Amazing Guitar Secrets Book

„The Ultimate, No-Holds-Barred, Super Guide To Instantly Improve Your Guitar Playing!‰

Amazing Guitar Secrets!

By Dan Denley

The Ultimate, No-Holds-Barred, Super-Guide To Instantly Improve Your Guitar Playing! Dear Fellow Guitarist,

Y

ou are about to embark on a journey through the amazing world of guitar. YouÊre going to learn how to play the major scales, minor scales, all seven modes, chords, barre chords, and much more. Even if you donÊt know which end of the guitar to hold, youÊre still going to make quick progress -- I guarantee it! How To Use This Guide: • Everything in this guide is explained in detail in the video lessons which accompany your course. ThereÊs no need to beat your head against the wall trying to understand a certain concept. Simply watch the accompanying video lessons ALONG WITH your guide -- I go over everything with you. • ThereÊs no need to try and learn everything all at once. Take your time and go slowly, making sure that you have a firm understanding of each concept before you move on to the next.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

2

• Make sure you are PLAYING along with the examples! DonÊt just sit back and watch. Grab youÊre guitar and try it! YouÊll learn faster and make more progress. • Have fun! I repeat, „HAVE FUN!‰ LetÊs face it. For the vast majority of us, playing guitar is -- and will most likely remain -- a hobby, not a profession. So, remember to make sure that youÊre having fun. Now, IÊm not saying that that learning guitar is going to be a bed a roses. ItÊs not. Sometimes it takes a lot of HARD work to get good. No, I take that back. It takes a lot of hard work to even be able to play anything at all! But the important thing is to have fun. If you make mistakes, who cares? Keep practicing and soon youÊll be playing things you never thought possible. • Important Note About The Movable Positions And Tab: As soon as you start practicing the scales in this book you will notice something: the movable fretboard patterns and the tab do NOT always match. This is on purpose. The reason is simple: there are several different ways to play the same scale. This will expose you to a least two. You can play both variations and see which one you like best. IÊve tried to indicate when the movable pattern and the tab do NOT match. Please keep your eyes pealed for this as you go through each position. • Important Note About The Modes: You will also see that IÊve labeled each position for you with the position number AND the corresponding mode (major scale and melodic scale only). Try to keep in mind that each position of the major scale corresponds to a particular mode. Also, remember that each mode can be transposed from one key to another.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

3

So, grab your guitar, lock the door and roll up your sleeves. And letÊs get started! Cheers,

Dan Denley

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

4

Table Of Contents Table Of Contents ..................................................................................................................................................................5 Guitar Lessons Covered on DVD 1.........................................................................................................................................7 From The Lesson Titled “Chords” ..........................................................................................................................................7 Chord Progressions Using Major CAGED Chords...................................................................................................................8 From The Lesson Titled “Reading Tab” .............................................................................................................................. 12 From The Lesson Titled “Playing Tab” ............................................................................................................................... 13 From The Lesson Titled “Building Finger Strength”........................................................................................................... 14 From The Lesson Titled, “Notes On The Fretboard”........................................................................................................... 19 The Major Scale Formula:................................................................................................................................................... 19 A Major Scale In All Seven Positions.................................................................................................................................. 24 A Major Scale In All Seven Positions.................................................................................................................................. 26 A Major Scale In All Seven Positions.................................................................................................................................. 27 Position 1, Major Scale: : Ionian Mode .............................................................................................................................. 28 Position 2, Major Scale: Dorian Mode ................................................................................................................................ 30 Position 3, Major Scale: Phrygian Mode............................................................................................................................. 32 Position 4, Major Scale: Lydian Mode ................................................................................................................................ 34 Position 5, Major Scale: Mixolydian Mode ......................................................................................................................... 36 Position 6, Major Scale: Aeolian Mode (same as “Natural Minor”) ................................................................................... 38 Position 7, Major Scale: Locrian Mode ............................................................................................................................... 40 From The Lesson Titled, “Power Chords”........................................................................................................................... 41 From The Lesson Titled, “Scale Degrees” .......................................................................................................................... 43 Guitar Lessons Covered On DVD 2 ..................................................................................................................................... 44 From The Lesson Titled, “Intervals”................................................................................................................................... 44 © 2005 Dan Denley, www.AmazingGuitarSecrets.com

5

Intervals Found In The Major Scale ................................................................................................................................... 49 Three different forms of the G major 7th chord.................................................................................................................. 50 From The Lesson Titled, “The Minor Scale”........................................................................................................................ 51 The Harmonic Minor Scale.................................................................................................................................................. 54 The Melodic Minor Scale..................................................................................................................................................... 56 Intervals Found In The Natural Minor Scale ...................................................................................................................... 62 From The Lesson Titled, ..................................................................................................................................................... 63 “Creating Chords Using Intervals” ..................................................................................................................................... 63 Quick Reference Guide For Interpreting Chord Symbols................................................................................................... 64 From The Lesson Titled, “Practicing Concepts” ................................................................................................................. 67 The Natural Minor Scale ..................................................................................................................................................... 71 G Natural Minor Scale In All Seven Positions .................................................................................................................... 72 The Harmonic Minor Scale.................................................................................................................................................. 86 The Melodic Minor Scale................................................................................................................................................... 101 From The Lesson Titled, “Barre Chords” .......................................................................................................................... 132 Sample Chord Progressions Using Barre Chords: ............................................................................................................ 132 Example 4 ......................................................................................................................................................................... 135 From The Lesson Titled, “Pentatonic Scales”................................................................................................................... 136 Transcription of Solo at End of Pentatonic Scales section............................................................................................... 143 Conclusion ........................................................................................................................................................................ 147

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

6

Guitar Guitar Lessons Covered on DVD 1 From The Lesson Titled „Chords‰ Chords‰ The Major CAGED Chords C Major

A Major

G Major

E Major

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

D Major

7

Chord Progressions Using Major CAGED Chords Progression 1: G|D|C|D

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

8

Progression 2: D|A|G|A|D

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

9

Progression 3: C|G|C

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

10

Progression 4: A|E|D|E|A

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

11

From The Lesson Titled „Reading Tab‰ Chords Discussed: G Major Chord

C Major Chord

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

A Major Chord

12

From The Lesson Titled Titled „Playing Tab‰ E Minor Pentatonic Scale E minor pentatonic scale in one octave on 1 string |---------------| |---------------| |---------------| |---------------| |---------------| |-0-3-5-7-10-12-| E minor pentatonic scale in one octave on 3 strings |-----------------| |-----------------| |-----------------| |-------0-2-------| |----0-2----------| |-0-3-------------| © 2005 Dan Denley, www.AmazingGuitarSecrets.com

13

From The Lesson Titled „Building Finger Strength‰ Strength‰

Exercise 1: Chromatic Ascending

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

14

Descending Exercise 2: Chromatic Descending

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

15

3: Chromatic Ascending/Descending Exercise 3:

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

16

Chromatic Ascending/Descending Ascending/Descending Exercise 4: Mixed Chromatic

17 © 2005 Dan Denley, www.AmazingGuitarSecrets.com

Exercise 5: Skipping Chromatic Ascending

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

18

From The Lesson Titled, „Notes On The Fretboard‰ ** Note: In addition to the information on the DVD, use the Guitar Codex software to memorize the notes on the fretboard. This software will give you a visual representation of the notes on the fretboard as well as a vast number of chords and scales. A video tutorial on how to download this software as well as how to use it, is included with your course.

The Major Scale Formula: Whole step | Whole step | Half step | Whole step | Whole step | Whole step | Half step

Abbreviated, the formula looks like: W| W | H | W | W | W | H

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

19

Remember: A whole step is when you skip a fret. A half step is from one fret to the next fret (without skipping). Whole and half steps can ascend (go up the fretboard) or descend (go down the fretboard). For example: Whole Step, Ascending |-----| |-----| |-----| |-----| |-----| |-3-5-| Whole Step, Descending Descending |-----| |-----| |-----| |-----| |-----| |-5-3-| © 2005 Dan Denley, www.AmazingGuitarSecrets.com

20

Half Step, Ascending |-----| |-----| |-----| |-----| |-----| |-4-5-| Half Step, Step, Descending |-----| |-----| |-----| |-----| |-----| |-5-4-|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

21

G Major Scale on one string using the whole/half step formula for the major scale

G Major Scale in one octave on three strings

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

22

G Major Scale in two octaves (first position)

Movable Major Scale Pattern (1st position)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

23

A Major Scale In All Seven Positions The tablature in the following diagram is NOT exactly the same as what is played in the video. The reason is that there are many approaches to playing scales. This way, you are exposed to at least two. For same reason, the notation and the movable patterns wonÊt always match. This is true for all the scales in this book. The only difference between what only you see in the video and what is notated below is the 2nd string always has two notes, not three.

How To Understand Each Column Heading Position Number Most books, videos and other guitar instructional material teach a scale in only one position. ThatÊs great when youÊre starting out. But, the problem with that approach is that once youÊve mastered that position, youÊre stuck! Great guitarists know that there are actually seven different positions in which to play any scale. Once you learn the seven, movable patterns you can play your solos over the ENTIRE fretboard! HereÊs what you need to know about the seven positions: Every scale has a total of seven positions that is can be played in. The reason is that there are seven different notes in every scale. For example, the A Major scale has these seven notes: A, B, C#, D, E, F#, G#. Each position corresponds to one of these seven notes of the scale. scale. Therefore, for the A major scale, Position 1 starts on A. Position 2, starts on B. Position 3, starts on C#. Position 4, starts on D. And so on, and so forth. In the major scale, scale, each each of the seven positions positions also represents represents a „Mode.‰ So, once youÊve memorized all seven positions, you also memorized (the first position) of each of the seven modes! Cool, huh? Now, each mode has its own set of seven positions, but you donÊt need to worry about that, right now. Just be aware that as you are practicing each position, you are simultaneously playing one of the seven modes. © 2005 Dan Denley, www.AmazingGuitarSecrets.com 24

A Quick List Of The Positions In The Major Scale And Their Corresponding Mode: Mode: Position in Major Scale

Corresponding Corresponding Mode

Position 1

Ionian

Position 2

Dorian

Position 3

Phrygian

Position 4

Lydian

Position 5

Mixolydian

Position 6

Aeolian

Position 7

Locrian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

25

The Movable Pattern Take special note of the column labeled „Movable Pattern.‰ attern.‰ This column gives you a movable pattern for each position of the scale. IMPORTANT! It may not look like much, but the „Movable Patterns‰ IÊve given you for each position are the KEYS TO UNLOCK your ability to play anywhere on the fretboard! I Repeat: The movable patterns are the „secret code‰ that you need to crack in order to play anywhere on the fretboard. Do NOT overlook these little, simple patterns. The reason they are so important is because once youÊve memorized each pattern, you can then „transpose‰ (move to another key) that pattern to any key on the fretboard. If you want to play the A major scale, simply take position 1 and start on A (5th fret, 6th string). Then follow the pattern. For example:

The A Major Scale On 1 String |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |-----5-----7-----9-----10-----12-----14-----16-----17-----| st

A, the “root” of 1 note of the scale, is your starting point for position 1. nd

B, the 2nd degree of the A scale, is your starting point for position 2.

C#, the 3 degree of the A scale, is your starting point for position 3.

E, the 5th degree of the A scale, is your starting point for position 5.

D, the 4th degree of the A scale, is your starting point for position 4.

G#, the 7th degree of the A scale, is your starting point for position 7. F#, the 6th degree of the A scale, is your starting point for position 6.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

A, the “root” of the key of A, starts over with position 1.

26

A Major Scale In All Seven Positions Position 1, 1, A Major Scale: Scale: A Ionian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

27

Movable Movable Pattern

Position 1, Major Scale: : Ionian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

28

Position 2, A Major Scale: B Dorian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

29

Movable Pattern Position 2, Major Scale: Scale: Dorian Dorian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

30

Position 3, A Major Scale: C# Phrygian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

31

Movable Pattern Position 3, Major Scale: Phrygian Phrygian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

32

Position 4, A Major Scale: D Lydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

33

Movable Pattern Pattern

Position 4, Major Scale: Lydian Lydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

34

Position 5, A Major Scale: Scale: E Mixolydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

35

Movable Pattern

Position 5, Major Scale: Mixolydian Mixolydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

36

Position 6, A Major Scale: F# Aeolian (same as „Natural Minor‰)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

37

Movable Pattern

Position 6, Major Scale: Aeolian Mode (same as „Natural Minor‰)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

38

Position 7, A Major Scale: G# Locrian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

39

Movable Pattern

Position 7, Major Scale: Scale: Locrian Locrian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

40

From The Lesson Titled, „Power „Power Chords‰ Chords‰

Notes about Power Chords Power chords are the building blocks of thousands and thousands of rock songs. They are simple and can be easily moved around the fretboard in any key. They do NOT contain the 3rd degree of the chord, therefore, they are neither major nor minor. This gives them a certain ability to slide in and out of different keys that is not found in a standard triad.

Generally power chords are played only on the 5th and 6th strings, or the 4th and 5th. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

41

Example of how power chords can be played on both both the 5th/6th strings strings AND the 4th/5th strings: strings: E Power Chord |--------| |--------| |--------| |--------| |---14---| |---12---| B Power Chord |-------| |-------| |-------| |-------| |---9---| |---7---| D Power Chord |--------| |--------| |--------| |--------| |---12---| |---10---|

=

E Power Chord |-------| |-------| |-------| |---7---| |---5---| |-------|

=

B Power Chord |-------| |-------| |-------| |---4---| |---2---| |-------|

=

D Power Chord |-------| |-------| |-------| |-------| |---7---| |---5---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

42

From The Lesson Titled, „Scale „Scale Degrees‰ Degrees‰ Each note in a scale can be referred to as a specific scale degree: the first, second, third, fourth, fifth, sixth or seventh. HereÊs the G Major Scale in one octave on three strings:

HereÊs the G Major scale in one octave with each degree identified for you: |-----------------------------------------------| |-----------------------------------------------| |-----------------------------------------------| |-----------------------------2(6th)-4(7th)-5(1st)-| |------------2(3rd)-3(4th)-5(5th)------------------| |-3(1st)-5(2nd)-----------------------------------|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

43

Guitar Lessons Covered On DVD 2 From The Lesson Titled, „Intervals‰ In music, the space between any two notes can be measured. This „space‰ or „distance‰ is called an interval. Intervals are the building blocks of chords. Once you understand intervals, you can build any chord in any key (even if youÊve never heard of that chord.)

HereÊs the G Major scale in one octave with each interval identified for you: |------------------------------------------------| |------------------------------------------------| |------------------------------------------------| |-----------------------------2(6th)-4(7th)-5(1st)-| |------------2(3rd)-3(4th)-5(5th)------------------| |-3(1st)-5(2nd)-----------------------------------|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

44

In any major key... The distance between the 1st degree of the scale and the 2nd degree = Major 2nd. (Also notated „M2‰) Major 2nd in the key of G Major |-----| |-----| |-----| |-----| |-----| |-3-5-| The distance between the 1st degree of the scale and the 3rd degree = Major 3rd. (Also notated „M3‰) Major 3rd in the key of G Major |-----| |-----| |-----| |-----| |---2-| |-3---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

45

The distance between the 1st degree of the scale and the 4th degree = Perfect 4th.. (Also notated „P4‰) Perfect 4th in the key of G Major |-----| |-----| |-----| |-----| |---3-| |-3---| The distance between the 1st degree of the scale and the 5th degree = Perfect 5th. (Also notated „P5‰) Perfect 5th in the the key of G Major (this interval makes up the famous „power chord‰) |-----| |-----| |-----| |-----| |---5-| |-3---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

46

The distance between the 1st degree of the scale and the 6th degree = Major 6th. (Also notated „M6‰) Major 6th in the key of G Major |-----| |-----| |-----| |---2-| |-----| |-3---| The distance between the 1st degree of the scale and the 7th degree = Major 7th. (Also notated „M7‰) Major 7th in the key of G Major |-----| |-----| |-----| |---4-| |-----| |-3---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

47

The distance between the 1st degree of the scale and the 8th degree = Perfect 8th or an octave. (Also notated „P8‰) Perfect 8th (or an „octave‰) in the key of G Major |-----| |-----| |-----| |---5-| |-----| |-3---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

48

Play the following intervals. Say the name of the interval out loud as you play it. Try to remember the sound of the interval. ItÊs a good idea to be able to sing the intervals as well. This will help you internalize the sound of each interval.

Intervals Found In The Major Scale

Once you understand intervals you can build any chord you want. For example: G Major 7th Chord (also notated GM7) |-------| |-------| |-------| |---4---| (Major 7th) |---2---| (3rd) |---3---| (root © 2005 Dan Denley, www.AmazingGuitarSecrets.com

49

Three different forms of the G major 7th chord.

Play each of these.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

50

From The The Lesson Titled, „The Minor Scale‰ Scale‰ The Natural Minor Scale

To make any major scale minor, simply lower the 3rd, 6th and 7th degrees of the major scale by a step (one fret). The G Major Scale in one octave

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

51

The G Natural Minor Scale in one octave

Another way to play this scale is:

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

52

The G Natural Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

53

The Harmonic Minor Scale To make any natural minor scale, harmonic minor, simply raise the 7th degree ½ a step (one fret)

The G Harmonic Minor Scale in one one octave

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

54

The G Harmonic Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

55

The Melodic Minor Scale The melodic minor is unique. When you ascend (go up the fretboard) you raise the 6th and 7th degrees. When you descend (go down the fretboard) you lower the 6th and 7th. However, the 3rd remains lowered going up and down. Ok, hereÊs what it looks like in tab: G Melodic Minor Scale in one octave

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

56

Most of time when you encounter or use the melodic minor scale, itÊs the „Jazz‰ minor scale – which looks exactly like the major scale, except it has a lowered (flat) 3rd. G Melodic Jazz Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

57

Minor Intervals Every major interval has a minor counterpart. You can make any major interval minor by lowering the note ½ a step (one fret).

In the natural minor scale for any key... The distance between the 1st degree (a.k.a. „root‰) of the scale and the 2nd degree = Major 2nd. (Also notated „M2‰)

Major 2nd in the key of G natural minor |-----| |-----| |-----| |-----| |-----| |-3-5-|

The distance between the 1st degree of the scale and the 3rd degree = Minor 3rd. (Also notated „m3‰)

Minor 3rd in the key of G Natural Minor |-----| |-----| |-----| |-----| |---2-| |-3---| © 2005 Dan Denley, www.AmazingGuitarSecrets.com

58

The distance between the 1st degree of the scale and the 4th degree = Perfect Perfect 4th.. (Also noted „P4‰) Perfect 4th in the key of G Natural Minor |-----| |-----| |-----| |-----| |---3-| |-3---| The distance between the 1st degree of the scale and the 5th degree = Perfect 5th. (Also notated „P5‰) Perfect 5th in the key of G Natural Natural Minor (This interval makes up the famous „power chord‰) |-----| |-----| |-----| |-----| |---5-| |-3---| The distance between the 1st degree of the scale and the 6th degree = Minor 6th. (Also notated „m6‰)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

59

Minor 6th in the key of G Natural Minor |-----| |-----| |-----| |---2-| |-----| |-3---| The distance between the 1st degree of the scale and the 7th degree = Minor 7th. (Also notated „m7‰) Minor 7th in the key of G Natural Minor |-----| |-----| |-----| |---4-| |-----| |-3---|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

60

The distance between the 1st degree of the scale and the 8th degree = Perfect 8th or an octave. (Also notated „P8‰) Perfect 8th (or an „octave‰) in the key of G Natural Minor |-----| |-----| |-----| |---5-| |-----| |-3---| **Note: The smallest interval on the fretboard is a minor 2nd. HereÊs an example of a minor 2nd: Minor second from the note „G‰: |-------| |-------| |-------| |-------| |-------| |---3-4-| **Note: The minor second does NOT occur naturally in any of the major or minor keys. It only occurs naturally in two of the seven modes (Phrygian and Locrian).

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

61

Play the following intervals. Say the name of the interval out loud as you play it. Try to remember the sound of the interval. ItÊs a good idea to be able to sing the intervals as well. This will help you internalize the sound of each interval.

Intervals Found In The Natural Minor Scale

Once you understand intervals you can build any chord you want. For example: th G Major 7 Chord (also notated GM7)

|-------| |-------| |-------| |---4---| |---2---| |---3---| © 2005 Dan Denley, www.AmazingGuitarSecrets.com

62

From The Lesson Titled, „Creating reating Chords Using Intervals‰ Intervals‰ What you need to know about chords: • Chords usually usually consist of at least three notes. • Every chord must have the „root.‰ In other words, the chord has to have the note that itÊs named after. For example, if itÊs a G7, it must contain a „G‰ note somewhere in the chord. • Every chord must have the 3rd (except power chords). This interval tells you if the chord is Major or Minor. Without the 3rd you wouldnÊt know. • If the chord is notated with a 7th (e.g., G7, GM7, etc.) it must contain the seventh. seventh © 2005 Dan Denley, www.AmazingGuitarSecrets.com

63

Quick Reference Guide For or Interpreting Chord Symbols Written

Pronounced

Always has these intervals

Example

G

„G chord‰

Root, Major 3rd

|---3---| (optional) |---0---| (optional) |---4---| (Major 3rd, B) |---5---| (octave, G) |---5 5---| (5th ,D) |---33---| (root, G)

G5 (G Power Chord)

„G five‰

Root, 5th

|---X---| |---X---| |---X---| |---X---| |---5 5---| (5th ,D) |---33---| (root, G)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

64

G7

„Dominant 7‰

Root, Major 3rd, Minor |---3---| (optional) 7th |---3---| (optional) |---4 4---| (Major 3rd, B) |---33---| (minor 7th, F) |---5 5---| (optional, 5th ,D,) |---33---| (root, G)

GM7

„G Major 7‰

Root, Major 3rd, Major |---3---| (optional) 7th |---3---| (optional) |---4 4---| (Major 3rd, B) |---4 4---| (Major 7th, F) |---5 5---| (optional, 5th ,D,) |---33---| (root, G)

GmM7

„G minor, major Root, Minor 3rd, Major |---3---| (optional) 7‰ 7th |---3---| (optional) |---33---| (Minor 3rd, B) |---4 4---| (Major 7th, F) |---5 5---| (optional, 5th ,D,) |---33---| (root, G)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

65

Other chords discussed in the „Creating Chords Using Intervals‰ section:

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

66

From The Lesson Titled, „Practicing „Practicing Concepts‰ Concepts‰ The G Natural Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

67

The G Harmonic Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

68

G Melodic Jazz Minor Scale in two octaves

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

69

Tab For G Harmonic Minor Solo

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

70

The Natural Minor Scale Just as with the major scale there are seven notes, the same is true with the minor scales. IÊve given you all seven positions of the natural minor scale in the key of G natural minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thatÊs all it is: an example. What you really what to pay special attention to is the movable patterns. patterns Because once you master those and understand how they relate to each other, the sky really is the limit. YouÊll be able to play the natural minor in any key, any place on the fretboard! Practice each position with the tab thatÊs been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youÊre starting on. This will help you to relate the movable pattern with the position number. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

71

G Natural Minor Scale In All Seven Positions Movable Pattern 1,1, Natural Minor: Aeolian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

72

G minor, 1st position: position: G Aeolian Aeolian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

73

Movable Pattern 2, 2, Natural Minor: Locrian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

74

G minor, 2nd position: position: A Locrian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

75

Movable Pattern 3, 3, Natural Minor: Ionian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

76

G minor, 3rd position: position: Bb Ionian (same as 1st position Bb major)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

77

Movable Pattern 4, 4, Natural Natural Minor: Dorian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

78

G minor, 4thposition: position: C Dorian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

79

Movable Pattern 5, 5, Natural Minor: Phrygian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

80

G minor, 5thposition: position: D Phrygian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

81

Movable Pattern 6, 6, Natural Minor: Lydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

82

G minor, 6thposition: position: Eb Lydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

83

Movable Pattern 7, 7, Natural Minor: Mixolydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

84

G minor, 7thposition: position: F Mixolydian Mixolydian Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

85

The Harmonic Minor Scale Just as with the major scale there are seven notes, the same is true with the minor scales. IÊve given you all seven positions of the harmonic minor scale in the key of G harmonic minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thatÊs all it is: an example. What you really what to pay special attention to is the movable patterns. patterns Because once you master those and understand how they relate to each other, the sky really is the limit. YouÊll be able to play the harmonic minor in any key, any place on the fretboard! Practice each position with the tab thatÊs been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youÊre starting on. This will help you to relate the movable pattern with the position number.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

86

Movable Pattern 1,1, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

87

G harmonic minor, 1st position

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

88

Movable Pattern 2, 2, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

89

G harmonic minor, 2nd position

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

90

Movable Pattern 3, 3, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

91

G harmonic minor, 3rd position position

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

92

Movable Pattern 4, 4, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

93

G harmonic minor, 4thposition

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

94

Movable Pattern 5, 5, Harmonic Minor (Spanish Phrygian Mode)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

95

G harmonic minor, 5thposition

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

96

Movable Pattern 6, 6, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

97

G harmonic minor, 6thposition

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

98

Movable Pattern 7, 7, Harmonic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

99

G harmonic minor, 7thposition

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

100

The Melodic Minor Scale Scale Just as with the major scale there are seven notes, the same is true with the minor scales. IÊve given you all seven positions of the jazz minor scale in the key of G jazz minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thatÊs all it is: an example. What you really what to pay special attention to is the movable patterns. patterns Because once you master those and understand how they relate to each other, the sky really is the limit. YouÊll be able to play the jazz minor in any key, any place on the fretboard! Practice each position with the tab thatÊs been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youÊre starting on. This will help you to relate the movable pattern with the position number.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

101

Movable Pattern Pattern 1: 1: Melodic Minor

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

102

G minor, 1st position: position: Melodic Minor Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

103

Flat 2

Movable Pattern 2: 2: Dorian b2 (flat 2) Mode

Flat 2

This mode is exactly like the Dorian mode, except the 2nd degree is lowered ½ step. The arrows point to the lowered 2nd (or “flat two).

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

104

G minor, 2nd position: position: A Dorian b2

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

105

Movable Pattern 3: 3: Lydian Augmented Mode

Augmented 5th

This mode is exactly like the Lydian mode, except the 5th degree is raised ½ step (augmented). The arrows point to the augmented 5th.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

106

G minor, 3rd position: position: Bb Lydian Augmented Augmented

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

107

Movable Pattern 4: 4: Lydian Dominant Mode

Flat 7th.

This mode is exactly like the Lydian mode, except the 7th degree is lowered ½ step. The 1st, 3rd, and 7th degrees of this mode create a dominant 7th chord. This is why it’s called “Lydian Dominant”.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

108

G minor, 4thposition: position: C Lydian Dominant

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

109

Movable Pattern 5: 5: Mixolydian b6 (flat 6)

Flat 6th.

This mode is exactly like the Mixolydian mode, except the 6th degree is lowered ½ step. This is why it’s called “Mixolydian Flat 6”.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

110

G minor, 5thposition: position: D Mixolydian b6

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

111

Movable Pattern 6: 6: Locrian #2 (sharp 2) Raised 2nd

Raised 2nd

This mode is exactly like the Locrian mode, except the 2nd degree is raised ½ step. This is why it’s called “Locrian #2”.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

112

G jazz minor, 6thposition: position: E Locrian #2

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

113

Movable Pattern 7: 7: Super Locrian („Altered Mode‰)

Diminished 4th.

This mode is exactly like the Locrian mode, except the 4th degree is diminished (lowered ½ step). This is why it’s called

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

114

G jazz minor, 7thposition: position: F# Altered Mode

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

115

From The Lesson Titled, „The Modes‰ Modes‰ About the Modes And entire course could probably be built around just exploring the modes in detail. But, for our purposes, we can make it simple... The Modes are unique scales which are actually a combination of major and minor scales. (Actually the modes existed BEFORE the major/minor scales. They come from Gregorian chant, which has been used in the Catholic Liturgical services since Pope St. Gregory The Great who died in the 604A.D. The major/minor scales came along hundreds of years later -- but thatÊs another discussion altogether). In any case, what you need to understand is two things: things: 1.

Each mode corresponds to a specific position of the major scale (see the table below to see which modes go with which positions).

2.

The modes can be transposed to any key. For example you can have G Dorian, F Dorian, E Dorian, etc. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

116

How To Transpose Transpose The Modes Into Any Key Key Example: Movable Pattern For Dorian Mode (position 2 of major scale)

|----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |-----5-----7-----9-----11-----13-----15-----17-----19-----|

If you start pattern on A, you get “Dorian on A.”

If you start pattern on C#, you get “Dorian on C#.”

If you start pattern on F, you get “Dorian on F.”

This same concept is true for all the modal patterns. If you start the Phrygian modal pattern on E (12th fret, 6th string), you get “E Phrygian.” If you start the modal pattern for Lydian on G, you get “G Lydian.” If you start A, you get “A Lydian.” The point is, the modes can be played on ANY note on the fretboard. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

117

Note: Ionian mode = any major scale in first position

Ionian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

118

Movable Pattern For Ionian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

119

Dorian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

120

Movable Pattern For Dorian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

121

Phrygian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

122

Movable Pattern For Phrygian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

123

Lydian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

124

Movable Pattern Pattern For Lydian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

125

Mixolydian Mixolydian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

126

Movable Pattern For Mixolydian Mixolydian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

127

Aeolian Aeolian mode on G (Natural Minor Scale)

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

128

Movable Pattern For Aeolian Aeolian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

129

Locrian ocrian mode on G

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

130

Movable Pattern For Locrian ocrian

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

131

From The The Lesson Titled, „Barre „Barre Chords‰ G Major Barre Chord - G Minor Barre Chord - A Dominant 7th Barre Chord - A Major 7th Barre Chord

(Symbols: G, Gmaj, GM) GM)

(Symbols: Gm, Gmin)

(Symbols: A7, Adom7)

(Symbols: AM7, Amaj7) Amaj7)

Sample Chord Progressions Using Barre Chords: Play each of the following examples. This will give you a practical understanding of how barre chords are used. DonÊt worry if you find making barre chords difficult at first. They are. Practice your fingers strength exercises each day, as well as your scales to help build the strength of your fingers. Then practice your barre chord using the examples below. It may take a while, but you will be playing these chords in a very short time! © 2005 Dan Denley, www.AmazingGuitarSecrets.com

132

Example 1:

Example 2

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

133

Example 3

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

134

Example 4

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

135

From The Lesson Titled, „Pentatonic Pentatonic Scales‰ Scales A Major Pentatonic Scale

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

136

Movable Pattern 1: Pentatonic Major

Start on the 5th fret for A Major.

Use The A Major Pentatonic Scale Over This Chord Progression

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

137

A Minor Pentatonic Scale

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

138

Movable Movable Pattern: Pattern: Pentatonic Minor

Start on the 5th fret for A Pentatonic Minor.

Use The A Minor Pentatonic Scale Over This Chord Progression

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

139

Blues Pentatonic Scale G Blues Pentatonic Scale

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

140

Movable Pattern: Pattern: Blues Pentatonic Scale

Diminished 5th

The flatted 5th is the ONLY difference between the Blues Pentatonic and the Pentatonic Minor. This diminished 5th gives this scale it’s “blues” quality.

Start on the 3rd fret, 6th string for G Blues Pentatonic.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

141

Use The G Blues Pentatonic Scale Over This Chord Chord Progression

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

142

Transcription of Solo at End of Pentatonic Scales section

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

143

What you should know about the Blues Pentatonic Scale: • ItÊs based on the minor pentatonic scale. So, once youÊve got the Minor Pentatonic memorized, youÊre just a very short step away from being able to play the Blues Pentatonic. • The only difference between the Minor Pentatonic and the Blues Pentatonic is this: the Blues Pentatonic scale has one extra note, the diminished 5th. This one little note is what gives it a unique „blues‰ sound. • There are actually several different versions of the Blues Pentatonic scale (often just referred to as the „Blues Scale‰). • The Blues Scale comes from the pentatonic minor scale, which comes from the natural minor scale. • The diminished 5th is considered a „passing tones.‰ This note „pulls‰ the ear toward the

destination note (the 5th). Since passing tones are just notes which help you get to the „main‰ note, there is no specific position for this note. (Confused? DonÊt worry! YouÊll catch on once you start playing the Blues Scale over some chords.) © 2005 Dan Denley, www.AmazingGuitarSecrets.com

144

Understanding how the Natural Minor, Pentatonic Scale and the Blues Scale relate: Scale Name

Notes For Scale Based on A

Scale Degrees

Example Tab

A Natural Minor Scale

A, B, C, D, E, F, G

1, 2, b3, 4, 5, b6,b 7

|------------------------5 ------------------------5-7-8-| |-------------------5 -------------------5-6-8------| ------| |--------------4 --------------4-5-7-----------| -----------| |-----------5 -----------5-7----------------| ----------------| |------5 ------5-7-8-------------------| -------------------| |-5-7-8------------------------| ------------------------|

A Minor Pentatonic

A, , C, D, E, , G

1, , b3, 4, 5, , b7

|----------------5 ----------------5-8-| |-------------5 -------------5-8----| ----| |----------5 ----------5-7-------| -------| |-------5 -------5-7----------| ----------| |----5 ----5-7-------------| -------------| |-5-8----------------| ----------------|

A Blues Pentatonic with flat 5 (most common form)

A, , C, D, Eb, E, , G

1, , b3, 4, b5, 5, b7

|--------------------5 --------------------5-8-| |-----------------5 -----------------5-8----| ----| |------------5 ------------5-7-8-------| -------| |---------5 ---------5-7------------| ------------| |----5 ----5-6-7---------------| ---------------| |-5-8--------------------| --------------------|

A Blues Pentatonic with flat 5 and raised 7

A, , C, D, Eb, E, G, G#

1, , b3, 4, b5, 5, b7, 7

|------------------------5 ------------------------5-8-| |-------------------5 -------------------5-8-9----| ----| |--------------5 --------------5-7-8---------| ---------| |---------5 ---------5-6-7--------------| --------------| |----5 ----5-6-7-------------------| -------------------| |-5-8------------------------| ------------------------|

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

145

From The Lesson Titled, „CAGED „CAGED Minor Chords Chords‰ ds‰

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

146

Conclusion I hope youÊve enjoyed exploring the guitar during this course. Keep in mind that these concepts take a while to incorporate into your daily playing. You need to be patient with yourself. Go slowly. Step-by-step. DonÊt get frustrated if you canÊt make a certain chord or play a certain scale. Just keep working at it. Your determination is absolutely essential to your long-term success as a guitarist. Many people just want to learn the „quick and easy‰ way. Well, I hate to break the news to you... but honestly, there is no „quick and easy‰ way. Learning to play the guitar is labor of love. YouÊve got to want to learn. YouÊve got to have the will to make progress. And youÊve got to make the time to practice.

How important is talent? ThatÊs a great question. And IÊm not sure I really know the answer. What I do know is that IÊve seen a lot of musicians (not just guitarists) who were mega-talented, but never amounted to anything. Why? Well, because they were missing the most important ingredient... determination. In fact, if I had to choose between talent and determination, IÊd take determination any day. Now, it doesnÊt hurt to have both. But hereÊs the point: you can go a long, long way with your playing if you have only a smidgeon of talent and big, heaping portion of determination. IÊve seen far too many super-talented musicians who were just plain lazy, who had all the talent in the world, but no self-discipline who have all but given up playing altogether. On the other hand, IÊve seen people with only a small amount of talent but who worked their fannies off, go places. Big places, under the lights in front of 10,000 screaming fans. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

147

HereÊs a true story about „lack of talent‰ When I was a mere seventeen years of age I played in a rock band. Three of the four members of the band were classically trained. I had taken classical piano from the age of five, and I also studied operatic voice. The lead guitarist in my band had studied classical guitar at the Howard Vance Guitar Academy from the age of six. He was a brilliant musician. The drummer played Beethoven sonatas and Chopin etudes in his spare time. He went on to study at the collegiate level. And the bassist? Well, he was just one of those guys who practiced about four hours a day. He could play anything. And I mean anything. Any style, any genre, any lick. We were tight. I mean we practiced about three times a week. And we played the other days. We played every major venue in Memphis at the time, including a regular spot at the New Daisy Theater on worldfamous Beale Street. It was a blast. We had a loyal following. Wrote ninety percent of our songs. We were one of the hottest bands in town at the time (especially for a bunch of high-school kids). We also played school dances (mostly for the money). We were, in our little world, big time. We had various bands open for us. But there was one band that I remember in particular. Boy, we gave them a tough time. They all kind of looked up to us. (Even though they were older). I suppose it was that whole „superior‰ musician thing. My guess is that they were somewhat intimidated by the fact that we were not just a bunch of „rockers.‰ We were, for all intents and purposes, real, trained, semi-professional musicians. And all of us planned to make music our career. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

148

IÊm ashamed to say that I remember sitting back stage as this band was opening for us. We would just sit back and laugh. And I mean laugh hard. We hated their songs. We thought their guitar solos were horrible. The singer couldnÊt sing. The guitarist knew about five chords. The drummer was terrible. We had a name for this band... the „anti-talents.‰ We were ruthless to these guys (behind their back, of course). Anyway, time went on. My band eventually broke up. We went our separate ways. And life moved on. Fast forward four years. I had recently married. And my wife and I were at a prominent outdoor shopping mall in one of the ritziest areas of town. As we strolled past this record store, a poster caught my eye. I looked up in amazement. I couldnÊt even speak. I couldnÊt move. I just stood there. In shock. My world was spinning. I wouldnÊt have been more surprised if someone would have thrown a brick in my face. As I stared at the poster of these rockers, mostly dressed in black, earrings, makeup and the whole bit, a flood of memories came rushing upon me. I was stunned. It was the band that used to open for us. The guys we had made fun of for years. The guys we called the „anti-talents.‰ Their faces were plastered all over one the biggest music stores in town. Their newlyreleased album was stacked fifteen deep inside the store. They had made it.

© 2005 Dan Denley, www.AmazingGuitarSecrets.com

149

I still remember that day, like yesterday. I had a profound effect on me. And taught me several of lifeÊs lessons. Mostly, it showed me that the will to succeed is a very powerful force.

Final thoughts Now, IÊm not one of these motivational guys that puts on a headset, runs up on stage and screams that if you just think long enough, try hard enough and work hard enough you can do anything. Personally speaking, I think a lot of that is just plain pooh-pooh. But I will admit this: when it comes to guitar, how far you go is largely (notice I didnÊt say, „entirely‰) up to you. Think about it. How many hours do you think Joe Satriani spent playing the major scale in all seven positions before he was able to solo over the entire fret board? How many years to you think it took Steve Vai to be able to play a solo in any key, at any time? How long do you think it took Eric Johnson to memorize the pentatonic major, pentatonic minor and pentatonic blues scales in all keys so that he could play blistering arpeggios? And how many hours a day would you guess Yngwie Malmsteen practiced when he was learning? To ask these questions, is really to answer them. We both know that these guys spent literally countless hours honing their skills. But the point I want to make is that none of them, even as talented as they all are, would have become the guitarists they are today without a truck-load of self-discipline and bitter determination. They are great largely because the decided that they were going to maximize their Godgiven abilities. But without a whole lot of hard work, they would have never become the guitar legends they are today. Now, IÊm not saying that you necessarily want to be „guitar legend.‰ Maybe you just want to play a few chords on your acoustic on a Sunday afternoon. And thatÊs great. But you still have to learn the chords. © 2005 Dan Denley, www.AmazingGuitarSecrets.com

150

You still have to get your guitar out. You still have to make a decision between the TV and your guitar the other nights of the week. So, if I could encourage you do just one thing, itÊs this: make a firm commitment. Whatever your goal is, just make a commitment to achieve it. But it goes farther than just „hoping.‰ In fact, it has a lot more to do with „doing‰ than just „hoping.‰ You see, you can think about playing your favorite song, or you can go get you dang guitar and try to figure it out. You can hope that youÊll learn how to play solos, but unless you practice and teach yourself the scales, you canÊt get there. So much of what you accomplish is right between your ears. ItÊs a decision. ItÊs a mental state that leads to action. And that my friend is the real, „secret.‰ Action. Constant, unwavering action. A steady going forward. Always learning. Always trying. Always progressing. So, go get your guitar and get busy. The enjoyment and sense of accomplishment that youÊll feel by learning how to play the chord progressions in this book, or the scales, or the barre chords or whatever will bring you infinitely more pleasure than the brief struggle of learning something new. Take care. Practice hard. God bless. All the best to you and your guitar playing future. Cheers, Dan Denley © 2005 Dan Denley, www.AmazingGuitarSecrets.com

151