The Ultimate Guitar Workout
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The UIL-i~~Ze~L"e Gz.~iL"e~r
W'CJrkCJZI L" Bp Mark Nelson and Chris Connors
Copyright© 1995 By Mark Nelson and Chris Connors All rights reserved . No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, without written permission from the copyright holder. Book design by Mark Nelson First printing 1994 Printed in the United States Of America
Distributed by:
I~ Musieal Pregressiens Musical Progressions P.O. Box 769 Enfield , CT 06083-0769
n•
Contents Introduction
1
Tablature Guitar Diagrams Practicing Tips Special Notes
2 2
3 4
Part 1: Getting In Shape Chapter 1: Playing Techniques and Exercises Alternate Picking Picking Patterns Speed Picking Hammer Ons And Pull Ot'fs Rolling Tapping
7
8 11 12 13 14 17
Chapter 2: Basic Fingering Exercises
21
Straight Fingering Reverse Fingering Bi-directional Fingering Out Of Sequence Repeated Fingering Multiple Finger Combinations Complete Fingering
22 25 28 31
33 35
38
Chapter 3: Finger Strengthening Exercises
39
Trills Trills II Trills ill Hyper-extended Fingering Lifting Lifting II
40
Chapter 4: Advanced Fingering Exercises
47 48
Single String Combinations Diagonal Fingering Vertical Fingering String Skipping Pivoting Three Grouping Four Grouping
Additional Exercises For Part 1
41 42 43 45
46
49 51 53
56 59
61 63
Part 2: Playing In Key Chapter 5: The Major and Minor Scales
67
The Fretboard Major Scales Relative Minor Scales Scale Reference Sheet Major Scale Exercises Minor Scale Exercises
68 68
Chapter 6: Modes Understanding The Modes Linking The Modes C Major a..'1d A Minor Reference Sheet G Major and E Minor Reference Sheet F Major and D Minor Reference Sheet Theory Quiz Modal Patterns E Minor Exercises Optional Modes
70 71
72 77 83 84 86 87
88 89 90 91 93 107
Chapter 7: The Pentatonic and Blues Scales
109
The Pentatonic Scale The Blues Scale Pentatonic Scale Exercises
110
111 112
Chapter 8: Pentatonic and Blues Patterns
117
The Pentatonic Patterns The Blues Patterns Linking The Patterns Pentatonic Exercises In E Minor
118 119
Chapter 9: Chords
131 131 132 133 134 135 136 137 138 138 139
Open Position Chords Barre Chords Chord Progressions Chord Construction By Key C Major and A Minor Chord Reference Sheet G Major and E Minor Chord Reference Sheet F Major and D Minor Chord Reference Sheet Power Chords Palm Muting Theory Quiz 11 Chord Progression Exercises
Chapter 10: Arpeggios Arpeggio Progressions Major Arpeggio Exercises
120 121
140 145 146 150
Minor Arpeggio Exercises Diminished Arpeggio Exercises Optional Arpeggios
152 154 156
Part 3: Applying What You've Learned Chapter 11: Riffs Bending Riffs With Modes Blues Riffs
159 159 160 163
Chapter 12: Advanced Progressions and Solos Advanced Progressions Solos
167 167 173
Introduction The Ultimate Guitar Workout was designed to improve playing speed, accuracy, and coordination in the quickest way possible. It will also give you enough music theory information to make you a knowledgeable musician. What makes this book unique is that music reading is nul required to use it. Also, the teaching method we've used is different than any other. Rather than spending countless hours reading music from a song hook, you will be using many effective exercises to help you hecome an excellent guitar player. Some instructional books overwhelm the reader with page after page of complex information and others give you very little information at all. Our exercises use tablature and diagrams to make guitar playing easier and more enjoyable. You will be able to spend more time actually playing your guitar. The book is divided into three sections: Part one, Getting In Shape, is made up of over two hundred exercises. Each one is designed to improve your playing skill. Playing techniques such as alternate picking and fretboard tapping are also introduced here.
In pan two, Playing In Key, you will learn how to play scales, modes, chords and arpeggios. A detailed explanation is given showing how each of these are created and used in music. With the exercises in this section you will learn how to play in key anywhere on the guitar. Part three, Applying what you've learned, is where you will learn some riffs, advanced progressions, and solos. This section combines the techniques and exercises used in the previous chapters. Whether you are a beginner, intermediate or advanced guitarist, no matter what type of music you play, The Ultimate Guitar Workout can help you become a better musician.
Practice hard and have fun,
Mark Nelson
Introduction
I
Tablature Taking the place of sheet music, tablature is a method of reading that has become very popular with today's guitarists. On the diagram below, the horizontal lines represent the six strings on the guitar. The top line is the high E string, and the bottom line is the low E string. The numbers on the lines are fret numbers. When numbers are stacked on top of each other, the notes are played at the same time. The number 0 represents an open stting. Read the tablature from left to right.
~ ~~~~~
-----------------~--,~3~ )
G String 42:11 D String r-- - - - - -- - - -------10- - -- - - -- --\0 A String E String 6 '--------3 -------------------.)~ f-.
Sixth string third fret
G Major chord
An open D string
The example below shows what the tablature would look like if you were to play the first four notes on each string.
1
32 4
~
~
- -- - -- - - - - -- 1- 2- 3-4-
1-2-3
A
-------- 1 -2-3-A~------------~ 1 ---- 1-2-3-'+ ------------------~
1-2-3--4-1-2-3--4-- - - -- - - - -- -------1
Usual1y sheet music is included with the tablature so you can see how to play the rhythm correctly. In this book however, the exercises are played with a straight rhythm, so every note equals the same amount of time. In part three, rhythmic variations have been added to the tablature to make the riffs, progressions, and solos sound more musical.
Guitar Diagrams Easy to follow guitar diagrams will be used to show how to play exercises, scales, chords, and arpeggios. The diagram on the next page represents a picture of the guitar neck from the open position to the fifth fret. The vertical lines are the strings, and the horizontal lines are the frets. The dots represent the notes to be played, and the arrows show the correct order they should be played in. Fret numbers are shown on the side of the diagram, and open string notes are shown across the top. The tablature to the left con·esponds with the diagram.
2
Introduction
E A
D G
B E
2
3
4
1.---------------------------~
56~1
. . .
1-2-3-4
l- 2-3j
L---1-L-J~------------------~
5 2
Some diagrams will include finger numbers as shown here. On certain exercises, the finger numbers will be obvious, so they won't be indicated. For example, the exercise above is played on the 1st, 2nd, 3rd, and 4th frets. Therefore, you would use your 1st, 2nd, 3rd, and 4th fingers consecutively.
Practicing Tips Use Proper Technique. Technique is best learned by having someone actually show you. or from your own experimentation. Here are a few ba..ic playing tips to heip beginners: 1. Thumb should be behind the neck. It should be approximately where the second finger is on the opposite side. This allows the playing hand to open up so greater stretches can be achieved.
2. Fingers should be on their tips. Correct finger position will improve your tone and sustain. 3. Play softly. Pressing lightly on the strings is a good way to improve tone quality. Picking gently with the very tip of the pick will also improve your playing. Take Your Time. Although The Ultimate Guitar Workout will speed up your progress dramatically, it is important to remember that you can ' t learn to play a musical instrument in one day. The amount of time it takes you to complete this entire book will depend on the ability level you ' re at when you start, and how much time you practice each day. Never rush through an exercise just to get it out of the way.
Introduction
3
Repeat the Exercises. The more times you play an exercise the better your workout will be. Play until your hands feel tired, rest for a minute, and then play it again. It is also a good idea to go back to an old exercise from time to time. W c suggest that you redo some exercises after you complete each chapter. This will insure that you get a complete and thorough workout. Don't Skip Anything. Some of the exercises that you' lllcam at the beginning of the book may help you later. Some advanced players will have an easy time with the exercises in the first few chapters. We recommend that you give them a try anyway. You might find some of them challenging. If not, use them as warm-up exercises to loosen up your fingers.
Special Notes Up and Down the rretboard. Some guitarists, especially beginners. get confused when the words "up" and "down" are used to refer to the fretboard. When we use the words "up" and "down" we are referring to the pitch of the notes. For example, as you go from the first fret to the twelfth, you are moving up the guitar neck since the notes are going up in pitch. Transposin& an Exercise. Everything in this book can be moved to another location on the guitar neck. Here is an example. Look at this exercise that starts on first fret.
~~
1-3-5 1-3-5-5- 3- 1 5-3- 1
j
5- 3 -1 -------~~
31-3-5 4 1- 3- 5 5 1- 3-5 6 1-3-5
5-3- 1- -- ------.j 5-3-1- ----l 5-3-1
The next exercise is exactly the same except that we've moved all the notes up two frets. Now you can play the same exercise starting on the third fret. Transposing can be very useful if you want to move chords, scales, or entire exercises.
j
3-5-7-7-5- 3
1
2 3 4 5
3- 5- 7 .
3- 5- 7
7-5-3- - -- - -7-5- 3 7-5-3-- ------l 7-5-3- - ---l 7- 5- 3
3- 5- 7
3-5- 7
6 '-3- 5- 7-
Left Handed Qui tarists. If you are a left handed guitarist, simply reverse all of the diagrams. Here is how a C major chord would look if it were reversed.
j
~~
Right Handed
4
Introduction
Left Handed
Part 1 Getting In Shape
Chapter 1 Playing Techniques And Exercises This chapter contains exercises for guitarists of all ability levels. Many of these techniques will be used throughout the book. They will improve the dexterity of both your left and right hand. Beginners should learn at least one of the alternate picking techniques before going on to the other chapters.
Chapter 1 contains the following exercises:
Alternate Picking Picking Patterns Speed Picking Hammer Ons And Pull Offs Rolling Tapping
Part 1: Getting In Shape
7
Exercise #1 Alternate Picking Alternate picking is the most common picking technique used today. Two different forms of this picking method are shown here. It is a good idea to try them both and stick with the one you feel most comfortable with. A few exercises have been included for both types of picking. Alternating Completely. To perform this technique, alternate your picking at all times. Many people prefer this because of the steady up-down-up-down motion. Try the exercise helow with open strings. The arrows show the correct picking direction. Notice how the direction changes after each note.
Exercise Ia -0--fl--D-
1 2
0-----0--D--0- 0-0
3 4 5 6 '--0-0-0
0-0-
0-0-0
0-0-
-0---0--f).
- 0-0
0-0 --0-
0-0-0-
Cross Picking. This technique eliminates unnecessary pick strokes. Pick in an up-down-up-down motion whenever it is efficient. On the exercise below, notice that the picking direction stays the same as you move from string to suing. The main advanlage of cross picking is that there is no wasted pick motion.
Exercise lb lr--------------------------4 2r--------------------3 4 5 6
~--------------~
0-0-01--- - ----l o~~~r----~
}-0-
0- 0---
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
8
Chapter 1: Playing Techniques and Exercises
Alternating Completely Exercise tc
Exercise td
i~
5-
~
0--{H}-0 0--{H}-0 0--------- - - - -- - - - ------ - - - - - -- - -------- ------J
iE 1
5
1~1
1--1-3--l-3- 5- -5- 3- 1- -3-- l ·-- --·1--- - - - -- - - - - - - , 1~3-- J -3-5-3-.:i--) 5--5-3--5-3-1--3~1~
3 5-3--5-3-1--3-1--1 4 5--5-3- -5- 3- 156
60
3- 1-
J
-l 5- -5- 3--5-3-1- -3- 1 - - 1 --------1 5 -- 5- 3-5-3-1
Chapter 4: Advanced Fingering Exercises
Exercise #7 Four Grouping Four Grouping is very similar to the previous exercise except that the notes are divided into groups of four this time. All of the grouping exercises in this chapter will help you to get used to playing complex patterns.
Exercise 7a lr------------------------------------------------------------------,
2 f - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -
3~
4 5
1
1
1-~3---2 _
6
1- 2--1-2-3----1-2-3---2-:
1 I 1 l-2--1 -2-1------1-2-~ 1-2- -1- 2-1------1-2-3---2- 3 3 -
--
3~----------------------------------j
3~--------------------------------------------------~
1
1-2--1-2-3-- 3----2- 1-
I
wrr-2-'l-i-2-1------1-2-3-----2- 3
-2-1
1
1
1.- - - - -- - - - - - - -------,
3-2--3----2-1-3-2~132~1,
I I
3---2-1-3---2- 1- -2- 1
1 3---2-- 3---2- 1--3-2-1--2-1 1_ _ t---------------------------------j----3-2- -3-2-1-3-2-1-2- 1 1 -- 1---jj------3-2-3-2-
L __ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ __ _ _ __ _ _ _ _ _ _ _ _ __ _ _ __
Exercise 7b 1.------------------------------------------------------------------.
~~============================================-~---?-4--i --4 -i--:-~ ,-- --i--2 -- ~ 1-2--1- 2-4--l- 2.----~-~-' 3-- 5-3>--._6--5-=3=:11=1:=3-=5-6------6-3-5-6--5---3>---6--_ 5-- -t- nl~l
Major Exercise #9 3-5-6-5-'l
1 ,6-5-?h: :5-c'l 2
5-3-2-3--,'
3-5-6- ~5-3
3---5--~----6-S-3-
. -- -
5-3-2-r-2-3-:'
2-~"
2-3--5-3--2
3 4 2-3-5-3-2 2-3-:' 1-3--i' 5-3--1- t--:f-3--," 5 6 '-l-3--,'
3 4 5 6
3--5-6-5-3
..
l
2
5-3-2 - 2-3--"
5-3-2
2-3-5-r--5-3-2 2-3-5- - 5-3-2
5-3-2
5-3-2-:.'h" ...
5-3--1-3--5
1-3--5--
5-3--1 5-3-1-3-5
Part 2: Playing In Key
75
Major Exercise # 10 1
2 3 • 4 5 •
• •
• •
• •
• •
1
1-3--5-3- - 1-3--5---5-3- -1-3--5
6
1 2 3 4
., .., 1 1-J-1
• •
1-3--5-3-1
5-3- -1-3--:'
• •
5-3- '--1-3--'-
• •
•
5 •
1-3--'
6
1
• •
• •
1-3-5
.
2 3 4 5 • 6
2-3-2
• •
5-3--1 5-'1
1-3--5
.
2
1-3--'
1-3--'
2-3--5----5-3-2
5-3--1
•
-
• •
1-3-'
5-3
1-3--:'
l-3--5
· - ··-·-2- 3--2
2-3-.'
1
2 3 • 4 5 • 6
1-3-"
1-3--,"-
2-3--"
2-3--5--3--2
• •
5--3-2
5-3--1
•
. 5--3--- '---l-3-:'
2-3--5-3--2
1-3--.' 2-3-'
2 1-3--5----5-3--1
• • 5--3-
•
5-3--1 5-'l
5-3-2
'l 2-3--5---5-3--2
•
•
5-3--1 5-3
. •
5-3--2 5-3--1
•
5--3---
4~iiHI_-.-----------2-~3--5-~-3--5~3-5--3~5---3--2=5-=---3- -2=-~-=~~=--~=~--=~--=~--=~--=~--=~--==--==~:~ ~ 1-3--"
1-3--"
5--3--1- - -- - - -- - +1 5-3;---------~
5- _--~-~=-5-=--3-.-=2-=-5-=-3-:= = - -=~========-==-= -= -= -=~=~=~=~=~=~=~=~ :~ 1
m
1-3-< 2-3- < 2-h 3-5-6-:i=Ji--
1-3--.r-----------------5--3;----------~--
3--5- tS- - 0- 5- ?L--- ----------rl
111 3 4635~~:---------~~3-5 ~3-c~'--------~5--3--2~5--~-2:==================~:~ 2
5--3-1-----------tl__
~-----------1 -3-'
~------1-3--r----------------~5--3~-----~
~6~~n~--------~---3--,-2-3--'-2-~~-:'~-3--~-~ --~3---~---3~----5--~3~~5- = 3- =2~-5-=---3--2=:=5- =-3-_-==-l=-==_===-_====-=_= -_= = -_= = -_= -~== =:=~ ~ -1
1-3-r------------------:5--3;-------~--
3-5--6--5--3i-- - -- - - - - - - - ----,
~:~ :=·====-==-==-==-==-=-=-=-=-=-=-=--=-==-=-=--=-1__=3-=_ =2=-3--,=,=--2-3- :-' 3-5-6---6-5--3,_-5--_3_-2-=--=-5- ---_3-,2=-5-~3-~~ = -~=~=~=~=~=~=~=~=~=~=~=~=~~::HII
46!1
= - -5
._._____ _ 1-3-76
Chapter 5: The Major and Minor Scales
5--3i------'-"
Minor Scale Exercises Here arc the same ten exercises that you've just learned. This time you will use the minor scaie pattern.
~
Minor Exercise # 1
§
~
6--4--2 6--4--3-3-4-6 2--4--6 3 ~- 1 ·~ 45-3-1 1- 3- 5- - - - - - - j 5 4 3- 1 1- 3 4 6 3- 1. -- - -- -- -- -- - - - - - -- - - - -1- : 1
Minor Exercise #2 lr-----------3~3~1~---------~
2l
3
4 s. 6
1-5-3
2--6
4
6-2 4 5- 1- 3- - - - - ----jI 5- 1- 3·- - - - - - - j ,1 1- 3'- ----j·
1-5-3 1-4-3
- 1-4-3-----------------------4--1 --3 ~
Minor Exercise #3 Jill
pp
, -- - - -- - - - H__ H~H~H~ 3~,,~P-P~__ P_I'_ _ _ _ _ _ _ _ _ _,
-----~--~2~2~-----------~~
1------------- - 1- 3- 5 5- 3- 1- - - -------j 1 - - - - - - 1- 3- 5 5-3- 1----------j 1-3-4-- - =- - - - - - - - - - - - -- - - - - - - - -'----tl'l--3- 1
~-~-~-~-;::--;:----;::--;:'-';----":t-3-1 HH HH PP PP '-' p p
Part 2: Playing In Key
77
Minor Exercise #4 1,-------------------------------------------------------------.
~t
1--1 -3---- 1-3-5--3-5~
1--1-3--1-3-5--3-5--5-------------~--1
4 5
1--1- 3- -1- 3-4---3--'4'1--~A'f------------------------------l 61-J-4--3--'A'I--~'f------------------------------------------' 1~----------------
·~ 1
_
j~.)
2-4---2--4-o---4--o-- --o------ -- - - -- - ------{}-----{}--4----Q--4-2-4-2 _ J-
1
'
4r---------------------------------------------------------~
5~--------------------------------------------------------~
6~--------------------------------------------------------~ I , . - - -- - - - - - -
if~5-J--5-3-1-~~1--··· 1-
. 5--5- 3- -5-3-1--3- 1--1
45 6
4
] 4 3---4--3-1--3- 1 - - l 4 4 3-4-3- 1
Minor Exercise #5 1..---------------------------------------------------.3
2~
3
1 -- 3-
3~
2 2-6 4 6 ---l 1-5-3----5------------------11
1 --3-1-5-3--5~----------------------------l 1 1 --3--l-4---- ~ ---'~l----------------------------------------~
4
5 6
1-4--3
1f3
4.~:
4
-
···-·--
j
3~-------------------------------------------------~
d
6
4
1
6--2--4' ---.2
r-----------------5--3-~1 --3--1
~---------------------------.5--3-5-l--3----1 ---r---------------------------- - - - ----------L·11--- 3---4--l--3-- 1 - ----1
L----------------------------------------------------44---3~1
78
Chapter 5: The Major and Minor Scales
Minor Exercise #6 1 2
3 4
·-·
1-3-4--3-1 5 16 '--l-3 '1
I
• •
• •
~
A
3
• • 1-3
1-3-5-3- 1 A
;i
• •
3
•
1-3- 5- 3-1 1-3- 5
5-3--.
ln----------------~~------3~3----~~.---------------~--n
~
2
2
5- 3
:Ill:
2 3 ~5-3-1 1-3 4 5-3-1-3- 5
• •
tl-3- 5
2
~
6 4
:Ill:
2
H-
~31+5 ~ 2
I
5 6
~
• •
•
• • 5- 3- 1 A
3-1-3
1-3
• •
A
A
3-1
3-1-3
A
1 -3~ A
Minor Exercise #7
25;t----~---·---------------------------------1 4
iF
1- 3--1-3--5--l _._:3--5-------3--" >--4---- 3 4 4
2
l-3---1-3-5--l3--.g§ 5 ~
6L1~~4~--~----4-------------------------------------~
,-3---_--2~4:=,=-2---4--6_____ 2-4-6 ----,~~~4:;6-.J 4 6
4 J- - o---()-4--j 6
4
2 -2 5-3--1-5-3--1- --3--1 3I 4 5-3---5-3--1-5-3--I- --3--1 5 5 4 4 3 6
1
.1---6-4-.jf-6-4----2----6--4-------2.~,--____. - ,+.-1 -2~-5-----,
1
1
4 3--1-4--3--1- - -3-1 A
A
3
Part 2: Playing In Key
1 4 3-1-
79
Minor Exercise #8 1 2 3 14
·-
• •
i"
5 1-3-4--3--1 4 '} 6 '---1- 3 4 1 2 3 14 5 •
·--·
1
• •
1-3 4 'l
I-3--5--5--3--1 'l A
• • 1- 3 4 1- 3--1 4
4 3--1
A
3--1~
•
~1-3 4
1- 3--5-3--1
4 _{._ •
A
• •
1
• •
• •
• •
• •
1-3--1 5--3--1
• •
5--3--1
• •
-·
• •
1- 3--" A
1-3--5--3--1 1- 3--"-
• 5-':t
•
6 1 2 3 1-
2
4 5 • 6
-~,-2 ---3--4-3~-2=5--== ~ 3-=l=-5-_-= 3=-_l==,=,= =:>-= --=== l~= =_-= = _-= =~_-= =~- ==-=-_-==--_-=~ ~: ~l ._. ____ __ _ _ _ 1 'l
A
3>----------~--
Jn-----------------------~3>----------------------~
~6~1t _E
1' 4 1-3-5 1-3-' 1
'l
2~2
S-3-1 S-3-1-,, _:>- -_1_____---:::tlll A
3l'-- ---__._.--
Part 2: Playing In Key
81
Chapter6 Modes It's necessary to memorize the seven patterns shown here before you can learn how to play in key. The Ionian and Aeolian modes are the same as the major and minor scales, so you really only have five new patterns to learn. After we explain how modes work, you will learn several exercises that will help you move freely around the entire fretboard. This will help you create a constant flowing sound in your music.
Ionian
Dorian
1 1
4
·~
1
1 14. 14 • I_,
•
' 1 ' 14.
2
14 14 3
•
\1 ~ 24
3 3 3 ~~ 14 1•• 4 4
•
4 4
••
4
1 • 1. • 14
10 14
~
14 1 •
Lydian
Phrygian
4 4 • 44 4 4
24. 24.
'44 4•• 3. ~\
I
44~ 44
2.1
3
34. 34 3
3 ~
10 14~
3. 4 4 4
' • .~
4
4 4
• 4
~.1. 4
4. 4
0
Aeolian
Mixolydian 1
•
1.
1 1 ' 14 0 •
14.
4 1~
'
1
14. 34 3
' 34
20 14 1 •
4
•
~~
4 4 4~
••
44 4
10
'4
14 1
24~ 2.
34. 2
4. 4.
3~
4
34 3 3. 34, 4 4
2
4 4
Locrian
4
4
14 14, 3 3 ~.
4 4 4 4 4. 4.
4 34. 3
4 4 4.
Part 2: Playillg lll Key
4~
83
Understanding The Modes.
A
Ionian Dmian Phrygian Lydian Mixolydian Aeolian Locrian
mode is a different form of the major scale. Any of the notes in a major scale can be used as a starting point for a new scale. This chart iists the notes in each mode for the key of G major.
G A B C D
A B C D E
B C D E C D E F# D E F# G E F# G A F# G A B
F# G A B C
G A B C D E F# G A B C D E F# G A B C D E F#
As you already know, the Ionian mode is the same as the major scale. G Ionian is shown on the fretboard on the left. The middle diagram shows the Dorian mode in the key of G major. Notice that the notes in this mode are the sam e as those in the G major scale. the only difference is that the Dorian mode begins on the note " A."' Phrygian is also similar to the G major scale, but it begins on the note "B." Ionian _I_ 3rd G Fret
Phrygian
Dorian
c
I
5th I A Fret
I
I
D G
~ ~ .~
7th
c
Fret
I
6
I
c
F# B I I
A I
D G
I I
c
E A
E
B
AD H
c
c
G
I I I I I I
B
E
FF
B D
I I I I
I
I
I
A
D
I
G C F# _l
I I
I
c
G
c
B E
I
AD F# B
I I I I
G
B E
If each mode were played in the proper location. you could play in key all the way up the guitar neck. The chart below shows the G major scale, the starting note for each mode, and the fret where each mode should begin. Ionian 3rd fret
Dorian 5th fret
Phrygian 7th fret
Lvdian 8th fret
Mixolydian 1Oth fret
Aeolian 12th fret
Locrian 14th fret
Ionian 15th fret
G
A
B
c
D
E
F#
G
Whole Step
Whole Step
Half Step
Whole Step
Whole Step
Whole Step
Half Step
At this point, you should practice playing the modes up and down the fretboard in the key of G major. It's a good idea to stick with the same key until you are completely comfortable with the modes. Move on to other keys later.
84
Chapter 6: Modes
Since theE minor scale is relative toG major, the modes will be played in the same positions on the guitar. As you can see on the chart below, the Aeolian mode is listed first this time because this is a minor scale.
EMinor Aeolian open pos.
Locrian 2nd fret
Ionian 3rd fret
Dorian 5th fret
Phrygian 7th fret
Lydian 8th fret
Mixolydian lOth fret
Aeolian 12th fret
E
F#
G
A
B
C
D
E
Whole Step
Whole Step
Half Step
Whole Step
Half Step
Whole Step
Whole Step
Although the exercises in this chapter arc made up of notes from the E minor scale. it is important to learn how modes work with other scales as well. Here are some exampks.
FMajor I st fret
Ionian
Dorian 3rd fret
Phrygian 5th fret
F
G
A
Whole Step
Lydian 6th fret
Aeolian lOth fret
Locrian 12th fret
13th fret
c
D
E
F
Bb
Whole Step
Half Step
Ionian
Mixolydian 8th fret
Whole Step
Whole Step
Whole Step
Half Step
DMinor Aeolian lOth fret
Locrian 12th fret
Ionian 1st fret
Dorian 3rd fret
Phrygian 5th fret
Lydian 6th fret
Mixolydian 8th fret
Aeolian lOth fret
D
E
F
G
A
B~
C
D
Whole Step
Half Step
Whole Step
Half Step
Whole Step
Whole Step
Whole Step
CMajor Ionian 8th fret
Dorian lOth fret
Phrygian 12th fret
Lydian 1st fret
Mixolydian 3rd fret
Aeolian 5th fret
Locrian 7th fret
Ionian 8th fret
c
D
E
F
G
A
B
c
Whole Step
Whole
Half Step
Step
Whole
Whole Step
Step
Half Step
Whole Step
A Minor Aeolian 5th fret
Locrian 7th fret
A
B Whole Step
Ionian 8th fret
c Half Step
Whole Step
Dorian lOth fret
Phrygian 12th fret
Lydian 1st fret
Mixolydian 3rd fret
Aeolian 5th fret
D
E
F
G
A
Whole
Step
Half Step
Whole Step
Whole Step
Part 2: Pklying In Key
85
linking the Modes. You might have already discovered that the modes connect to each other. The diagrams below show how they are connected in the relative keys of E minor and G major. You don't have to play anything here, just study the diagrams. Each one contains two modes within it. Aeolian Locrian
••••
•• ••
4
t 4
I
It I
2
t I
j
4
t
~~
•
I
I
4
~
~
2
.
j
•
4
I
I
~ It
7
4
~
t
5 6
t t
.,
t
7
t
~
4
•
5
It It
5
~
6
~
It
4
t
It
~
..,
It lit
It 4It
8
• 0
.
6
7
t 4
8
4
••
t
•It
4
••
4
5
I
3
t
It
It It 3
~
3
6 4
.
Dorian Phrygian
Ionian Dorian
Locrian Ionian
4•
8 9
t
•It •It 10
•It
9
I
11
t
--
8
Phrygian Lydian
••
7
0
~~
t I
•
~
.
11
'
t
•
4
4
4
13 ~~
14
Chapter 6: Modes
•
~ •
•
10
t
•
11
• • •It
12
t It •
13
•
~
t
It
!4
•15
10 0
11
t
• •12
•
••
12
t 4
86
4
. 4.
9
t 4t
• t 10
'
~
8
•
8
4
Mixolydian Aeolian
0
9
I
~
10
Lydian Mixolydian
• 4t 0
t 4~
4t
9
13 t
14
15 t
16
4
t
4
17
•• 12
E A D G B E I
I
c
F
2
B I I
3
G
I
c
E I
P~~~
F
Lydian
A
I
F
4
D
G
Mixo.
E
A
Aeoli~
B
II 5
6
7 8
A
D
G
I I I ItI I
r
I
I
B
E
A
D
I
I
I
I
c
11
12
G
B I
E I
C
F
I
B I
c
A
D
G
A
14
B I
D
E I
cF
F B
E
A
I
I
I I
I
I
I
D
16
I I I
B
I I
17
A
C
G
c
I I I D
G
1
G
I I
E
A
I
F
18 19
20
B
E
I
I
I
I
c
I I
G B
D
G
1
Pr.rygian I
Ioni~
~
•
~
~
~
•• •
~ ~ I
Phrygian
.
I
~
.
7 Locrain
5 Aeolian
•
Mixo.
••
c
I
~ 4.
•
~
I
I C
I F
A
I
I
I
4
•
8
Ionian
•
•• • ••
• Aeolian
.
•• •••
.•
D
P~gian
~
Lydian Mixo.
~
•
E
I
•
~
Dori~
Lydian
.
3 Mix.o.
Lydian
10 Dorian
B
D
F
21
22
A
u
~
F
15
This reference sheet shows all of the notes in the C major and A minor scales on the entire fretboard. It also includes the individual mode diagrams in the order they would appear on the guitar. The starting fret for each mode is shown next to their names. The chart at the bottom lists the notes in each mode.
•
II II II II II II
E I
Uxri~
I
I
13
I
G
I
D
I
I
F
9
10
C
C Major and A Minor
I
•
•
Aeoliwl!s ~IJI uteiuo:>qJoq .--- -- -- - - - - - - ----------15-14--12- - - 1 6 10-12-1 1 14--12- 1
Part 2: Pklying In Key
97
E Minor Exercise #6 E Aeolian and F# Locrian
E
11 2-3-5--7-5- 3-~ 2 ~-------------------1-3-5-7-5- 3-----~ ---j 3 0--2-4-5-4-2 4 0--2-4-5-4-2----------------~ 5 0--2- 3- 5- 3- 2 - - - - -- - -- - -- -- - ------1 6 2-3-)-3-2----- - -- - - - -- - -- - -- -- -____J
d
21 ~7-5-3-2-3-5 7-5-3-1-3-5---- -- - - - - -- - - - ------l 3 5-4-2-0-2 4 4~--------------5-4-~~~ 4 ~ ~ 5-3-2~2-3 5 6 5-3-2--0-2- 3
F# Locrian and G Ionian
3-5-7-8-7-5-----, . 3- 5-7-8-7-5 ----l 2-4-5- 7- 5 4 2-4-5- 7- 5--11- 12 14-12-10-9-1{}-12 14-12- 10-9-1{}-12 14-12- 10-S-I{}-12j
Part 2 ·. Playing In Key
99
E Minor Exercise #7 E Aeolian
F# Locrian
G Ionian
A Dorian
7- 8- 10 . 5- 7- 8 7-8- 10'-------1 21 ~------------------3~1 2-4-5 5-7 5-7-9 ------~0--2 1 2-4-5 1 5- 7- - - - - - - - - - - - - - ----; 1------~0-2-3 2 - 3 - 5 - - - - -- - - - - - - - - - -- - - - - - - - 4
4
I-·
~---0--2-3-----------------------------~
l ~---10--8-7--------------------------------~
21
~~-
10--8-7
8- 7- 5 9-7- 5 7- 5--..ij. f---7--5-1-5-4-2-5--4__2_ _ _1_":=-0.~=============~ - - - -- - - - - - - - -- - - - - - --5-3- 2 3- 2-1...{).}--------1
I-·
L __ _ _ _ _ __ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ 3-2-1-0. }--~
B Phrygian F# Locrian G Ionian A Dorian l . - -- - - - -- - - - -- - - - - - - - - -- - - -------.8-10--12 2 7-8-10 8-10--12--------; 3 A 5-7 5- 7- 9 7- 9- lJ - - - - - - - - ----l 4 2-4-5 j 5-7 5-7-9- - - - - - - - - - - -- - - - - 1 5 2- 3- 5 3-5-7- - - - - - - - - - -- - - - -- - - - - - - - - - - ; 6~2-3 -5 -----------------------------
1 23
§
12 1 8 - 0- 12- 10--8- - -10-8- 7 ----11 - 9- 7 9-7- 5
7- 5 4
gJ
9- 7- 5 7-5 1 5-4-2-------------i 4 5 t--- - - - -- - - - - -- - - - -- - - - ----7-5-3 5-3-2-----1 6 5- 3-2
A Dorian
G Ionian 1
2 3 4 5 6
C Lydian
B Phrygian
10-12- 1 10-12-13-----1 5- 7- 9 7-9- 11 9-11-12- - - - - - - - - l 5- 7 5-7-9 7- 9-10.lJ----- - - - - -- - - - - - - l 5- 7- 9 - - -- - - -- - - -- - - - - - - -- ----i 8- 10-12
A
3- 5-7
3-5-7----------------------------------~
1 14-12-Wll-- - - -- - -- - - -- - - -- - - - - -- - - - - - - -- - - - - , 21----- -13-12- 10 12- 10-8- - - - -- -- - - - - - - - -- - - - --l 3 12- 11-9 11- 9- 7 - - - 9- 7- 5 - - - - - - - - - - - - - - l 4 J0-9- 7 9- 7- 5 7- 5-'A l--------1 5 9- 7- 5 7-5-3-----; 6 7-5-3--
Exercise #7 is continued on the next page.
I 00
Chapter 6: Modes
A Dorian
B Phrygian
C Lydian
D Mixolydian 12-14--1~
1 2 3 4 5
12-13-15 ~ ----7-9-11 9-11-12 11-12-1'+---A._ _ _ __ _ -; 7-9-10 9 - - 1 0 - 1 2 - - - - - - - - - - - - - -- ----l 10-12-13
5-7 9
7-9--l.~~----------------------6~5-7~0~--------------------------------------
5-79
1 1 5 - - 1 4 - - 1 2 - - - - - - - - - - - - - - - - - - - - - ---- - ----- - - - - - - - -------, 2 f.--------15--13-12---13-12-l~u-------------------------l 3 14--12- 11 12-11 Q 11-9-7----- - -- - - - - - -- ----1 4 12-10-9 10-9-7 9--7--:')---------l 5 10-9-7 9--7- :'L)--------1 °7-~
6 B Phrygian
1 2
3~
45
6
C Lydian
D Mixolydian
E Aeolian
14-15-17-------, - - - ·· 12- 13--1 13-15-17- ---------i 9 11- 12 11-12- 111 ·~ 12-14--1h. 9-10-12 10-12-1.4--A_ _ _ _ _ _ _ _ _ _ _ _ _ _ ___ ----i
.
7-9-10
9-10-12~-----------------------; 7~1~----------------------------------~
0-7-9-10
I I
t.---17- 15--1-21------17-15-1?15-13-12-------------------3 16-14--12 14--12-11 12-11 9 -----l 4 14--12- 10 12-10--9 10-9-7 5 12- 10-9 10--9--7 -------i-
6
1~7--
D Mixolydian
C Lydian
1 2 3 4
5
E Aeolian
F# Locrian
13-15-17
° -10-12
O
10-12
10-12- 1!1
11-12-lA
15-17-1 15-17- 1° - - - - - 1 14--16-17--------l
12-14--16 12-14--1&-- ·- -- - - - - - - - - - - - - - - - 1
10-12-l-.4-~--------------------------1
6~10-12~-----------------------------------~
1 r-----19--17- 1'
.
2f.----19-17-l~
3
17-16-1
4 5 6 D Mixolydian
1 2
_
__
____ __
10-12- 1" 10--12-1A
I
_ __
16-14--12
E Aeolian
1 4 - - 1 2 - 1 1 - - - - - - - - - -- - - - ; 16-14--12 14--12-10 12- 10-9--·--····. 14--12-10 12-10--9 ~ 12- 10-&----J G Ionian
F# Locrian
15--17- 1°
3 4 5 6
_
17-15-13
--17- 19-3J17-19-?fLU--).------1
12-14-1h. 14--16-17 16-17-lQ~--------1 12-14--16 14--16-17--------------------! 12- 14-1:>--'----- - - - - - - -- - - - - - - - ---- - -----i
10--12-14---------------------------------~
1~~19-17-----------------------------------
2 3 4 5 6
X>-19--17 19-17-1.;_
a
19--17- 1.)--"------ - - - - - -- - - - - - - - - - - - - - - ; ·~ 17- 16-JA 16-14-12 _ 17- 16-1 11 16-14-12 14--12-10~------------1 15-14--12 14--12- 10 - - - - 1 14--12- 1
Part 2: Playing In Key
101
E Minor Exercise #8 E Aeolian and F# Locrian 1 ..------------------------------2-3-5-3-5-7~ 2~ -· - -- - - - - 1 - 3- 5-3-5- 7 - - - - - _ - 1
3
---- -- - -- - - -u-2-4-2-4-5----------j
4
~2-4-2-4-5 -----------------~ ~2-3-2-3-5-------------------i 2-3-2-3-5-----------------------~
5 6
1 ~7-5-3-5-3-2 2~ 7-5-3- 5-3-1--- - - -- - - -- - - - - - - - - - - t 3r-----------5-4-2-4-2~~---------------~ 5-4-2-4-2~~r---------__,
4
5-3- 2-3-2--0'- --------i - 5- 3- 2- 3-2-0--
5 6 L - --
.
1 ~§ 4~
5 ()
F# Locrian and G Ionian
2-4-5-4-5- 7 3- 5-7-5- 7-8
~~~~~
2-4-5-4-5 -7------------------~
2-3- 5- 3-5-7- - -- - - - - - - - -- - - -- ---i 2-3- 5- 3- 5-7--- - -- - - -- - -- - - - -- - - - -- - ------'
1 F8- 7- 5-7-5-3
2 3
8-7-5-7-5-3-----------------------~--t 7- 5-4-5-4-2
~
.. . .
5 2 ?-S-4- -4- 7-5-3-5-3-2
6-
7-5- 3- 5-3-2
G Ionian and A Dori?-'1
5- 7-8-7-8- 10--,
1
2~ 3
4 5 6
5- 7-8-7-8- 10 3~~~~~
3-5-7-5- 7- 8
~- Fl0-8- 7- 8-7-5
~:
I
I
4 5- 7- 5-7-9 4 5-7- 5- 7-9-- - - - - - - - - - - - - - - ---------l
--
··· ---------------~
10-8-7-8-7-5
~
9-7- 5- 7- 5-4- - -- - -- - ---- - ---- --------i 9- 7- 5-7-5-'4+------ - - - -- - --i 1 - - - -- - -- -- -- - -- - -- -- 9-7-5- 7- 5-3-- -- - j 8-7-5-7- 5- 3
Exercise #8 is continued on the next page.
102
Chapter 6: Modes
Part 2 ·. Playing In Key
103
E Minor Exercise #9 E Aeolian Lo B Phrygian 1~-------------------------------------------------8-1~12---.
7- 8- 10----8-1~ 12---------f 3 j - - - -- - - - - - - -- - - - - - - -- - - - - -----'t-A.5-7--5-7- 9- - -- - - - - - - -----------i 4 1----- - - - ---------2--4--5--4-5- 7 - - - - - -·· - -·- ···- - - - -- ····-- . .. - -----1 5 f---------I....O..J-2-3--2- 3- 5- - - - - - - - - - ------------------------------i
2
~2-3---------------------------------------------~
6
1,--12-1~11 r ·----- 12-1~8--1~8-7--------------------------------~
~:
f------------------- - -9- 7- 5- -7-5-''11-- - - -- - -- - - - - - - - - - - -- ---------1 r----------------------------7-5~5--4--2-------------------l
f--------------------------- - - - - - -- - - - - - - 5- 3- 2--3-2-I..O..J--- -- - t ·--------------------------------------------------3-2~~~~
F# Locrian Lo C Lydian
I 2
1~12-148- 1~12-1~12-13--------1
3 4 5
5-7-9-7-9-11-----------------------j 5-7-5-7-9------------ - - - - - - - - -----------f 3-5-7------------------------------------------i A
2- 3- 5-
6
2-3-5--------------------------------------------------~
1
1~12- 1~~--------------------------------------------.
4 5
11-9-7--9-7-5--- - - - - - - - ----------------l 9- 7- 5- 7- 5·---- -- - - - - - -- ---, '3I) Ir-- -- -- - - -11-12-1-1 l3-15-17 17- 15-13 14-12-1 1- --· II
4 - - - -----'9-10-12
12-10-9Y---------1.
1-·
s I-7-9-10 6c==5-7~----------------
'21 ...... , - --
10-9-7--
--i
------~~i=J
- -- - -- ------ - -- - -- 17-19--:n-20-19--17- -- - - - - - - - - - - - - -- -- ----;
~-------------15-1~l~t
_ _ __ __
J9-1~15>----------------j
3l 12-14--1 16--14--12 I 4 -----10-1~1.4------------------14-1~10~----~· 1-·
5
6L7+t
9-10--i2
p
1 101--l9J-.---
~-·
-----j JO-S--7_j
1 r--------------------19-~~--n-~~~------------------~
2 3
14-16--17
4
10--12-1
5
17- 19-AJ
20--19-17--- - - - - -- - - - - - --4
17- 16--14----- - - - - - 1
12-14-l.~o-------------------16--14--12~------l
14-12- llJ-----....J
6~10-12:----------------------------------
! rl ---------------20--ll~4--~n-Al
3t
'f· ---------------------19-:D--~
4-
5 6
~-20--1Y..9-------------I
16--17-1 19-17- 1 14-16--17'---- - -- - -- - -- -- - - - - -
10--12-1
12- 14-15>------- - -- - - ---- - - -- -- -------15-14--12'-- ---1 14--12- 1
106
Chapter 6: Modes
Optional Modes Knowing more than one form of each mode is a good way to add variety to your music. The modes that you've been using had three notes per string. These can have either one, two or three notes per string. You should practice these once in a while so you don't get in the habit of playing three notes all the time. You may also find them useful when creating riffs. [on ian
~~-
4~
1 1
2~ 2. \
4 4
1.
1 • 1.
2 2~ l
..2
Phrygtan
Dorian
1 1 .~') ~
~
')
2
-~
4
3~
~~ ~ •
\
~ ~·
2
I
1~ 1~ 1~ • 1.
1 • 11 1 1 1 I I,
I
1 1
Lydia.'1
3• 3 4 4 ~ ~
3~
4
4
•
I
~
4 4 4
~
4
.~
4
• l I
•
4
~.
1
~
1
~
L
1.
1
~
1
'
~
L
4
.4
3
I
4•
4~
I
4' ~~
4 4
3. 3
4~
.
•
L
34 3 ~
2
4~ I
~-.---0--3)------ - ---------__J sl.
122
Chapter 8: Pentatonic and Blues Patterns
Pentatonic Exercise #3
!3
§
Patterns 1 and 2
0-2-2
0-3-3- 0-3-3-5----5--3-3--0 5--3-3--0 d
t1
4 0-2-2 " 50-2-2 " 6 3--3-"
5-2-2--0
Patterns 2 and 3 3-5--5--7-7-5--5--3j--------- - - - - - - - ,
2~
3 4 2-5--5--7 52-5--5--7 6 3--5--5--7
2~7
"-7-7-10.. 5-7-7-10..- . .
'i
6
5-7-7 °
~5--5--3
3-5--58
7~2~------------~I
7-5--5--2
7-5--5--2--~·
7-5--5--:).........
1
3 4
5-2- 2--0'-------1 5-3-:
1
2§
~
2-2-0
4 7-7
Q
Patterns 3 and 4 5-7-7-10---10-7-7·- : " > - - - - - - - - - - -- - - --, 5--S-8-10.. 1()...8....8..,"~ 9--7-7---'1.1~----------------1 0 7-7-~">-----------l
10-7-7 ' . - 10--7- 7-5--
Patterns 4 and 5
:
~511r----------------7--9--9--1-2-~-1-0-_1_0-_1__ 2 7-10-10-12------ . - - - - - - - - - - - -- 7-9-9-12.- - - - - - - - - -- - - -----l
1--·
~---------------7-10-10-12---------------------l
' - - - - - -7- 10-10-12- - - - - - - - -- - - - - - -
4625~ 1:~=============~=~=~=-1=_2=--_1_0-=-=- 1_0-=-=- 7~=1=-2=- 1=-0-=--=10-=--=-8~_1~_2- ~9~_- 9~~-__,-=.--1=2--_=--9=- =- 9- =7-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~ : - - - - - - - - - - - - - - - -- - -12- 10-10-7-----------1 L - - - - - - - - - - - - - - - -- - - -----12-10-10-7- - - ------' 1--·
Patterns 5 and 1 llr-- - - - - -- - - - -- -- - - - - - - - -- --10-12-12-15------, - - - - - - - - - - - - - - -- ----10-12-12-151-- - - - ---------l I-·
l - - - - - - - - - - - - - - - -- -·9-12-12-1+4---- -- - - - ------1 ~--------------------·9-12-12-14-4-----------------i
1-------------- -10-12-12-14-4- -- - - - - -- -- - - - - -- ------1 ::5 '---- - - 1 0 - 1 2 - 1 2 - 1 5 - - - - - - - - -- - - - - -- -- - - - -----' ~A~r-- - - -15- 12- 1 2 - 1 0 - - - - - - - - - -- -- - - - -- -- - - ------,
~
---------------15--12- 12- 10- - - - - - -- - -- - - -- -- - - - - - j
1--·
l---- - - - - - --------14-12-12-9-- -- - - - -- - - - - -- ----1 ~~~ 14-12-12-9 - - - - - - - - - - - - - - - -- ---14-12-12- lOL....----- -----I 1--·
' - - - - - - - - - - - -- - - - -- - - -- -- - - 1 5- 12-12-10-- ---'
Part 2: Pklying In Key
123
Pentatonic Exercise #4 Patterns 1, 2, 3, and 4
1
j
7-10--10-7
2~
. 58 8-1 108 9-7--7 8-5 4 324 4 7--7 4 2 - - - - -- - -j 4 0-2--2-5--5-7 7-5--5-2-- 2-01---------1 5 0-2--~5 5-2. -2-0~~ 6 ~·----------------------------------------------~
Patterns 2, 3, 4, and 5 1~10-12 ~------~7---7~9~----~~12
10-12-12-10
12-1~10--8
129
t-----2-5--5-7- -7 2-5--5-7
~ 97--7~4~-------------~
° 7--7-5--5-2- - ------l 7-5--5-2
r-------------------------------------------------------5-~
Patterns 3, 4, 5, and 1
1.---- - - - - - - - - - - - - -- - - - ---12-5-5-12-------------------- - - - - - . 2~ 10-12-- 12-15 15-12--12- 10 ~ 5-7 7- 9 7- 9 9 12 9 12--12-1 14-12- -12 9 12 9 ~7 ~7--7-5
I
~~5--7-7---1
10-7-7-~
Patterns 4, 5, 1, and 2 1 . - -- - - -- --
- - - - - - - -- - - - - - -------15-17- - - - - - - , 12-15 15-17-----------j 9-}2 12-1 A 14-} ~Q-----------------1 11 - - - -- -- - - - - -- - - - -- - - - - l 7-9 9-12---12-14--o. 7- 10--10-12. - - - - - - ---------------------------------i
2 3 4 5
6
-
7- 1l~---------------------------------------------_J
- - - - 1 7- 15--- - - - -- - -- - - - - - - - - - - - - - - - - - - . - -- - - - 1 7- 15 15-12-- - - - - -------------------------------i 351 16--1" 14-12 12-9 ------------------------------14-12----12- 9 9-7-------------~ 1 2
'I f---·
f---·
:
r-------------------------------------12-10--10-7-----~ L-------------------------------------------------10-7-----~
Paucrns 5, 1, 2, and 3
1 2 3
15-17
12-1 A }4-16 16--19'-------------------j 9- 12 12- I A 14-17---- - - - - - - - - - - - - - ---------l 10-12----12-1'+" - -- - -- - - - - - - - - - - - - - -- - - -- -----i
4
5 6
10-12--------------------------------------~
:'3.1 ~-----19-17 - - ---20-17
.!.
17-19--------,
17-20-v-------~
f---·
17 - 15----------------------------------~
t---- - - - - - - - 1 9 - 1 6 16-1.4-"- -14-12.- - -- - - - - --------------1 4 ~ r--------- - - - - -- ------- -17-1'+-"--14-12 12-9 - - - - - - -- - - - - - - - - - - - -- - - ---14-12- - -12- 10'------------1 t-·
~----------------------------------------12-10-----~
124
Chapter 8: Pentatonic and Blues Patterns
Pentatonic Exercise #5 Patterns 1 and 2
1 r---------------3-5-5-3---------------. ~3
2 3
2
4
3· ~~~~-------------~
A
A
2.- - - - - - - --
5 6
---i
2~~~-------~
2 2-5
5 - 2 - - - - --
~3
--t
3--,~:r-----~
Patterns 2 and 3
1. - - - - - - - - - - - - - - 5 - 7 - 7 - 5 - - - - - - - - - - - - - ,
~~I
2- 5 4 7 3-5
5-3 7 4 5 - 2 - - - - - - - - - t 7-5·- - - - -- -----t 5-3----- ----'
------5-7 '-----3-5 1--
Patterns 3 and 4 7-1~1~7--------------~
1
2 3 4 5 6
5-8
8-5-
---·-
-
----------1
9-7---------~
7-9 5-7
7- 5 - - - --
-
-
--1
1~7----------4 7-5----~
7-Hl5- 7 Patterns 4 a.11d 5
1 .---------------1~12-12-10'--------------,
8-1~-----1~8
21
3
9 - 1 2 - - - - - - - - - - - - 1 2 - Y - - - - - --
-;
4
7-9---------------9-7-------~
5~ 10-12 12-10 6 L_7- 10'---------------------1~7----' Patterns 5 and 1
--- ----------10--12 12-15--15-12 12-10'------ - - - - - - - - - - ~ -i ~------1~14A_____________ 1~12.---------t
11
t--
:
~~-10-12
9-12
12- 9 14-12
12-1
~ 12-1o.-J
Part 2: Playing In Key
125
Pentatonic Exercise #6 Patterns 1 and 2
1 2 3 §
'l 0-3-5-3--5-3-0--'l5---- - _ - -- - - -0-3-55-3-0--..t A 2-0---2 0-2-4-2 ~
4----
5 6
0-~5-2
3-5-:_l
-
------.
5-2~2----------~
5-2~2
0-2-5-2
,., 5-3-0-.J--
Pattems 2 and 3 1~-------------~3-5-~5--~5-3-7--------------------.
2
3 4 1 ----------- 2- 5-7 1-·
5~
6 l-3-5-7
1
2
3
4
t
2-4-7
t!
~5-3-5
3-5--8-5
I
7-4-2 4
7-5-2- 5>---- -- -- -----1 7-5-2- 5----:--::---1 7- 5-3-.)-J
'i
2- 5-7
Patterns 3 and 4
5 6 5-7-10-7
S-7Jl_7 5-7-10-7 - - .
4 7-9-7
5--8-108
5-7-10-7- 10-7-5-7
I
108-5-8r----- - - - - ---- ----l· 0 7-4-7- - - -- - ----1 ° 7- 5-7 10-7-5-7 j 10-7- 5-7
Pattcms 4 and 5
~6
~1.-- - --
- -- - - - -- -- - - - -- - -8---10---12---10. - 7- 10-12-10.lJ-- -- --,
f - - - - - - -- - - - - - - -- --7-9-12-9- - - - - -- - -------- ----1 f-- - - - - - - - -- - ---7-9-12-9- - - - -- -- - -- -- - -----; f - -- - - - - -- 7- 10-12-10.u---- - - - -- -- - -- - -- - - - 1 ' -- ------ 7- 10-12-10.u---- -- - - -- - - - - -- - -- - - - -- -- --'
1 ....----
-
---12-10-7-lv----
-
- - - - --
-
- - - - ---- - - - - --
---.
l~2 ~=================~-1-2--1-~----1G_'~_l-2~--9--~7_--9=-12---9--7-~---_-_-_-_-_-_-_-_-_-_~---_-_-_-_-_-_-_-_-_-_~--~
- - - -- -- - - - - -- - - - - -- 12- 10-7-10'------ -- - --------t ' - - - - - - - -- - - -- - - - - -- - - - - -- -12-10-7-IOl---- -- -----' t-:
Patterns 5 and 1
1 r-- - - - - -- - - - - - - -- - - - - - - -- - 10-12-15-12--- -----, 2 10-12-15-12.- - -- - -- -----1 3 9-12-1 4-1 2.-----------~ 4 9-12-14-12--- - - - - - - -- -- - - -------1 5 10-12-14-12------ - -- - - - - -- - - - - - -- -----j 6 10-12-15-12------- -- - - - - - - -- - - - - - -- ----'
~- , -
11r------15-12-10-12 ~
~6
------15-12-10-12----- - - -- - - - -- - - -- ---l 14-12-9-1? - - - - - - - - - - - -- - -- 14-12-9-12.- - - -- - - - -- - ------j t---- - - - -- - - - - - - - - - - - - - - 1 4 - 1 2- 1 0 - 1 2 - - - - -- - ----; '---- - -- -- - - - - - - - - - -- -- -- --15-12-10-12.- -- - --' :t -
-
1-·
126
Chapter 8: Pentatonic and Blues Pattems
Pentatonic Exercise #7 P2
Pl
P3
P4
P5
1r-------------------------------------------~ 2r-------------------------------------------~ 3r-------------------------------------------~
4 1 - -- - - -- ------------ -·· -- --- -··· --------- --- ---- ---- --- - - - - - - - - - 4 5 __()_ 2.- ----2-5----.5-7---7-10 10-126-0-3 3-5 5-7 7-10 10-12--__j P4
P5
P3
P2
PI
1
--
2 3 4 r-12-9 12-10 5 6
9-7
7-5 7-5
P2
Pl
2-0-
5- 2
10-7
P4
P3
2-0-
5-2
P5
1 2
3 4 5 6
-0-2
2 4 2-5
-0-2
P5
47
P4
9- 1 2 -
7- 9 7-9
5-7
P3
9-12
Pl
P2
1.-------------------------------------------·
2~12-10
3-
10-8 8- 5 - - - 5 - 3 -- -3-0 2±d 12-9·- - - 9 - 7 - - -- 7-- puE ·a '#d (~!) ':lru.l Cv!) ·oN (t:O lJ;)lJSIUIW!P #Q (ZL) ':lS!Ed Cn) ' p;}lJS!UIW!G ColJ ':lS[E:J (6) ·#a '!13 '#::> (8) ':lS!Ed (L) ·1ou!w 3 pUE ·a 'v (9) 'J;}JJ 'fll I Jo '416 'lflv 'puz; (~) · ::~ puE ::1 (v) ·:lru.t (t:) '4101 (z) '#::1 ' #Q ·a (I)
Part 2: Pklying In Key
139
Chord Progression Exercises The twenty-two exercises in this chapter were created by randomly playing chords in the same key. The first twelve exercises use major, minor and diminished chords, and the last ten usc power chords. They are written in a way that they can be arpeggiated or strummed. When a chord is arpeggiated, the notes are played separately. On the tablature below, the diminished chord is arpeggiated and the C major chord is strummed.
When playing arpeggiated chords, let each note ring out. This means, when you play a note, let the previous one sound until it fades out naturally. After playing the exercises as written, strum the chords instead of arpeggiating them. The chord names are written above the tablature. Strum them as many times as you like using your own rhythm. The power chord exercises arc a little different. Play them exactly as shown on the tablature. There will be some strumming and some arpcggiating. Also, palm muting is used between the power chords.
Chord Progression # 1 c
G
D
G
Chord Progression #2 Dm
~,
c
Am 1
3
!Fr-
2
140 Chapter 9: Chords
2 2-2 0
0
Dm
1
I
2-2 3
I
1
3~
9
Chord Progression #3 G
Em
C
Chord Progression #4 C
1
iE2-o 21
F
Or---r---1
1-1
2
0
3
2-32
3--t-~---1
1- 1
1
0 2-22
2
0
C -1~
Or--r---1
1
1
B dim.
Am
·1 0 4
I~
Chord Progression #5 A
D
W¥2-2-2 .- 2- 2
A
8
-~o 22_23-3 2 o I o 2- 2-22.-1-o_+,-40 22_23----3 2 ~ 0
1
D
E
2
2
Chord Progression #7
8 ~._6__2_-_2_2_1_-_~_2____.__(!~~~3~-2~=~=3=~-2-_3~:1~3- -17 ~ 13~~2'~ Am
1
Dm
G
Am
F
o~--.----- 1-- 1----.-----.3---r-1-1
0
Part 2: Playing In Key
141
Chord Progression #8 Fm
t~I
Cm
3 3 I I I
I
3 5
B~m
A~
5~5
I
4 6 6>---'-4_5----t--1-13
Fm
3~3±~~
Chord Progression #9 E
C#m
B
E
A
ibtt 97_9~9=-9- -4-4:=5=-6-_7-4--.--6==11=--2_4_~_~ -2~4=4=4==:1==5=-=-5-=--6-7_77 t~B 1
4
9
5
.4. .
---4--:_-
Chord Progression #I 0 C# 1 2
9
5
4
11
L-_9
11
F#
A#m
2
9 10
3 4 6
G#
56
I
6 2
3
64 I 2
4 4
C#
66 8 8
I
6
I
1 1 1
Chord Progression #II F
!I
3 2
C
Gm
Edim.
~-~ 2,--+--5_5-5-=-5--51-5--+---5,_3_3~-3-3_3--+1-8~8 1
~G3
3
3
3
s
1
8 9 8
F
I ~~ 7±i=J
1
Chord Progression # 12 A dim.
Gm
Cm
Gm
3~------~---------l~----------~-3
1
33
231
.
~ ~-555 6
F
3
142
·- - - - - + - - - -
~ -7-7
5
Chapter 9: Chords
3
1 4 ----+------2-----f-5- 5-5
5
3-3-3
6 1
3 5-5
I 3---i 3===l 5±~3~
Chord Progression # 13 D5
E5
C5
B5
G5
E5
~~------~------~------~------~----~-----.
P.M.
P.M.
P.M.
P.M.
Chord Progression # 14 F5
P.M.---
G5
P.M. ---
E5
F5
P.M.---
P.M.---
AS
P.M.---
Chord Progression # 15
P.M.-
P.M. -
P.M.-
P.M. -
P.M.-
Chord Progression # 16
."'
G5
AS
J-\J
..,,
AS
rJ
1~----------~--------~--------~--------~--~
!~~~--~~~--~--------~--------~ I ~~==!=======-s==!======= zW I 5:=J 10
6 5
9
3
7
P.M.---
P.M.---
0--0---0--D
(}....{}...{)..
P.M. ---
P.M.---
Chord Progression # 17 E5
F5
D5
!r!fiJ~----~--~----~----~g 6 5 'l J
5
7
ll
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