Rabu, 18 April 2012

Transcribing Tips

Transcribing Tips

Everyone wants to know how to transcribe but no one finds out so here we go. These are really tips and tricks because there is no other way than to listen to the song and play it on the guitar, but these are tips that will help you a lot.
  1. Find a comfortable, well lighted, quiet place to work
  2. When transcribing try to find out the tuning by listening for strings that ring more. These strings are open so if you hear a low D ringing you know you're not in standard tuning.
  3. Try to find out the key of the song. The key helps you determine which notes are most likely to be played. It also helps you determine which chords are in the song's key.
  4. Use headphones. They help. Trust me!
  5. Try using a player with a left/right button. (A mixer is the ideal tool for this)
  6. Try using an Equilizer. (All you need is Low, Mid, High but a 10 band one is still more useful)
  7. Good pencil, eraser, and pencil sharpener
  8. If you have money, buy something that will slow down the playing. I know Ibanez makes one. The problem is that some of these also lower the note an octave too, but I don't think that Ibanez's does.
  9. Sometimes music is mixed on different channels (for example: guitars go through the right speaker while vocals go through the left) Use the left/right knob to only listen to the guitar side.
  10. Use the Equilizer to lower the Highs and Lows, then boost the Midrange. This helps to bring out the guitar and lessen the rest of the band
  11. If you can get a song onto your computer and have a program to manipulate the song to bring out the guitar, slow it down, etc. use that program. It'll save you time and bad notes.
  12. You may also want to invest in a vocal eliminator.
  13. You can also cheat and find a video and see how they play it.
  14. Most of all... Practice and take it one step at a time. (Start Easy and build up)
Song Construction

Song Construction


Romance Anonimo Harmony

I pretty much stumbled upon this method of constructing a song. I came across it when I was learning a song called Romance Anonimo. This song has a simple melody that was made completely on the 1st string. The 2nd and 3rd strings are used for harmony, and the 4th, 5th and 6th string are used for keeping rhythm and providing depth to the song. The method is pretty easy to do and you get good results. This method basically splits the guitar into three parts: high strings, middle strings, and low strings.
The high strings consist of the 1st and 2nd strings, the middle strings consist of the 3rd and 4th strings, and the low strings consist of the 5th and 6th strings.
The high strings are used to give the basic melody of the song.
The middle strings are used to provide harmony to enhance the melody
The low strings are used to keep a steady beat and provide depth as well as harmony to the song.
Now, you should construct your song in this order:
  1. Melody (High strings)
  2. Harmony (Middle strings)
  3. Bass (Low strings)
Let's take a look at how Romance Anonimo was constructed by taking a look at the 1st half of the song. First we will look at the melody. They are all quarter notes played in 3/4 time.

Romance Anonimo Melody

MP3 Romance Anonimo Melody
Now we will take a look at the harmony by adding it to the melody.
Now we will finish off the song by adding the low strings.

Romance Anonimo

MP3 Romance Anonimo
Transposing Chords

Transposing Chords

Transposition is when you move something from one key to another. This concept is simple to use and grasp. The easiest way to transpose is to have a listing of the notes of all the major scales in front of you (as shown in the chart below). Let's say that you have a chord progression of C - F - G, and you want to transpose it to the key of A from the key of C. You would go to the C major scale in the chart (below) and see that C is the I degree, F is the IV degree, and G is the V degree. Now you must go to the A major scale and see that the I degree is A, the IV degree is D, and the V degree E. So what you would do is play an A - D - E progression instead of a C - F - G progression.
Note: If the chord is a Cmaj7 then you would change it to an Amaj7. The same applies for any other type of chord.

Major Scale Note & Degree Chart

Scale I II / IX III IV / XI V VI / XIII VII I (octave)
A A B C♯ D E F♯ G♯ A
A♯ A♯ B♯ C♯♯ D♯ E♯ F♯♯ G♯♯ A♯
B♭ B♭ C D E♭ F G A B♭
B B C♯ D♯ E F♯ G♯ A♯ B
C C D E F G A B C
C♯ C♯ D♯ E♯ F♯ G♯ A♯ B♯ C♯
D♭ D♭ E♭ F G♭ A♭ B♭ C D♭
D D E F♯ G A B C♯ D
D♯ D♯ E♯ F♯♯ G♯ A♯ B♯ C♯♯ D♯
E♭ E♭ F G A♭ B♭ C D E♭
E E F♯ G♯ A B C♯ D♯ E
F F G A A♯ C D E F
F♯ F♯ G♯ A♯ B C♯ D♯ E♯ F♯
G♭ G♭ A♭ B♭ C♭ D♭ E♭ F G♭
G G A B C D E F♯ G
G♯ G♯ A♯ B♯ C♯ D♯ E♯ F♯♯ G♯
A♭ A♭ B♭ C D♭ E♭ F G A♭
Minor System

Minor System

The Minor Scale is the second most important scale (next to the major scale). It is formed from the 6th degree of the Major Scale. It is called the Natural Minor Scale and the Aeolian Mode. If you have read Lesson 14 then you know about this scale already. What you do not know is that it is the basis for two more scales. These scales are the Harmonic Minor Scale and the Melodic Minor Scale.
The Harmonic Minor Scale is the same as the Natural Minor Scale except that it has a raised 7th degree. The Melodic Minor Scale raises the 6th and 7th. Look at the chart below (It uses the A Minor Scales).

Scale Degrees

I II III IV V VI VII
Natural Minor Scale A B C D E F G
Harmonic Minor Scale A B C D E F G#
Melodic Minor Scale A B C D E F# G#
As you can see, the scales are slightly different. This means that the chords that work with these scales are also different. Let's take a look at what chords you can play from each degree of the scales.

Chords

I II III IV V VI VII
Natural Minor Scale A min B dim C maj D min E min F maj G maj
Harmonic Minor Scale A min B dim C aug D min E maj F maj G# dim
Melodic Minor Scale A min B min C aug D maj E maj F# dim G# dim

As you can see, many of the chords change, but there are more that you can use. the chart below shows 7th chords. When looking at the chart below you will see some min/maj7 chords. These chords are 7th chords with a lowered 3rd, which tells you that it is a minor chord, and a regular 7th as opposed to a flat 7th which you use in dominant and minor 7th chords.

Legend

maj Major
min Minor
dim Diminished
aug Augmented

7th Chords

I II III IV V VI VII
Natural Minor Scale A min7 B min7b5 C maj7 D min7 E min7 F maj7 G7
Harmonic Minor Scale A min/maj7 B min7b5 C maj7#5 D min7 E7 F maj7 G# dim7
Melodic Minor Scale A min/maj7 B min7 C maj7#5 D7 E7 F# min7b5 G# min7b5
The nice thing about the minor system is that you can use these chords like your regular progressions. For example, when you use the Natural Minor Scale you can play a I-IV-V progression with A minor, D minor, and E minor. You can also use the Harmonic Minor Scale and play a I-IV-V using A min/maj7, D min7, E7.
In Lesson 3 I had you memorize patterns for the scales and modes. If you know the Aeolian mode, then you know the Natural Minor Scale pattern. The best way to learn the Harmonic Minor Scale, and the Melodic Minor Scale is to know the Aeolian mode, and then raise the notes that change every time you come across them. This is much easier that memorizing a new pattern. You will remember it even better if you write out the pattern yourself. If you still do not know the scale patterns, go to Lesson 3 on modes. It will help you out.
Chord To Chord Relationships

Chord To Chord Relationships

In this lesson, I am going to show you how to find and form chords easily from the basic chords that most guitarists know. This lesson will show where chords are in relation to each other. There is an order in which the chords go down the fretboard it is C-A-G-E-D. Each letter refers to a certain chord form or pattern. This pattern is shown in the diagram below. (Ex: C form, A form, etc.)
CAGED Chord Patterns
The forms get their name from when those chord patterns are open chords (chords that use open strings). For example. When the E form uses open strings it is an E major chord, therfore it is named the E form. If you notice the chords run together as you go down the fretboard. Look at the root note ("R") of the C Form chord. Now look at the root note of the A form chord. Notice that they are on the same string. This is the same note on the same fret. In other words the 2 chord forms run together. The C form comes before the A form, and they actually share that note. Now look at the three notes out in the front of the A form. Now look at the three notes on the same strings in the G form. Once again these notes are shared. This pattern continues down through all the forms, and it repeats when the D form goes to the C form. This should help you to find chords much more easily.
Just because the chord is in C form does not mean that it is a C major chord either. That is just the name for the form. The chord is determined by the root note, and remember that all of these chords are moveable. If you know how to apply this lesson you will never have trouble finding a chord again.
All the forms that I have shown you so far have been for major chords. Now I will show you the small differences in chord shapes to get other chords. It is really simple when you think of the little changes that you have to make to change a chord from an A major into an A major 7. I will show you in the following charts, and I will highlight the changes in yellow. Remember: All of the forms shown below can be substituted, so if you want an A major 7 and you need an A form chord, you just have to go to the A major 7 Form below, and apply it.
CAGED Major Chords
CAGED Major 7 Chords
CAGED Minor 7 Chords
CAGED Dominant 7 Chords
CAGED Dominant 9 Chords
CAGED Dominant 13 Chords
Some of these chords do not have the root as the lowest note, therefore those ones can be named as a slash chord. I hope you learned to find chords quickly and easily because this is a simple technique that can give you great results.
Resolving

Resolving

Resolving is a way to lead songs back to the tonic or root. It can be applied to single note applications, or it can be applied to chord progressions. If you don't already know, the 7th degree is also called the Leading Note because it leads back to the tonic. The leading note is a half step from the tonic, so when you resolve, you use half steps. In single note applications it is pretty easy because you just have to think to play from one fret down back to the tonic. When you play with chord resolutions it gets a bit more complex.
Whenever a chord progression is being played, you are always trying to resolve back to the tonic. Not every chord resolves directly to the tonic, but they will resolve indirectly. Let me show what chords resolve directly to the tonic.

Chords that Resolve Directly to the Tonic

The chord that resolves to the tonic the best is formed from the 5th (V) degree of the scale. The reason that this chord is the best is because it contains the leading note (7th degree). In the Key of C, B is the leading note because it is the note before C. Look at the chart below.

C Major Scale

I II III IV V VI VII Octave
C D E F G A B C

C Major Notes

C E G

G Major Notes (V chord)

G B D
The Dominant Chords formed from the 5th degree resolve better than the plain major chord because the b7 note that is added in dominant chords resolves to the third of the tonic (in this case it is E), and the B is still in the chord to resolve to the C. Look at the chart to see the notes.

C Major Notes

C E G

G7 Notes

G B D F
Because the V chord resolves so nicely to the tonic (I chord), many songs end with this progression because it is such a strong ending for songs.
The diminished 7th chord also resolves nicely to the tonic because it is formed from the leading note (B). In the key of C, the diminished 7 is B diminished 7 which contains the notes B, D, F, Ab. This resolves nicely to the tonic because the B resolves to the C (and Bb if you are playing a C7), the F resolves to the E, and the Ab resolves to the G. Look at the chart below.

C7 Notes

C E G Bb

B Diminished 7 Notes

B D F Ab
The III chord will also resolve to the tonic. Just remember that it is minor when you play it. It resolves best with just a plain minor chord to a I major chord.

Chords that Resolve Directly to the V

The II chord resolves directly to the V chord (and therefore indirectly to the tonic) because the II chord is the 5th degree from the V. In other words it is the dominant of the dominant. If you took the V chord (G) and wrote out its major scale the 5th degree of that scale (G major scale) is the same as the II chord (in this case it is D). This is where we get the II-V-I Jazz Progression.
The IV chord also resolves nicely to the V chord but not as well as the II chord. This is where we get the chords of the 12 bar blues (I-IV-V).

Other Chordal Resolutions

The VI chord resolves to the II chord because the VI chord is the dominant of the II chord (just like the II is the dominant of the V). Remember that the II and VI chords are minor chords.
Jazz Progressions

Jazz Progressions

Jazz Progressions are simply common chord progressions in jazz music. One of the most common progressions is the ii-V-I progression. The ii-V-I sounds at its best when you use seventh chords and their expanded voicings. As you already know from past lessons, the ii chord is a minor chord, the V chord is a dominant chord, and the I chord is a major chord. So the most basic Jazz progression is the ii minor 7 - V dominant 7 - I major 7. In the key of C, this progression is Dm7-G7-Cmaj7.
Below, you will find a few examples to experiment with in addition to a set of chord diagrams showing various ii-V-I progressions. ii V I - Jazz Chord Progressionsii V I - Jazz Progressions Chord Patternsii V I - Jazz Progressions Chord Patterns
Blues Soloing

Blues Soloing

This lesson is going to familiarize you with the chord tones within the scale patterns. Yes, that's right now you have to learn the notes instead of blazing trough patterns. Why should you learn them... Because these are the color tones. The tones that make the scale and chord progression melt into one harmonious melody, or electrifying solo. So without further adieu... the charts!
Let's start by taking the Dominant 7th chords in the Key of G.
If you can't read my chord charts here's how. The numbers on the left of the diagram represent the fret numbers. The numbers on the diagram represent the degree of the major scale that the notes are. Example: 5= D (the 5th) on the G7 diagram. To play it just place your fingers where the numbers are on the diagram
Now Let's look at the chord tones for each of the chords
G7
1 3 5 ♭7
G B D F
C7
1 3 5 ♭7
C E G B♭
D7
1 3 5 ♭7
D F♯ A C
Now let's find the chord tones on the fretboard and compare it to the Mixolydian Mode. You might ask why the Mixolydian Mode. It is because when you play Dominant 7th chords, the Mixolydian Mode fits the best because it gives you the flatted 7th note which gives Dominant 7th chords their sound. I didn't chart out C7 and D7 in relation to C Mixolydian and D Mixolydian, but I figured that you could figure out how to do this on your own.

Now that you have studied the relationship of the chord tones to the scale pattern you should try soloing with these notes for that bluesy feel that you get from playing the Mixolydian mode. Sound Hard?? It really isn't, all you have to do is think of the chord tones. Play the chord tones as opposed to the scale. Use the other scale tones that are not chord tones as links to get a smooth transition from one note to the next. Try using slides, hammer-ons, and trills from a scale note to a chord note. This will bring out the flavor in the chords. I really like hitting on the I chord's (G7) 3rd degree note, in this case it's B. It has a bluesy sound that the Mixolydian Mode and Dominant 7th chords really bring out.
This next section will compare G7's chord tones to the G Blues Scale, and it will show you why the Mixolydian mode fits a little bit better because the Mixolydian mode contains all of the chord tones. the Blues Scale however omits a couple notes, but it doesn't leave any bad notes for you to hit. Let me show you...

G7
1 3 5 ♭7
G B D F
The G Blues Scale
1 ♭3 4 ♯4 5 ♭7
G B♭ C C♯ D F
As you can see the Blues Scale only contains the root and the flatted 7th note. So now the question is why do you use the Blues Scale? I'll show you with more charts. What you want to notice is that the chord tones for G7, C7, and D7 come together to form the Minor Pentatonic Scale, which is the Blues Scale without the added #4 (which is the only note that is not contained in any of the chords).


G7
1 3 5 ♭7
G B D F

C7
1 3 5 ♭7
C E G B♭

D7
1 3 5 ♭7
D F♯ A C

The G Blues Scale
1 ♭3 4 ♯4 5 ♭7
G B♭ C C♯ D F
Why do we use the Blues Scale when it adds a note that is not included in the Minor Pentatonic Scale? That question will be answered by my lesson on the Flat-Five Substitution
Next, I will teach you to play over the 12 bar blues chord changes. I'll show you how to bring out the chord tones while playing over the Mixolydian Mode. To learn this, I have to show you all the notes from the chords and the mixolydian modes relative to the chords (example: G Mixolydian is relative to the G7 chord). I will give you an example in the key of G. (shown below)
G7
1 3 5 ♭7
G B D F
C7
1 3 5 ♭7
C E G B♭
D7
1 3 5 ♭7
D F♯ A C
G Mixolydian
Root II III IV V VI VII Octave
G A B C D E F G
C Mixolydian
Root II III IV V VI VII Octave
C D E F G A B♭ C
D Mixolydian
Root II III IV V VI VII Octave
D E F♯ G A B C D
Take a look at the 3 mixolydian modes. Notice that the change in notes...
Changes from G Mixolydian to C Mixolydian: B changes to B♭
Changes from G Mixolydian to D Mixolydian: F changes to F♯
Changes from C Mixolydian to D Mixolydian: F changes to F♯ and B♭ changes to B
Now, when you are playing over the 12 bar blues, you want to play G Mixolydian over the G7 chord, C Mixolydian over the C7 chord, and D Mixolydian over the D7 chord. The hard part is changing between the different modes while bringing out the chord tones. Here's how I do it...
After looking at the changes in the the modes you must look at the 12 bar blues (shown below). When the chords change from G7 to C7, try hammering from B to Bb. By doing this you will accentuate the chord change because G7 has a B while C7 has a Bb. You will also play the only note that is different between the G Mixolydian and C Mixolydian Modes. To bring out the C7 chord try playing the chord tones to further accentuate the C7 chord. When the chords change from C7 back to G7, try going from B♭ to B, then playing the G7 chord tones. Once again you will have accentuated the chord change. When the chords change from C7 to D7, try going from F to F#, then play the D7 chord tones. Unlike the other chord changes this one leaves 2 changes in the notes of the modes. I like to use the F♯ because it is also a chord tone, and it does a better job in accentuating the D7 chord. Are you getting the hang of my technique? The basic formula is to play the note change then play the chord tones. All you have to know is the 12 bar blues and the change in the notes.
12 Bar Blues Sounds
MP3 (428k)
12 Bar Blues in G
Blues Scale

Blues Scale


Blues Scale

The Blues Scale is derived from the Minor Pentatonic Scale. It has an added #4th. This note gives the scale a bluesy feel. It is the only difference between the Blues Scale and the Minor Pentatonic Scale. As always, commit the pattern to memory because we will be using the Pentatonic Scale, the Blues Scale, and the Mixolydian Mode in the next lesson. We will, also, be using the 12 bar blues so get ready.
Point to notice:
Pattern 5 is probably the most used of the blues scale's patterns
Description: A Bluesy sounding scale
Quality: Bluesy
Musical Styles: Blues, Rock, Jazz, Fusion
Chords: Minor, Minor Sevenths, Minor Ninths, Dominant Sevenths, Dominant Ninths
Intervals: (W - Whole Step, H - Half Step)
Root -b3-4-#4-5-b7-Octave
W+H-W-H-H-W+H-W

Full Pattern: D# Blues Scale

Full Pattern: D# Blues Scale
Pentatonic Scales

Pentatonic Scales

The Pentatonic Scale is a scale consisting of 5 notes (Penta =5, tonic = tones). There is a Minor Pentatonic Scale (which I'll show you first), and there is a Major Pentatonic Scale. You may ask why you should use a scale with such a small amount of notes. The reason is that Pentatonic Scales provide a small margin for error when you are playing over a chord progression of the chords that go with the scale (the chords are shown in the chart below). Another reason to use the scale is if you are looking to find that rock sound. Jimi Hendrix used this scale more than any other. Now, it is hard to find a rock song without pentatonics in it. B.B. King also uses the Pentatonic Scale. He uses the Minor Pentatonic scale for its bluesy quality. Enough chit-chat, let's get to the info.
You should learn the patterns below all the way up the neck so you can use this scale at any time when you are playing. I'll go into more detailed uses of the Pentatonic Scales in later lessons, but for now just learn the scales.

Minor Pentatonic Scale

Description: A Bluesy sounding scale
Quality: Bluesy
Musical Styles: Blues, Rock, Heavy Metal, Jazz, Fusion
Chords: Minor, Minor Sevenths, Dominant Sevenths
Intervals: (W - Whole Step, H - Half Step)
Root -b3-4-5-b7-Octave
W+H-W-W-W+H-W

Full Pattern: D# Minor Pentatonic Scale

Full Pattern: D# Minor Pentatonic Scale

Major Pentatonic Scale

Description: Country Flavored Scale
Quality: Bright Sounding
Musical Styles: Country, Blues, Rock, Jazz, Fusion
Chords: Major, Major Sevenths, Dominant Sevenths
Intervals: (W - Whole Step, H - Half Step)
Root -2-3-5-6-Octave
W-W-W+H-W-W+H

Full Pattern: E Major Pentatonic Scale

Full Pattern: E Major Pentatonic Scale
12 Bar Blues

12 Bar Blues

The 12 Bar Blues is simply a chord progression. It is a I - IV - V progression. This progression is often used in jam sessions. Most of the time, musicians use Dominant Seventh Chords for this progression. So for the key of G you would use G7, C7, and D7.
The Reason it's 12 Bar Blues is because it is played over 12 bars. So let me show you the structure of the 12 Bar Blues.

Figure 1

Figure 2

Bar Number 1 2 3 4 5 6 7 8 9 10 11 12
Traditional 12 Bar Blues I7 I7 I7 I7 IV7 IV7 I7 I7 V7 IV7 I7 V7/I7
Modern 12 Bar Blues I7 IV7 I7 I7 IV7 IV7 I7 I7 V7 IV7 I7 V7/I7
Now, Notice that the first 4 bars are G7. That is the Traditional way to play the first 4 bars. You might want to try the Modern method by substituting the IV chord into the 2nd bar. (as shown on the chart) I would advise you not to try the Modern version until you know the Traditional version.
You may notice that the last bar on the chart (turnaround bar) has two different chords in it like the second bar does. The chord shown on top of the bar (the V chord) is the chord you play if you are going to repeat the 12 bar blues back to the beginning. You use the I chord if you are ending the song.
When you play the 12 Bar Blues, you can't just go out there and play one chord per bar for 4 beats. You have to create a rhythm, shuffle, swing, or whatever brings the blues out.
The sound files below are a traditional 12 bar blues in the key of G.
12 Bar Blues Sounds MP3

A great way to remember the IV and V chords is to study the Circle of Fifths.
Cycle of Keys
The circle as you should already know goes up a Perfect Fifth as you go clockwise around the circle. As you go counter clockwise it goes a Perfect Fourth. In other words the IV and V chord are to the left and right of the root chord.
For Example: If you are in the key of A, your IV chord would be D, and your V chord would be E. Notice that the D is one position counter clockwise to the A, and the E is one position clockwise of the A.
You can use any Dominant chord when you play the 12 Bar Blues. In other words, you can use Dominant 7th, 9th, or 13th chords. Earlier, I concentrated mainly on the Dominant 7th chords, but any Dominant chord will work just fine in the 12 bar blues.
Slash Chords

Slash Chords

The first time anyone ever comes across a slash chord, he immediately says HUH? Well, they are really not that hard to figure out. Let's look at G/B. It is read B over G. What you do is play a G major chord with a B as the bass note (The B is the lowest note of the chord). The G major chord's notes are G, B, and D. If you look at the diagram of G/B, you will notice that it has all the notes of the G major chord. The only difference is that the B is the lowest note, instead of the G. That is why it is named G/B instead of G.
Chords are written in this way to specify a certain bass note or voicing. Often, the bass notes will be arranged for a specific bass line. Without specifying, most would play a more common G major chord., but G/B forces the guitarist to play B as the lowest note in the chord.
In the examples below I show three slash chords. You will notice that the bass note is always a chord tone of the underlying chord as I explained above.

G/B Now Let's look at an Dadd9/F♯, or Dadd9 over F♯.

Dadd9/F♯

Dadd9/F Now, let's look at E♭/B♭, or E♭ over B♭.

E♭/B♭

E♭/B♭
Diminished Chords

Diminished Chords

Diminished Chords are not used often. They consist of these degrees: I, ♭III, ♭V. Diminished 7th chords add a VI degree to the Diminished Chord. Diminished 7th are so easy to remember because all you have to do is use one of the diminished chord patterns (shown below) and find the root note in any position of it. In other words, if you want a C diminished 7 chord, all you have to do is find a C in any place in the pattern. Let me show you.

Diminished 7th Patterns

Diminished 7 Chord Patterns Notice in this next example that the pattern moves up 3 frets and is the same chord, just a different voicing. If you didn't notice already, Cdim7 is the same as Adim7, F♯dim7, and D♯dim7. They are all just different voicings of the same chord. Once you find one of them you have found them all, and if you want a differnt voicing, you just have to move up 3 frets. It's that easy.

C, D♯, F♯, A diminished 7 Chords

Diminished Chords - Four in One If you want a plain diminished chord, all you have to do is remove the VI note, or learn a movable pattern (just like any other chord) as shown below. (R= Root note)

Diminished Patterns

Diminished Chord Patterns
Seventh Chords

Seventh Chords

To understand this method of figuring out seventh chords, you must have a basic knowledge of the degrees of the major scale.

I will show you how to find every 7th chord you'll ever need in three patterns and with four rules. Obviously, this will not show you every voicing there is on guitar but it is a start if you really want to try it.
The Three Patterns
Place your fingers where the numbers are.
The numbers represent the degree of that note. (1=root note) Seventh Chord Patterns - Dominant 7

The Four Rules

All of the rules refer to the chord symbol which
is the expression used to name chords

  1. The 5th is natural unless you're told otherwise by the chord symbol
  2. "7" means ♭7
  3. "maj7" means that the 7th is not flatted
  4. "min" (or "m") means to flat the 3rd
Examples

A7
7th is flatted
A7♭5
7th and 5th are flatted
Amin7
7th and 3rd are flatted
Amaj7
7th is natural (not flatted)
Am maj7
3rd is flatted, 7th is natural
Am maj7♭5
3rd and 5th are flatted 7th is natural

Note: When you see "aug" or "+" raise the 5th a half step

What you must do is adjust the patterns according to chord symbol.
Examples are shown below.
Dominant 7 vs Major 7

Dominant 7 vs Minor 7
Power Chords of guitar

Power Chords of guitar

What is a Power Chord? It is a chord consisting of 2 notes. The two notes are the I and V degrees. People use power chords because they are neither major nor minor. This is because they don't have a third degree, and the third degree tells you whether a chord is major or minor. They are also used because they give the feel of raw power. So let's get started showing you power chords. Let's start by showing you the C Major Scale. The E Major Scale
I II III IV V VI VII
E F# G# A B C# D#
Now all you have to do is comprise a chord of the I and V degrees. In this case those notes are E and B. Now all you have to do is find any combination of these two notes and it is a power chord. Let me show you a few examples. E Power Chords
E5 - Open Position
E5 - Seventh Position
These chords are called E5 chords. So any power chords is named by the root plus a 5 after it. Now here's an example of some G5 chords which consist of G and D G5 chords
G5 - Open Position
G5 - Third Position
G5 - Tenth Position
Notice that the G5 chord in the middle above is comprised of the lowest 3 notes of the G major barre chord. So in other words the chords with this form have the same rules as the barre chords.
  1. They are moveable
  2. Their root (note that names the chord) is the lowest note.
The same holds true for the pattern given on the G5 chord that is on the far right in the chart above.
Reading Notation And Tablature

Reading Notation And Tablature

Objectives

  1. Learn how to read the pitches on a standard notation staff.
  2. Learn how to map the pitches to the guitar.
  3. Learn how accidentals change the pitch of the note.
  4. Learn how key signatures work.
  5. Learn how tablature works to enhance standard notation.

Introduction

Standard notation is a very important form of written musical communication. It tells a musician which notes to play, when to play them, and how to play them. When combined with tablature, it is even more powerful. This lesson will show you how to read the pitches of the notes and how to read basic tablature.

Tablature 101

Tablature, or tab, is a notation method used by stringed instruments to learn a song quickly. For guitar, it consists of six horizontal lines, which represents the strings of the guitar. The top line represents the first string. The bottom line represents the sixth string. Numbers on the lines indicate which fret to play on that string. Although tablature does not tell you how long to play a note, it is often notated with a standard notation staff so you get the rhythm and note names as well as the exact fretting-hand fingerings.

Practice Exercise: Reading Tablature

Tablature is read like a book: from left to right. Because the rhythm is only notated in standard notation (and I haven't explained that yet), listen to the audio example first.
In the practice example, you will see two staffs: standard notation staff (on top), tablature staff (on the bottom). You only need to concern yourself with the tablature staff for this exercise.
Playing the First Measure (The notes before the first bar line - first seven notes)
  1. Play the 3rd fret of the 5th string.
  2. Play the open 4th string.
  3. Play the 2nd fret of the 4th string.
  4. Play the 3rd fret of the 4th string.
  5. Play the open 3rd string.
  6. Play the 2nd fret of the 3rd string.
  7. Play the open 2nd string.
Tablature Example

Notes on the Standard Notation Staff

Treble Clef
Treble Clef
Standard notation is written on five horizontal lines called a staff. Each line and space between the lines represents a note. The lines and spaces of a staff can represent different notes based on which clef is used. For guitar, the treble clef, or G clef, is used. The treble clef indicates that the lines represent E, G, B, D, and F. To remember them, you can learn this common mnemonic device: Every Good Boy Does Fine. The spaces represent the notes F, A, C, E. This is easy for most guitarists to remember because is spells the word face.
Staff with Note Names
Ledger lines are used when a note is too low or too high to fit on the staff. They extend the staff beyond five staff lines so more notes can be notated.
Ledger Lines
The seven note names repeat as you move up the staff. The following figure shows the notes that the guitar can play from a low E to a high E (some guitars can play even higher notes).
Range of Guitar Notes

Practice Song: Mary Had a Little Lamb

Mary Had a Little Lamb isn't a cool song unless you are listening to Buddy Guy's bluesy version of it. However, it is perfect for learning notation because most people know the melody. Since I have not explained how to read the rhythms of the notes (how long to play each note) yet, I provided an audio example for you test yourself. For this example we will play the song on one string (the fifth string).
While playing this song, notice how the C note needed to use a ledger line because its pitch is too low to fit on the staff. Also, notice how the C note sounds deeper or lower in pitch than the G note.
To help you visualize and play the song, look at this fretboard diagram of the 5th string (A string). Remember to place your finger behind the fret to play the note.
Notes of the Fifth String (A String)
Notes of the Fifth String (A String)
Mary Had a Little Lamb

An Accidental for Change

Sometimes the notes between the basic seven notes need to be played. Accidentals (sharps, flats, or naturals) are used to indicate that you should play the note a half step higher or lower in pitch. On guitar, this means you play the note one fret higher or lower, respectively. Sharps (&x266f;) indicate that a note should be played a half step higher. Flats (&x266d;) indicate that you should play the note a half step lower. Naturals (&x266e;) mean that you should play the note as written without any sharps or flats. This is useful because accidentals last for the duration of the measure (explained later in this lesson).
Accidentals

Practice Exercise: Using Accidentals

This exercise shows you how to play accidentals. Accidentals stop working when they reach the end of a measure, or bar. Measures end at vertical lines called bar lines. The example below has 5 bars.
Accidentals change the pitch of the note by a half step. Each fret on the guitar is a half step of movement.
For your convenience, I added a fretboard diagram of the fourth string notes. Notice how G-flat and F-sharp are the same note and how G-sharp is the same pitch as A-flat. At this point, just remember that they are the same note. The reason for this requires learning music theory.
Notes of the Fourth String (D String)
Notes of the Fourth String (D String)
Practice Accidentals

Keying in on Keys

Sometimes all the accidentals are intended to last for an entire piece of music. In this case, a key signature is used. Key signatures last until another key signature is written in the music. The diagram below shows all the possible keys and their names. Once again the reason behind the names of the keys requires learning music theory. Just remember that they are named after note names.
Key signatures tell which notes are sharped or flatted by putting the center of the symbol on the line or space for that note. Example: The key of F has a flat on the B line so all the B notes are played as B-flat.
Key Signatures - Sharps Key Signatures - Flats

Practice Exercises: Using Key Signatures

Key signatures are short-hand ways of using accidentals in music. They work by saying something like this, "Every B note will be flat unless an accidental changes the note." Below are two examples that are played exactly the same way. One is written in the key of C (no sharps or flats in the key signature). The other is written in the key of G (F-sharp in the key signature).
The following example uses notes from both the second string and the fifth string. A diagram of the second string is provided. The fifth string diagram is given earlier in this lesson.
Notes of the Second String (B String)
Notes of the Second String (B String)
Key Signature Exercise (Key of C)
Key Signature Example (Key of C) - Notice how the accidentals are used.
Key Signature Exercise (Key of G)