modern guitar method

Mark A. Nokes

Cover Design by Tyler Bartlett

Copyright ©2009 by Mark A. Nokes

Franklin Folsom Publishing
ISBN: 978-0-9822533-2-8
 Acknowledgments

I would like to use this opportunity to thank my editor and dear friend Tina Forsee for her
selfless contribution to this work, my students for being patient with me while we worked through the
book together, my old (and I do mean old) friend Kerry Folsom who kept the fire under my seat to get it
done, and all those who inspired me to write it. Thank you.

Copyright © 2009 by Mark A. Nokes

Franklin Folsom Publishing

1204 NW 44th Street
Oklahoma City, OK 73118

All rights reserved. No part of this book may be

reproduced in any form or by any electronic or mechanical means
including information storage and retrieval systems,
without permission in writing from copyright holder
credited or from the publisher.

Cover design by Tyler Bartlett.

Book design by Mark A. Nokes.

All musical examples created by Mark A. Nokes.

International Standard Book Number: 978-0-9822533-2-8

 Contents
i Preface

ii Introduction

1 Chapter I: Understanding the fingerboard

3 Fingerboard map

4 Chapter II: Major scales and picking

4 Major scales

6 Two common major scale fingerings

7 Alternate picking

8 Economy picking

9 Chapter III: Intervals

9 Identification method one

11 Identification method two

12 How intervals apply to the fingerboard

14 Chapter IV: Key signatures; circle of fifths

17 Key signature examples

18 Chapter V: Minor keys and minor scales

19 Natural minor

20 Harmonic minor

20 Melodic minor

20 Jazz minor
21 Minor pentatonic

21 Blues scale

22 Chapter VI: Chord triads

23 Chord progressions

24 Chapter VII: “Moveable” chords/scales

24 Chords

26 Scales

27 Chapter VIII: Chord symbols and extended chords

29 Diminished seventh chords

29 Common chord voicing chart

33 Chapter IX: Rhythmic concepts

34 Subdividing

35 Tuplets

36 Improvisation of rhythm

37 Chapter X: Reading lead sheets (charts)

37 Types of lead sheets

40 Expression markings
 i

Preface

This book is for those who already have For this book to be effective you should
some basic knowledge of music (those who consider spending ample time with each new
know the notes on the staff), have played guitar concept. Apply each lesson to real musical
in the past, are able to tune a guitar, and would situations, such as playing in front of other
like to expand their musical vocabulary in order people, or with a band. That is the only way
to communicate more effectively with other that the concepts can become reality. Don’t
musicians. Modern Guitar Method is not a skim through the pages. Pick up your guitar and
beginner book. To get the most out of it I would learn how to use it properly.
suggest that you first complete a beginning Every student is unique and there is no
guitar method. particular timeframe in which the material
I am pleased to present a method which should be learned. Begin by spending two to
uses a practical approach in teaching the three weeks per chapter and adjust your
fundamentals of music theory and techniques practice and study time according to the rate at
of the guitar. The reason I call this a practical which you progress.
approach is because it does not contain any
useless examples like many other method
books. Most methods contain exercises or small
sections of songs that are supposed to be
practiced with each new concept. The problem
with this approach is that it is unlikely that a
student will play that music again and it doesn’t
make sense to practice something that you will
never play. The concepts in this book should be
applied to the music and style of your choice.
ii

Introduction 2. Relax! Forget about everything but

what you are working on.
What is technique? Is it the ability to 3. Get out your metronome. Never
play fast, or for a long amount of time? Many practice without it.
guitarists will talk about technique as if it is 4. Start slow. Increase the tempo only
something that only a few people possess. First after you are 100% comfortable at the
of all, technique is not a possession at all. slow tempo. Increase the tempo by four
Secondly, anyone with patience can develop it. clicks and repeat your practice material.
For the purpose of this book we will define Decrease the tempo by two clicks and
technique simply and clearly: Technique is the repeat. Up four, down two, again and
elimination of wasted motion. Let me ask a again and again. This will push you a
question to demonstrate. When Eddie Van little faster each time while reinforcing
Halen shreds through a scale at the speed of whatever material you are practicing.
light, are the fingers of his left hand flopping all 5. Watch your left hand fingers to be sure
over the fingerboard while the right arm is that they stay close to the fingerboard
picking from the elbow? If you answered “no,” (remember, elimination of wasted
then you are correct. Remember, precise motion).
practice = precise performance. Speed comes 6. Keep an eye on your right hand to be
from accuracy. sure that the pick only moves as far as it
takes to sound the note (for melodic
A note on good practice habits passages or scales, and again,
elimination of wasted motion).
If you practice mistakes you will make 7. Alternate pick (p. 7).
mistakes in performance. How do I practice
with no mistakes? Slow down! All of this boils A special note regarding posture
down to one thing – consistency. Here’s
another question for you. When you get up in Contrary to popular belief, playing
the morning to brush your teeth do you ever music is about sound, not looks. It has been the
accidently put the toothbrush in your nose? I practice of many guitarists to play their
hope not. Why do you think that is? It’s because instrument at the knees. While this may look
you have done this every day for as long as you cool to some, it is hard on the wrists and arms.
can remember. You have reinforced this habit To play the guitar comfortably you should
over and over again, which is exactly what must follow these guidelines: Always use a strap. The
be done in practice. If you take the time to do it pickups/sound-hole should be mid-torso with
right you will see good results. the headstock ear level. Playing this way will
allow your left hand to reach every part of the
Tips for efficient practice fingerboard without an extreme bend in the
wrist
1. Tune your guitar every time you pick it
up.
modern guitar method
 Page |0

Chapter I - Understanding the Fingerboard

Understanding the fingerboard could perhaps be the most challenging step toward becoming a
solid player. It is what makes the difference between the person who can only play five open stringed
chords and the person who can play all over the neck. It really doesn’t take that much to get it
memorized, but it takes some time to really understand how it is put together. By now you should be
used to tuning your instrument. String one is tuned to E, string two is B, three is G, four is D, five is A,
and six is E.

What happens when the first fret of any string is pressed?

The pitch is raised one half-step.

If fret two is pressed on that same string, the pitch goes up

another half-step. This pitch is one whole-step from the
original.

Because we are dealing with a stringed instrument, this concept applies all over the fingerboard. If we
press fret five on any string followed by fret six on the same string, we are raising the pitch one half-
step. When fret seven is pressed on that string the pitch will be one whole-step from the pitch on fret
five.

Because this concept applies all over the fingerboard it will be very easy to learn the notes of
the fingerboard in a linear progression, i.e. one fret after another all the way up from each open string
(remember that there is only one half-step between E-F and B-C).
1|Page

Tips for memorizing note names

As you go up the fingerboard learning the pitch of each fret, be sure to use sharps. Example: A-
A-B-C-C. As you go down the fingerboard (starting at fret twelve) be sure to use flats. Example: E-E-D-
D. Once you are comfortable identifying the pitches up and down each string, learn to identify all the
pitches of each fret on all six strings. Example: Fret three string six is G, fret three string five is C, fret
three string four is F, fret three string three is B, fret three string two is D, and fret three string one is G.
On the following page you will find a chart (a) for locating pitches on your guitar.

Notice that the pitch produced when string one is played open is the same as the pitch
produced when string two is played on fret five. This is because when we count up from B (string two
open) five half-steps we land on E. Where else can we play this pitch? How about fret nine on string
three? Or fret fourteen on string four? I will let you discover the last place (Hint: it’s on string
five…unless your guitar has twenty-four frets in which case it would be on string six also).

As you can see, there is more than one place to play many pitches
on the guitar, which makes the instrument a bit more challenging than
others. It is for this reason that it is important to have the fingerboard
memorized forwards and backwards.

In order to fully understand the fingerboard you will need to know not only where all the pitches
are located, but also their relationship to one another. For example: We know that if two pitches on the
same string are one fret apart, then they are the distance of one half-step. The “distance” that I am
referring to is what is known as an interval. Simply put, an interval is the distance between any two
pitches. Half-steps and whole-steps are both kinds of intervals. Intervals will be covered in detail in
Chapter III.
 Page |2

Below you can find a pitch’s location on the staff by looking directly below the fret that the pitch
is on in diagram (a), and comparing it with the corresponding string in diagram (b).

(a)

(b)
3|Page

Chapter II - Major Scales and Picking

Major Scales

A scale is a succession of pitches in order of the music alphabet. For example, “A B C D E F G” is

the musical alphabet. If we start on C as the first note in our scale and continue in order of the musical
alphabet returning to A after G is used, we will have created a C major scale-C D E F G A B C.

C major is commonly referred to as the “teacher’s key” because it has no sharps or flats and is
easy to demonstrate. Let’s use it for that reason and figure out the distance between each note.

This pattern of WWHWWWH is the formula for a major scale. If we start on any pitch and go up
according to the formula we will always come up with the major scale of the pitch we started on. Here’s
another example. This time let’s start with G. First, what is one whole step up from G? A is correct.

Now let’s go up one more whole-step.

If we keep going up according to the formula you will see this:

 Page |4

This is one method by which you can create all of the major scales. Let’s take a look at how this
transfers to the guitar. When guitarists play a scale they typically do not start on a string and count up
the intervals on the same string. Although this can be done, it is not practical. A scale is most easily
played by moving up one string when all of the pitches that your left hand can reach in one position
have been exhausted. Example: Let’s start on string six fret five and build a major scale upon that pitch.
That would be an A major scale. Keeping in mind that there are many fingerings for every scale let’s try
to find the most efficient.

Pitches of the scale: A-B-C-D-E-F-G-A

The fingers of the left hand are numbered as

follows:

Index-1; Middle-2; Ring-3; Pinky-4

Strings are indicated by a number enclosed in a

circle. Ex:

Fingering Tips

When the scale is played with this fingering do not shift your hand. Remember to keep an eye
on your left hand to be sure that there is a minimal amount of movement and that the fingers stay close
to the fingerboard. You should only be using the tip of your finger to press each note while all of the
fingers of the left hand remain curved. Imagine that you are holding a baseball with the left hand. Keep
the thumb perpendicular to and in the center of the back of the neck. This should keep all of the fingers
and thumb in the correct position for the most efficient playing.
5|Page

Two Common Major Scale Fingerings

Sometimes to simplify the task of picking we use fingerings that have the same number of notes
per string.

In this book I will not list all of the possible fingerings for each scale we discuss. There is no
substitute for a good scale book. Alternatively, you could map them out yourself. Although this method
is more time consuming, you will be sure to have a better understanding of your fingerboard by the time
you finish.
 Page |6

Picking

The right hand’s job is no less important than the left’s. As a matter of fact, each hand must
work together as fluidly as possible. However, when we discuss the jobs of each hand we must talk
about them in very different ways because they each use a different set of muscles.

Let’s start with where the motion of the pick comes from. Have you ever seen a band in which
the guitarist holds his guitar as low as his knee and all of the picking comes from his elbow? I would
assume so. Many players do this for the look. The motion of the pick should NOT come from the elbow
but rather from the wrist and sometimes (for chord strumming) by a rotation of the forearm. Under no
circumstance should your pinky and/or ring finger on your right hand be resting on the body of the
guitar. This is commonly referred to as “anchoring” your hand and can cause not only your playing to
suffer but your wrist and arm as well. The goal will always be to allow the hand as much range of motion
as possible in order to successfully execute any passage. If we restrict the movement of the hand, we
also restrict our ability to play well (if necessary you can rest the pinky side of your palm on the bridge;
this will allow your hand to move among the strings freely and provide you with some kind of
reference). Remember also that the shape of the right hand while picking should be that of a relaxed
fist, with all of the fingers coming into the palm. If you notice that your pinky is sticking out when you
play fix it by watching yourself in a mirror.

Next we will discuss how the pick should move across the string. Can you remember the first
time you plucked a string with a pick? I can; I picked it so hard and with the clumsiest hand that it
sounded like some kind of amplified banjo. You don’t need to apply much pressure to a string to make a
sound, so when you are picking, try to follow through with the pick only as far as it takes to produce a
good tone.
Alternate Picking

Practice alternate picking on one string while trying to make the volume and rhythm of each up
and down stroke sound as even as possible. Do this at a very slow tempo and increase the tempo in very
small increments. Once you are comfortable with this, repeat the procedure on all strings one at a time.
Next, pick up on string six, and down on string five. Follow that pattern to string one. Try playing the A
major scale below ascending and descending using alternate picking.
= Down-pick/stroke
= Up-pick/stroke
7|Page

Economy Picking

This one might be a little tricky in the beginning but proves to be a very useful method for
picking through a scale. The idea of economy picking is that when you are using a scale with three notes
per string, there is no need to alternate pick due to the momentum of the right hand. The pattern is as
follows: when ascending the scale, start with a down-pick on the first note followed by an up-pick on the
second and a down-pick on the third. Repeat this on each string. Since the hand is moving downward
after the last note on each string, it makes sense to begin the next string with another down-pick. When
descending the scale do the opposite; begin the first note with an up-pick followed by a down-pick and
another up-pick. This method is a very efficient way of picking but will only work with a fingering that
has three notes per string.

Remember to take your time with these methods of picking. You gotta learn to crawl before you
can walk and walk before you can run.
 Page |8

Chapter III - Intervals

In this chapter we are going to get into the theory of music on the most basic level. Intervals are
the building blocks of music. Having a solid understanding of intervals will allow you to understand
music on a more technical level, allowing you to quickly identify or create scales, chords, arpeggios,
melodies, harmonies, etc. You will also gain a better understanding of your fingerboard through the
study of intervals.

As defined in chapter I, an interval is the “distance” between any two pitches. Now I understand
that this sounds a little crazy, but don’t worry, we won’t be getting out a measuring tape or anything like
that. The “distance” is simply how many half and/or whole-steps two pitches are apart from each other.

Method 1

This method of identifying intervals is a two-part process. First you must identify the interval’s
quantity: This is done by counting the lines and spaces of the staff from the first pitch (the first pitch
being 1) to the next pitch. The quantity will be referred to as follows: 2nd, 3rd, 4th, 5th, 6th, 7th, unison (two
of the same pitch), or 8 (octave).

Example 1: Example 2:

Next you must identify the interval’s quality. The quality of the interval is a more exact
measurement of an interval and is described using a lower case “m” to indicate a minor interval, an
uppercase “M” to indicate a major interval, an uppercase “P” to indicate a perfect interval (there are
only three perfect intervals: P4th, P5th, and P8), a lowercase “d” to indicate a diminished interval, and a
plus sign (+) to indicate an augmented interval.

Perhaps the easiest way to identify the quality of an interval is to compare it to the major scale
built off of the lower of the two pitches. All of the intervals in a major scale are major (M) or perfect (P).
9|Page

If the high pitch of the interval belongs to the major scale of the low pitch, it can only be a major
or perfect interval. Let’s use example 1 from page 9 to demonstrate. The low pitch of the interval is A.
We know the quantity is a 3rd from counting the lines and spaces. To determine the quality we will
compare the two pitches with the A major scale: A B C D E F . Does the high pitch fit into the
scale? No. In the A major scale C is sharp. The C in this interval is natural (not sharp or flat), and as a
result the interval is one half-step smaller than a M3rd. An interval that is one half-step smaller than a
major interval is minor.

In Example 2 from page 9 we have a fifth. What is the quality of the fifth? Does E fit into the A
major scale? Yes. Then it must be a perfect fifth (P5).

An interval is diminished when it is a) one half-step smaller than a perfect interval or b) one half-
step smaller than a minor interval.

An interval is augmented when it is a) one half-step larger than a perfect interval or b) one half-
step larger than a major interval.
 P a g e | 10

Method 2

For this method you will count half-steps as well as lines and spaces. Begin by identifying the
interval’s quantity by counting the lines and spaces as in method one. Next, count the half-steps from
the lowest pitch to the highest pitch. Finally, compare your results with the chart below.

Here is an example that follows this procedure. First count the lines and
spaces from C to F. This is a 4th. Now count half-steps from C to F. C-C is 1
half-step, C-D is 1 half-step, D-D is 1 half-step, D-E is 1 half-step, E-F is 1
half-step, 1+1+1+1+1 = 5 half-steps. Find the number of half-steps you
counted on the left side of the chart and choose the appropriate quantity to the right. This method
works every time, but may end up being a bit more time-consuming than method one. Regardless of
which method you decide to use you will have an advantage when you understand it completely,
especially when we get to chords.

One half-step +1 or m2
Two half-steps M2 or d3
Three half-steps +2 or m3
Four half-steps M3 or d4
Five half-steps P4 or +3
Six half-steps +4 or d5
Seven half-steps P5 or d6
Eight half-steps m6 or +5
Nine half-steps M6 or d7
Ten half-steps m7 or +6
Eleven half-steps M7 or d8
Twelve half-steps P8 or +7

By using this method you can see that the quantity of the interval determines the quality. Even
though a perfect 4th has the same sound as an augmented 3rd, if the quantity is that of a 3rd, it must be
called a 3rd for the sake of theory. For example: We call the above interval a P4 because the higher of the
two pitches is F. If the higher of the two pitches was E we would need to call it an augmented 3rd.
11 | P a g e

How intervals apply to the fingerboard

How intervals apply to the fingerboard is fairly simple. We already know that two pitches one
fret apart is one half-step, or a m2. So if we start with fret three on string four, F, and go up one fret
(one m2) we land on F. Up two frets is G. G is a M2 up from F. A is a m3 up from F and so on. This is
the simplest example of the relationship between intervals on the same string.

String Four

0 1 2 3 4 5 6 7 8 9 10 11 12

The next way to understand intervallic relationships on the fingerboard is to know the intervals
between strings. The first step is to analyze the intervals of the open strings. The strings of the guitar are
each tuned a perfect fourth apart. The only exception is between string three and string two. This is the
interval of a major third.

Any two pitches one string apart on the same fret will be a P4 with the
exception of two pitches on the same fret between strings two and three (they will
be a M3).
 P a g e | 12

Keeping in mind that the intervallic relationship between the strings doesn’t change (if your
guitar is in tune), you can see how easy it will be to remember all of the other intervals between strings.
For example, if the interval between string six and string five is a P4 on every fret, then to make a P5, all
that is needed is to raise the higher of the two pitches (the pitch on string five) up one whole-step. If we
want to make a M3 on the same two strings we could start with the P4 and lower the highest of the two
pitches (again on string five) one half-step.

Play through the major scale fingerings in chapter two keeping in mind that all of the intervals
are major and perfect. Take note of the location of each scale degree as it relates to tonic (the pitch that
the major scale is built upon).
13 | P a g e

Chapter IV- Key Signatures; Circle of Fifths

In this chapter we will learn how to quickly identify key signatures by using the circle of fifths. A
key signature is a series of sharps or flats at the beginning of a piece of music that identifies its tonal
center (tonic). In other words, it tells us which pitches in the musical alphabet to make sharp or flat in
the piece throughout its entirety (this means you have to remember it while you read the music). The
reason key signatures are used is to make the life of a musician a little bit easier by putting all the
instructions at the beginning. Imagine playing a piece of music in which every note in every measure has
a sharp in front of it. Using a key signature at the beginning of the music eliminates the need to use
accidentals (sharps, flats, and naturals) all throughout the music on the same pitches.
First we will examine the circle of fifths. It is named such because when traveling clockwise
around the circle each pitch is one perfect fifth from the previous. The circle of fifths is a means of
organizing key signatures so that they are easier to remember.

Circle of Fifths: Major Keys

F G

B D

E A

A E

D B
 / F
 P a g e | 14

If we begin at the top of the circle, we can see that the key of C major has no sharps or flats. This
is because when we follow the major scale formula from chapter II, each pitch that results is natural (a
natural pitch is one which has no sharp or flat). If we go up a perfect fifth from C we arrive at G. The key
of G has one sharp. With each perfect fifth traveled clockwise around the circle, the corresponding key
will have one additional sharp from the last. When the key of F is reached, there is a transition into the
“flat side” of the circle. The transition occurs at F because the F major scale is identical to the G major
scale and is a convenient transition point. Theoretically, the circle can continue with each perfect fifth
higher containing a key signature with the addition of one sharp; however, you will probably never see a
key signature with more than seven sharps (the key of C major has seven sharps).

Build major scales upon the following pitches: F C G D

What you will notice when you have finished is that the F and G major scales are identical in
pitch to one another, as are as the C and D major scales. The term used to describe this situation is
enharmonic equivalency. An enharmonic equivalent is a pitch whose name is determined by its context.
For example: The pitches of the F major scale are F A B C D E, and the pitches of the G major
scale are G A B C D E F. F and G are enharmonic equivalents, G and A are enharmonic
equivalents, A and B are enharmonic equivalents and so on. Even though the pitches in both scales are
identical in sound, they are identified based on what key they belong to.

Next we will discuss the order of sharps and flats in a key signature. The order of the sharps and
flats is always the same.

Example:
Order of sharps Order of flats

The fact that the order is always the same means that if you know how many sharps or flats are
in a given key, you will be able to determine which pitches are sharp or flat by counting from left to right
at the beginning of the staff. For example, if you want to determine the key signature for E major and
you know from memory that E has four sharps, start with F and count from left to right until you have
reached the fourth sharp. Thus the key signature for E major is F C G D.

Key of E Major
15 | P a g e

An easy way to remember the order of the sharps and flats is by memorizing “BEADGCF.” I have
heard many funny little acronyms used to memorize this but the one I use is “BEAD-Greatest Common
Factor.” Here’s how it works. To figure out a sharp key, start from the right and count over to the left
the number of sharps in the given key.

Example: To figure out the key signature for A major, begin by looking at the circle of fifths to
determine the number of sharps in the key (eventually you will have it memorized). Next, begin at the
right side of BEADGCF and count over three to the left. Then make the three pitches counted sharp.
Thus the key of A major is F C G (remember also that the sharps will always go in the same order…F is
ALWAYS the first sharp in any key that contains sharps).

A major

To figure out a flat key, begin on the left and count over to the right. Example: D major has five
flats. Begin on the left side of BEADGCF and count to the right five pitches, making each one a flat. The
key signature for D major is B E A D G.

Db Major Important note:

The order of sharps and flats has nothing to do

with the music itself. It is only a means of
organizing the accidentals at the beginning of the
music in a tidy and logical fashion. It is really only
necessary to know the order of sharps and flats in
the event that you want to write a key signature.
Otherwise, if you are only playing music already
written, you just need to know the key signature
so that you can play the correct pitches.

There are many ways to figure out the key signatures for the major keys. The method presented
above is perhaps the easiest, and is given as a series of steps that will always work. However, the goal is
to memorize all the keys so that you are able to very quickly identify a key without the use of any
method.
 P a g e | 16

Key signature examples:

Example 1:

D major scale with accidentals:

D major scale with key signature:

Example 2:

A major scale with accidentals:

(If you counted five flats it’s because Ais repeated at the top of the scale)

A major scale with key

signature:
 17 | P a g e

Chapter V- Minor keys and Minor Scales

There are two types of minor keys: relative minor and parallel minor. A relative minor key is one
which shares a key signature with a major key. This means that for every major key around the circle of
fifths, there is one minor key that has the same key signature. The easiest way to identify the relative
minor is to go to the sixth pitch in the major scale and make that the new tonic, keeping the same key
signature. For example: To identify the relative minor of C major, write out the C major scale,
CDEFGABC, and look at the sixth scale degree. A is the sixth degree which tells us that a minor is the
relative minor of C major.

Circle of Fifths: Major and Minor Keys

F G

B D
a
d e

g b

E c f A

f c

b g
e/d
A E

Less common keys: Note: The

relative
A minor has seven sharps D B minor keys
A minor has seven flats / F are on the
C Major has seven sharps inside of
C Major has seven flats the circle.

The parallel minor is relatively simple to understand – it is the minor key that shares the same
name as the major key. For example: The parallel minor of G major is G minor. The key signatures of the
parallel major and minor are different, which is another reason why there must be a thorough
understanding of the circle of fifths (or at least have all of the key signatures memorized).
 P a g e | 18

Minor Scales

There are many types of minor scales. We will begin by discussing the natural minor. The natural
minor scale is named such because the pitches used to create it naturally occur in the corresponding
key. To derive the natural minor scale, we begin by choosing a minor key and constructing a scale built
upon the tonic of that key while keeping in mind the key signature. Let’s use a minor as an example: a
minor has no sharps or flats. Tonic is a. Thus the natural minor scale is a b c d e f g a.

Let’s do one more example. How about E minor? The key of E minor contains one sharp. Begin
by writing out the pitches and applying the appropriate accidentals - E F G A B C D E. Now here’s a
fingering you can use.

Hint:

Since the intervallic relationship between the notes is the

same all over the fingerboard, when you learn one fingering
you get eleven for FREE. In other words, if you play any of the
above scale fingerings starting on another fret on the same
string, the tonic of the scale will be the pitch on that fret.
Example: Play the above fingering for E natural minor, starting
on fret four (C), and you will be playing a C natural minor
scale.
19 | P a g e

Harmonic and Melodic minor

The harmonic and melodic minor scales are similar to the natural minor scale but with slight
alterations.

When constructing a harmonic minor scale raise the seventh scale degree one half-step.

When constructing a melodic minor scale, raise the sixth and seventh scale degrees one half-
step on the ascending scale, and lower them on the descending scale (the descending scale is natural
minor).

Jazz minor

A jazz minor is a melodic minor scale that does not utilize the lowered sixth and seventh scale
degrees when descending the scale.
 P a g e | 20

Minor Pentatonic

The minor pentatonic is perhaps the most widely used scale in rock, pop, and blues. Many
guitarists find that its simplicity lends itself nicely to these styles of music, but that does not mean it’s
the only scale that’s used or good to use. The minor pentatonic is a natural minor scale without the
second or sixth scale degree. It is named pentatonic because it contains only five pitches.

The blues scale

The blues scale is a minor pentatonic scale with the addition of a d5 above tonic. This pitch is
commonly referred to as the “blue note.” When you add the blue note, it is no longer a pentatonic scale
because it contains six pitches.
21 | P a g e

Chapter VI - Chord triads

A chord is defined as two or more pitches sounding simultaneously. A chord triad is a chord with
three pitches (prefix tri- means three). In order to understand triads, we will begin by harmonizing a
major scale.

1. Add the interval of a third above each pitch of the major scale.

2. Identify each interval quality.

3. Add the interval of a fifth above each pitch of the major scale.

4. Identify each fifth quality.

We can see that the first, fourth, and fifth chords all have a major 3rd and a perfect 5th, and the
second, third, and sixth chords all have a minor 3rd and perfect 5th. The seventh chord has a minor 3rd
and a diminished 5th. The third of the chord is what identifies the chord’s quality. For example: The first,
fourth, and fifth chords from the example above all have a major 3rd; this means that they are all major
chords. The second, third, and sixth chords are minor chords and the seventh chord is a diminished
chord. This method of creating chords will yield the same results in every major key.
 P a g e | 22

When labeling chords it is common to use roman numerals to identify the number of the chord
within a given key. The Roman numeral will also identify the quality of the chord by the uppercase form
representing a major chord and the lowercase representing minor. For a diminished chord, a superscript
“o” is written to the right of the Roman numeral.

In the above example all of the triads are shown in what is called root position. This means that
the root of the chord is the lowest pitch in each chord. This does not mean that this is the only way
these chords can be played. The pitches of a chord may be arranged in any order. The orders in which
the pitches are arranged within a chord are referred to as the chord’s voicing. There are multiple
voicings for every chord, but there are a few that are common to the guitar that will be covered in
chapter VII.

The seven chords derived from the major scale are referred to as diatonic because when
constructed from a major scale, they each have a distinct relationship to the given key. In contrast, a
chord used that does not belong in the given key is called non-diatonic.

Remember that music theory is a set of theories, not rules. You can play any chord you want as long as
you think it sounds good.

Note: To find the diatonic chords that belong to a minor key,

harmonize the natural minor scale. Also note that in many
songs written in a minor key the V chord is made major even
though diatonically it is minor. This is because the 3rd of the V
chord is the 7th degree of the scale and sounds better in most
cases when it is raised one half-step. When this is the case, use
the harmonic or melodic minor scale to solo over the V chord,
and natural minor over the other diatonic chords in the song.

Chord Progressions

A chord progression is any progression from one chord to another. In diatonic harmony, some common
chord progressions are as follows:

1. I-IV-V-I
2. I-IV-V-IV-I
3. ii-V-I
4. iii-vi-ii-V-I

Play through each of these progressions in the key of C using only chords in first position. Listen
to the movement of each of the pitches from one chord to the next.
23 | P a g e

Chapter VII - “Moveable” Chords and Scales

Do you remember from chapter V when I said that, since the intervallic relationships are the
same all over the fingerboard, when you learn one you get eleven free? This is true for all scales and
chords which contain no open strings. This is great for those of us who like to keep things simple. In this
chapter, I will list a few of the most common fingerings for “moveable” chord shapes and scale patterns
for guitar and describe how they can be used.

Chords
Major minor
Root on string 6

Root on string 5

Another common group of chords known as “power” chords or “5” chords look like this:

Root on string 6

Notice that the left hand fingering is the same

for the root on string six and five. This is one of the most
common chords in rock music. Also take note of the
pitches in the chord. The root of the chord is in the
lowest voice, the fifth is in the middle, and the root is
doubled in the highest voice. It is very convenient not to
Root on string 5 have a third in a chord sometimes because without it
there are many options for chord progressions outside
of diatonicism.
 P a g e | 24

When playing chords in which one or more strings are not played, you can use left hand fingers
to mute them. For example: In the power chord with the root on string five it may be difficult to not play
string six; however, if you use the tip of your index finger to touch string six, it will mute it, allowing you
to hit the string without sounding the pitch.
Let’s take a look at how we can use these chords. We will use one of the common diatonic chord
progressions from chapter VI for this next example. Try to identify which one is being used. This example
will use rhythmic notation. The rhythm that you will play is written on the center line of the staff (for
details on rhythm reading refer to chapter IX). The chords are written above the staff.

For the A chord it would make sense to use the major voicing with the root on string six. All you
need to do is arrange your fingers in that order and be sure that your index finger is in line with fret four.
For D it would be a good idea to use the major voicing with the root on string five, which also requires
that your index finger be at fret four. E is just one step away from D, meaning all you have to do to play
this chord is move your hand up two frets from the D chord.

Here’s an example of the same progression using power chords and a different rhythm. Notice
also the “p.m.” underneath measure one. This means that everything above the dashed line should be
palm muted. This is achieved by placing the right-hand palm (actually the pinky side of the hand) directly
on the strings at the point at which they meet the bridge.

In both of the examples above, you can see that it is very simple to find the chords on the guitar
if you have a good understanding of the fingerboard and have a few chord fingerings up your sleeve. It is
very common for guitarists to memorize many chord voicings so when chords are seen on a piece of
music, they can be easily played without much thought. Although this is ultimately the goal, it will take
some time to develop enough chord “vocabulary” to be able to sight-read a chord chart with no
mistakes.
25 | P a g e

Scales

All of the major scales from Chapter II and the minor scales from Chapter V are “moveable
scales.” Remember, any chord fingering or scale pattern on the guitar that contains no open strings is
considered moveable. This means that the pattern can be moved anywhere on the fingerboard without
changing the quality of the chord or scale. Example: An F natural minor scale can be played by using the
fingering from Chapter V, starting on F (fret one, string six). If the same fingering is used starting on G
(fret three, string six), you will be playing a G natural minor scale.

Contrary to the practice of many instruments, there is no wrong scale fingering on the guitar.
There are many that are very practical and many that are not so practical. Spend some time learning
several different scale fingerings and decide for yourself.

Practice

Have a friend play one of the chord progressions from page 25 in A while you play an A Major
scale. Play around with the notes mixing up the pitches and rhythms to create an interesting melody.
Once you feel comfortable playing lead for a while, switch and play the chords for your friend. This is the
best way to get better at using chords and scales. It is one thing to understand how they are constructed
and another to be able to use that knowledge to make music.
 P a g e | 26

Chapter VIII - Chord symbols and extended chords

A chord symbol is a short set of instructions that tells the musician which pitches to include in a
chord. A chord extension is a pitch added to a chord that creates a different “color” and which may or
may not provide any functional support to the music. There are many differences in the way that chord
symbols are written to identify extensions, and I will cover the most common and practical.

The first concept to understand is that of the compound interval. A compound interval is simply
an interval that extends beyond the octave or perfect 8th. If we consider that all of the pitches in a scale
beyond the octave are the same as the pitches within the octave, this concept will not be difficult to
understand.

In theory, the intervals of a 10th, 12th, and 14th exist, but are not used in practice due to the
nature of those pitches. For example, the interval of a 10th is the same pitch as the 3rd,and when added
to a chord, it does not add any more “color” to the chord than the 3rd itself.

When an extension is added to a chord there are a few things that you must think about:

1. The quality of the chord

2. The quality of the extension
3. Implied pitches

The quality of the chord will be the first thing to notice and some of the most common symbols
are listed below.
Major Minor Augmented Diminished
Ex: AM Ex: Am Ex: A aug Ex: A dim
Ex: A Ex: A- Ex: A+ Ex: A⁰
Ex: AMaj Ex: Amin
27 | P a g e

The quality of the extension will be simply the extension itself or some alteration of the
extension. For example, it is not uncommon to find that a chord has an altered extension such as C7 (9).
This chord would be broken down as follows: The letter name of the chord followed by the number
seven indicates that this is a major chord with a minor seventh. The parentheses indicate the chord has
a ninth in it, but it has been altered by raising it up one half-step, therefore, the chord is spelled C E G B
D.
When the extension is a seventh, the quality of the seventh is determined by the quality of the
chord. If the chord is minor, the seventh will be minor; if major, major. There are only two occasions
when this is not true: when it is a major chord with a minor seventh (major-minor seventh chord) as in
the above example of C7 (a major-minor seventh chord will always be written with the number seven
immediately after the letter name of the chord), or when it is explicitly written otherwise such as in a
minor-major seventh chord. Example: GmM7. Any special instructions for the alteration of an extension
are most commonly put in parentheses at the very end of the chord symbol. For example: G7 (9), CM7
(11),  (9).
In the case of a ninth chord there are some differences in opinion as to the way it should be
written. When the number 9 is directly after the letter name of the chord it is implied that this is a
major-minor seventh chord with the addition of a ninth. If the desired chord is a major chord without a
seventh it is generally written as “add 9.”For example: A add 9. Some people prefer to write this chord
as a 2 chord to avoid confusion with the major-minor seven with the added ninth. For example: A2. It
has been said that the actual octave that the pitch is in does not matter when discussing ninth chords
and therefore it is fine to call it a 2 chord. I differ in this opinion simply because when a second is added
above the root of the chord, especially in lower voicings, the chord will sound very muddy and the effect
of the color tone is lost. In addition, when the word “add” comes before 9, it is obvious what is meant
because there is no other meaning for it. A major ninth chord (M9) is a major-major seventh chord with
a ninth.
Implied pitches refer to all of the extensions beneath the written extension. For example, if we
are looking at a G13 chord, we can assume that all of the extensions preceding the thirteenth can be in
the chord. That is not to say that they must be, and in many cases they will not be due to fingering
limitations. Generally speaking, it is common, when a chord has many extensions, to leave out the fifth
of the chord and include as many of the crucial pitches as possible. For the G13 chord above, I would
most often play the root, third, minor seventh, and thirteenth (when the number 13 directly follows the
letter name of the chord, it means that it is a major-minor seventh chord with an added thirteenth). This
will give the desired sound without making the chord muddy. However, if desired, it is fine to include
the ninth and possibly even the eleventh. The eleventh will clash with the third of a major chord and is
generally altered in that case (usually a sharp eleven). Otherwise, if the eleventh is in a major chord it is
without the third and is called a sus chord (suspended chord). For example: Dsus would be spelled root,
fourth (eleventh), and fifth and the suspended pitch (the fourth or eleventh) would at some point be
resolved to the third of the chord by lowering it one half-step (not always the case). The eleventh can be
added to a minor chord with no problems.

Note: Note:
When the extension 7, 9, or 13 Chord symbols are an ineffective way to
directly follows the letter name of a write a chords voicing and can only tell
chord it should be assumed that the the player which notes to include in a
chord is a major-minor seventh chord chord. If there is a particular voicing in
with the addition of the written mind it should always be written on the
extension. staff.
 P a g e | 28

Diminished seventh chords

There are two types of diminished seventh chord – the fully-diminished seventh and the half-
diminished seventh. They both contain a minor third and a diminished fifth. The pitch that makes them
different is the seventh. In the half-diminished seventh chord there is the addition of a minor seventh
above the root. The fully-diminished seventh chord has a diminished seventh (one half-step lower than
the minor seventh). They both have a distinct sound and should not be confused. You will find that, in a
major key, if you spell out all of the diatonic triads and add the seventh to each chord, the vii chord is
half-diminished. In a minor key (when building chords from the harmonic minor scale) the vii is fully-
diminished. The chord symbols for these two chords are below.

Fully-diminished seventh Half-diminished seventh

Ex: A⁰7 Ex: A 7
Ex: Adim7 Ex: A- or 

Below you will find some of the most common voicings for the chords discussed in this chapter.
The ones I list here are by no means a complete list of fingerings or voicings, but just a few that should
help you get started in hearing the differences between the different sounds and colors that chord
extensions create. All of the chords listed are moveable chords with their roots on string six or string
five. If you have the fingerboard memorized, you will have no trouble identifying most chords in a song
and finding their location on the guitar.

Chord type Root on string six Root on string five

Major 7

minor 7
29 | P a g e

Chord type Root on string Six Root on string five

7

Major 9

minor 9

Add 9 (root on string 4)

There are several voicings

for this chord that are
rather difficult so I
included the most
practical ones.
 P a g e | 30

Chord type Root on string six Root on string five

minor 11

sus

6/9

13
31 | P a g e

Chord type Root on string six Root on string five

Half-diminished seventh

Fully-diminished seventh
 P a g e | 32

Chapter IX - Rhythmic Concepts

There are two ways that every guitarist encounters rhythm. The first way is the most obvious
and it is the written rhythm. It is very important to be able to count out any rhythm that you see. If you
are unable to count it, you will be unable to play it. The second way you might encounter rhythm is by
way of improvisation. There are many times when it is necessary to improvise rhythms based on the
style of music being played. Generally you will find that this is necessary when there is no music to be
read, as in a jam session or possibly even a last minute gig. First we will discuss written rhythm.

Time Signatures

If you don’t know already, time signatures (also known as meter signatures) are the two
numbers at the beginning of a piece of music that come after the key signature. It is important to
understand, however, that these numbers are not a fraction and in no way function like one. The top
number represents the number of beats per measure, and the bottom number represents the type of
note that receives one beat. The top number can be anything, since it really doesn’t matter how many
beats are in each measure (although if this number is smaller the measures will be more manageable).
The bottom number must represent some type of rhythmic value which will typically be one of the
following: 1 - whole-note gets one beat, 2 - half-note gets one beat, 4 - quarter-note gets one beat, 8 -
eighth-note gets one beat, or 16 - sixteenth-note gets one beat. While this is true for time signatures,
the most common that you will see are 4/4 and 3/4. When the top number is an even number, the
meter can be referred to as duple meter, and when it is odd it can be referred to as triple meter.

The best way to learn to count rhythm is to subdivide. Subdividing is a means of figuring out a
rhythm by looking at its smallest rhythmic value and using that to calculate where each note occurs on
each beat. For example: If the smallest note value in a measure is an eighth-note, each beat should be
counted using an eighth-note subdivision. This will allow you to anticipate upcoming events such as
eighth-note rests and ties. The diagram below shows the subdivision of a whole-note down to the
sixteenth. Each rhythmic value here is divisible by two, therefore, two half-notes equal the value of one
whole, two quarter-notes equal one half-note, two eighth-notes equal one quarter, and so on.
33 | P a g e

Eighth-note Subdivision

In the example below, the downbeats are numbered according to which beat they are on (or
which beats they occupy, as in beats three and four of measure two) and the “and” of each beat is
identified with a +.

Learning to count rhythm this way will help you determine where every note is in each measure. For
example: The last note in measure one falls on the “and” of beat four.

Be sure that you practice counting rhythms with your metronome. If you can adjust your
metronome to put an accent on beat one, you have a way of knowing if you lost proper count of the
beats.

Sixteenth-note subdivision

In this example we will be counting using a sixteenth-note subdivision. The smallest rhythmic
value in this example is a sixteenth-note; therefore, we will use this as the means by which we count the
rhythm. Each downbeat is numbered according to the beat on which it falls within the measure. The
notes following the downbeats are labeled e + a. When we think about the subdivision of rhythms we
have to realize the way that each note value “fits” into each beat (refer to the diagram at the bottom of
page 33).

Below is the same rhythm from above without the complete subdivision of every beat displayed. Beat
three has been enclosed in parenthesis because there is an eighth rest on the downbeat of three which
must be “played” so to speak (think of rests as “playing” notes of silence).

Remember to set your metronome at a slow tempo at first. Each click of your metronome will be one
downbeat (the numbered beats).
 P a g e | 34

Tuplets

A beat can be divided in many ways. On the previous page you saw the beat divided into eighth-
notes and sixteenth notes, which are even subdivisions of the beat. Another way to divide the beat
would be by use of a tuplet. A tuplet is a group of notes of equal value spaced evenly over a specific
number of beats. They are written as groups of three, five, six, seven, or nine, and some other less
common divisions. Tuplets are identified by a small number above the group and possibly a bracket. The
most common tuplets are the triplet and sextuplet. Below you will find examples of some tuplets along
with some tricks for counting them.

Triplet-three
Quintuplet-five
Sextuplet-six
Septuplet-seven
Nontuplet-nine

When you see triplets, the easiest way to count them in order to even them out is to say the word
“triplet” broken into three parts as follows: tri-pl-et. In the first example, there is an eighth-note triplet
on each beat. To practice the first example, set your metronome to a slow tempo and say “tri-pl-et” with
the “tri-“ part on the click every time. When you speak the rhythm, be sure that every note is equal in
length. To practice the second example, say “tri-pl-et” with the “tri-“part on beats one and three. A
quarter-note triplet occupies the space of one half-note, so it will sound slower.

A sextuplet can be counted as two consecutive triplets. For each sextuplet, say “tri-pl-et” two times. The
quintuplet above is a little trickier than the others but nothing that you can’t handle. For every
quintuplet say the word “university” broken up as follows: un-i-vers-i-ty. The beginning of each
quintuplet should begin with “un-“and should coincide with the click of your metronome.
35 | P a g e

Improvisation of Rhythm

As I said earlier in this chapter, there are two ways in which most guitarists encounter rhythm.
The first is written rhythm and is covered on the previous pages. The second, and probably most
common, way is improvisation. It would be impossible for me to cover all of the possibilities of
improvising rhythm in this book because they are infinite. The key to becoming comfortable with
improvising rhythm is to create it based upon the style or feel of the music. This means having a great
ear that can pick up on the subtleties of each style of music. For example, if you are playing in a metal
band, you will not strum your guitar like a folk player.

Spend part of your practice time listening to music and tapping the rhythms with your hands. If
this goes well, move to the next step and try to notate the rhythm on a piece of manuscript paper. Have
someone who can read music play it (or tap it) so you can see if it resembles the rhythm from the music.
This is a great way to test yourself and will give you some idea of how well you understand rhythm.

To improvise, you must be comfortable with your instrument. That means understanding its
capabilities and limitations. You must also have a good enough ear to tell you if what you are doing
sounds good. Additionally you must be able to feel the music in your body. If you aren’t tapping your
foot or moving your head to the beat, then get started. Use the following staves to write some of the
most common rhythms that you hear.
 P a g e | 36

Chapter X - Reading Lead Sheets

A lead sheet should be concise and extremely clear. I cannot stress the latter enough. If
the lead sheet is not clear enough that every musician can read it without a glitch, then it needs to be
revised. Depending on the situation, you might not want to complain if it is not clear, but rather just ask
for clarification (as in working a gig with people you don’t know). When writing a lead sheet for a group
to read, it is best if you can use some type of music notation software.

Types of lead sheets

There are three types of lead sheets that we will discuss. The first type is the lyric sheet. A lyric
sheet is nothing more than the lyrics of a song with the name of the chord above the word in the song
where the chord changes. A common lyric sheet is as follows:

Verse I

A D
This may be difficult
E
For many to decipher
A D
But you just might
E
See it all the time Lyric sheets are good for groups or
soloists who already know the song
Chorus but need simple reassurance.

F#m
If you have heard the song before
E
You shouldn’t have much trouble
F#m
If it’s completely new to you
Bm7 E
You have to listen for the feel
37 | P a g e

The next type of lead sheet uses the number system (sometimes referred to as the Nashville
number system). It is referred to as a number chart. In a number chart the key of the song is written at
the top and following the key are numbers that identify each chord. The numbers coincide with the
chords that belong to the key. The number one refers to the major I chord, two to the minor ii, etc. They
may or may not be written within measures or with rhythms. Reading a number chart is similar in
difficulty to reading a lyric sheet in that, the musician must have an idea of how the song goes, or should
be able to improvise based on the feel of the tune.

Key: D

Verses
V
1 4 V In the example to the left, the form of
5 C the song (the order of the sections) is
1 4 C written in the box. The verse is
5 V played twice followed by two
V choruses, two more verses, a solo
Chorus V Solo over the verse changes, and two
C additional choruses.
6 C
5
6
2 5

The last type of lead sheet is written on and around the staff. The lyrics of the song are usually
below the staff and the chords to be played are above. The melody of the lyrics is written on the staff as
well as any rhythms. There will be a time signature and key signature at the beginning of the song, and
any dynamics and articulations will be written below the staff with the lyrics. All of the instructions for
making the song sound exactly like the songwriter intends should be written on the chart.
On the following page you will find a lead sheet to demonstrate. There are a couple of things to
note. First is the tempo marking – not all lead sheets have this but probably should. It lets us know how
fast or slow to play the song. The prepared musician will have his metronome with him and will be able
to set it to the tempo of the song before playing to get an idea of the speed of the song. In the following
example the tempo is  = 100. This means that the quarter note is one-hundred beats per minute (BPM).

Next are the endings. The endings are located underneath the brackets and are indicated by a
number. A first ending indicates that anything within that ending should only be played the first time
through. In this example, the first ending also contains a repeat which could do one of two things. It
could take us back to the nearest forward repeat, or in this case, to the beginning. After the ending is
played it should be noted that it cannot be played again unless there is another number under the
bracket to indicate that the ending is played more than once. For example: 1, 3 would mean that the
ending is played the first and third time through the song. In this example, the second time through the
song (after the repeat under the first ending has been taken), the measure under that endings bracket
should be skipped entirely and you should go directly to the second ending. Above the last measure you
will find a D.C. al Fine. Any time you see D.C. it means to go back to the very beginning. What D.C. is
followed by determines what you do after going to the beginning. In this case you play to the Fine,
which means when you see the word “Fine”, it is the end of the song.
P a g e | 38
39 | P a g e

Aside from endings, some other types of structure indicators are as follows:

Coda – A coda is a section of music that is at the end of a song and is indicated with a .

D.C. al Coda – Play from the beginning of the song until you see the coda symbol and skip to the coda.

D.S. al Coda – Go back to the sign and play until you see the coda symbol and skip to the coda.

D.S. al Fine – Go back to the sign and play until you see the Fine.

To Coda – Skip to the coda.

Expression markings

Expression markings are symbols and/or words that indicate to the performer how a piece of
music should be played in all aspects other than pitch and rhythm. Tempo and dynamics, which are
explained below, are examples of expression markings.

The tempo of a piece of music will be given at the beginning of the piece, usually above the first
measure, and can be given in two ways. The first and most common tempo marking on a lead sheet will
be “rhythm” = “#.”

For example: This means that the quarter note equals 100 BPM (beats per
minute).

The second way you might see a tempo marking is by the use of an Italian word that describes a general
tempo. For example, from slowest to fastest: adagio, andante, allegretto, allegro, and presto. For those
with metronomes, those words and their respective tempo are usually printed lightly on the back of the
metronome or in the manual that came with it.

Other types of expression markings include dynamic markings, which instruct the performer to
what degree of loudness the music should be played. You may also see transition markings from one
dynamic to another. Below you will find some dynamic markings and their meanings.

very soft soft medium medium loud very crescendo decrescendo

soft loud loud (get louder) (get softer)
Page |0