OR,
125 Ways to Play “Louie Louie” in C
by: Rick Roseberry
Also available at www.FretboardRevealed.com...
Uses:
✔ play a simple C-F-G progression 125 different ways ✔ play close harmony, like horn section lines ✔ re-voice a harmony or progression when using a capo or changing key ✔ learn more slide patterns ✔ play any chord in 5 different places and in 5 ways ✔ move up and down the neck when playing rhythm ✔ use the whole neck to play a chord progression or solo ✔ need to know only 5 forms of each chord
Includes: ✔ ✔ ✔ ✔ ✔ ✔
diagrams of 5 types of 10 different chords (M M7 7 m m7 + dim 9 11 13) tricks and progressions (basic and fancy) detailed fingering and patterns technical exercises Circle of 4ths, 5ths, 3rds (new!) practical advise No reading of music or tab is necessary.
Print this document on 8½x11 inch letter-sized paper, 24 pages. Can't Copy text. Please do not share with others, it is illegal and deprives me of important guitar-strings-and-beer money. Thank you. Author: Rick Roseberry © 2005-2007. “Circle of Thirds,” “125 Ways to Play Louie Louie in C,” “Secrets of the Guitar Fretboard Revealed,” “Secrets of Scales and Chords Revealed,” “Secrets of Chord Substitutions Revealed,” and “Secrets of the Blues Revealed” are trademarks of Rick Roseberry 2005-2007. All rights reserved.
Published by: Rick Roseberry,
[email protected] www.FretboardRevealed.com Place of Publication: San Francisco, California. Year of Publication: 2007 The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made.
Secrets of the Guitar Fretboard Revealed Table of Contents Page
Foreword............................................................i Symbol Legend................................................ii The Five “CAGED” Chords...............................1 The Basic “C” Scale in Each Position.............3 The “C” Chord in the 5 CAGED Positions.....4 The Full “C” Scale in Each Position................5 The Consolidated “C” Major Scale................7 The Ten Chords................................................8 The Ten C-type Chords..................................10 The Ten A-type Chords.................................11
The Ten G-type Chords..................................12 The Ten E-type Chords...................................13 The Ten D-type Chords..................................14 Proper Hand Positioning...............................15 The Numbers Translated To Notes..............15 Circle of Fifths/Fourths/Thirds.....................16 Linear and Diagonal Exercises......................17 Home is Where The Root Is...........................18 Chords As Numbers.......................................18 Does It Sound Good?.....................................19
www.FretboardRevealed.com
My name is Rick and I've been living, breathing, studying, playing, and performing the guitar since 1964 at age 7, and teaching since 1974. I learned from the late great San Francisco guitar teacher Keith Allen, my mentor since 1973. I learned to play guitar and read music at age 7, two hours a day plus a lesson a week, for 3 years. I later rebelled, quit the lessons, and explored this early-70s newto-me music by the Allman Bros, Jeff Beck and Jimi Hendrix. I would learn the records late at night, note-for-note. They were my new guitar teachers, and I was on fire for guitar again.
Foreword This book is dedicated to guitar teachers in general, but especially to my favorite guitar teacher, the late Keith Allen. His enthusiasm, professionalism, knowledge, honesty, humor, generosity, kind spirit, tone and monster technique made him a true guitar hero to me as a teenager. Already blessed with 10 years worth of guitar playing under my belt, I could read as well as play. I just needed direction and motivation. Although only a few years older, Keith was way ahead of me in ability and knowledge, and more than happy to share both. This brave new world of guitar was laid before me, off to the horizon as far as I could see. Jimi, Duane, Jeff, Eric, Buddy, Albert, Freddie, Roy, Billy and the rest were Guitar Gods where I come from, and Keith was the Son through which I came to them. A professional musician and teacher all his life, Keith refused to abandon his family to tour, or else you, too, would know his name far and wide. In January 2004, Keith joined Duane and Jimi in the great Celestial Jam, dead of a heart attack at 50. This book is dedicated to him, in an effort to document his teachings before those of us left from those heady '70s get too old to remember it, and too busy to teach it. Oral wisdom must be written to survive.
Then at age 17 I went to Blue Bear Waltzes School of Music in San Francisco, the first "Rock&Roll College." It was there I learned fretboard and music theory, composition; and studied with my practice partner Chris Hayes (Huey Lewis & The News), Bonnie Hayes (Bonnie Raitt's composer), Keith Allen (Steve Miller Band), and others. Since 1974 I've been teaching only intermediate and advanced players. From playing in loud rock bands to musicals like Pippin and Godspell, from blues to jazz, folk to classical, CAGED has made me a better guitarist.
Keith Allen, R.I.P. Rick Roseberry, 2007 RR, Age 9, 1966
RR, Age 21, 1978
i
Symbol Legend b = “flat:” lowered, or down towards the nut one fret bb = “double-flat:” lowered, or down towards the nut two frets # = “sharp:” raised, or up towards the bridge one fret natural = no flat or sharp = corresponds to the fret markers on most necks = fingers to use for that note = open string = root = regular note, “Just play it, dude” || = end of chord progression, go to the beginning or end it This is an explanation of the diagrams and symbols you will see, in case they aren't familiar. Since you are an avid student of the guitar, you've no doubt seen this type of notation. There is no tab or treble clef notation in this book. In these diagrams of the fretboard, the nut is at the top, the high E string is on the right, and the low E (bass) string is on the left. This is as if you were looking at the guitar as it stands up on its end. I chose to diagram the fretboard in this conventional way, a standard method for teaching chords I've studied the past 40 years. However, I am not a fan of that style of notation, as guitarists actually don't see the fretboard as if we are looking at a guitar standing on its end. Instead, we look down on it sideways from its left (for a right-handed player). Therefore, the diagram should have the nut at the left, low E string at the top, high E string at the bottom. That's how guitarists spend years looking at the fretboard. I originally wrote all the diagrams this way, and I believe it is superior to convention. Nevertheless, in an effort to reduce potential confusion, I opted for convention over personal preference. ii
The Five “CAGED” Chords 125 Different Ways to Play “C-F-G” The guitar fretboard is unique in that it allows the opportunity to describe where on the neck to play a chord or scale, and which fingering pattern to use. All instruments call a chord or scale by its root key, say “C”. And then further, its quality, such as Cm or C7. The guitar is unique in that we can also say “E-type Cm,” or “Dtype C7.” “E-type Cm” states not only that the chord is a “Cm,” but also that the chord form to use is the “E type of Cm.” By implication it also states where on the neck to play it, since a, say, E-type C7 chord can only be played at the 8th fret. So, every chord on the fretboard can be classified by its type, just as every chord has a root key and and quality. On the fretboard, there are only 5 chord types, namely C, A, G, E and D (named by their chord forms when played in the open position, or at the nut). These are the only 5 major chords anyone needs to learn on guitar. All other chords, say, B-flat, can be learned as one of the 5 types of an A chord moved up a half-step, or any of the 5 types of a C chord moved down a whole step (2 frets). CAGED can be used in the following ways: playing a simple C-F-G progression in 125 different ways; playing horn section lines; re-voicing a harmony or progression such as when using a capo or changing a song's key; using the whole neck to play a chord progression or solo; not getting in the way when playing rhythm with another guitarist. Learn these chords and their scales, and the secrets of the fretboard are yours!
On the guitar neck there are 5 positions, which are connected up the neck in a certain order. These positions are named by their shape when played in the open (nut) position. They are, in order, C,A,G,E, and D. The diagram on Page 1 shows how the positions connect up the neck, showing the 5 types of the “C” chord. Each of the 5 types has its own uniquely-fretted chords; such as Major, minor, Suspended, Dominant, diminished, Augmented, Major7, minor7, 6, 9, 11, 13, and many more. See Page 9. That means there are 5 ways in 5 different places on the neck to play any Major chord, and all 5 are connected, or share at least one note in common. Where there are chords, there are patterns for scales. Where there are scales, there are solos. For solos, you can use any scale or combination of scales, or an “un-deconstructed just close your eyes and play what you feel” riff (which can usually be reduced to a scale anyway). Scales can be the Major, minor, suspended, Dominant, diminished, Augmented, Blues, and more. There are as many scales as there are stars in the sky. Tip: Tune your guitar using an electronic tuner, so you can learn the proper sound of each chord or scale.
1
= Root (C)
The Five “CAGED” Chords, continued
The flow between positions is one of the tricks to good rhythm playing and soloing. Tip: practice playing a scale up and down the neck using the CAGED patterns for that scale. Tip: practice playing the same chord progression in each of the 5 positions. A simple 3-chord progression, like “Louie Louie,” has 125 possible combinations (5x5x5=125). Notice how the positions are in a pattern of 3-fret pattern followed by a 2-fret pattern. The fretboard is all about patterns, and that's a good one to remember, it'll come in handy later. When learning or writing a new song, make a point of learning all 5 positions to play each chord. Then Mix and Match. Move up the neck playing increasingly higher positions, then back down. Play a higher position during a solo. Even use it to play a solo using nothing but chords, made more interesting by Mix and Match. On the guitar neck there are 5 positions, which are connected up the neck in a certain order. These positions are named by their shape when played in the open (nut) position. They are, in order, C,A,G,E, and D. The diagram on Page 4 shows how the positions connect up the neck, showing the 5 types of the “C” chord. Each of the 5 types has its own uniquely-fretted chords; such as Major, minor, Suspended, Dominant, diminished, Augmented, Major7, minor7, 6, 9, 11, 13, and many more. See Page 11. That means there are 5 ways in 5 different places on the neck to play any Major chord, and all 5 are connected, or share at least one note in common. Where there are chords, there are patterns for scales. Where there are scales, there are solos.
C chord (C-type C major chord)
C A chord (A-type A major chord)
A G chord (G-type G major chord)
G E chord (E-type E major chord)
E D chord (D-type D major chord)
D 2
= Root (C)
The Basic “C” Scale in Each CAGED Position “C” scale, C to C, in each of the 5 positions Here is the C scale in each of the 5 positions, starting and ending on a C. This is the heart of CAGED as it relates to scales, especially major scales. Notice how they are similar in shape or pattern to the A, G, E, and D scales in the open position (at the nut). Learn these 5, and you will know all the major scales you'll need. Same with other forms, like minor. Soon, we will combine them and start and end on notes besides C. See Page 7. Connect them to move up and down the neck. In this way you can play the same lick in 5 different places on the neck, that is, in 5 different positions.
C-type C scale 2 3 4
3
Play this fingering, so when you move up the neck it's easier
A-type C scale
G-type C scale 1 2 3 4
3
3
5
5
7
7
7
9
9
9
12
12
12
3
3
5
5
9
12
5
D-type C scale
E-type C scale
7
Slide down with finger 1 1 for this note 2 3 4
1 2 3 4
Slide down with 1st finger for these notes
7
9
12
1 2 3 4
From the 12th fret is like starting at the nut
3
The “C” Chord in the 5 CAGED Positions These are the 5 different types of “C” major chords on the neck, showing the 5 Positions. In this case C is the 1st Position, A is the 2nd Position, G the 3rd, and so on. Learn these cold so you can quickly go to any of the 5 types of chords when playing a “C”. = Root (C)
3
5
7
9
12
Notice that chords have some common notes
Notice how the C, A, G, E and D chords go in order up the neck? That's why the system is called “CAGED.”
4
= Root (C)
The Full “C” Scale in Each CAGED Position Here's the rest of the notes in the “C” scale, in each of the 5 CAGED positions. These are C scales like in last lesson, but we are adding starting and ending on notes other than C, and including all the scale notes that can be played in the position. Notice the common notes in adjacent positions. Those can provide good anchors to remember where you are in the scale and on the neck. Tip: Combine these scales to expand your solo range more than 1 octave; moving linearly on the neck for licks or solos; play the dozens of 2- and 3-note chords like a horn section or organ; move to a different position for a certain lick; and in general for an expanded style and sound.
Play notes on this fret with this finger #
3
2 3 4
C-type C scale Notice this C chord in the scale
5
7
9
12
Play notes on this fret with this finger
3
5
1
A-type C scale
2 3 4
Notice this A chord in the scale
7
9
12
Slide up for these notes with the 4th finger
5
The Full “C” Scale in Each CAGED Position, continued
= Root (C)
G-type C scale
Slide down for this note with the 1st finger
3
5
7
E-type C scale 3
1 2 3 4
Notice this G chord in the scale
9
12
5
7
Play notes on this fret with this finger
9
1 2 3 4
D-type C scale
Notice this E chord in the scale
3
5
Slide down for this note with the 1st finger
12 7
9
Notice this D chord in the scale
12
1 2 3 4
6
The Consolidated “C” Major Scale The Full C Major Scale in Each of the 5 CAGED Positions This is the Basic C scale in each position, the C chord with the rest of the notes in the key of C added, as well as the combination of the 5 CAGED scales on Pages 5-6. In the key of C, this is the whole enchilada, 12 frets worth. Know it cold. Play it linearly, diagonally, and in all positions. Practice great leaps between the notes to break out of the each-note-next-to-the-other routine. = Root (C)
Try playing the Consolidated C Major Scale over the following Diatonic (scale-wise) chord progressions:
CΔ | FΔ | Dm | G7 | CΔ | Am7 | Dm7 | G7 | CΔ || C | F | G7 | F | C | F | G7 | F | C || C | Dm | Em | Dm | C | Dm | Em | Dm | C || Am | Dm | Em | Dm | Am | Dm | Em | Dm | Am || Em | Am | Dm7 | G7 | C || C | Dm | Em | F | G7 | Am | B° | C || Am | F | G | F | C | Dm | Em | Dm | Am | F | G | F | C ||
C-type C scale A-type C scale
Am | F | G | Dm | Em | C | F | Em | G7 | C | Dm | G7 | C || Dm7 | G7 | C | Am | Dm7 | G7 | C || Dm7 | G7 | CΔ | Am | Dm7 | G7 | CΔ ||
G-type C scale E-type C scale
D-type C scale
Tip: record yourself playing the chords and then play along with a solo using the scale, or have a friend play the chords while you play the solo, then switch. Tip: Since the chords stay within the key (no sharps or flats if in the key of C), the progression is called “Diatonic.” Notes: 7 = dominant seventh (flat 7 or b7) m = minor (flat 3 or b3) Δ = Major 7 (natural 7) º = diminished (flat 3, flat 5, double-flat 7 or b3, b5, bb7) 7
The Ten Chords Here are the ways to play each of the main 10 chords in each of the CAGED types. They are Major, minor, Major 7, minor 7, 7th, 9th, 11th, 13th, Augmented, and diminished. They each have a characteristic sound, each are used in specific ways, and each has a chord(s) to which it resolves. Each of these chords has “its” scale, one which when played over that chord, sounds the wail most euphonious. Suggested scales for each type of chord are as follows. See my “Secrets of Scales and Chords Revealed” for more. Major chord: Major (Ionian), Mixolydian, Lydian, Major Pentatonic, Blues, Enigmatic, Hindu, Jazz Melodic minor, Double-harmonic, Byzantine, Chinese, Ichikosucho, Purvi. Resolves to any other chord. Really. minor or minor7 chords: Any minor, Dorian, Aeolian, Phrygian, Blues, minor Pentatonic, Diminished, ½ Dim, Jazz Melodic minor, Locrian, Super-locrian, Altered, Bali, 8-Tone Spanish, Hirajoshi, Hungarian (both), Kumai, Mohammedan, Neopolitan, Pelog, Todi. Cm resolves to Fm, Bb, Ab, Eb, Dm. Major7 chord: Major (Ionian), Lydian, Major pentatonic. Cmaj7 resolves to Fmaj7, Dm7, G, Dmaj7, Cm7. 7th, 9th, 11th and 13th chords: Mixolydian, Locrian, Superlocrian, Major Pentatonic, Blues, Whole-tone, Altered, Arabian, 8-Tone (exc. 11th chord), Hindu, Hungarian Major, Overtone. C resolves to F, Bmaj7, C+, Cº, B9, Bb7. Augmented chord: Mixolydian, Major Pentatonic, Blues, Augmented, Whole-tone, Altered, Byzantine, 8-Tone, Enigmatic, Hindu, Hirajoshi, Persian. C+ is a passing chord which resolves to A, C#, or F.
diminished chord: Locrian, Super-locrian, Diminished, Halfdiminished, Blues, Altered, 8-Tone, Hungarian Minor, Todi. Cº is a passing chord which resolves to C#, E, G, or A#. Many chords have strong leading properties. For instance, when the ear hears C7, it wants to resolve to F. The C+ also strongly leads to F. The diminished chord is unique since it resolves to any of the 4 chords a half-step (1 fret) up from any of the chord tones. Cº resolves to C#, E, G, and A#. Likewise, the Augmented chord also resolves up a halfstep of the chord tones. C+ resolves to C#, A, and F. Notice the symmetry of the diminished and Augmented chords: they are the only ones with their chord tones equally spaced, 3 frets apart for the dim, and 4 frets apart for the Aug. That also means the dim repeats itself every 3 frets (stays the same chord) as you move chromatically up the neck, and the Augmented does the same, every 4 frets. Thus, the Cº is also a Ebº, Gbº, and Aº. Same with Aug: a C+ is also a E+ and G#+. Use both these kinds of chords to make difficult changes of keys or chords, like going from C to Db via Cº, or C to Ab via C+. The 11 chord is a smoky and mysterious but beautiful Dominant chord, which resolves from V to I (G11 to C). It combines the classic harmony of the V to I with the funkiness of the gospel-like IV chord resolving to the I, as it is little more than a IV chord with a V in the bass. The IV also adds suspension, strongly leading to resolution to the I. Used mostly in pop and jazz, hear it in a Blues at 1:13 in Goin' Down Slow (Allman Bros).
8
The Ten Chords, continued
The 11 chord is a smoky and mysterious but beautiful Dominant chord, which resolves from V to I (G11 to C). It combines the classic harmony of the V to I with the funkiness of the gospel-like IV chord resolving to the I, as it is little more than a IV chord with a V in the bass. The IV also adds suspension, strongly leading to resolution to the I. Used mostly in pop and jazz, hear it in a Blues at 1:13 in Goin' Down Slow (Allman Bros). Unless called “add6”, a 13th chord always has the b7 and the 9, but not the 11. The 9th chord always has the b7, except if “add9“. Tip: Try using the funky 9th chord, jazzy 13th chord, or the sexy 11th, in place of a 7th chord. Always use the b7 for a 7th chord, not the major 7. Tip: A “tritone substitution” uses a F9 or F13 in place of a B7 to resolve to E. The F is a “tritone,” or b5, from B. Works for any key, is used mostly in jazz and jazzy blues. See Page 31. Tip: Use the Phrygian scale (mode) or the diminished scale in a minor blues progression, or a whole tone scale over a 7th chord. See Page 25 for forty-five scales. Tip: Extensions or altered chord tones, like the b7, 9, 11, or 13, should be the higher notes, not in bass. The 5th (G in the key of C) or the Root (C in the key of C) can usually be omitted. In the real world, not all of the 10 chords in all of the 5 positions are useful, either because of fingering difficulty or its sound. Below are the chords you'll find more useful than others in most playing situations.
G-type chords A-type chords G A Gmaj7 Amaj7 G7 A7 Gsus Am G9 Am7 G11 A11 Asus A+ Aº D-type chords E-type chords D E Dmaj7 E7 Dm Em Dm7 Em7 D7 E9 Dsus E13 E+
C-type chords C Cmaj7 C7 C9 C11 C13 C+ Cº
Best for Major: C, A, G, E, D Best for minor: A, E, D Best for minor7th: A, E, D Best for Major7th: C, A, G, D Best for 7th: C, A, G, E, D Best for 9th: C, G, E, D Best for 11th: C, A, G Best for 13th: C, E Best for Aug: C, A, E Best for dim: C, A, D
9
Cmaj7
The Ten C-type Chords
∆ M7 major7
Cm C Eb G aka:
min minor b3
C7 C E G Bb aka:
dom7 seventh dominant
C13 CE G Bb D A
C9
C EG Bb D
= forms used most often aka: “also known as”
aka:
`=barre (bar)
CEGB
Although ten chords are shown here, they are only the most popular ones. There are dozens more. C Each of the chords has a unique C EG sound, and each has its own unique scale to go with it. More than one scale will work for most chords. Over the minor chord you could play the Melodic minor, Harmonic minor, or Diminished scales, or the Dorian, Aeolian, or Phrygian modes. See Page 25. Also shown are the notes making up Cm7 each chord. The more complex chords C Eb G Bb naturally have more notes (called aka: “extensions”), thereby providing the min 7 harmonic density. The Aug, 7, 9, 13, and minor 7 11 chords want to resolve up a fourth, b3b7 such as C7 to F. Diminished chords resolve up ½ step from any of its notes, so the C dim (or Cº) naturally wants to resolve to Db, Bb, G, or E Major chords. C11 Tip: Some of the chords of each type are C F Bb D really harder to play than they're worth, (don't confuse so I've put a star next to the better ones. with a sus Tip: Not all chords tones must be chord) played, esp. the Root and 5. Some chord tones are omitted in these diagrams.
Co C Eb Gb A
aka:
dim dim 7 diminished
C+ C E G# aka:
3
aug augmented 10
The Ten A-type Chords A
Amaj7
A7
A C# E
A C# E G#
A C# E G
∆ M7 major7
dom7 seventh dominant
Am7
A9
aka:
Am ACE aka: min minor b3
ACEG
A11
A13
ADGE (don't confuse with a sus chord)
A C# E G B F#
aka:
aka:
A C# E G B
min 7 minor 7 b3b7
A+ A C# F
aka:
aug augmented
Ao A C Eb Gb aka:
=barre (bar)
= forms used most often aka: “also known as”
dim diminished 11
The Ten G-type Chords Gmaj7
G
G B D F#
GBD
aka:
Gm
GBDF aka:
∆ M7 major7
dom7 seventh dominant
Gm7
G9
G Bb D
G Bb D F
min minor b3
min 7 minor 7 b3b7
G11
G13
GCAF (don't confuse with a sus chord)
GBDFAE
aka:
G7
GBDFA
aka:
G+ G B D#
aka:
aug augmented
Go G Bb Db E aka:
=barre (bar)
= forms used most often aka: “also known as”
dim dim 7 diminished
12
The Ten E-type Chords Emaj7
E
E G# B D#
E G# B
aka:
E7 E G# B D
aka:
∆ M7 major7
dom7 seventh dominant
Em
Em7
EGB
EGBD
E9
aka:
aka:
min minor b3
min 7 minor 7 b3b7
E11
E13
E+
E G# B D F# C#
E G# B# aka: aug augmented
EABD (don't confuse with a sus chord)
E G# B D F#
Eo E G Bb Db
aka:
=barre (bar)
= forms used most often aka: “also known as”
dim dim 7 diminished
13
The Ten D-type Chords D
Dmaj7
D F# A
D F# A C#
aka:
∆ M7 major7
DFAC
aka:
Dm7
D7 D F# A C aka:
dom7 seventh dominant
Dm
D9
DFA
D F# A C E
aka:
min 7 minor 7 b3b7
min minor b3
D11
D13
DGAE (don't confuse with a sus chord)
D F# A CEB
D+ D F# A# C
aka:
aug augmented
Do D F G# B
aka:
=barre (bar)
= forms used most often aka: “also known as”
dim dim 7 diminished
14
Proper Hand Positioning Classical guitarists know where best to position the hand during a scale. It's similar to piano, namely the crossover point for fingerings. Looking at the fretboard linearly (from nut to bridge), play an “F” scale on only one string. In so doing the hand should easily go to the 3 Positions, as shown below. It helps break the “stuck in 1 position” rut we can get into, and makes linear movement more natural and spontaneous. Tip: practice big jumps up and down the neck, like Jimi, SRV, and Johnny Winter. Tip: try playing diagonally; High E on the 12th fret to Open Low E, 3 octaves. Then reverse: Open Low E to High E 12th fret. How you get from one to the other is the Art. Use your ear, use your heart, use what you learn here. This exercise also reminds you of the Major scale's intervals, namely: whole step, whole step, half step, whole step, whole step, whole step, half step. A whole step? On guitar that's a step (or interval) of 2 frets, thus a half step is a 1 fret interval.
=fingers to use
F Major Scale Start with hand here
Move to here
Then here. Now go back down in reverse
The Numbers Translated to Notes In the key of C, the numbers correspond to:
1 =C b2 = Db 2 =D b3 = Eb 3 =E 4 =F #4 = F# b5 = Gb 5 =G +5 = G#
b6 = Ab 6 =A b7 = Bb 7 =B b9 = Db 9 =D #9 = D# 11 = F 13 = A
Note: there are no “10th” or “12th” chords, the 10 is “E”, the Third in C; and 12 is G, the Fifth.
15
Circle of Fifths, Fourths and Thirds
F
C
G
Circle of Fifths this way
Bb/A#
D Circle of Fifths (and Fourths)
Eb/D#
E
Ab/G# Db/C#
A
Gb/F#
Each key this way is one more #, until C#
Each key this way is one more b, until Cb
Circle of Fourths this way
The Circle of Fifths is one of the truly magical things in music. Going around the circle clockwise is the Circle of Fifths, and counter-clockwise is the Circle of Fourths. As you see, either way you hit every key, and still end up back at C. The Circle of Fourths is often used in jazz, such as the progression C E7 A7 D7 G7, and in turnarounds. The common jazz progression called “II-V-I” is the Circle of Fourths, and is the jazz version of blues' “IIV-V”. The song “Hey Joe” is the Circle of Fifths. Try playing both Circles as a chord progression.
B/Cb C (1) D
B This is my invention, the “Circle of Thirds.” It illustrates how chords are just stacked Thirds. This example is in the key of C, of course. C E G creates the basic C chord (Eb for minor, G# for augmented). Adding the B creates a C7 (if Bb, or Cmaj7 if natural B). Adding D creates that funky C9 chord (Db makes it Cb9, D# makes it C#9). Adding an F creates a suspenseful C11 chord. Finally, adding an A gives a jazzy C13 chord. In practice, you can play just a C7 in place of the 9, 11 or 13. An 11 chord is played without the 9, and the 13 chord wants the 7 and 9 join it, but not the 11.
A (13)
E (3) F
G
Circle of Thirds F (11)
G (5) E
A
D (9)
C
B (7)
16
Linear and Diagonal Exercises =play in this order, 1-24
Linear exercises are good for warming-up fingers, increasing speed and perfecting your tempo. Tip: reverse it in all directions, and try alternating fingers (1324, 4231 and 123443211234). The one on the left is good for practicing hammer-ons, and the right good for pull-offs. Playing every fret on every string this way (starting at the low F) is a good way to check a neck for buzzes and bad frets.
Diagonal exercises are a good way to improve picking and fretting precision. Tip: these are wild and fun. Reverse it in both directions (back and forth and up and down), alternate fingers (1324 and 4231) and alternate strings. Play it evenly, fluidly and with swing like a solo.
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Home is Where The Root Is When soloing, the most important note in any scale is the Root, the tone that's the key of the part you’re playing over (not always the key of the song, since the solo might be in different key). The Root is home. Start and especially end a phrase or solo on it. Solos can be otherwise harmonically-wild, as long as you end on the Root. That way it'll sound like you “meant for that to happen.” Use all the notes of the Root on the guitar, for instance, there are seven C notes within the 12 frets. See below.
All the C notes, 3
5
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the Root in the key of C. Memorize and use them all. Start a solo high and end low, or vice-versa. Or play the same lick in different octaves.
Chords as Numbers One way to express to others which chord to play in a chord progression is with numbers. It makes it easy to communicate which chord is next while the band is playing, either by shouting “Four!”, or by holding up 4 fingers (for the IV chord), 5 fingers for the V chord, or 1 finger for the I chord. In the key of C, the chords are:
I=C II = D (Dm) III = E (Em) IV = F V = G (G7) Tip: Shorthand for “starting at the beginning” is to point to, touch or tap the top of your head. It came from jazz, where the beginning of the song is called the “head."
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Does It Sound Good? You are the sole judge of what sounds good or not. No one else knows better than you how well you sound. Therefore, play just for you, not for the cute girl in the front row, or your buddy in the back, or anyone else. They have no idea if you are playing well, but you sure do. When I play on stage, my aim is to give myself chills like I would get when I saw my heroes, like Jeff Beck, Roy Buchanan, Johnny Winter, Robben Ford, Charlie Baty, or Buddy Whittington, for the first time. That same sense of excitement, awe, and joy. They inspired me to study and play harder. So now when I play, I do it primarily for me, to entertain myself. I try to give myself chills, every solo. Everyone else gets to vicariously enjoy it as well. But in the middle of a solo, I'm trying to make myself laugh and be surprised, by stretching a little farther or playing something I've never played before. No one else will know if I succeed at that. But I will. That's the only way for me to ensure I play at my peak. Otherwise, the problem is that everyone else will enjoy it even if I don't play inspiringly, but I won't. I know what I'm capable of, and I know when I either fall short or exceed it. So if I try impress the cute girl in the front row, I won't play to my full potential. But if I try to impress myself, then I'll play to my full potential at that moment, and then some. And she, and everyone else, will surely be impressed because of it. 19
