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Music Theory For Guitarists • Modes Of The Major Scale Simplified • Scales, Tab, Videos, Practical Examples.
Complete Blues Guitar beginner to intermediate method
To purchase a PDF copy, follow this link.
Learning Blues Guitar
I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.
With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.
The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.
There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.
The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.
The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.
It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.
Good luck and have fun. Music is a celebration. Enjoy!
Lorne K. Hemmerling
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Ionian Mode-first mode of the major scale. In the key of C, this is the C Major scale starting on C, C D E F G A B C . This IS the major scale, the ever popular Do Re Mi Fa So La Ti Do. Most melodies are based on the major scale. In order to understand the reason for learning the modes, start here. This order of notes (the intervallic structure: tone, tone, semitone, tone, tone, tone, semitone) has long been recognized as the most popular scale in music. When you shift the root and form a mode of this scale, the intervallic structure changes (in the same key, D Dorian would be: tone, semitone, tone, tone, tone, semitone, tone). You must think of these modes as totally different scales in order to really get behind them.
Santana were founded in the late sixties and came into the spotlight following their appearance at the Woodstock festival in 1969. Their eponymous debut album was released the same year and became a global success, introducing the public to the band's unique blend of latin rhythms and guitar based rock. With legendary guitarist and band leader Carlos Santana at the helm, hit albums and singles followed through the seventies, eighties, nineties and up to the present day. Both Carlos and the band have been frequent visitors to Montreux over the years and in 2011 they presented a stunning concert of their greatest hits, classic album tracks and brilliant cover versions from their debut album right up to 2010 s Guitar Heaven .
Dorian Mode-second mode of the major scale. In the key of C, this is the C Major scale starting on D, D E F G A B C D. The Dorian mode is prevalent in rock and blues rock. Not quite as dark as the Aeolian Mode, it has a very pleasant sad sort of sound. The melody to Scarborough Fair is written entirely in the Dorian mode. This melody is an excellent example of these modes sounding so different, yet they are still C Major. This melody sounds nothing like the Ionian mode, but it is! Also check out Jimi's solo in Purple Haze (E Dorian). Carlos Santana is a big Dorian player.
Scarborough Fair Melody
Steve Vai, 'For The Love Of God'
By the summer of 1982, Stevie Ray Vaughn was already a veteran of the Southern blues circuit. Desperately searching for his big break, he was asked to play "Blues Night" at the annual Montreaux Jazz Festival in Montreaux, Switzerland. Playing like his life depended on it, Stevie put on a fiery performance - full of future SRVics like "Pride and Joy" and "Love Struck Baby."
This very common, simple blues riff is based in three different keys and modes. Measures one to four, seven, eight, eleven and twelve outline the G mixolydian mode. The overall tonality is G7. This chord is the dominant fifth of the C Major scale. When the C Major scale is harmonized, the resulting four note chords are: CMaj7, Dm7, Em7, FMaj7, G7, Am7, and Bdim7. There are no sharps or flats in the key of C Major. This is why the G7 contains a natural F, as opposed to an F sharp (key of G Major). The same applies to the C7 and D7. C7 is the dominant fifth of F Major (one flat: B flat), D7 is the dominant fifth of G Major (one sharp: F sharp). Obviously, these modes can be applied when improvising over these chords. This is a wonderful alternative to the minor Pentatonic scale (in this case: G minor), but not as easy to execute as playing in one scale. It is like driving a car without brakes…you have to plan ahead! The mixolydian mode is widely used in blues, funk and jazz.
The Mixolydian mode over the three chord progression
Aeolian Mode-sixth mode of the major scale. Next to the Ionian mode, this is the most used, most popular mode. In the key of C, this is the C Major scale starting on A, A B C D E F G A. Also called the natural minor scale, this scale is prevalent in all forms of music. Many melodies and solos are based on the Aeolian mode. The vocal line in Stairway To Heaven is sung entirely in this mode
A Aeolian At The Twelfth Fret
This is a very important position for the C Major-A minor scale. Very easy to visualize and symmetrical. Plus all the notes are contained in four frets. Use the four fingers, four frets rule. Keep your hand in one position and stretch the fingers. This may be difficult at first, especially this high up the fretboard, but it is well worth the effort. Use the same fingers every time, this will aid in playing the right notes.
In the video below, I am improvising using nothing but this position and this mode. It is strictly diatonic. Using your ear, you should be able to solo endlessly in one position. In fact, this is a great exercise.
A Aeolian (A Natural Minor) At The Twelfth Fret
This a portion of the melody to Stairway To Heaven. This is another great example of how these modes sound so different from one another, yet they are all related to the parent Major scale (in this case: C Major). The melody is strictly diatonic, and is played in the twelfth position. This form is the same as C Major played in the open position, but sounds an octave higher. The entire melody is based in A Aeolian.
Stairway To Heaven Melody
Stairway To Heaven Melody
Live version from 1975.
In conclusion, all the modes of the major scale are formed by shifting the root. There is no magical mystical theory involved. Try it. Find a major scale pattern you like and change the root to another note in the scale. Play from that note to the same note an octave higher. Your ears will hear the difference!
© 2011 Lorne Hemmerling