Fundamentals

While playing an acoustic guitar, you should know how to handle the guitar tuner, how to use the capo to change the scales and octaves. The most important thing to know before playing the guitar is the proper method to change the strings without breaking them. These are the basic fundamentals which the guitar player should know.

Significant things about guitar pick and finger picking

Generally an acoustic guitar can be played with a guitar pick or can be played with finger style technique. Either you can focus on one style or can learn both the styles. If you learn both the styles, it really makes you a versatile player. You should hold the guitar pick between your thumb and the index finger. At first you need to know the up and down pattern on the guitar and if you want to practice the finger style mechanism, you should play the bass note on the 6th, 5th and the 4th strings. You should actually play the first string with the ring finger, second string with the middle ginger and the third string with the index finger.

How to practice effectively?

If you want to make a good progress on guitar, you should keep practicing in an organized and strategic manner. You can also purchase a chord book containing chord notifications and diagrams. You should learn the literature of each and every chord and know how a chord is related to the other one. You can also buy a book of guitar scales and know how to practice playing scales with a metronome.

You can play a number of songs and the best instrumental music after you learn few chords, scales and notes. Be patient and careful while you practice and as practice makes a man perfect, you need to perform in front of your friends and play the instrumental music.

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We have already discussed the concept of modes in one of the earlier lessons. Please do check it out to get an idea about modes before proceeding with this lesson.

We can derive modes in 2 different ways, relative and parallel. In the relative derivation, a scale is used to derive the 7 modes by making each note of the scale as the root for each mode.

For e.g. if you want to derive the modes using the relative method, you would take a scale, say C Major Scale and derive all the 7 modes by taking each note on it as the root for each mode, in the following manner,

C – Ionian
D – Dorian
E – Phrygian
F – Lydian
G – Mixolydian
A – Aeolian
B – Locrian

Where as in the parallel method, the root notes remain the same, as seen below,

C – Ionian
C- Dorian
C – Phrygian
C- Lydian
C- Mixolydian
C- Aeolian
C – Locrian

Dorian Mode Formula

The formula for deriving the Dorian Mode is 1 2 b3 4 5 6 b7.  Take the root as C and apply this formula (starting from C to B) which gives us the C Dorian mode as C D Eb F G A Bb.

The formula in terms of scale interval is W H W W W H W

C Dorian Mode on Different Positions

I have provided the Tabs as well as the notes on the fret board for each position, so that it will be easier for you to understand.

Speed Building Licks

Here are the tabs for an easy speed building lick on this mode that you can practice on the 3rd position (without the open strings, please refer to the tabs in the previous section). It is easy to replicate this lick on all other positions which you will understand once you learn this one.

Practice Tips

See you in the next lesson, till then practice hard and don’t hurt yourself. Speed on the guitar won’t come in a day or two; it takes regular and consistent practice for months or even years, so be at it, never give up and devote at least half an hour to one hour daily for productive guitar practice. Set practical goals and work towards it, and use your practice time effectively.

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For this exercise Paul takes the E Minor Scale notes starting on the 17th fret of the B string, which is the highest octave (highest pitch) of this scale that can be played on guitar, giving you a high pitched, squeaky little speed building exercise that sounds great to practice.

Building the Em Scale

But first you need to know the E Minor Scale. So in order to build an E Minor Scale we need to apply the Minor Scale Formula which is W – H – W -  W -  H – W – W  (W is Whole Step and H is half Step or Semitone) starting on the note E.

Applying the formula gives us the Em scale as E – F#(Gb) – G  – A -  B -  C  – D – E

Please check out the Tab that shows you 4 different fret board positions where you can play Em scale and after that can check out the Tab for the speed building exercise.

Paul has built the speed building exercise from the extension of the last position of Em scale i.e. 19th fret of A String.

Practice Tips

Never try to push yourself hard and hurt yourself in order to gain speed. It won’t happen in a day or two, it may take months, so practice it slowly, and you will gradually improve your speed when you start gaining your muscle memory, finger strength and dexterity. So don’t be impatient, build the speed gradually, IT TAKES TIME! Practice at least half an hour to 1 hour daily, that will be more than enough for an amateur, If you can invest more time, well and good. But don’t go overboard on the first day and damage your health. Be regular even if it’s half an hour, and don’t take long breaks (I mean in days) between 2 practice sessions.

Apart from practicing the exercise shown by Paul, you can also practice the scales up and down on all the 4 positions shown above. That’s also a great speed building exercise.

Please like and share if you enjoyed this lesson! Also leave your valuable feedback as a comment.

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Tab for C Major Scale starting on the 8th fret of the low E String. For the purpose of the exercise he has extended the scale up to the F on the high e String (13th fret).

C Major Scale: C D E F G A B C

The lick is in 3 parts, so I have divided the TAB for the lick is divided into 3 parts. You will understand it more clearly when you watch the video.

I am sure this lesson will help you improve your picking speed and finger speed to play like Paul Gilbert himself. Enjoy the lesson.

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This song has some very basic and easy chords and progression, but at the same time pretty melodious to play and listen to.  Apart from learning the chord progressions of this song, this article will help you understand how to build these chords from their corresponding major scales and also playing them on different positions of the fret board. So in this lesson you will learn to build Major Scales, Minor Chords and Major Chords and also learn the chords of this song.

Essentially there are 5 easy Chords used in this song that are played in different combinations in the Verse, Chorus and Bridge sections, and they are Am, C, D, F and G.

Chords are built from their corresponding major scales, so the first step would be to learn how to build a major scale.

Major Scale Formula

The formula for building a Major Scale is W-W-H-W-W-W-H (“W” represents Whole Step or Whole Tone which is equivalent to 2 frets on guitar and “H” represents Half Step or Semi-tone which is equivalent to 1 fret)

Building A Major Scale

To build an Am chord you will first need to build an A Major Scale. So let’s build an A Major Scale from the Major Scale formula above,

A Major Scale: A    B    C#      D     E     F#     G#      A

Minor Chord Formula

The formula for building a Minor Chord is 1(R)-b3-5, where R is the Root Note of the scale, which implies that a Minor chord is built from the 1st, flattened 3rd and 5th notes of a Major Scale. Flattening a note means lowering it by a semi tone.

The interval between the 1st, 2nd and b3rd degrees (or notes) of a Major Scale is 1 and ½ tones or 1 Whole Step and a Semi Tone or is 3 frets  apart and is known as a Minor Third and the interval between the b3rd, 4th and 5th degrees is 2 whole steps or 4 frets apart and is known theoretically as a Major Third.

So a Minor Chord is the combination of a Minor Third and Major Third and is known as a Minor Triad.

A Minor Chord

If you apply this formula on the A Major Scale you will get an A Minor Chord as A-C-E. (C# when flattened becomes a natural C note) where 1st note is A, Flattened 3rd (C#) is C and 5th note is E

Building C Major Scale

By applying the above Major Scale formula, we get the C Major Scale as C-D-E-F-G-A-B-C

Major Chord Formula

Major Chord formula is quite similar to a minor chord formula, without a flattened 3rd degree.

Therefore, the formula is 1-3-5 or R-3-5 where R stands for the Root Note of the scale.

A Major Chord is the combination of a Major third (C to E) and a Minor third (E to G) and is known as a Major Triad.

C Major Chord

By applying this formula on the C Major Scale we get a C Major Chord as C-E-G.

In the same way we can build all the remaining scales and chords by applying the respective formulas.

D Major Scale: D-E-F#-G-A-B-C#-D

D Major Chord: D-F#-A

F Major Scale: F-G-A-Bb-C-D-E-F

F Major Chord: F-A-C

G Major Scale: G-A-B-C-D-E-F#-G

G Major Chord: G-B-D

I hope this lesson has helped you in learning the chords of a melodious song as well as understanding the Major Scale and Chord Building to some extent. Please do let me know your feedback by leaving a comment.

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Harmonization

Harmonization is done by taking each note on the scale and counting the 3rd and 5th note from that root to build the triads or chords, by comparing it to it’s major scale of origin and adjusting the corresponding notes to the notes of the scale being harmonized. Confused? Don’t worry! You will have a clearer picture of what I am talking about if you read through, so read on! Believe me it’s pretty interesting and easy to follow!

Here you will learn how to harmonize a Major Scale using the C Major Scale.

By applying the Major Scale formula W W H W W W H we can easily build a C Major Scale as C – D – E – F – G – A – B – C

After harmonizing this scale we would have 7 chords from each note on the scale, starting with C and ending with B.

Prerequisites

Before you can fully understand the process of harmonizing, I would urge you to check out these 3 lessons on building Major Chords, Minor Chords and Diminished Chords from this blog – as harmonizing a major scale is all about building these chords or Triads.

Deriving the 1st Chord

Let’s build the 1st chord by picking the first note “C”, and then picking the 3rd and 5th notes of the scale counting from the root i.e. C.

And those notes are C – E – G

Now we must compare these notes with its major scale of origin, which in this case is C Major, so there is no need of any interval adjustments.

So we could easily build the first chord of a harmonized C Major Scale as C Major Chord (also denoted as C) or a C Major Triad. The notes of the chord are C-E-G.

Deriving the 2nd Chord

Now pick the 2nd note of the scale, which is D, and pick the 3rd and 5th notes from the root (now the root is D). The 3rd and 5th counted from D are F and A.

So we got the notes for the second chord as D-F-A

Now we need to compare this Triad with the 1st, 3rd and 5th notes its original scale, which is D Major.

D Major Scale notes are D-E-F#-G-A-B-C#-D, and its 1st, 3rd and 5th are D-F#-A

Now when you compare the notes picked up from the C Major Scale (D-F-A) to the notes from it’s scale of origin (D-F#-A) you can see that the C Major Scale has a natural F, whereas it’s original scale, i.e. D Major Scale has a raised or sharpened F or F#. So in order to bring the F# to a natural F, we need to lower it a half step.

This ultimately gives us a Minor Chord formula, 1-b3-5. Now, apply this formula to the notes (D-F-A) of the C Major, and we get the 2nd chord of the harmonized C Major Scale as D Minor or Dm (D-Fb-A).

Deriving the 3rd Chord

Now take the 3rd note (E is the root now) and count along the scale to pick up the 3rd and 5th notes, G and B, from that root.

So the notes for the 3rd chord from C Major Scale are E-G-B

Now pick the corresponding 1-3-5 notes from its original scale, which is an E Major Scale.

The E Major Scale is E-F#-G#-A-B-C#-D#-E whose 1-3-5 notes are E-G#-B

Now compare them. We can see that the G note from the G Major Scale needs to be flattened to make it a G Natural note, which again gives us a Minor chord formula which is 1-b3-5.

Applying this formula to the notes that we picked from C Major Scale gives us an E Minor Chord or Em – E-Gb-B as the 3rd chord of the harmonized C Major Scale.

Deriving the 4th Chord

The 1-3-5 notes from the 4th note of C Major Scale are F-A-C

Scale of origin for the root note F is an F Major Scale – F G A Bb C D E F
The 1-3-5 notes from F Major Scale are also F-A-C. So both the sets have equal intervals; so there is no need to adjust any notes from the F Major Scale, which gives us a Major chord formula 1-3-5. Applying this, gives us the 4th chord of the harmonized C Major Scale, as a F Major Chord(also denoted as F), F-A-C.

Deriving the 5th Chord

For ease of counting the 1st, 3rd and 5th notes from the 5th note G of C Major Scale, it’s to rearrange the notes of the C Major scale starting from G in this format G – A – B – C – D – E – F – G since you need to count the 5th note by starting all the way from the beginning of the scale.

Now it’s easy to pick the 1st 3rd and 5th notes starting from G which are G-B-D, whose scale of origin is G Major – G A B C D E F# G

The 1-3-5 notes from G Major Scale are also G-B-D. So once again, both the sets have equal intervals; so there is no need to adjust any notes from the G Major Scale, which retains the Major chord interval. This ultimately gives us the 5th chord of the harmonized C Major Scale, as a G Major Chord (also denoted as G), G-B-D.

Deriving the 6th Chord

Just like the previous chord, for ease of counting the 1-3-5 notes from the 6th note A of C Major Scale, it’s good to rearrange the notes of the C Major scale starting from A in this format A – B – C – D – E – F – G – A as you may find it confusing to count the 5th note all the way from the beginning of the scale.

Now it’s easy to pick the 1st 3rd and 5th notes from A which are A-C-E whose corresponding original scale is A Major – A B C# D E F# G# A and it’s 1-3-5 notes are A-C#-E.

Now you need to flatten or lower the C# by a semi-tone to make it a natural C note as the C Major scale, which gives us a Minor Chord formula 1-b3-5.

Apply this formula to the 1-3-5 notes (A-C-E) of C Major Scale giving us an A Minor Chord or Am (A-Cb-E) as the 6th chord of the harmonized C Major Scale.

Deriving the 7th Chord

Following the same rule from the previous step, let’s rearrange the notes from the 7th note B of C Major Scale in this manner B-C-D-E-F-G-A-B making it easier to pick the 1st, 3rd and 5th notes – starting from B.

The 1-3-5 notes from B are B-D-F, and it’ scale of origin is B Major Scale B C# D# E F# G# A# B

The 1-3-5 notes of B Major Scale are B-D#-F#

But here we need to flatten or lower both the 3rd and 5th notes of the B Major Scale by a semitone each, which ultimately gives us a Diminished Chord formula – 1 b3 b5.

Now apply this formula to the 1-3-5 notes of C Major Scale (starting from B) which are B-D-F giving us a B Diminished Chord as B-Db-Fb.

So the 7th and final chord of a harmonized C Major Scale is B Diminished or B dim.

Summary

A fully harmonized C Major Scale will look like this,

C – C Major Chord
D – D Minor Chord
E – E Minor Chord
F – F Major Chord
G – G Major Chord
A – A Minor Chord
B – B Diminished Chord

I am sure this lesson was successful enough in showing you how to harmonize a major scale in an easy to understand language. If you understood this, you can easily harmonize other major scales by using this lesson as a guide. In the next lesson we will continue with harmonization and learn to harmonize a Major Scale with extended chords. So please check back in!

Please do leave your feedback as comment. I will be eager to know how you found this lesson.

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The concept of modes has been a confusing topic for years amongst the most expert musicians and instrumentalists in the world, and guitarists are no different. The entire concept of modes revolves around one single thing – the tonal center. So in order to grasp this concept with ease, you must first have a basic understanding of what a tonal center is.

Tonal Center

Tonal center can be thought of as the root chord or the first chord in a chord progression, on which the whole song is based, or in other words, you can think of it as the scale or key of a song. To explain this concept easily, let’s take the example of a common 12 bar blues chord progression in the key of C Major using the, I-IV-V, or the C-F-G or G7 chords. When you start playing this progression, you will quickly realize that the center of tonality (or the tonal center) is the C Major Chord, you may ask “how”, but for that you need to play or listen to the actual chord progression. So here it is,  (though it is on Piano, I believe it is enough to  understand the concept)

In a I-IV-V chord progression, immediately after you hear the V chord i.e. G (or G7)Chord in case of C Major Scale, your mind automatically wishes or expects to hear a much stable tone or chord, and that is C Major Chord, this is nothing but the tonal center or musically known as the Cadence, where a point of rest or resolution is reached, in this case, it is the V chord, which is G and back to the I chord, which is C Major Chord in the Key of C Major.

How to Derive Modes from a Major Scale?

Modes have their roots in the mediaeval and early Church Music and are also known as the “church modes”. These modes were originally derived from the “modes” named by the ancient Greeks.

You can derive 7 relative Modes from a Major Scale – starting (and ending) with each note on the scale, with the first mode being the Major Scale itself – from which all other modes are derived. You may also do a parallel derivation of the modes if you know the mode formulas. But here I will derive them from a C Major scale.

C Ionian Scale – W W H W W W H – C D E F G A B C
D Dorian Scale – W H W W W H W – D E F G A B C D
E Phrygian Scale – H W W W H W W – E F G A B C D E
F Lydian Scale – W W W H W W H – F G A B C D E F
G Mixolydian Scale – W W H W W H W – G A B C D E F G
A Aeolian Mode – W H W W H W W – A B C D E F G A
B Locrian Mode – H W W H W W W – B C D E F G A B

Chords Corresponding to the Degrees of the Major Scale Relative to the Modes

I – C Major Chord – Ionian
II – D Minor Chord – Dorian
III – E Minor Chord – Phrygian
IV – F Major Chord – Lydian
V – G Major Chord – Mixolydian
VI – A Minor Chord – Aeolian
VII – B Diminished Chord – Locrian

Note: You get these chords by “Harmonizing” the C Major Scale, which I will be covering in my next article.

Modes can be more easily understood practically rather than theoretically. So the only way to get a firm hold on the modes is to record different chord progressions, then pick up your guitar and play these modes along with the chord progressions, and listen to the mood variations. Since it is more dependent on the tonal center or that root chord of the song, a mode will only retain its mood only when a corresponding chord progression is played in the background.

For e.g. if you are playing a E Phrygian over a C-F-G chord progression, it will sound more C Ionian or C Major, but if you are playing it over an E Minor progression, it will naturally sound like Phrygian.

Creating Chord Vamps for Supporting the Modes

This is a popular method to create supporting chord progressions for a mode. A chord vamps are created by picking the IV and V chords of the related major of the mode and replacing the root notes with the root note of the mode.

For e.g. if you want to create chord progression for D Dorian mode from its related Major (Ionian) scale which is C Major, then you need to pick the 4th and 5th chords, i.e. F and G and replace their root notes with D. This is also known as playing F over D (F/D) which is nothing but a Dmin7 chord and playing G over D (G/D), which already has a D note in it.

Conclusion

I hope I was able to shed some light on this rather confusing concept of modes to a certain extend. I have just written down what I could comprehend from theory and practical over these years. May be I am wrong somewhere and was unable to successfully get across the concept to you, so please bear with me.

Remember, the only solid way to understand this concept is by just practically experimenting with it. So for mastering this area of modes, I re-emphasize you on recording different chord progressions relative to the major scale and then playing different modes derived from it along with it to feel the tone or mood variations.

Please do let me know your feedback and doubts regarding this article by leaving a comment. Thanks for stopping by, I hope you enjoyed reading this.

Image: worradmu / FreeDigitalPhotos.net

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These scales can be derived from a Major Scale. And yet again, the Major Scale I am using for explanation is the same old C Major Scale!

Augmented Chord

An Augmented Chord is quite similar to a Major Chord with the only difference of a raised 5th degree in the scale interval (1-3-5#), where as a Major Chord Triad interval is 1-3-5. An augmented Chord creates a tensed tone and won’t sound that good to our ears and always tend to resolve to a much sweet sounding Major or Minor Chord.

And the formula for building an Augmented Chord is 1-3-5#

Applying this formula on the C Major Scale gives us a C Augmented Chord as C – E – G#

An Augmented chord is denoted as C aug or C Augmented.

Suspended Chords

Suspended or Sus Chords have an unconventional scale intervals, where a minor 3rd (1-3b) or a major 3rd (1-3) is replaced with a major 2nd (1-2) or a perfect 4th (1-4). Since there is an absence of a minor 3rd or a major 3rd in this chord, it creates a tensed sound just like an Augmented chord, but at the same time the semi-tone (or minor 2nd) interval between 1st and 2nd or 4th and 5th degree of notes gives rise to a dissonant tone – not so soothing for our ears.

There are mainly 2 types of Suspended Chords

1. Suspended 2nd
2. Suspended 4th

Suspended 2nd Chord

In a Suspended 2nd Chord, the Major or Minor Third interval is replaced with a Major Second note.

Formula for building a Suspended 2nd Chord is 1-2-5

By applying this formula on the C Major Scale, we get a C Suspended 2nd or C Sus 2 chord as C-D-G

Suspended 4th Chord

In a Suspended 4th Chord, the Major or Minor Third interval is replaced with a Perfect 4th note.

Formula for building a Suspended 4th Chord is 1-4-5

By applying this formula on the C Major Scale, we get a C Suspended 4th or C Sus 4 chord as C-F-G

I hope you found this lesson useful in understanding Augmented and Suspended Chords clearly. I will be coming up with more interesting lessons and articles in my upcoming posts, so stay tuned!

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The scale remains the same for explanation, yes, everyone’s favorite – the C Major Scale!

Diminished Chord

A Diminished chord is quite similar to a Minor Triad (1-b3-5) but differs with a flattened 5th degree or also, it can be seen as a Major Triad with flattened 3rd and 5th degrees.

The formula for building a Diminished Chord is 1-b3-b5.

By applying this formula on the C Major Scale, we can derive a C Diminished Chord notes as C-Eb-Gb

A Diminished Chord can be denoted as Cdim or C Diminished

Diminished Seventh Chord

Adding a double flattened 7th degree from the major scale to the Diminished Chord Triad yields a Diminished 7th Chord or a Fully Diminished 7th Chord.

Note: Double flattening just means that you lower a note by 2 semitones (2 frets) or a whole tone.

The formula for building a Diminished Seventh chord is 1-b3-b5-bb7

Applying this formula on the C Major Scale gives us a C Diminished 7th Chord as C-Eb-Gb-A
(Lowering the B note twice or a whole tone gives us the A note).

Diminished 7th chord can be represented as Cdim7 or C Diminished 7

Half Diminished Chord

Unlike the fully diminished chord, a Half Diminished Chord has the 7th degree lowered just ONCE. That’s the only difference between a fully and Half Diminished Chords! But a half diminished chord is also the same as a Minor 7th Chord with a Flattened 5. So the half diminished chord is more popularly known as m7b5 than its real name.

The formula for building a half diminished chord is 1-b3-b5-b7.

By applying this formula on the C Major Scale we get the C Half Diminished or Cmin7b5 chord as C-Eb-Gb-Bb.

A half diminished chord is represented as Cm7b5 or Cmin7b5 or C Half Diminished.

I hope this lesson could unravel the mystery behind the diminished chords to a moderate extend. In the next lesson we will check out the Augmented and Suspended Chords.

Please do share this lesson if you liked and leave your valuable feedback as comments. Hope you liked it.

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In this chapter I am sharing my knowledge on deriving different types of dominant chords – Dominant 7th, 9th, 11th and 13th and playing them on guitar. Just like the other two chord types (major and minor chords) that we learned in the previous 2 lessons, Dominant chords are also derived from a Major Scale.

For the purpose of explanation I am using the same old C Major Scale here too.

Dominant 7th Chord

Dominant 7th chord is very similar to a Major 7th chord and it shares almost the same intervals or notes of a Major 7th chord, except that the 7th degree is lowered a half step (flattened). In C Major Scale that would be a B flat.

The formula for building a Dominant 7th Chord is 1-3-5-b7; this is nothing but a Major Triad (1-3-5) combined with a flattened 7th degree.

Applying this chord formula on the C Major Scale gives us the C Dominant 7th Chord notes as C-E-G-Bb.

Dominant 7th chord can be denoted in multiple ways, for e.g. CDom7, C7, C Dominant Seventh or C Dominant 7th.

Dominant 9th Chord

If you know how to derive a Dominant 7th chord, building a dominant 9th chord is super easy. All you need to do is add the 9th degree of the major scale to it. In C Major Scale that would be the note D.

Formula for building a Dominant 9th chord is 1-3-5-b7-9.

Applying it on the C Major Scale yields a C Dominant 9th Chord as C-E-G-Bb-D

Dominant 9th Chord is denoted in multiple ways for e.g. CDom9, C9, C Dominant 9th, C Dominant Ninth.

Dominant 11th Chord

Dominant 11th Chords can be easily built by adding the 11th degree of the major scale to the Dominant 9th chord. In case of C Major Scale, the 11th degree is the note F.

Formula for building Dominant 11th chord is 1-3-5-b7-9-11.

Note: Since there are more than 5 notes for this chord, it is practically difficult to include all of them in the chord voicing using our fingers on the fret board, so omitting one or two notes is OK. The same applies to the Dominant 13th chord also.

By applying this chord formula on C Major Scale yields a C Dominant 11th chord as C-E-G-Bb-D-F

Dominant 11th chord can be denoted as C11, Cdom11, C Dominant Eleventh or C Dominant 11th

Dominant 13th Chord

This chord is also pretty easy to build! All you need to do is just add the 13th degree of the major scale to a Dominant 11th chord, and you get a Dominant 13th chord. In case of C Major Scale the 13th degree is the note A.

The Dominant 13th chord formula is 1-3-5-b7-9-11-13

By applying this formula on the C Major Scale, we get the C Dominant 13th chord as C-E-G-Bb-D-F-A.

Dominant 13th chord can also be denoted in different ways, for e.g. C13, Cdom13, C Dominant Thirteenth or C Dominant 13th.

In the next lesson we will check out the Diminished chords. Please do leave your feedback as comments.

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