
particular string is a semitone or half step. Therefore, beginning with any of the six strings in the
open position “0”, playing up the neck, one note per fret through fret 11, will produce the
chromatic scale. Fret 12 is the octave of the open note with which the scale started. The two
graphics below show the chromatic scale on the E, 6th string and on the A, 5th string.

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 Desmond Allen

The Middle Octave

An octave is a tone frequency that is either half or double that of the original tone. In the
Diatonic Major Scale Do-Re-Mi-Fa-Sol-La-Ti-Do, the Do’s are octaves. Similarly, one pass
through the twelve degrees of the chromatic scale brings us to the thirteenth degree, which is the
octave of the root. A piano has 88 keys, and thus seven octaves. Most guitars cover only three
octaves; the exception being guitars with 24 frets.
Aside from being in a comfortable range for most voices, the middles octave holds a certain
significance. The 440 Hz A, which is the first A above the middle C octave, is the common
reference point from which musical instruments are tuned. On the guitar, middle C is the 2nd string
1st fret; the 440 A is the 1st string 5th fret. In musical notation the symbol circles around the

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 Essential Guitar Lessons

middle G (396 Hz), the first G above middle C. As seen below, it is the note around which the
common musical stave is constructed and is identified as such by the circled G.
On the guitar, the middle G (as identified by the symbol) is located on the 1st string 3rd fret.
However, as illustrated below, because this middle octave is nearly at the end of the guitar’s range,
the guitar is played an octave lower than the actual musical notation; so that we would play the
middle C on the 5th string 3rd fret, the middle G on the open 3rd string and the middle A on the 3rd
string 2nd fret.

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A Simple Twist On A Simple Song

The I7 Chord
Earlier, we learned a simple version of Red River Valley. By adding the dominant seventh of
the tonic chord (I7) to our growing catalog of chords we can add a little more dimension to the
song. Play it again with the G7 and hear how it gives it a brighter sound.

Red River Valley - James J. Kerrigan, 1896

G G7 C
From this val-ley they say you are go-ing
G D7
We will miss your bright eyes and sweet smile
G G7 C
For they say you are tak-ing the sun-shine
G D7 G
That has bright-en our path-with a-smile

Chorus
C G
Come and sit by my side if you love me
D7
Do not hasten to bid me a-dieu
G G7 C
Just re-mem-ber the Red River Val-ley
D7 G
And the cow-boy that loved you so true
 Essential Guitar Lessons

Verse 2 Verse 3
It's a long time that I have been waiting So remember the valley you're leaving,
For those words that you never did say, How lonely and dreary 'twill be;
But alas! all my fond hopes have vanished, Remember the heart you are breaking
For they say you are going away. And be true to your promise to me.

Verse 4 Verse 5
As you go to your home by the ocean There could never be such a longing
May you never forget those sweet hours In the heart of a pale maiden's breast
That we spent on the banks of the river As dwells in the heart you are breaking
In the evenings among prairie flowers. With love for the boy who came west.

Verse 6
And the dark maiden 's prayer for her lover
To the Spirit that rules all this world
Is that sunshine his pathway may cover
And the grief of the Red River Girl.

Another Chord . . . Another Key

With the addition of the A Major chord we can play these three chord songs in another key.
We used the previous chords in the key of G where I, IV and V are G, C, and D. With the A Major
we can play in the key of D, where I, IV and V are D, G and A. Go back to the list of three chord
songs on page 28 and try a few in the key of D.

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 Desmond Allen 33

Diatonic Major Scales

By now your fingers should ready for a break. If you have a keyboard, get it; if not, you can
refer to the graphics on the next page. The keyboard makes understanding the Diatonic Major
Scale a little easier.
As mentioned earlier, the Diatonic Major Scale is more familiar to us than we might realize. It
is the Do-Re-Mi-Fa-Sol-La-Ti-Do, which Julie Andrews made famous in The Sound of Music. The
1-Do and 8-Do are octaves. These seven degrees are also called the tonic-supertonic-mediant-
subdonminant-dominant-submediant-subtonic. It is very helpful, even necessary at times, to think
of these tones as 1-2-3-4-5-6-7-8. In all scales, the 1st degree, the tonic, is also known as the root
note. This note bears the primary name of the scale; and it is the root tone to which all other
degrees of the scale refer.
There are several scales beyond the Diatonic Major Scale, and each can be played in twelve
different keys. The numerous diatonic scales can appear rather ominous, but once we have a clear
understanding of the principles upon which these scales are constructed the task of learning them
seems less threatening. Because all the other scales can be referenced as variations of this, the
Diatonic Major Scale, it is most important to have a clear understanding of it. This scale is key to
understanding many aspect of music theory and chord construction.
The seven tones of all diatonic scales are constructed from the aforementioned chromatic
scale. Each diatonic scale consists of five whole tones and two semitones arranged in a specific
sequence, which is repeated throughout the octaves. The semitones are alternately separated by
two and three whole tones. In the Diatonic Major Scale the semitones are the 4th and the 8th, or Fa
and Do. These two semitones are easily visualized on a keyboard in the C Major Scale, which
consists of the seven natural notes c, d, e, f, g, a and b; there are no sharps or flats. Starting with c
as the root, play the white notes on the keyboard in succession: 1-2-3-4-5-6-7, and then the 8,
which is the c octave. As depicted below, the two semitones appear at the 4th and 8th degrees (f and
c), where the black keys are absent.
 Essential Guitar Lessons

Whole Tones and Semitones of the Diatonic Major Scale

Remember, on the guitar one fret is one semitone or half step, two frets is one whole tone or whole
step. The major scale pattern is expressed in several ways, such as:

Whole-Whole-Half-Whole-Whole-Whole-Half
(whole means whole tone and half means half tone or semitone).
W-W-H-W-W-W-H
(W means whole tone and H means half tone or semitone).

W-W-S-W-W-W-S
(W means whole tone and S means semitone).

T-T-S-T-T-T-S
(T means tone and S means semitone).

2–2–1–2–2–2–1
(2 means two semitones and 1 means one semitone).

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By following this pattern, the Major Scale can be played in any key. Beginning with the
selected root, move one whole tone (two semitones) to the 2nd degree; move another whole tone to
the 3rd degree; move one semitone (one half step) to the 4th degree; another whole tone to the 5th
degree; another whole tone to the 6th degree; another whole tone to the 7th degree; and finally, one
semitone to the 8th degree, which is the octave of the root. Using this pattern, the following chart
depicts major scales. If we were to rearranged the order, so that the key with one sharp (G) was
followed by the key with two sharps (D), and then the key with three sharps (A), etc., and we listed
the keys with flats in a similar fashion, we would realize that the sharps and flats are progressive.
That is, they build upon each other. For example, the key of G has one sharp, the f#; the key of D,
with two sharps adds the c# to the f#; the key of A add the g# to these two. The keys with flatted
notes progress in the same way.

Select Diatonic Major Scales

Key Signature 1 2 3 4 5 6 7 8/1
Root W W H W W W H

C 0 C D E F G A B C

Db 5b Db Eb F Gb Ab Bb C Db

D 2# D E F# G A B C# D

Eb 3b Eb F G Ab Bb C D Eb

E 4# E F# G# A B C# D# E

F 1b F G A B C D E F

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 Essential Guitar Lessons

F# 6# F# G# A# B C# D# E# F

G 1# G A B C D E F# G

Ab 4b Ab Bb C Db Eb F G Ab

A 3# A B C# D E F# G# A

Bb 2b Bb C D Eb F G A Bb

B 5# B C# D# E F# G# A# B

5 Major Diatonic Scale Patterns for Guitar

Unlike the clearly visible C Scale Pattern on the keyboard, scales on the fretboard are more
obscure. The repetition exists but it is more complex. This is due to the nature of the guitar having
six strings covering 12 frets. For this reason, scales on the fretboard are best learned in a series of
multiple patterns. The following five patterns depict the Diatonic Major Scale as it covers the
fretboard. As with all such graphics, the bass E, 6th string, is represented by the bottom, horizontal
line, while the 1st treble E string is at the top. The vertical lines are frets.
To play melody and lead lines efficiently, it is essential to master these forms. It is not
infrequent that melody and lead lines include accidental notes, which are other than the seven scale
notes, but the seven scale notes are the foundation upon which the melody and lead lines are
constructed.

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 Desmond Allen

Move the pattern up or down the fretboard, placing the pattern’s 1st note on the root of the
desired key. For example, begin a pattern with the root on the 5th fret of the bass E, 6th string, ‘a’
note, to play the A Major Scale. Begin this scale pattern on the 6th fret of the bass E, 6th string, to
play the Bb Major Scale. Start with the root on the 7th fret of the bass A, 5th string, to play the E
Major Scale. The 8th fret of the bass A, 5th string, is the F Major Scale, etc.
Each of the following major scale patterns is named as a form: A-form, C-form, D-form, E-
form and G-form. These forms speak to the fingering pattern associated with the specific chord as
it relates to the root note of the particular pattern in the open position—that is when the pattern is
played at the nut where open strings are employed. For example, with the root note on the 5th, bass
A string, 3rd fret ‘c’ note, the open C chord can be constructed from the notes within the C-form
scale pattern as such:

1st strong: open

2nd string: 1st finger 1st fret 2nd
3rd string: open
4th string: 2nd finger 2nd fret
5th string: 3rd finger 3rd fret
6th string: open

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 Essential Guitar Lessons

Do not let the form names confuse you; they are merely memory
devices. It does not mean only that particular chord can be played in a
particular form. Much like the E-bar and A-bar chord patterns, when
these forms are move about the fretboard, other chords are constructed
from each form. Place the root of this C-form pattern on the bass A,
5th string, 7th fret ‘e’ note for the E scale. Use the fingering positions
of the C-form scale pattern to construct an E chord. Play the root of
the C-form pattern on the bass A, 5th string, 5th fret for the D scale and
construct a D chord with the same fingering positions. And so it goes;
the name of each form pattern simply refers to the fingering positions
generally associated with a particular open chord. By employing these
patterns in other location on the up the fretboard, other scales and chords, different from the name
associated with the open form in its original position, are played.

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 Desmond Allen 39

Constructing Chords on the Guitar

Chords, Degrees, Intervals

A chord is defined as a multiple of harmonic notes. Each chord consists of a tonic, or root
note, coupled with one or more harmonic intervals proceeding from the tonic. As depicted below,
each successive interval is one semitone further removed from its root. Depending upon the format
in which we discuss these intervals they are referred to by various terms: degrees, notes, tones, as
well as such terms as flat and sharp as
indicated by the symbols b3 and #5.
While two notes (the tonic and
another) form a chord, three notes
(known as a triad) are the basis upon
which chords are generally constructed.
From these basic triads many extended
chords are constructed, each sporting a
name associated with the interval or
intervals from which it derives. As
shown below, triads consist of major,
minor, sustained, diminished and
augmented chords. The major triad
consists of the 1st, 3rd and 5th degrees of
the major scale associated with the tonic.
So that, to construct a C Major chord we
start with the Diatonic C Major Scale
and use the notes of c-e-g, which are the
1st, 3rd and 5th degrees of the C Major
Scale (1=c, 2=d, 3=e, 4=f, 5=g, 6=a,
7=b). The minor triad consists of the 1st,
b rd
3 and 5th degree of the major scale.
Therefore, to construct a D Minor chord
we play the notes d-f-a, the 1st, b3rd and
5th degrees of the Diatonic D Major
Scale (1=d, 2=e, b3=f, 4=g, 5=a, 6=b,
 Essential Guitar Lessons

7=c#). Thus, it is imperative to clearly understanding the concepts of the Diatonic Major Scale.
The objective when playing a chord on the guitar is to convert as many strings as possible into
one of the notes that constructs that particular chord. For example, when playing the C Major, the
notes on all six strings are made to be C, E or G; the notes of the C Major triad—the 1st, 3rd and 5th
notes of the C Major Scale.

Triad and Extended Chord Structures

The following tables show the basic triads and several families of extended chords: 6th, 7th,
major 7th, minor 7th, 9th, etc. Although this does not exhaust the possible chord constructions, by
learning the basics of how theses chords are constructed we can always figure out how to make
even the most bizarre chords.
 Major Triad = 1st, 3rd & 5th
 Minor Triad = 1st, b3rd & 5th
 Diminished Triad = 1st, b3rd & b5th
 Sustained 2nd Triad = 1st, 2nd &5th
 Sustained 4th Triad = 1st, 4th & 5th
 Augmented = Triad 1st, 3rd & #5th
 Major 7th Extended = 1st, 3rd, 5th & 7th
 Dominant 7th Extended = 1st, 3rd, 5th & b7th
 Dominant 9th Extended = 1st, 3rd, 5th, b7th & 9th
 Dominant 11th Extended = 1st, 3rd, 5th, b7th, 9th & 11th
 Dominant 13th Extended = 1st, 3rd, 5th, b7th, 9th, 11th & 13th

This concept is portrayed in a slightly different format in the following table, which also
denotes the structural patterns of many common and not so common chords. Because the guitar is

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physically limited (as to the number of notes that can be played simultaneously across two
octaves), certain extended chords are altered. For example, the 9th, 11th and 13th notes are often
substituted with notes in a lower octave, such as the 2nd, 4th and 6th respectively; while the 3rd and
5th notes are generally dropped altogether, due to the physical inability to play so many notes
simultaneously.

Degrees or Notes to from Corresponding Chords

X = Proposed Chord
Chord Abbrev. 1 2 3 4 5 6 7 8 9 10 11 12 13
Triads
Major X 1 3 5
Minor Xm 1 b
3 5
Diminished Xdim - Xo 1 b
3 b
5
Augmented Xaug - X+ 1 3 #
5
Sustained 2nd Xsus2 1 2 5
Sustained 4th Xsus4 1 4 5

Extended
Major 6th X6 1 3 5 6
Minor 6th Xm6 1 b
3 5 6
Dominant 7th X7 1 3 5 b
7
Minor 7th Xm7 1 b
3 5 b
7
Major 7th Xmaj7 -X∆ 1 3 5 7
Dominant 9th X9 1 3 5 b
7 9
Minor 9th Xm9 1 b
3 5 b
7 9
Major 9th Xmaj9 1 3 5 7 9
Augmented Xm7 1 b
3 5 b
7 #
9
9th
Perfect 11th Xmaj7 - X∆ 1 3 5 7 9 11
Augmented X9 1 3 5 b
7 9 #
11
11th
Minor 13th Xm9 1 b
3 5 b
7 9 11 13
Major 13th Xmaj9 1 3 5 b
7 9 11 13

Additional Relationship of Chords to Scale

Earlier I mentioned the tonic, subdominant and dominant degrees of the major scale, and the
chords associated with each. Their associations to the major scale are as such:

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Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic

I ii iii IV V vi viio
Major Minor Minor Major Major Minor Diminished

Applying this concept to the C Major Scale and the primary triads are as follows:

Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic

I ii iii IV V vi viio
C Dm Em F G Am Bo

This same method applies to each major scale. The following table depicts this concept further.

Chord→ I ii iii IV V vi vii

Key ↓
A A Bm C#m D E F#m G#o
Bb Bb Cm Dm Eb F Gm Ao
B B C#m D#m E F# G#m A#o
C C Dm Em F G Am Bo
Db Db Ebm Fm Gb Ab Bbm Co
D D Em F#m G A Bm C#o
Eb Eb Fm Gm Ab Bb Cm Do
E E F#m G#m A B C#m D#o
F F Gm Am Bb C Dm Eo
Gb Gb Abm Bbm B Db Ebm Fo
G G Am Bm C D Em F#o
Ab Ab Bbm Cm Db Eb Fm Go

Now we look at this concept in a little more depth. Each of the seven degrees or notes of the
scale has a family of chords associated with it. Each associated chord can also be constructed from
notes within the designated major scale. For example, C, Csus4, Cmaj7, etc. As depicted in the tables
below, the tonic (1st degree), subdominant (4th degree), and dominant (5th degree) are associated
with major chord triads. Similarly, the supertonic (2nd degree), mediant (3rd degree) and
submediant (6th degree) are associated with minor chord triads. The subtonic (7th degree) is
associated with the diminished chord—a variant minor triad. The upper case Roman numerals
reference major chord structures (I, IV and V), while the lower case Roman numerals reference
minor chord structures (ii, iii, vi, vii). From each of these major and minor triads, further
modifications can take place to build the family of chords associated with each degree. For
example, V9th, iii7th, etc.

Associated Chord Families

The family of chords built from each triad consists of those chords constructed within the
particular major scale of concern, without the use of accidentals. For example, as shown below, all
chords constructed from the various combinations of c-d-e-f-g-a-b in the C Major Scale are

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associated with one of the seven degrees of the C Major Scale. The second table depicts this same
concept in numerical format.

C Csus4 C6 Cmaj7 Cadd9 Cmaj9 Cmaj11 Cmaj13

c-e-g c-f-g c-e-g-a c-e-g-b c-e-g-d c-e-g-b-d c-e-g-b-d-a c-e-g-b-d-a-g

Dm Dsus4 Dm6 Dm7 Dm(add9) Dm9 Dm11 Dm13

d-f-a d-g-a d-f-a-b d-f-a-c a-f-g-b d-f-a-c-e d-f-a-c-e-g d-f-a-c-e-g-b

Em Esus4 Em7
e-g-b e-f-b e-g-b-d

F Fsus4 F6 F7 Fadd9 F9 F11 F13

f-a-c f-a-c f-a-c-d f-a-c-e f-a-c-g f-a-c-e-g f-a-c-e-g-b f-a-c-e-g-b-d

G Gsus4 G6 G7 Gadd9 G9 G11 G13

g-b-d g-c-d g-b-d-e g-b-d-f g-b-d-a g-b-d-f-a g-b-d-f-a-c g-b-d-f-a-c-e

Am Asus4 Am7 Am(add9) Am9 Am11

a-c-e a-d-e a-c-e-g a-c-e-b a-c-e-g-b a-c-e-g-b-d

Bdim
b-d-f

The same concept in numeric format.

I Isus4 I6 Imaj7 Iadd9 Imaj9 Imaj11 Imaj13

1-3-5 1-4-5 1-3-5-6 1-3-5-7 1-3-5-9 1-3-5-7-9 1-3-5-7-9-11 1-3-5-7-9-11-13

iim iisus4 iim6 iim7 iim(add9) iim9 iim11 iim13

1-b3-5 1-4-5 1-b3-5-6 1-b3-5-7 1-b3-5-9 1-b3-5-7-9 1-b3-5-7-9-11 1-b3-5-7-9-11-13

iiim iiisus4 iiim7

1-b3-5 1-4-5 1-b3-5-7

IV IVsus4 IV6 IV7 IVadd9 IV9 IV11 IV13

1-3-5 1-4-5- 1-3-5-6 1-3-5-7 1-3-5-9 1-3-5-7-9 1-3-5-7-9-11 1-3-5-7-9-11-13

V Vsus4 V6 V7 Vadd9 V9 V11 V13

1-3-5 1-4-5- 1-3-5-6 1-3-5-7 1-3-5-9 1-3-5-7-9 1-3-5-7-9-11 1-3-5-7-9-11-13

vim visus4 vim7 vim(add9) vim9 vim11

1-b3-b5 1-4-5 1-b3-5-7 1-b3-5-9 1-b3-5-7-9 1-b3-5-7-9-11

viidim
1-b3-b5

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Double Stops
Double Stops are chords constructed from two notes, the 1st and the 3rd degrees of the scale
associated with the particular chord in question. They are essentially 2/3 of their major or minor
triad. As such, the Double Stop for a C Major is the c and e. For a C Minor it is the 1st and b3rd,
thus, c and be. Double Stops are used as stepping notes or to provide short riffs. A prime example
of double stops can be heard in the classic Van Morrison song, Brown Eyed Girl. Another is Jim
Croce’s, Operator.
When employed, Double Stops progress in relation to the scale just as primary triads progress
with the seven degrees of the major scale. The major stops are I, IV and V; the minor stops are ii,
iii, vi and vii. Thus, I-ii-iii-IV-V-vi-vii, where large case Roman numerals identify major chords
and lower case identifies minor chords with a flatted third (b3rd).
The following tables depict various Double Stop progressions. As with major scale patterns,
each form is named after certain open chords. But these forms do not mean the pattern is limited to
that particular key. These forms merely refer to the fingering pattern for the 1st and 3rd notes as
associated with open chords. In both the A and G open chords, the tonic is on the 3rd string with
the mediant on the 2nd string, and same fret as the tonic. The b3rd for each minor stop is on the
previous fret, 2nd string. Start this Double Stop progression with the root on the open G, 3rd string,
for the key of G. Start it on the 3rd string, 2nd fret, a-note, for the key of A. Start it on the 5th fret of
the 3rd string, c-note, for the key of C, etc.

The G, B & C, E & F, and D forms all share the same pattern; the only difference is the string
on which they begin. Each of the major stops (I, IV, V) plays the 3rd on the next string down and
the previous fret. For example: 1st on 6th string 5th fret and the 3rd on the 4th string 4th fret. The
minor stops, play their flattened third (b3rd), two frets removed from the root of their respective
chords. For example: if the root of the minor stop is on the 6th string, 7th fret, the b3rd is on the 5th
string, 5th fret.

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Using The Keyboard to Understand Chords and Scales

It is time to take another short journey into the world of the keyboard. Earlier, we discussed
the notes on the keyboard. We have also discussed the Diatonic Major Scale and chord
construction. Here, we will see how this all ties together in basic music theory. The importance of
using the keyboard rather than the guitar for this exercise is that the patterns on the keyboard are
very easily understood and memorable; whereas on the guitar this is not the case.

The C Scale
Earlier, we learned that beginning with the ‘c’ note on the keyboard, and playing each white
note in succession, we play the Diatonic C Major Scale: Do-Re-Mi-Fa-Sol-La-Ti-Do; or, 1-2-3-4-
5-6-7-8, in which the 8 (or second Do) in the octave of the first, and the scale starts over in the next
octave.
We also learned that the chords associated with the Diatonic C Major Scale are constructed
from these white keys as well. In the last lesson we saw the primary chords of the C Major Scale
are as such:
Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic
I ii iii IV V vi viio
m
C D Em F G A m
Bo
We learned that to construct the major triad we use the 1st, 3rd and 5th notes of the scale
associated with the particular chord. As such C Major is c-e-g; F Major is f-a-c; G Major is g-b-d.
The minor triad is constructed similarly with the 1st, b3rd and 5th notes of the scale associated with
that particular chord. Thus, D Minor is d-f-a; E Minor is e-g-b; A Minor is a-c-e; and B
Diminished (the seventh chord in the scale being the lone exception with a b5th as well) is b-d-f.
As seen in the keyboard figure, starting with the root ‘c’ note, the C C major
st nd rd
Major triad (the 1 , 2 and 3 ) is constructed with every other white
key. In the key of C Major, this every-other-white-key-pattern
continues with of the other six primary triads associated with the scale.
Play this every-other-white-key-pattern starting with the d-note and we
have the Dm chord. Start the pattern with the e-note and get the Em
chord. Start with the f-note for the F major chord, etc.
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C major D minor E minor F major

G major A minor B diminished

By playing these white key chord patterns along with a melody or lead notes on the white keys
as well, we can improvise and create a tune at will. This is such a great exercise that I highly
recommend you lay the guitar aside for a while and sit at a keyboard.
Because songs are generally constructed around the I, IV and V chords, begin with the C
chord, then move to the F and the G chords (IV and V) in various progressions; for example: C F
G; or C F C G; or C G C F G. Strike all three notes at once; then to strike each key individually in
a rolling fashion. Experiment with different beat. Practice making the chords with both hands.
Once you get the hang of changing chords, make these chords with your left hand and (still
using the white keys) create a melody or lead line with your right hand. Some notes will sound
more pleasing with each chord but you cannot hit a bad note. Be creative. For a more pleasing
euphonic, as you change to a new chord simultaneously strike a melody note that is one of the
three notes of that particular chord (i.e. C = c-e-g; F = f-a-c; G = g-b-d). As your improvised
melody wanders about the keyboard, emphasize those notes that are part of the particular chord
you are playing at the moment. Then, once you strike a melody line that sounds pleasing, use it as
your theme and return to it in regular intervals. You have just created a tune. The next step is to
begin adding the minor chord patterns to your improvisations. Again, use various repeated chord
progressions; for example: C Am F G; or C Em F G; or C Dm Em F G. You cannot create an
incorrect pattern. Use the same technique of striking and emphasizing notes within the chord.
Of course, you can do this same exercise in every other key as well. The every-other-key-
pattern is still employed; however it is no longer only the white keys, various black keys are
required for different keys. An exception to this is the key of A Minor. The A Minor Scale is the
6th degree of the C Major Scale. The scale associated with the 6th degree of any major scale is a
minor scale that uses the same key signature as the 1st degree major scale with which it is
associated. So then, the A Minor Scale also uses only the white keys.
By starting with Am as the tonic, I chord (and therefore Dm as the subdominant IV chord and
Em as the dominant V chord), a different sound is created. It is the melancholy sound of the minor
key. The same every-other-white-key-pattern is employed to create the same chords as in the key
of C Major; the only difference is the order in which they are played: Am B0 C Dm Em F G. Here
too the melody will be played on the white keys as you strike and emphasis notes pertaining to the
particular chord being played. Practice these simple progressions to get you started: Am Dm Em;
and Am Dm C Em.

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Chords and Melody

As a melody progresses the chords must agree. These chords are constructed, at least in part,
from the primary melody notes. That is, the chord notes must agree either with part or all of the
melody line it covers. When these melody notes pertain to multiple chords various chord
arrangements are possible. In most genres, stepping notes of short duration that move quickly
from one note to another within a melody line, need not, necessarily, agree with the overlying
chord. Or, more precisely, the overlying chord need not agree with it. Certain Jazz and Classical
guitar tunes are potential exceptions to this generalization. Jazz is famous for its rapid movement
from one bizarre chord to another and the central feature of classical guitar is playing both the
melody and the underlying chord, at least in part, simultaneously.
So then, suppose the melody progressed as such: c-g-e-c-a-c-a-f-g-d-g-b. An appropriate
chord accompaniment would be C, F, G, or alternatively, C, Dm7, G, in that the a-c-a-f are part of
both the F and the Dm7. For example:
C F G C Dm7 G
cgec / acaf / gdgb cgec / acaf / gdgb
As the melody gets more complicated, the associated chords become more complex, but this basic
concept continues, the overlying chord must agree with the melody.

Arpeggio
Arpeggio is a technique of playing a chord note by note—striking each note individually
rather than strumming all of them at once. Often a good portion of the melody can be played with
the arpeggio technique. The old hymn, “Amazing Grace” is a fine example of arpeggio and
melody blending together. Note: the following song is presented in Tablature format, which is
discussed in the next lesson.

Amazing Grace – John Newton

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Three Arrangements of the Same Song

The following three arrangements of Home on the Range illustrate how different chords might
be used to support the melody.

Simplified Version
Home On The Range – Higley & Kelley
Verse 1
/G / /C / /G / /D7
Oh, give me a home where the buf-fa-lo roam. Where the deer and the an-te-lope play.
/ /G / /C / /G /D7 /G /
^ Where sel-dom is heard a dis-couraging word, and the skies are not cloudy all day.
Chorus:
D7 / /G / / / /D7
Home, home on the range ^ Where the deer and the an-te-lope play.
/G / /C / /G /D7 /G
^ Where seldom is heard a dis-couraging word, and the skies are not cloudy all day.

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How often at night when the heavens are bright Oh, give me a land where the bright diamond sand
with the light from the glittering stars flows leisurely down the stream
Have I stood there amazed and asked, as I gazed Where the graceful white swan goes gliding along
if their glory exceeds that of ours like a maid in a heavenly dream

Adding the ii, II7, III7, and vi Chords

With these additional chords we can play a more advanced version of Home on the Range.

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Advanced Version

/G / /C /Am /G /A7 /D7

Oh, give me a home where the buf-fa-lo roam. Where the deer and the an-te-lope play.
/ /G / /C /Am /G /D7 /G /
^ Where sel-dom is heard a dis-couraging word, and the skies are not cloudy all day.
Chorus:
D7 /D7 /G /B7 /Em /D7 /D7
Home, home on the range ^ Where the deer and the an-te-lope play.
/G / /C /Am /G /D7 /G /
^ Where seldom is heard a dis-couraging word, and the skies are not cloudy all day.

Alternate Arrangement

/G / /C /Am / /G /Am /Dm

Oh, give me a home where the buf-fa-lo roam. ^ Where the deer and the an-te-lope play.
/ /G / /C /Am7 /G /D7 /G /
^ Where sel-dom is heard a dis-couraging word, and the skies are not cloudy all day.
Chorus:
D /D7 D6 /G /Em /G /Em /D7
Home, home on the range ^ Where the deer and the an-telope play
/G / / /C /Am /G /C /G /
^ Where seldom is heard a dis-couraging word and the skies are not cloudy all day.

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Basic Tablature

Tablature is an alternative, less complicated method to indicate musical notes on the fretboard.
While notation is comprehensive, tablature is very basic. Tablature tells us the notes and chords,
but timing, note duration, or any rests between the notes are left to the musician’s familiarity with
the song. The six horizontal lines of tablature represent the six guitar strings. The numbers in the
tablature do not tell us what fingers to use, but the frets on which the fingers are placed.
Tablature is written from the player’s perspective, from left to right, as if looking down at the
strings with the headstock on the left. Therefore, the treble E string is represented by the top line
of the tablature diagram, while the bass E string is represented by the bottom line of tablature.
Numbers are stacked vertically to indicate chords. In the example below, the A7 chord is depicted
with fingers on the 2nd fret of both the b and d stings with the g string played in the open position.
 Essential Guitar Lessons

Chords in Tablature Format

Basic Finger Picking

Finger picking adds a completely new dimension to the sound. Generally, guitar players
identify the digits on each hand as thumb, 1- index finger, 2- middle finger, 3-ring finger, 4-little
finger. Classical guitar players identify the digits of the finger picking hand by the Spanish terms:
P-pulgar, I-indice, M-medius, A-annular. Using the first letters for each terms we devise the
acronym PIMA.
Just as there are various and numerous rhythms which we might use when strumming, there
are also several possible patterns to employ when picking. Below are a few popular picking
patterns. Practice these patterns with various chords. Notice the alternating bass notes. Because
these are patterns the actual strings picked will vary according to the chord being played and the
desired sound from a particular chord. For example, the bass notes (which are picked by the
thumb) for a D chord often alternating between the 4th and 5th strings while the fingers pick the
lower strings. When picking a G chord, the bass notes could alternate between the 5th and 6th
strings. We might even play the 4th string as a bass note. The fingers will pick the lower or middle
strings. So that at times we might use the 4th string as a bass note and at other times use it as a
middle tone picked by the pulgar. Or perhaps we might not alternate the bass note at all, playing
only the ‘g’ note. The point is that there are numerous possibilities. Once these basic picking
techniques are comfortable, begin to experiment with other patterns.

Three Count

Four Count

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Six Count

Home On The Range In Tablature

The following tablature for “Home on the Range”, which we learned earlier, provides both the
melody and the chords. Notice that the measures are added to the tablature. Sometimes tablature
provides the measures, often it does not. It just depends upon who writes it. Because this song is
in 3/4 timing, there are 3 beats per measure: (1 2 3 / 1 2 3 / 1 2 3 /).

Oh, give me a home where the buf - fa - lo roam, where the deer and the

an - te - lope play. Where seld - om is heard a dis - cour -ag-ing

word and the skies are not cloud - y all day. Home, home on the range,

Where the deer and the an - te - lope play. Where sel - dom is heard a dis -

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cour – ag – ing word and the skies are not cloud - y all day.

Additional Songs in Tablature and Notation

America
Ashokan Farewell
Blue Moon Of Kentucky
America The Beautiful
Amelia’s Waltz

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Basic Notation

Yes, it is necessary to read music. That is if we want to converse intelligibly in the language
of music. Tablature is unable to replace notation. Furthermore, while tablature does make learning
the guitar easier, many pieces of music are simply not
available in this format. But do not despair; basic
notation is not as difficult as one might think. We need
not master it to the degree of composing classical
concertos with the finer elements of counterpoint; we
merely need to have a basic understanding of its
primary concepts that we might work our way through
a simple piece of sheet music. This basic knowledge
will be employed time and again in our guitar and
musical journey.

The Musical Staff

Notation is constructed by musical notes strategically placed on a musical stave, or staff. Each
musical staff consists of five lines and four spaces between these lines. Each line and space
represents a specific musical pitch. Depending upon the
instrument for which a piece of music is written, various
musical staves are used. The difference between the
various staves is the pitch that each line and space
represents. For our purposes, we shall focus on two of
these staves, the traditional treble and bass staves in
which piano music is written.
As shown in the figures, the Treble Clef is identified
by the symbol, which circles the Middle G—the 1st G
above Middle C. The Bass Clef is identified by the
symbol, in which the 1st F below Middle C is highlighted
between its dots. The five lines and four spaces,
represents sequential musical tones. We simply add lines
and spaces above or below for tones beyond this range.

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Guitar & Staff

For the most part, the treble staff is our concern for now. Each of the following graphics
depicts the tones for each line and space of the Treble Clef.
As mentioned earlier, the 440 Hz A is the note to which instruments are tuned. This is the
second space from the bottom on the Treble Clef and the top line of the Bass Clef. However, as
explained earlier, because these staves are basically beyond the guitar’s ranger of octave, we adjust
by playing the guitar an octave lower. So that while Middle G (as indicated on the Treble Clef) is
technically on the 1st string 3rd fret of the guitar, we play it an octave lower on the open 3rd string.
We play the Middle C an octave lower on the 5th string 3rd fret, rather than the actual octave, which
is the 2nd string 1st fret; and we play the Middle 440 Hz A an octave lower on the 2nd string 2nd fret,
rather than the actual octave, the 1st string 5th fret.

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Measures & Timing Signatures

Musical notation is also divided into
measures. Each measure receives a specified
number of beats. These beats total one whole
count per measure. Musical notes may consist
of one whole count or be divided into several
and various counts equivalent to fractions of
the whole count. As depicted in the following
figures, there are various time signatures: 2/4,
3/4, 4/4, 6/8, etc.
The time signature tells the reader two
things. The first number speaks of the beats per
measure, the total of which equals the whole count of
the measure. So that the 2 in 2/4 means there are 2
beats per measure; the 3 in 3/4 means 3 beats; the 4 in
4/4 means 4 beats; and the 6 in 6/8 means 6 beats per
measure. The second number tells the reader which
note is equal to one of these beats. In 2/4 timing,
there are 2 beats per measure with each quarter note
(/4) equaling one beat. In 3/4 timing there are 3 beats
per measure with each quarter note (/4) receiving one
beat. In 4/4 timing each quarter note receives 4 beats.
In 6/8 timing each of the 6 beats equals one eighth
note.
Songs are often written in divisions and multiples
of these beats. So that 1 quarter note might be divided
into 2 eighth notes, or 4 sixteenth notes, or even 1
eight note and 2 sixteenth notes, etc. Similarly 1 half
note will equal 2 quarter notes, or 1 quarter note and 2
eighth notes, etc. There is yet another division to

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these notes; a note followed by a dot receives an additional count equal to ½ of the note it follows.
Thus a dotted quarter note ( ) is equal to a 3/8 note: one quarter ( ) plus one eighth ( ) = 3/8 or
( ).

Accidental Notes
Earlier we discussed the sharp and flat symbols (sharp = # and flat =
b); there is another symbol beyond the sharp and flat, it is the symbol for
a natural note . It turns or returns a flat or sharp into a natural note.
When any of these three symbols are used to signify an
accidental, all notes of that degree remain such for the
entirety of the measure, unless otherwise signified by one
of these three symbols.

Key Signatures
Music is
written in various
scales. The tonic
of the scale is
generally referred
as the key of that
scale. As
discussed earlier,
each diatonic
scale is
constructed by a
series of whole
tones and
semitones; the
degrees of the
Diatonic Major
Scale being: W-
W-S-W-W-W-S.
As such, the tonic
or first degree
determines the
sharps/flats
employed by the
scale. The
following chart
depicts these
sharps/flats for
each key. Notice that the relative minor scale for each key shares the same key signature as the
major key to which it is the submediant 6th degree.

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Songs to Practice in Notation

The following practice songs span several genres: traditional, romance, western folk, Irish
folk, Civil War, Negro Spiritual, Spanish, Christian hymns, and even classical. These tunes were
chosen for four reasons: they are simple, familiar versions of public domain songs in notation
form. Practice reading and playing the melody notes.

Auld Lang Syne She’ll Be Coming Round The Mountain

Minuet In G Yankee Doodle
Let Me Call You Sweetheart Dixie
Blackbird Cajun Two Step
Down In The Valley The Yellow Rose of Texas
Little Brown Jug That’s An Irish Lullaby
Greensleeves Silent Night
Oh Bury Me Not On The Lone Prairie Away In The Manger
Home On The Range The First Noel
When Irish Eyes Are Smiling Swing Low, Sweet Chariot
Lullaby Joy To The World
Oh Susanna Hark! The Hearld Angels Sing
When Johnny Come Marching Home Whispering Hope
Nobody Knows The Trouble I’ve Seen
La Cucaracha
La Cumparsita
On Top Of Old Smokey

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The Circle of Fifths, Modulation & Modes

Circle of Fifths
The Circle of Fifths is another useful tool to illustrate the sharps/flats of the various key
signatures. It is also a useful tool to illustrate a chord’s relationship to other chords. Select the
tonic chord (I) for the
key of interest (such as
C). One step
counterclockwise is the
subdominant (IV)
chord, which is the F
chord for the key of C.
One step clockwise
from the tonic (I) is the
dominant (V), which is
the G chord in the key
of C. The submediant,
relative minor chord
(vi) of the tonic (I) is
directly below the
tonic. One step
counterclockwise from
the relative minor is the
2nd degree supertonic
(ii), and one step
clockwise from the
relative minor is the 3rd
degree mediant (iii).
The diminished, 7th
degree subtonic (vii) is
two steps clockwise
from relative minor.
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Modulation
The Circle of Fifths is also helpful to visualize modulation progressions. Modulation occurs
when a song changes keys in the middle. Like everything else in music, this change is not chosen
randomly. Modulation generally moves to a key in close proximity to the key being played. For
example, in the key of D (2 sharps), a common modulation would be the key of G (1 sharp),
progressing through a pivotal chord that both keys have in common. For example, the keys of D
and G share four chords: D, G, Em and Bm.
 D is I in the key of D and V in the key G.
 G is IV in the key of D and the I in the key of G.
 Em is the ii in the key of D and the vi in the key of G.
 Bm is the vi in the key of D and ii in the key of G.
Similarly, the modulation progression could pass from the tonic to either the perfect V above or the
perfect V below the tonic, then on to the relative minor vi of either, and finally to the related key.
For example: D – A – Bm to E or – F♯. Modulation to the IV or V in major keys and the iii in
minor keys is common; so too is modulation to the relative major and minor because these keys
share the same pitches. It is also possible to modulate to keys more remote from the tonic. This
occurs by chord changes through successive related keys. For example, as visualized in the Circle
of Fifths, we can modulate each key through the V chords: D – A – E – B – F♯ – C♯ – G♯/Ab – Eb –
Bb – F – C – G – D.

The Seven Modes of Western Music

Western music centers round seven modes known as Ionian, Dorian, Phrygian, Lydian,
Mixolydian, Aeolian and Locrian. Although these modes might seem confusing, they need not be.
We have already learned the Diatonic Major Scale; it is synonymous with the Ionian Mode. As we
recall, this scale consists of seven degrees or tones: 5 whole tones and 2 semitones, which are
repeated throughout the octaves. The semitones are alternately separated by 2 and 3 whole tones.
The Ionian Mode is the Do-Re-Mi-Fa-Sol-La-Ti-Do, which we learned as children.
These are the same tones for each of the seven modes, which also retain the same
characteristic 5 whole tones and 2 semitones pattern. The difference is that each mode
successively begins with nest tone, thus placing the 2 semitones at different intervals for each
mode. So that (as depicted below) in the Ionian Mode the semitones are the 4th and the 8th notes
(Fa and Do), while in the Dorian Mode the semitones are 3rd and 7th intervals (Mi and Ti), and in
the Phrygian Mode they are the 2nd and 6th (Re and La), etc. Note that just as the Ionian Mode is
synonymous with the Diatonic Major Scale, so too, the Aeolian Mode is synonymous with the
Natural Minor Scale.
You can easily practice these modes using only the white keys on the keyboard. As we
learned earlier, by starting with the ‘c’ note and playing successively through the white notes, we
play the C Major Scale (or the Ionian Mode). In this same fashion, starting with the d note and
playing successively through the white notes we play the Dorian Mode: start at e for the Phrygian
Mode, f for the Lydian Mode, g for the Mixolydian Mode, a for the Aeolian Mode and b for the

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Locrian Mode. The major or minor chords associated with each note remain the same, only the
staring point and therefore the semitone intervals change.

Ionian Mode/Major Scale

C D E F G A B C
Do Re Mi Fa Sol La Ti Do
s T T s T T T s

Dorian Mode/Minor Scale

D E F G A B C D
Re Mi Fa Sol La Ti Do Re
T T s T T T s T

Phrygian Mode/Minor Scale

E F G A B C D E
Mi Fa Sol La Ti Do Re Mi
T s T T T s T T

Lydian Mode
F G A B C D E F
Fa Sol La Ti Do Re Mi Fa
s T T T s T T s

Mixolydian Mode
G A B C D E F G
Sol La Ti Do Re Mi Fa Sol
T T T s T T s T

Aeolian Mode/Natural minor scale

A B C D E F G A
La Ti Do Re Mi Fa Sol La
T T s T T s T T

Locrian Mode/Minor Scale

B C D E F G A B
Ti Do Re Mi Fa Sol La Ti
T s T T s T T T

Try sitting at the keyboard again being creative. Using only the white keys once again,
improvise some tunes using each of these modes. In the Ionian Mode, begin with C Major as the
tonic. In the Dorian Mode, begin with d as the 1st degree and the D Minor chord as the tonic. In
the Phrygian Mode, begin e as the 1st degree and with E Minor as the tonic. In the Lydian Mode,

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the tonic is F Major. In the Mixolydian Mode it is G Major, in the Aeolian Mode it is A Minor,
and in the Locrian Mode the tonic is B Diminished. The subsequent chords for each mode follow
in the same manner as in the Ionian Mode, with which we are familiar: tonic-supertonic-mediant-
subdonminant-dominant-submediant-subtonic. The following chart depicts this sequencing.
Remember, the Roman numerals speak the major (I, IV, V) and minor chords (ii, iii, vi, vii).

Tonic Supertonic Mediant Subdonminant Dominant Submediant Subtonic

Ionian I ii iii IV V vi vii
Dorian ii iii IV V vi vii I
Phrygian iii IV V vi vii I Ii
Lydian IV V vi vii I ii iii
Mixolydian V vi vii I ii iii IV
Aeolian vi vii I ii iii IV V
Locrian vii I ii iii IV V vi

When creating the melody for your improvised tunes, use the same techniques discussed
earlier on page 50; as you change chords simultaneously strike a melody note that is one of the
three notes of that particular chord (i.e. C = c-e-g; Dm = d-c-f; Em = e-g-b). As your improvised
melodies wander about the keyboard, emphasize those notes that are part of the particular chord
you are playing at the moment. Then, once you strike a melody line that sounds pleasing, use it as
your theme and return to it in regular intervals.

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Minor & Blues Scales

The Dorian, Phrygain, Aeolian and Locrian Modes are basically minor tonalities, but there are
various other minor scales as well: the diatonic natural, harmonic and melodic minor scales, and
the pentatonic, heptatonic and hexatonic blues scales. Although these scales are discussed in
different in ways, discussing them as they relate to the Diatonic Major Scale seems more orderly,
in that it provides a reference to which the others are compared.
Earlier we discussed this Diatonic Major Scale: root - whole tone - whole tone – semitone -
whole tone - whole tone - whole tone – semitone; so that the 4th and 8th degrees are semitones, with
all other degrees being whole tones. Remember, the 8th degree is the octave of the 1st or root note.
With this as our reference we are able to compare these other scales. You will notice the
difference in the intervals between the ascending and descending melodic minor scale are different.

Diatonic Major 1 2 3 4 5 6 7 8
b b b
Natural minor 1 2 3 4 5 6 7 8
b b
Harmonic minor 1 2 3 4 5 6 7 8
b
Melodic minor ascending → 1 2 3 4 5 6 7 8
b b b
Melodic minor descending ← 1 2 3 4 6 7 8
b b b
Heptatonic minor 1 2 3 4 5 6 7 8
b b b
Hexatonic minor 1 3 4 5 5 7 8
b b
Pentatonic minor 1 3 4 5 7 8
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The Blues
The genius of the Blues is hard to identify. There is no single defining factor; but when
you’ve heard it you know it. A good deal of it is the rhythm—the Blues shuffle generally played in
6/8 timing. But this is not always the case, many Blues songs are played in other than 6/8 timing
and have no shuffle. Then there are the various minor scales employed over largely major chord
structures, creating a pleasant discord unlike anything else in music. But this too is not always the
case, for many Blues are played with a minor scale over minor chords. Nor are the lyrics of the
Blues necessarily down hearted and defeated; many convey hope and expectation.
Although the pentatonic and the hexatonic minor scales are often called Blues Scale, there are
several scales used in the Blues; each, based upon variations of a minor scale. Below, the
Hexatonic Minor Scale (perhaps the most widely employed Blues Scale) is very similar to the

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Pentatonic Minor Scale, the only difference is that the Hexatonic Minor Scale adds the b5th. Thus,
it has the b3rd, b5th and b7th; and like the Pentatonic Minor (see page 146-147), it also drops the 2nd
and 6th.

Hexatonic Minor – 5 Blues Scale Patterns

Note: Root 1 - 3b 4 5b 5 - 7b 8/1

Many Blues songs are constructed in other than 12 bars; however, the 12 bar blues shuffle is a
standard and very popular progression. Below are three 12 bar blues shuffle progressions, each in
the key of E. These two note shuffles play a drone bass note while the other note shuffles up and
down to the 5th, 6th and sometimes b7th degree. As a further learning tool, each progression is
provided in both notation as well as tablature.
The first is a walking shuffle between the 5th, 6th and b7th degrees. The second simply shuffles
back and fourth between the 5th and 6th degrees. However, to create the proper sound we hammer
on the ascending 6th note then briefly mute it before striking it again. The third shuffle is the same
as the first but with a simple turnaround in measures 11 and 12.

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Roman Numeral Chord System

By employing the Roman numeral chord system songs can be played in any key. Simply
follow the technique shown above, in which the bass note of each chord is used as a drone while
the second note shuffles between the 5th, 6th and b7th degrees. For example, in the key of A play the
5th and 6th strings.
I IV I V7 IV I V7
Bar 1 / Bar 2 / Bar 3 / Bar 4 / Bar 5 / Bar 6 / Bar 7 / Bar 8 / Bar 9 / Bar 10 / Bar 11 / Bar 12 /

The Blues can also be strummed rather than employing the shuffle. The following, subtle
variations to the chord progression create a distinctly different sound. Use it to strum the Blues.
Imagine the rhythm of the 6/8 shuffle in your head as you attempt to strum rather than pick the
shuffle.
I IV I V7 IV I V7
Bar 1 / Bar 2 / Bar 3 / Bar 4 / Bar 5 / Bar 6 / Bar 7 / Bar 8 / Bar 9 / Bar 10 / Bar 11 / Bar 12 /

Using these minor chord variations creates a melancholy Blues sound.

i iv i v7 iv i v7
Bar 1 / Bar 2 / Bar 3 / Bar 4 / Bar 5 / Bar 6 / Bar 7 / Bar 8 / Bar 9 / Bar 10 / Bar 11 / Bar 12 /

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As you learn to strum these progressions, begin to intersperse short, improvised riffs created
from the Hexatonic Blues Scale patterns. Yet another variation to both the chords and the basic 12
bar pattern creates more of a Jazz sound. Try this progression in the key of G. Aside from the
pleasant sound of the G key, the ninth chords for this key are easy to make. Strike the D9 and
quickly slide to C9; then, after but one beat jump to the F9. Repeat this; then at the end of Bar 4,
walk with one beat each from F9 to E9 to D9. At the end of Bar 5, walk from the D9 through C#9 to
C9. The chords in Bars 7, 8, 10 and 11 each last for half the measure. The ninth chords are found
on page 122.

G7 D9 C9 F9 G7 D9 C9 F9 E9 D9 C#9 C9
Bar 1 / Bar 2 / Bar 3 / Bar 4 / Bar 5 / Bar 6 /

G7 C9 G7 C9 D9 C9 C#9 C9 G7 C9 G7 D9
Bar 7 / Bar 8 / Bar 9 / Bar 10 / Bar 11 / Bar 12 /

The chords for the following songs are in Roman numeral format; as such, they can easily be
played in any key. Also note that I have added the melody in Arabic numbers beneath the lyric.
As you recall, each of the seven notes in the diatonic scale is associated with a degree: 1-2-3-4-5-6-
7, with 8 being the octave of 1. Here, (-) indicates that note is in the octave below the tonic, 1
degree.

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The Nashville Method

While some refer to the previous Roman numeral system as The Nashville Method, what
appears to be more popular in Nashville among those actually creating the music is a similar
numbering system using Arabic number. The following charts clarifies this popular Nashville
System. You will note that chord voicing is signified by smaller numbers and symbols to the right
of the chord: ( 7 ) = seventh, ( ∆ ) = major seventh, ( O ) = diminished, ( - ) = ( + ) augmented, etc.
Major 1
Major Seventh 1∆ 1maj 7
Major Ninth 1∆ 9 1 maj 9
Dominant Seventh 17
Sixth 16
Ninth 19
Major add 9 1add9
Minor 6- 6m 6min
Minor Seventh 6-7 6m7 6min 7
Minor sixth 6-6 6m6 6min 6
Minor Major Seventh 6-∆ 6m∆ 6-maj 7
Augmented 5+
Augmented Seventh 5+7
# O
Diminished 4
# O7
Diminished Seventh 4
Minor Seven Flat Five or Half Diminished 7- 7 b5 7Ѳ
Seven with flatted Ninth 57 b9
Eleven 511
Thirteen 511

Key Degrees
W W H W W W H
# b # b # b # b # b
1 1- 1 2 2- 2 3 4 4- 4 5 5- 5 6 6- 6 7 1/8
#
A A/bB B C #
C/bD D #
D/bE E F #
F/bG G #
G/bA A
#
#
A/bB B C C/bD D #
D/bE E F #
F/bG G #
G/bA #
A/bB #
A/bB
#
B C C/bD D #
D/bE E F #
F/bG G #
G/bA #
A/bB A B
# b # b # b # b # b # b
C C/ D D D/ E E F F/ G G G/ A A/ B B B/ C C
#
#
C/bD D D/bE E F #
F/bG G #
G/bA #
A/bB B #
B/bC C #
C/bD
#
D D/bE E F #
F/bG G #
G/bA #
A/bB B #
B/bC C #
C/bD D
#
#
D/bE E F F/bG G #
G/bA #
A/bB B #
B/bC C #
C/bD D #
D/bE
#
E F F/bG G #
G/bA #
A/bB B #
B/bC C #
C/bD D #
D/bE E
#
F F/bG G #
G/bA #
A/bB B #
B/bC C #
C/bD D #
D/bE E F
#
#
F/bG G G/bA #
A/bB B #
B/bC C #
C/bD D #
D/bE E F #
F/bG
#
G G/bA #
A/bB B #
B/bC C #
C/bD D #
D/bE E F #
F/bG G
#
#
G/bA A/bB B #
B/bC C #
C/bD D #
D/bE E F #
F/bG G #
G/bA

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The Nashville Method employs an additional feature that signifies an inverted chord using
something other than the root and its bass note. Here, a fraction, such as 1/5 specifies the 1st chord
with the 5th as bass; 4/3 would be the 4th chord with the 3rd as the bass. Using this method we
could easily specify a walk down such as D, D/F#, Bm, D/A as 1, 1/3, 6-, 1/5.

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Songwriting

Songwriting is a creative process that takes place in various manners. Sometimes the
songwriter begins with a certain melody in mind; other times it might be a lyric, a concept, or a
theme about which the songwriter wants to sing. Many songs have been written from nothing
more than a catchy phrase the writer had in mind. Sometimes the songwriter will begin with a
rhythm or backbeat and then construct lyrics to fit the rhythm. I have written songs with each of
these methods and cannot say one is better than the other because each works very well. Once we
understand the basic structure of songs the creative process is able to flex its muscles.

Melody and Chords

Although the various musical genres are structured differently as far as rhythm, beat, chord
progressions and even the types of chords employed, always, the melody line is dominant. That is,
the melody determines the mode and scale in which the song is written. It therefore dictates
potential chord structures; in all songs, the chords agree with their melody line. For example, if the
song is written in the key of C Major, the melody will revolve around C Major Scale: C, D, E, F,
G, A, B. If a song is written in the key of C Minor, the melody will revolve around the C Minor
Scale: C, D, Eb, F, G, Ab, Bb. Although the melody might include some accidentals (notes that are
note part of the scale), the chord progressions must be congruent with the primary notes of the
melody. If, however, the accidentals are prominent for a segment of the measure the chord must
agree. For example, if in the key of G the melody prominently employs a #d rather than a natural
‘d’ note, we might consider covering this portion of the melody with a B7, which is not naturally
part of the G scale.
As the melody progresses from one measure to another, the chords change to agree with it.
Because the chords follow the melody and the melody follows the scale (unless there are
accidentals) chords will follow certain parameters. So that in the key of C major (c-d-e-f-g-a-b),
the primary available chords and their variations are follows:
C Csus4 C6 Cmaj7 Cmaj9 C+9
Dm Dmsus4 Dm6 Dm7 Dm9
Em Emsus4 Em6 Em7
F F6 Fmaj7 Fmaj9 Fadd9
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G Gsus4 G6 G7 G9 G+9
Am Asus4 Am7 Am9
Bo
Because more than one chord will agree with the melody a variety of arrangements are
possible. Suppose the melody consisted of the following notes: c-c-e-c-g. These are the notes of
the C major chord: c-e-g. Therefore a C major chord would be played with the melody. If the
melody progressed as a-f-a-f-c, we could play the F major chord, for the F consists of f-a-c.
Chord Notes of the chord
C c e g
F f a c
Suppose the melody progresses as such: g-c-a-a-c-g. These notes provide several possible
chords that might be chosen depending upon the desired arrangement. Each would create a
different texture to the song. For example, this melody could receive C6, F9, or Am7. The
following chart further explains why this is so. Some of the requisite notes to form a particular
chord might be absent from the melody, but there can be no conflicting notes. Thus, absent
melody notes for a particular underlying chord, are fine, notes that disagree with the chord are not.
Chord Bold notes are part of the melody
C6 c e g A
F9 f a c D G
Am7 a g c D

Just as the melody can have accidentals so too can chord structures. Because a variety of
chords might cover certain sections of the melody, diverse arrangements are often possible. For
example, it is not uncommon, especially in country songs, for the tonic chord (I) to convert to a
seventh (I7) just prior to the subdominant (IV). For example, think of Your Cheatin' Heart by
Hank Williams. The verses can be played with three chords I, IV & V7; however, the I changes to
I7 just before moving to the IV. Another nuance Hank added to this song was to slide into the V7
from the bV7. Then, in an uncommon progression, the chorus (which generally begins with the IV)
begins with the I7 before moving to the IV; then again to the I before we hear the II7 and then the
V7. In all, this simple tune has three accidental chords: the I7, II7 and bV7, each employing notes
that are note part of the scale.

Chord Progressions
A song’s verses generally begin and end with the tonic I chord; the chorus generally begins in
the subdominant IV chord with the melody typically rising in pitch along with it. As mentioned
earlier, Country, Hymns, Blues, Bluegrass, early Rock’N’Roll, and even Classical revolve around
variations of the I, IV and V chords arranged in diverse progressions. As such, with the simple
major chords and some 7th chords we can play many, many songs. Play the following chords in
4/4 timing and think of Hank William’s classic song Hey Good Lookin.

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C D7 G7 C C G7 C
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
1 2 3 4 5 6 7 8 9 10 11 12

D7 G7 C C7 F C F D7 G7 C
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
13 14 15 16 17 18 19 20 21 22 23 24

D7 G7 C
Bar Bar Bar Bar Bar Bar
25 26 27 28 29 30

Play the following chords in a 3/4 timing and think of the country song Mamma Don’t Let Your
Babies Grow up to Be Cowboys, made famous by Waylon Jennings and Willie Nelson.

D D7 G A7
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
1 2 3 4 5 6 7 8 9 10 11 12

D D7 G
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
13 14 15 16 17 18 19 20 21 22 23 24

A7 D A7
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
25 26 27 28 29 30 26 27 28 29 30

Of course, songs use other chords as well. In many genres these chords are variations of the
minor chords ii, iii, vi; which agree with the melody. By simply adding vi (the minor 6th chord),
we can play a common chord progression used in many 50’s and 60’s tunes. Play the following I-
vi-IV-V progression any a desired key and sing any of the popular oldies listed below. Of course,
you will need to change the strumming pattern for each song. In some songs each chord will
receive two beats; in others they will receive four or six or eight. Trust your ear and your
familiarity with the songs to guide you.
Repeat the following chord sequence: I VIm IV V. Remember, in the Roman numeral system
capitals are major chords and small numbers are minor chords. Thus, this would be C Am F G
in the key of C, and G Em C D, in the key of G, etc.
A Thousand Stars in the Duke of Earl Poor Little Fool Teenager in Love
Sky Earth Angel Runaround Sue What’s Your Name?
All I Have to Do Is Dream Heart and Soul Sherry Why Do Fools Fall in
Angel Baby, Hey Paula Silhouettes Love?
Blue Moon In the Still of the Night Stay You Send Me
Breaking Up Is Hard to Do Last Kiss Take Good Care of My Baby
Come Go with Me Little Darlin’ Tears on My Pillow

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Play the following chords and think of Bob Seger’s Old time Rock’N’Roll.

I IV V I
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
1 2 3 4 5 6 7 8 9 10 11 12
Chorus
V I IV V I
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
13 14 15 16 17 18 19 20 21 22 23 24

In another Bob Seger hit he employs the minor chords ii, iii and vi. Play this chord
progression and think of Against the Wind.

I iii IV I V IV I iii IV
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
1 2 3 4 5 6 7 8 9 10 11 12

I IV V vi V I vi VI I vi V IV V
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
13 14 15 16 17 18 19 20 21 22 23 24

Chorus Bridge guitar solo

I iii IV V IV iii ii IV I
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
25 26 27 28 29 30 31 32 33 34

For centuries, Western music basically consisted of the I-ii-iii-iv-V-vi-viio chords (the ii, iii,
vi, vii chords being minor structures), but Rock’N’Roll broke that mold. It is not uncommon for
Rock songs to play major chords where minor chord structures would traditionally appear; or to
include accidental chords such as a 7th or 9th in the tonic or mediant position; or even to add a
flattened chord that is not part of any of the seven modes. For example, play the following
progression in a rapid Rock beat and hear the modern Rock sound. The bVII and II7 do not fit any
of the typical modes. Rock’N’Roll broke the rules in more ways than one.
b
I VII I II7 V I IV V
Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar Bar
1 2 3 4 5 6 7 8 9 10 11 12

Melodies and Lyrics

Almost all songs have at least two sets of lyrics accompanied by two different melodies: the
verses that tell the story; and the chorus, which is basically the anthem of the song. While the
lyrics for each verse change as they tell the story, the lyrics of the chorus generally remains the

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same each time it is played. A third lyric and melody, the bridge, is often employed as well.
Sometimes the bridge merely consists of new chord changes and an instrumental solo with no lyric.
Also, while the chorus is typically repeated, the bridge generally occurs only once and is often
followed by the chorus.

The Songwriting Experience

In this section I reflect on some of my songwriting experience, the inspiration for as well as
the structure of songs in various genres. While an entire song may occasionally pop into one’s
head this is not a typical scenario. Some sort of inspiration (be it reality or imagination) usually
kindles the creation; then it takes a certain degree of work to perfect it. Sometimes it is quick,
sometimes it is laborious. Sometimes, especially if there is no real inspiration, the muse fades and
the whole project is discarded.
The inspiration for most of my songs is three-fold: my family, my Lord, and my friends—
relationships in which I have a personal investment. However, I have written songs with various
other sources of inspiration. For these I let my imagination wonder, placing myself in emotional
and life situations that many have experienced.

Rodeo Cowboy
The first song I recall writing is Rodeo Cowboy, in 1976. It is a Country Western tune, which
doubtless arose from living in Eastern Oregon (cowboy country) at the time. One morning I
awakened with this lyric and tune in my head.
I’m a rodeo cowboy,
I’m worth sixteen dollars;
I ride for the moment
And I limp for the hour.
When I get on those ponies
And they open the gates,
I have only eight seconds to fight for my life.
I got out of bed, grabbed a piece of paper, quickly wrote the verse and constructed a crude
musical staff to jot down the melody and chords as I heard it in my head. Then, just as quickly, the
chorus and the other two verses seemed to leap onto the page. Finally, I got my guitar to test the
notation and the chords. I made no changes for several months until eventually adding the 17 to
lead into the chorus. Several years later I changed the phrase “sixteen dollars” to “eighteen
dollars” because “x” is not melodically pleasing to hold for two beats, and my pitiful voice needs
all the help I can give it.

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God’s Special Gift

One of my most inspiring subjects has been my wife. I have written many songs about her;
and (I’m certain) I will write more. I wrote God’s Special Gift straight from the heart. Every word
of it is true. It is a typical format of verse and chorus. I was thinking about Merrill and what a true
blessing she is, when the first phrase of the song came to mind, “I’ve come to realize my roll in this
life; I am to love her, this blessing my wide.” With this, the melody and chords seemed to just fall
into place.

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Time Is Coming To An End

I wrote Time Is Coming To An End while reviewing the book of The Revelation,
contemplating the soon coming of the Lord Jesus when the title phrase crossed my mind. As I
strummed, hitting the 6th and then the 9th chords the lyrics just seemed to write themselves.

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Never Thought I Would End This Way

Fortunately, my inspiration for Never Thought It Would End This Way has no basis in
reality… not mine at least. One day I was strumming a bit and when I hit a couple of minor chords
the title phrase popped into my head. I then constructed a story around it.

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There Ain’t No Shortcut To Love

Merrill and I were in town one afternoon when I overheard a few comments from a passerby
concerning the difficulty of love. I promptly said to Merrill, “There ain’t no shortcut to love”;
which was sort of strange, since I never use “ain’t”, except in jest. Then, just as promptly I said to
her, “That would make a good song”. The phrase continued to ruminate until we got home. Then,
while reflecting on the energy it takes to make a relationship work, I wrote this tune in short order.

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Chord Charts for Guitar and Keyboard

Even after we understand the basics, the guitar takes a lot of practice and memorization. With
this I cannot help, other than to point to the many chords and scale patterns in the following pages.
Learn these chords and scales as needed for new songs, or tackle them at once, which ever is your
preference. Learning the major, minor and seventh chords first is advisable; however, eventually
one must learn the others as well. Unless our goal is merely to strum chords along with the lyric,
scales must be learned also. However, with both (the numerous chords and the numerous scales),
we can be selective; for there is no need to learn the chords and scales employed by genres we do
not intend to play. For example, if you are not intending to play Jazz, you probably need not learn
the various A13th chord structures. If some day the need should arise to know this chord while
learning a particular song, learn it then.
Because I believe it is important to have at least a basic understanding of the keyboard, with
each guitar chord, I have also included the 1st position of each chord on the keyboard. The 2nd and
3rd positions (inversions) on the keyboard are achieved simply by using the 3rd or 5th note as the
bass.

Major Chords on Guitar and Keyboard

Major chords consist of the 1st, 3rd and 5th degrees of the scale associated with the root or 1st
note.
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Minor Chords on Guitar and Keyboard

Minor chords consist of the 1st, b3rd and 5th degrees of the scale associated with the root or 1st
note.

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Dominant Seventh Chords on Guitar and Keyboard

Seventh chords consist of the 1st, 3rd, 5th and b7th degrees of the scale associated with the root
or 1st note.

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Major Seventh Chords on Guitar and Keyboard

Major Seventh chords consist of the 1st, 3rd, 5th and 7th degrees of the scale associated with the
root or 1st note. Major seventh chords are designated by either the maj7 or the delta symbol ∆.

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Minor Seventh Chords on Guitar and Keyboard

Minor Seventh chords consist of the 1st, b3rd, 5th and b7th degrees of the scale associated with
the root or 1st note.

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Ninth Chords on Guitar and Keyboard

Ninth chords consist of the 1st, 3rd, 5th, b7th and 9th degrees of the scale associated with the root
or 1st note.

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Augmented Chords on Guitar and Keyboard

Augmented chords consist of the 1st, 3rd and #5th degrees of the scale associated with the root
or 1 note. Augmented chords are designated by either aug or the + sign.
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Sustained Fourth Chords on Guitar and Keyboard

Sustained Fourth chords consist of the 1st, 4th and 5th degrees of the scale associated with the
root or 1st note. Sustained fourth chords are designated by either the sus or sus4.

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Sustained Sixth Chords on Guitar and Keyboard

Sustained sixth chords consist of the 1st, 3rd, 5th and 6th degrees of the scale associated with the
root or 1st note.

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Diminished Chords on Guitar and Keyboard

Diminished chords consist of the 1st, b3rd and b5th, degrees of the scale associated with the root
or 1 note. Diminished chords are designated by either dim or o.
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Other Chords
As discussed earlier there are several other chords (see pages 42-43). By now, if your studied
the section of chord construction, you should be able to figure them out as needed. Remember,
that the various extended chords are build upon the basic triad, be it major, minor, sustained or
augmented. The 9th is build upon the 7th, the 11th is built upon the 9th and the 13th is built upon the
11th.
More atypical chords are constructed in the same fashion, from the basic triad. For example,
the Cadd9, or simply C+9, adds the 9th note without building on the dominant 7th (C7), which would
make it a C9. The 11th and 13th can be added in the same way making the C+11 or C+13, rather than
the C11 or C13. We might also add an accidental note, such as a flatted 5th, such as C-5.
Therefore, do not get too concerned when someday you are playing a piece of music when
suddenly you see a Dm7+11. Simply start with the Dm triad, add the dominant 7th (c), then add the
11th (g).

Barred E Chords
Bar chords simply repeat the same patterns. Barred E chords are derived from the open E
chord. By moving up and down the neck we make other chords. For example, the ‘a’ note on the
5th fret, 6th string, serves as the root for the A chord we make when we bar all six strings with the
first finger and make the E-form chord with the others. Here we can create several A chords with
the E-form: Em, E7, Em7. Because there is but one semitone from E to F, creating this bar chord on
the 1st fret makes an F chord; the 2nd fret is an F#/Gb, the 3rd a G, the 4th an F#/Ab and the 5th fret an
A chord, etc. When we get to fret 12 we are back at the E, only one octave higher. Notice there
are optional ways of playing some chords. Because the patterns merely repeat themselves, only a
couple examples are provided; the 1st fret F chords and the 5th fret A chords. The E chords are
shown because they are the pattern from which the bar chord patterns derive.

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Barred A Chords
Just as the barred E chords derive from the E chord, the barred A chords are derivatives of the
A chord. For these A bar chords we follow the notes on the A, 5th string, for the root of each
chord. With the first finger, bar strings one though five (leaving the 6th string un-played). Create
the desired A chord structure with the other fingers: A, Am A7, Am7. Because each fret equals one
semitone, barring at the 1st fret is an A#/Bb; the second fret is a B, the 3rd fret a C chord, etc. When
we get to fret 12 we are back at the A, one octave higher.
There is an alternate barring for this pattern. Although the root note for this chord pattern is
on the A, 5th string, because the note directly above it, on the 6th string, is the fifth degree of the
note on the A, 5th string (which is the root) it too is part of the A major triad. Therefore, the E, 6th
string can be barred as well. This technique is optional.
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Scales for the Guitar

The figure below depicts the notes on the fretboard. No matter what key you are playing these
notes never change. That is, unless you tune your guitar so something other than standard tuning.
Because notation on the fretboard can be rather complicated, patterns (which are easily moved
about the fretboard) have been devised so we can play in any key simply by starting the pattern on
the root, or tonic, note of the desired key. Learning these patterns is essential. They are templates
to be used in any key or mode we wish to play.

Diatonic Major Scale Patterns

The following patterns for the Diatonic Major Scale are identified by various chord forms (A,
C, D, E, G). These forms speak to the fingering pattern of the open chord associated with the root
note of each particular scale pattern. For example, with the root note on the 5th string 3rd fret (c
note) the open C chord can be constructed from the notes within the C-form scale pattern; as such:
1st string: open (e note, octave of the 3rd degree of the C triad)
2nd string: 1st finger 1st fret 2nd (c note, octave of the 1st degree root for the C triad)
3rd string: open (g note, 5th degree of the C triad)
4th string: 2nd finger 2nd fret (e note, 3rd degree of the C triad)
5th string: 3rd finger 3rd fret (c note, 1st degree root of the C triad)
6th string: open (e note, octave of the 3rd degree of the C triad)
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If the root for this pattern were located on the 5th string, 4th fret, C#/Bb, this same C-form scale
pattern would construct a C#/Bb chord. On the 5th string, 7th fret (e note) it would construct an E
chord. And so it goes; the name of each form simply refers to the fingering pattern associated with
a particular pattern when played in the open position at the end of the fretboard. When moved up
or down the frets these forms/patterns create different chords than the name associated with the
open position. It is essential to master these forms.
Following the five patterns are two examples of these patterns as they cover the entire
fretboard, one in the key of E and the other in A. Notice the similarities. The patterns for each are
the same, the root notes merely begin on different frets. With even a casual observance we see the
patterns repeated from one key to the next. As such, to play a scale for which an exampled is not
provided, simply initiate the chosen scale pattern with its root, or 1st note, located on the root, or 1st
note, of the desired key. For example, as observed in the following scale patterns, in the A Major
scale the A root is on the 5th fret, 6th string. To play in the key of Bb Major simply move the
pattern up to the 6th fret, 6th string. Starting with the root on the 7th fret, 6th string is a B Major
scale, etc. This concept applies to all patterns listed: major and minor, diatonic and pentatonic.

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Fret Patterns and Modes

The following figures depict the patterns for each of the seven modes in the key of E. Earlier
we learned these patterns on the keyboard in the key of C (see pages 86-88). As with all
forms/patterns, they can be played in any key simply by starting the pattern on the desired root.

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Natural Minor
Just as the Diatonic Major Scale is equivalent to the Ionian Mode, so too the Natural Minor
Scale is the same as the Aeolian Mode: T-s-T-T-s-T-T, or a, b, c, d, e, f, g, a, or La Ti Do Re Mi Fa
Sol La. And just as the major scale has chords associated with each degree (I-ii-iii-IV-V-vi-vii), so
too does the minor scale has chords associated with each of its digress: i ii III iv v VI VII. In the
key of A this would be: Am - Bdim – C - Dm - Em – F – G.

Pentatonic Scales
Pentatonic scales consist of five tones, thus the Greek term “pent”. These scales are used in
several genres: folk, spirituals, gospel, blues, jazz, rock, and more. As with the diatonic scales,
there are both major and minor pentatonic scales.

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Pentatonic Major
A simple run of the Pentatonic Major Scale creates one of the most recognizable riffs in
popular music. Strike the root, pause for a beat and then progress up the scale. It is the
introduction to My Girl. The Pentatonic Major Scale is used frequently in popular music. It is
similar to the Diatonic Major Scale, but merely drops the 4th and 7th degrees. Thus, it is 1-2-3-5-6,
or 1 Step -1 Step – 1 ½ Steps – 1 Step – 1 ½ Steps, or Do-Re-Mi-Sol-La-Do. Notice the 4th and 7th
degrees are dropped. Rearranged, these tones are the fifths of each other. For example C-G-D-A-
E are fifths; but to fit them into the same octave they are transposed to C-D-E-G-A, in which each
of these tones and it’s 5th is separated by the 2nd and 3rd degrees of the respective tone.

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Pentatonic Minor Scale

The five notes of the Pentatonic Minor Scale are: 1-b3-5-6- b7; or 1 ½ Steps – 1 Step – 1 step –
½ Step – 1 Step. Here the 2nd and 4th are dropped, while the 3rd and 7th are flattened.

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Hexatonic Minor Blues Scale

The only difference in the Pentatonic Minor Scale and Hexatonic Minor Blues Scale (often
simply called the Blues Scale) is the addition of the flatted 5th, which is commonly referred to as
the blues note. As with the previous scale patterns, the following five patterns can be used for any
key, simply begin the root on the desired key and play within the patterns. Pattern #1 Em Form, #2
Dm Form, #3 Bm7 Form, #4 Am Form, #5 Gm Form.

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Additional Practice Songs

Danny Boy His Eye Is On The Sparrow

Goodnight Irene I Know Whom I Have Believed
Tennessee Waltz I Know Who Holds Tomorrow
Shenandoah Where We’ll Never Grow Old
Frankie And Johnny I Won’t Have To Cross Jordan Alone
Blue Moon of Kentucky Just A Closer Walk With Thee
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