Traversing the Fretboard.pdf

Traversing the Fretboard Utilizing the CAGED System in More Ways than One

Sean Thrower Copyright © 2016 Sean Thrower All rights reserved. No part of this book may be reproduced in any form, or stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopy, recording, or otherwise, without the written permission of the author. ISBN: 978-1535365833 www.seanthrower.com





Who is this book for? The guitarist who wants to feel more comfortable moving beyond the first few frets of the instrument when playing The seasoned guitarist looking for new ways to conceptualize the fretboard The guitarist interested in improvisation The guitarist in search of ways to help improve sight-reading The classical guitarist who wants to learn more about other contemporary styles of playing The classical guitarist who is looking for a way to better recognize shapes and patterns along the fretboard The classical guitarist in search of ways to strengthen their memorization techniques

Acknowledgements My sincere thanks go to everyone who has supported me and my musical endeavors throughout my life and career. To my mom, Shelly, my dad, Alan, and my brother, Cory, for their continuous and unwavering love and support. To my dad for being the first to read the book and offer his thoughts. To Brian Smith Sam Green, and Terry Cantwell for their help in reading the material and providing valuable feedback. Also to Terry and my other guitar teachers throughout the years, including Phil Snyder and Mary Akerman, for helping to mold me into the musician I am today. And to John Sutherland for introducing me to a new world of beauty through sound.



TABLE OF CONTENTS Introduction Basic Theory Review Notation and Diagrams Caged Chord Shapes Minor CAGED Chord Shapes Closed Chord Voicings Open Chord Voicings Augmented and Diminished Seventh chords Scales Pentatonic Diatonic Minor Blues Scale Putting It All Together About the Author Audio Track List

AUDIO TRACKS To download the audio files that accompany this book, search the website below, or scan the QR code with your smart phone. Then type in the provided password. Website: seanthrower.com/book-audio/ Password: traversing2016

INTRODUCTION In a relatively short period of time, the guitar has proven to be one of the most versatile instruments in Western music. The note range is wide, spanning between 3½ to 4 octaves depending on the number of frets. Like the piano, it is a polyphonic instrument, meaning that two or more notes can be played at the same time. All of these characteristics together make it possible for the guitarist to take on many roles from rhythm or lead performer within a band or ensemble, to solo concert artist. Regardless of the direction you choose, it helps to have a clear understanding of how the notes are organized on the fretboard; this presents one of the challenges in learning to play the instrument. Unlike the one-dimensional layout of the piano, the notes are organized on the guitar in two dimensions: 1. Moving up or down the fretboard via a single string (similar to moving left or right on the piano keyboard) 2. Moving across the strings The resulting issue we face is that we now have multiple locations and strings on which we can play the same notes.

This ability may seem like a redundancy, but it is an aspect that makes much of what we do on the instrument possible. Playing these notes in different positions and on different strings also provides for a variety of timbres, or changes in the character of sound. While some of these ideas may already be evident to many of the readers, understanding how the notes are organized might still seem unclear, and that is where this book hopes to assist. There are several ways to conceptualize the organization of notes on the fretboard in an attempt to restore order to the seemingly chaotic scattering of notes. The CAGED System is perhaps one of the most popular and growing methods guitarists are utilizing to do exactly that. Memory is formed more easily when information is organized into groups, similar to the way phone or social security numbers are divided up by hyphens rather than a straight series of numbers. The CAGED System divides the fretboard into five boxes of information in which chords and scales can be played. Putting those boxes together in the correct order covers the entire length of the fretboard. This book uses the CAGED System as a point of reference to help build stronger context and organization

when navigating the fretboard. The first half is dedicated to forming moveable chord shapes that can and will be altered, broken apart, and extended to cover the majority of any guitarist’s chordal needs. The latter half builds around those chord shapes to form scale patterns. Theory is discussed along the way to ensure that these chord shapes and scale patterns are fully functional when utilized by the performer. The theoretical and practical relationships between chords and scales are emphasized as the material progresses, showing how and why the two work in tandem. Examples are provided along the way from a variety of styles and genres to present a more global and historical application of the ideas discussed in the book. To begin, review some of the basic theory provided or skip to the chapter on “CAGED Chord Shapes”.

BASIC THEORY REVIEW THE NOTES Music involves only 7 letters of the alphabet: A, B, C, D, E, F, G These 7 letters are the natural notes( ♮ ) which account for over half of the total note collection. The other notes are found between some of the natural notes. Think of the piano keyboard. The white keys represent the natural notes, while the black keys are known as the enharmonic notes. These notes use accidentals such as sharps (#) and flats ( ♭ ) to indicate that the natural note has been raised or lowered by one half step. Each enharmonic note has two names (# name and ♭ name) for the same note, since they can be described as a half step away from the note above or from the one below. Which name to use depends on the context.

Notice there is neither a black key (enharmonic note) between the notes E and F, nor between B and C.

HALF STEPS AND WHOLE STEPS A half step is the distance between one note and the next-closest note up or down. Therefore, it is the shortest distance between notes that exists within Western music. On the guitar, a half step can be played by sounding one pitch on any string, then another pitch either the fret above or below on the same string. Example: Open 1st string (E) to the first fret on the same string (F)

A whole step is equivalent to two half steps. It is the distance between one pitch and another that is either two frets above or below the previous note. Example: Open 4th string (D) to the second fret on the same string (E)

Half steps and whole steps play a large role in music theory as the fundamental intervals. Take the major scale for example. It follows a pattern of whole and half steps - W, W, H, W, W, W, H (W=whole step, H=half step). Starting from any one note and moving through this pattern results in the major scale.

THE CHROMATIC SCALE The chromatic scale is a series of continuous half steps beginning on one note and ending on another. Here are the notes of a chromatic scale beginning on A and ending on A in the next highest octave. Knowing this scale is essential for learning your fretboard, so memorize the pattern. Only the # names are used for the enharmonic notes below, but the ♭ names could have been used just as easily in this situation.

At the 12th fret, the pattern starts over, one octave higher than it began. This is why the 12th fret is indicated with a double dot, because it is where the information essentially starts over.

NOTATION AND DIAGRAMS READING STANDARD MUSIC NOTATION Though it is not essential that you know how to read standard music notation to benefit from this book’s contents, it can certainly aid in processing some of the material. As musicians, standard notation is our written language and often the best way to convey musical ideas on a page. It also helps us to communicate articulately with other musicians (not just guitarists) and to discuss the theory of why things sound the way that they do. Music notation provides several pieces of information. The basics are: what note to play (pitch) how long to play the note (note values) when to play it (rhythm) These questions and more are answered on the staff – the five parallel lines the notation is printed upon. Pitch is determined by a note's location on the staff. Notes can fall on the lines themselves or in-between the lines. The higher the note appears on the staff, the higher the pitch. The lower a note appears, the lower the pitch. The ordering of the notes on the staff flows alphabetically.

Since the range of most instruments exceeds the notes on the staff, ledger lines are added to account for the pitches that occur above or below the staff.

Note Values will determine how long a note should be held, or in contrast, the length of silence (rest values). Placed alongside one another in a musical application, these values create a rhythm.



If you are new to reading music, but know that it is a skill you would like to strengthen, find simple sight reading exercises to play through each day, and turn reading into a part of your practice routine. Reading music notation is a skill that can easily be learned and developed, but you must give it the attention needed to do so.

READING TABLATURE Interestingly, tablature predates standard music notation and was the primary form of notation for fretted instruments such as the lute, a predecessor to the guitar. Standard music notation is a more universal form and was eventually adopted by the fretted instruments, though tablature, or simply "tab", is still used today for several practical reasons. Tabs can be a better way to visualize shapes and patterns on the fretboard, displaying 2 primary forms of information: where to play the notes what order to play the notes Reading tablature can be relatively simple. The six lines represent the six strings (more lines for extended range instruments such as seven or eight string guitars, less lines for other instruments such as four or five string bass or four string ukulele). The lowest pitched string (string 6) is on the bottom, and the highest string (string 1) is on the top. Numbers are placed on a string to represent the fret in which to play a particular note. A common drawback to tab is that rhythm and pitch are not notated, nor are other musical ideas such as dynamics or articulation. This can be remedied by placing the standard notation above the tab notation. A number next to a note in standard notation represents the fretting finger to use when playing that note.



INTERPRETING THE DIAGRAMS IN THIS B OOK Various fretboard diagrams are also used in this book to help visualize the shapes and topics discussed. Like tab, the lowest pitched string will always be on the bottom, and the highest on top.

Fretting Hand Fingers: 1 = Index, 2 = Middle, 3 = Ring, 4 = Pinky Note that fingerings within fretboard diagrams may be substituted for the letter names of notes or scale degrees to express other ideas.

CAGED CHORD SHAPES F ORMING MOVEABLE CHORD SHAPES The CAGED System begins with five basic open position major chords that are then slightly adjusted in order to form moveable shapes. Those shapes can be used to play chords throughout the entire length of the fretboard. Adjusting a chord to be used in this way can be accomplished by the following steps: 1. Play one of the five basic open position chords. 2. Alter the fingering so that your first finger is free. 3. Shift the chord to a higher position. 4. Use the first finger to bar the strings that were once open. O PEN POSITION CHORDS An open position chord is defined as a chord that is played within the first four frets of the guitar, utilizing one or more open strings. There are five basic chord forms that work in this way: C, A, G, E, and D (hence the title of this system).

If any of these chords are new to you, spend some time becoming well acquainted with them. Play the chords note by note to ensure clarity in each voice, devoid of buzzing. Memorize the shapes and try swapping between different sets of the chords. ALTERED FINGERINGS When moving a chord shape to a new location on the fretboard, all of the notes must maintain the same relative distance between one another. Consequently, notes that were once played as open strings will become fretted notes. With the added responsibility of fretting the strings that were once open, all four fingers will be needed. To begin, free up your first finger by using fingers 2, 3, and 4 exclusively to play the regular open position chords.



These chords become relatively easier to play as you shift them to higher positions on the fretboard where the frets are closer together and the string tension is less. SHIFTING O PEN CHORD SHAPES Before adding the 1st finger to form the fully moveable chord shape, you will need to shift out of open position. Do not limit yourself to only moving up one fret; try these shapes in higher frets. Playing the chords in these new positions with the open strings still ringing will result in some interesting sonorities. Explore these new sounds. Position is the location of your hand relative to the fretboard, defined by the fret number that is in use closest to the headstock. Most often this will be the location of your index finger, though not in the case of the following song, Jumping, since that finger is not in use. Jumping uses the shape of a D chord, moved through various positions in an arpeggiated pattern. When this chord shape is shifted away from open position, the notes change, and thus a D chord is no longer actually heard. Instead of saying that this song moves the D chord to various positions, it would be more correct to say that this song moves the D shape, since shape is a reference to how the chord is visually similar to a D chord in open position, but it does not audibly define the collection of notes that we are hearing. Feel free to try these chords with fingers 1, 2, and 3 to grow comfortable with the shifts, but make sure you eventually use fingers 2, 3, and 4 since that is the finger combination we are trying to strengthen.

Track 1

Allowing open strings to ring while moving a common chord shape is a compositional technique used by several great guitar composers. It is an idiomatic characteristic of the instrument that often results in unique sounds and is difficult to replicate outside the world of fretted instruments. Brazilian composer, Heitor Villa-Lobos, often took advantage of the open strings to add color and contrast to the moving chord shapes within his music. In Growing Expectation, the open strings add a new color of sound with each new shift of the E shape. Notice how this song starts in the open position and is both the E shape and the E chord until measure 2, where the shape remains the same, but the sound is no longer that of an E chord. As with Jumping, try using fingers 2, 3, and 4 to play each chord.

Track 2

You can attempt similar exercises with the other three shapes. Experiment with some of the other chords and see what unique sounds result from moving them to different positions while the open strings still continue to ring. Mind that they will not all be pleasing sounds, but some may suit your liking. ADDING THE BAR A bar, or barre, is the act of holding down two or more strings with a single finger. Many guitarists first encounter this idea when learning the F chord, illustrated below. For this chord, the first finger holds down both the first and the second strings simultaneously.

The shape that is formed when playing an F chord can also be defined in relation to the CAGED System as a partial E shape. The following diagram is the full version of this CAGED chord shape. Lay your first finger across all of the strings and apply pressure until strings 1, 2, and 6 are fretted with enough strength to ring clearly. The first fret is the most difficult place to bar, so if this chord shape is new to you, try it initially in a higher position where the frets are closer together and there is less string tension. Move it back towards the first fret once you feel more comfortable with the shape.

Remember: What you see is the “shape”; what you hear is the “chord”. More tips for learning bar chords: Try playing the bars by themselves, separate from the rest of the chord. Keep in mind that you do not always need to apply pressure to every string within the bar. For example, you need the bar to only fret strings 1 and 5 for the A shape. Use light gauge strings. Make sure that your strings are not too high off the fretboard. If necessary, have a professional help you gauge this at a local music store, and have them make adjustments. After shifting the open chords to a new position and adding a bar, the resulting chord shapes are moveable and fully functional anywhere on the fretboard. Some of the moveable shapes are more challenging than others. The E and A shapes are the most common and simplest to perform, while the G shape can seem like a ridiculous acrobatic contortion. For those chords, we are more interested in the theory behind their full moveable shape, rather than their direct application to the fretboard. Consider the G shape and how it may seem uncomfortable in most positions to perform the chord with all six strings. It is not necessary to play every note of this chord shape. In fact, when we later alter the shapes to form new chords or chord extensions, playing the chord through all 6 strings can sometimes be physically impossible.

One alternative to playing the full G shape is to relieve the note on the first string so that the pinky can help with the stretch across the bass strings. Only one note has been eliminated in the diagram below, yet the same note is still present in two other octaves of this chord shape, so the chord ultimately has the same affect to the listener.





USING THE MOVEABLE CHORD SHAPES SHIFTING INDIVIDUAL SHAPES Each shape can be used individually to play any of the 12 major chords. The lowest note for each of these chord shapes is the root note. The root note is the fundamental note within any chord or scale to which all of the other notes of the chord or scale are compared. By knowing the letter name of this note, along with the chord quality (major, minor, etc.), you will be able to determine the full name of any chord shape in any position. Here is the E shape moved up chromatically beginning on the first fret. The root notes are highlighted in each diagram. With every new position is another major chord built from a new root.



What would the other chord names be if you continue ascending the fretboard with this shape? Consider the chromatic scale, keeping in mind there are no enharmonic notes (sharps or flats) between B and C or E and F. THE SEQUENCE Since any of the chord shapes can be used to play any of the 12 major chords, what would it look like if all five chords were placed in their respective positions to reproduce the same major chord? The C chord, for example, can be played with the C shape in open position or with the A shape in 3rd position. The next closest location to play this chord would be using the G shape in the fifth position. A sequence is revealed following the title of the system in use: C-A-G-E-D (followed by C, repeating the same pattern). The C major chord consists of only these three notes: C, E, and G. Each of these shapes in these positions show the five most common ways of organizing these notes into chords along the fretboard. Practice this sequence with all of the major chords.

Placing the chord shapes side by side (bottom diagram) displays how each shape shares notes with the adjacent shapes.

THE ROOT NOTE APPROACH Knowing where your root notes are at all times is an important aspect to fretboard comprehension. If we isolate the root notes from the previous diagram, we can observe these patterns from a slightly different, but relative, perspective. This can also be a good method to strengthening your knowledge of the letter names of the notes throughout the fretboard.

With this method, imagine that the root notes provide the framework on which to build the remainder of the chord shapes. Thinking from the perspective of one of the root notes, you can form a chord on either side of this note (in the direction closest towards the headstock or towards the body of the guitar). Doing so will still result in the same chord shapes we just examined. From the perspective of the three bass strings:



EXERCISES LOCATING ROOTS IN EACH CHORD SHAPE 1. Play an E chord in the closest position to the headstock. 2. Play the root notes that are accessible in that position. 3. Play the same chord and root notes for the remaining four positions. 4. Do this for all twelve keys.

CHORD PROGRESSIONS IN DIFFERENT POSITIONS Once you have grown comfortable with these shapes individually, pick a short progression of major chords, such as the one below, and try playing them in every position. Simplify some of the chord shapes if you find yourself struggling to make certain stretches (like that ridiculous G shape). Take your hand size into consideration and find what works for you.

MINOR CAGED CHORD SHAPES THEORY: MAJOR VS. MINOR CHORDS THE MAJOR SCALE The major scale is a sequence of 7 notes determined by a pattern of whole and half steps, and is the source from which most chords can be defined. Observe the C major scale below.

Using numbers (or scale degrees) instead of the letter names makes it easier to compare various scales to one another. Scales and their application to the guitar will be further discussed in the second half of this book. BUILDING A MAJOR CHORD A chord is a collection of notes played simultaneously to create harmony. Triads are the most basic chord forms and consist of only three notes. There are four different types of triads: 1. Major (M, Δ ) 2. Minor (m, - ) 3. Diminished (dim, º ) 4. Augmented (aug, + ) To build a major chord, take scale degrees 1, 3, and 5 from the major scale and play them together in harmony. In the key of C, as displayed below, those notes are C, E, G.

Here is the F major scale. What 3 notes will be used to play an F chord?

ALTERING MAJOR CHORDS INTO MINOR CHORDS Minor chords share 2 notes in common with their parallel major chords (a chord that is built from the same root). Scale degrees 1 and 5 stay the same, while scale degree 3 is lowered by a half step. We label this as ♭ 3 (flat three). Lowering scale degree 3 of any major chord by a half step will result in its parallel minor chord. Likewise, the reverse of raising the ♭ 3 of a minor chord to a ♮ 3 will result in its parallel major chord.



PRACTICE Based on the chords provided, what are the notes to the parallel chords?

MINOR CHORD SHAPES As with the major chord shapes, several of the open position minor chords may look familiar to you if you already have some chord playing experience. Some, like Cm or Gm, in open position are slightly less common. Notice how the first string of the Cm and both the first and second strings for the Gm have been omitted to make these chord shapes playable. When playing the Cm shape, feel at liberty to also omit the second string if the stretch is too uncomfortable.



APPLICATION As with the major CAGED shapes, the minor shapes that are most often used in their full form are the Em and Am shapes. Here is a rock-friendly progression that uses those shapes as both major and minor. Track 3

CLOSED CHORD VOICINGS THEORY CHORD VOICINGS The notes of any chord can be ordered in a variety of ways. The term used to define the various ways in which to order the notes within a chord is voicing. Alternative voicings can provide a wider range of sound possibilities. Imagine painting an image; the use of various chord voicings is like painting with a wider pallet of colors. An analysis of a chord’s voicing will reveal the following features: what note is in the lowest register what note(s) are in the middle what note is in the highest register which octave the notes are in if any notes are repeated if the notes are stacked closely together or far apart INVERSIONS One of the more important aspects of chord voicing is determining which note resides in the bass. Since there are only three notes in any triad, there are only three possible options for which note is in the lowest register (for a C major chord: C, E, or G). A chord that has the root note (C) in the bass is considered in root position. Chords without the root in the bass are considered inversions. If scale degree 3 (E) is in the bass, the chord is in first inversion. If scale degree 5 (G) is in the bass, the chord is in second inversion.

How do these audibly compare? Root position chords sound the most stable, while second inversion chords sound the least stable. For example, ending a song with an inverted chord will sound less conclusive than ending it with a chord in root position. Each of the chords in the diagram above have the notes stacked as closely together as they can be for each inversion. These are considered closed voicings. SLASH CHORDS One way of notating that a chord is to be played with any note other than the root in the bass is with a slash chord. Slash chords involve two pieces of information: the chord and the bass note, separated by a

“ / ”. The alternative bass notes are not always part of the chord, though commonly they are scale degrees 3 or 5, making the chord an inversion. For example: D/F# is a D major chord with an F# in the bass, or “D in first inversion”. Am/E is an A minor chord with an E in the bass, or “Am in second inversion”

MAJOR CLOSED VOICED SHAPES The CAGED chord shapes can serve as the framework from which other chord voicings are derived. Closed voicings are hidden within the fuller CAGED shapes and can be broken into sets of three adjacent strings (string set 1, 2, 3 – set 2, 3, 4 – set 3, 4, 5 – set 4, 5, 6). There are three basic shapes for each string set, but thinking of them as subsets of the fuller CAGED shapes should make them easier to learn and retain. The following four fretboard examples show each closed voicing (root position and both inversions) for each string set in the key of D. The highlighted notes are the ones to be played while the open circles are only there for reference. Notice on the fourth fretboard that some chord tones (notes that are part of the chord) can still be found below a couple of the normal CAGED shapes (i.e. the closed voiced chord on string set 4, 5, 6 in the position of the D shape).

Here are how these shapes appear on the staff:

WHEN PLAYING WITH A BAND You may find the triads built on strings 1, 2, and 3 as well as strings 2, 3, and 4 are the most useful since this range of the guitar fits well within an ensemble. As you move to the lower strings, the voicings can sound muddier and possibly interfere with the sonic realm of the bass player. RHYTHM G UITAR APPLICATION On The Horizon incorporates closed voiced chords on string set 1, 2, 3. Notice the use of some suspended (“sus”) chords. These chords can add a pleasant element of embellishment to your rhythm playing. Suspended implies that scale degree 3 is replaced with either scale degree 2 or 4.

Track 4

Experiment with this chord progression using other voicings and string sets. If needed, leave out the suspended chords during this process. MELODIC APPLICATION Beyond expanding your chord vocabulary, learning the closed voicings can also help organize melodic ideas when writing or improvising a lead line. An arpeggio is a broken chord whereby the notes of the chord are played individually rather than all at once. Through arpeggiation, these shapes can take on a whole new use, allowing you to follow the harmonic changes with related melodic content. In the following example, Autumn Stroll, the rhythm guitar changes between four chords (G, D, F, C) while the lead guitar highlights those chords with various closed voicings in both a harmonic and melodic fashion. Here is a recommended strumming pattern for the rhythm guitar: Track 5

When practicing the lead guitar part, break the piece into workable sections. Start slowly at first, increasing your tempo only after you have cleanly performed the section that you are practicing. Below the lead guitar part is an analysis of the closed voiced chords upon which the lead is based. In which full CAGED shapes can you find each of the closed voiced chords from the analysis?

Track 6



MINOR CLOSED VOICED SHAPES Here are the closed voicings for the key of D minor. Since scale degree 3 is the determining factor between major and minor triads, knowing where this note is within a given shape will give you the ability to alter it from major to minor, or vice versa.





APPLICATION LAYERING While one guitarist plays a chord in open position, another can layer it with the same chord in a different register to enrich the overall sound. This is done quite regularly in recording studios. Layering chords in different registers can be very useful for bands with more than one guitarist and can present new possibilities for collaboration. Have someone play the following chord progression with open position chords while you play the closed voicings that are notated below.

Track 7

MORE MELODIC APPLICATION Using the chord progression to A Dark Daze from the previous chapter, this example below is another solo built with the closed chord voicings in mind. Though most of the notes belong to the chords, a few of them do not, hinting towards the influence of scales. TRACK 8

OPEN CHORD VOICINGS While the intervals of a closed chord voicing are closely stacked and within an octave, open voicings spread the notes beyond an octave. In the world of electric guitar, a common go-to example of open voiced chords is in the intro to Eric Johnson’s “Cliffs of Dover”. Find this song (I recommend buying the full album) and listen for the wide sounding arpeggios beginning at 0:11.



REASONS FOR P LAYING OPEN VOICED CHORDS There is clearer distinction between the notes. The sound is not as muddy in the lower registers. For electric guitarists, they work well over distortion. There are better options for voice leading (transitioning between chords in the smoothest possible manner), allowing you to change chords more like a pianist might. Chord extensions can be added more easily.

F ORMING AN OPEN VOICING 1. Play a familiar closed voiced shape. 2. Move the middle voice up or down one octave. Moving the middle voice down an octave will result in a different inversion, but in either situation, the lowest note will be on either the 4th, 5th, or 6th string.

You may find that as you try this process both in major and minor, some of the resulting shapes involve a difficult stretch. Try moving one of the notes to another string to make it more playable.

You do not have to stay within the confines of the CAGED System; rather, it can serve more as a frame of reference to help build memorable connections to these new chord shapes. PRACTICE Form open chord voicings from the closed chord voicings below and write in the fingerings on the empty diagrams.



HOW TO STRUM OPEN CHORD VOICINGS The best way to play these chords is either with your fingers or a combination of pick and fingers. Since the notes of each chord involve skipped strings, it is difficult to strum through the strings with one single up or down motion without also striking unwanted notes. USING YOUR FINGERS If you feel less than comfortable with fingerstyle, this might be a good place to begin strengthening that area of your playing. Use the thumb of your strumming hand (or as a classical guitarist would label the digit “p”) to strike the lowest note, and some combination of your index, middle, and ring fingers (i, m, and a) to strike the remaining notes. The pinky (“c”) is rarely used, though some performers do make interesting use of it. Try both blocked (playing all the notes at once) and arpeggiated patterns. USING PICK AND FINGERS Another viable option is a hybrid style using both pick and fingers. The pick will play the lowest note while your “m” and “a” fingers are free to strum the other two voices. Some players opt for a thumb pick to free up their “i” finger for use elsewhere. Again, practice both blocked and arpeggiated patterns.

OPEN VOICED SHAPES Try each of these major and minor open voiced shapes, and search for some that might appeal to your ear. Don’t limit yourself to only the shapes that are provided here. Take your knowledge of major and minor triads and explore other voicing possibilities. M A JO R

MI N O R

ALTERNATIVE SHAPES If you are feeling adventurous and do not mind a stretch, here are some alternative chord shapes that cross over two regular shapes and span the distance of five or more frets. The C shape in root position from the minor chord chart above could also fit this category.



APPLICATION SEQUENCE OF INVERSIONS This chord sequence moves along the fretboard from root position, to first inversion, to second inversion, and back. The first measure of each example is the blocked chord voicing, while the second is the same progression with arpeggios. Line 1 is open voicings of an F chord with the bass notes assigned to the 4th string. Line 2 is open voicings of a C chord with bass notes on the 5th string. Line 3 is open voicings of a G chord with bass notes on the 6th string.

M A JO R Track 9

MI N O R Track 10

ERIC JOHNSON STYLE RUN This is a line inspired by Eric Johnson’s “Cliffs of Dover” intro that was alluded to at the beginning of this chapter. Which chords are in root position, and which are inversions? Track 11

O PEN VOICINGS IN O PEN POSITION Using these chord voicings in one position can make your playing sound more piano-like. Here is an example of these open voicings used in open position. Track 12

AUGMENTED AND DIMINISHED SYMMETRICAL CHORDS The final two types of triads, augmented and diminished, are symmetrical chord forms because the distance between the first set of notes is the same as between the next set. These chords sound more dissonant and are therefore used more as passing chords rather than stable points of resolution. Symmetrical chords do not fit the CAGED System as well as the other chord types. Instead, it can be easier to learn the theory behind how the shapes are formed and how they function.

AUGMENTED THEORY An augmented triad is like a major chord with a raised 5th (#5). To augment means to increase; thus, an augmented chord increases the overall span of the normal distance between scale degrees 1 and 5 by a half step. This symmetry also leads to even division of an octave, as represented in the circle diagram below.

1 to 3 = four half steps 3 to #5 = four half steps

The symmetry is also evident along the fretboard. The deviation in the pattern results from the guitar’s tuning variation between strings 2 and 3. If the intervals were the same between every two sets of strings, this pattern of notes within an augmented chord would be even more aligned.

AUGMENTED CHORD SHAPES There are three basic closed voiced augmented patterns built from either the 4th, 5th, or 6th string. Due to the symmetrical nature of this chord, each inversion uses the same shape, only in a new position. Therefore, it is simpler to memorize the three shapes rather than worrying about within which CAGED shape they occur.

To play these chords in open voicings, use the same process as before of moving the middle voice up or down an octave. You could also take a familiar major chord in an open voicing and raise the 5th.

APPLICATION P O P P RO GRE SSI O N

In a common pop-song application, the tonic (primary) chord is altered to form an augmented chord built from the same root note, which then drives the progression towards the next chord with a stronger sense of tension and resolution. Track 13

D RE A M S E Q U E N CE

This example is reminiscent of the sounds often associated with people fading into a dream in a movie. Each measure is the same shape moved to different positions. Track 14



DIMINISHED THEORY Diminution has the opposite effect of augmentation in that it decreases the distance between scale degrees 1 and 5 by flattening the 5th. A diminished triad is the same asa minor chord with a ♭ 5.

1 to ♭ 3 = three half steps ♭ 3 to ♭ 5 = three half steps Similar to augmented chords, a diminished chord can divide an octave up evenly, but only if an extension is added to form a fully diminished 7th chord. This is essentially interchangeable with the triad version and will be discussed further in the next chapter titled “Seventh Chords”. DIMINISHED CHORD SHAPES These are the basic diminished chord shapes in closed voicings.

APPLICATION A RP E GGI O P RO GRE SSI O N

Diminished chords occur naturally in major keys and are thus more common than augmented chords (which do not occur without the use of accidentals). They can, however, function in a similar way, filling in the space between two other chords to create a stronger pull from one to the next. Track 15

L E GN A N I E X A M P L E

These are the final measures to a piece by 19th century Italian guitarist/composer, Luigi Legnani. The chords alternate between various closed voicings of Em and D#dim while a steady E pedal point (repeating note) drives the bass. Pay attention to the accent marks located above every diminished chord, implying that those chords should be stressed more than the other chords. This passage is not meant to be played fast. Track 16

GY P SY S W E E P S

Gypsy jazz guitarists (such as the legendary Django Reinhardt) use patterns like this that are fast, percussive, and linear. In Gypsy Sweeps, a single diminished shape is moved up by 4 frets each half bar. A picking pattern has been provided, though fingerstyle players could use the finger pattern a-p-i-m. Track 17



TRIAD REVIEW By this point, the theory should be helping you navigate your way through some of these chords. If you were to observe one shape moved through each of the four types of triads, you would notice the following alterations:

Here is an open voiced shape moved through the series of chord types.

PRACTICE Fill in the remaining chord tones for each of the shapes. Closed Voicings

Open Voicings

SEVENTH CHORDS INTRODUCTION TO EXTENSIONS Seventh chords add an extra note, known as an extension, to a triad, resulting in a four-note chord. As with triads, there are several types of seventh chords, each with a unique sound. They are defined by the triad that they are extending as well as by the 7th scale degree that is added. This is evident in the classical tradition of labeling these chords, though modern use of the chords (in the context of jazz for example) utilizes an abbreviated labeling system.

As the case with all other chords, each of these seventh chords can be played in various ways on the guitar. Consider slightly altering the CAGED shapes that you are already familiar with to account for the added extension and you can conceive of five new shapes for each type of seventh chord.

MAJOR 7TH CHORDS Referring back to the major scale from which we found the major triad, adding scale degree 7 to the triad yields a more harmonically rich major chord.



DOMINANT 7TH CHORDS Lowering the 7th of a maj7 by a half step results in a dominant 7th chord (or just 7th chord). These are still major chords, but with a slight edge to the sound. They are used frequently in blues.





MINOR 7 CHORDS Adding a ♭ 7 to a minor triad yields a more interesting minor chord. Notice the Gm7 shape is almost in the same position as the Am7 shape.



MINOR 7 ♭ 5 CHORDS This chord commonly occurs in minor keys in jazz. As the name implies, it is logical to think of this chord as a m7 with a lowered fifth. This chord is nearly symmetrical except for the last interval between the ♭ 5 and the ♭ 7 (4 half steps comparedto 3 half steps between 1 and ♭ 3, or ♭ 3 and ♭ 5), hence the half diminished 7th title.



DIMINISHED 7TH CHORDS THEORY Like the augmented chord, the fully diminished 7th (or simply diminished 7th) chord is symmetrical and divides an octave up evenly. This chord can be thought of as a diminished triad layered on top of another diminished triad. (i.e. C diminished triad + E ♭ diminished triad = Cdim7).

1 to ♭ 3 = three half steps ♭ 3 to ♭ 5 = three half steps ♭ 5 to ♭♭ 7 = three half steps

Note: A = B ♭♭ Technically, there are only three dim7 chords. Due to the symmetrical nature of the chord, moving any diminished 7th chord up three frets results in the same chord, but in a different inversion.



DIMINISHED 7TH CHORD SHAPES These are some of the most common shapes guitarists use for dim7 chords. The root is not highlighted because any note can act as the root with any of the shapes depending on context. Notice how some of the diminished triad shapes pictured earlier in the book are found within these extended shapes.

The following exercise uses all of the three shapes shown above through all three of the dim7 chords. Since the chords in this example can be defined in a number of ways, we will forgo standard notation, along with any confusion it could cause. Track 18

These are two other common shapes that incorporate a skipped string.





SEVENTH CHORD REVIEW The major seventh chord is built from scale degrees 1, 3, 5, and 7 of the major scale. The other seventh chord types require alteration to one or more of those notes. The dim7 chord sounds the most distant from the maj7 because it is the most altered from the maj7.

Here is the A shape through each of the different types of seventh chords. Each chord is only one note different than either of its adjacent chords.



HARMONIZED MAJOR SCALE A chord can be built from each degree of a scale. Doing so provides a list of chords that all fit within the same key. Each chord can be identified based upon a Roman numeral. The Roman numeral defines the chords location within the scale relative to the tonic ( I ), as well as the chord quality (major/minor) based upon whether the Roman numeral is capitalized or not.

Extensions can be added to each of these chords.

The Roman numeral system is often used in both the world of classical theory and by commercial musicians. Nashville session musicians have their own branding of this system called the “Nashville Number System”, which is constructed around the same ideas. Knowing where a chord fits in relation to its key helps define its function within a progression. Patterns will start to emerge when you have the ability, guided by the Roman numeral system, to compare songs in different keys.

CHORD P ROGRESSIONS 12 BAR BLUES The 12 Bar Blues is one of the most widely used progressions in contemporary genres. It is 12 bars (measures) long and is built of three chords: I, IV, and V. Here are examples of the chords used for a 12 bar blues in three different keys:

Try the progression in a key of your choice with triads first, then with dominant 7th chords to make it sound even more bluesy. Each chord harmony lasts until the next chord is notated (the I chord lasts for measures 1-4, the IV chord for measures 5-6, etc.). The strumming pattern is at your discretion.

12 BAR VARIATIONS There are many variations on the 12 bar blues, such as the addition of passing chords or the substitution of chords for others that function in a similar way. This example is similar to the chord progression used in a jazz standard by vibraphonist Milton Jackson called Bags’ Groove.

The slashes in the harmonic analysis suggest that those chords are borrowed from another key. For example, the V/ii chord (said “five of two”) implies that the D7 is a borrowed chord from the key of Gm (D is the V chord in G minor). MINOR 12 BAR The 12 bar blues is also played in minor keys, like in John Coltrane’s Mr. P.C. Notice that the V chord, as well as the chord leading to it, are still dominant 7th chords while the remainder are m7.



II -V-I

The ii-V-I progression is one of the most commonly occurring chord progressions in music, especially in jazz. It would behoove you to practice these chord changes in every key, both major and minor. If jazz is an interest of yours, then know this progression by heart. Here are a few examples of this progression in various keys. Track 19

MINOR II -V- I Notice the different chord qualities used in the minor ii-V-i progression. Track 20

SCALES As defined by the Harvard Concise Dictionary of Music and Musicians, a scale is “a collection of pitches arranged in order from lowest to highest or from highest to lowest.” The focal point of a scale is the root, which helps to define the key. Scales are the primary resources from which melody and harmony are extracted. The ability to play scales is a fundamental necessity for any musician since they are so abundantly present in music, and a basic understanding of them can alleviate some of the mysticism of improvisation. There are a wide variety of scales, and the more you learn, the more diverse your playing can sound. For now, we will focus on two of the most widely used scale types - the pentatonic (major and minor) and the diatonic (major and minor), with a bonus chapter on the blues scale near the end. Scales and chords are relative, and thus scales can be divided into five comprehensible patterns based around the five CAGED chord shapes.

PENTATONIC THE MINOR P ENTATONIC SCALE BUILDING FROM THE CHORD Let's begin with the essence of the classic rock solo - the minor pentatonic scale. As the prefix “penta” implies, pentatonic scales consist of five notes. If you know the corresponding triad, then you already know three of those notes. In the case of the minor pentatonic, the scale uses only one note more than the notes of a m7 chord. Scale degree 4 is the only difference between the m7 chord and the minor pentatonic scale.

PRIMARY CHORD TONES Scale degrees 1, ♭ 3, and 5 are the primary chord tones. These are the notes that you can target and emphasize when developing melodic ideas. The ♭ 7 can also function as a chord tone in the right context, but start by focusing on the notes of the triad then move on to the extensions. As a reminder, the CAGED chord shapes don’t incorporate all of the chord tones that are accessible in a position, mostly due to the fact that some of the chord tones are on the same strings, making them impossible to play at the same time. Therefore, the only way to play every chord tone within reach of a position is through arpeggiation. Once you’ve played through the five pentatonic patterns on the next page, spend some time locating all of the primary chord tones within the patterns, including the ones that are not used in the CAGED chord shapes. The distinction between chord tones and nonchord tones will help you choose notes with more purpose. It will also give your solos more direction and a greater sense of tension and resolution. MINOR PENTATONIC PATTERNS These are the five minor pentatonic scale patterns represented here in the key of Am. The colored circles represent the primary chord tones. Pattern 1 is labeled “1” because it contains the root in three octaves and is the location of the commonly used Em shape, making pattern 1 the most popular of the five patterns. Pattern 4 is displayed in both open position as well as at the 12th fret to better exhibit the sequence of the patterns and how they align. The patterns will always follow this sequence (i.e. pattern 1 comes after 5 and before 2), regardless of the key. Notice in the bottom diagram how adjacent patterns are interconnected when the notes of the scale are laid across the entire fretboard.



PRACTICING THE PATTERNS Focus on learning the patterns one at a time. Start from the lowest note, ascend to the highest, and then descend back to the starting note. End by playing the chord shape that is found in the same position. Follow this method for each pattern. Common fingerings for each pattern are provided, though there are several alternative fingerings to choose from based upon factors including hand size, location on the fretboard, or musical context. Try the fingerings provided and experiment with other options.

Track 21

THE METRONOME A metronome can be one of the most helpful devices in a musician’s toolbox. Using one as part of your practice routine can help you maintain consistent speeds, and it is one of the best ways to measurably track your improvement. Metronome software can be found for free online, for free or purchase as an app on your smartphone or tablet, or you can find a standalone unit at a music store. Metronome Practice Tips: Goals to maintain when learning new music should always include clean and consistent sound and

rhythm. Select a speed on the metronome that allows you to successfully articulate every note clearly. Increase the tempo to provide a new challenge once you have accomplished your goal at the previous speed. See if you can play the passage correctly at least two or three times in a row before increasing the tempo.

TRANSPOSITION TRANSPOSE BY SHIFTING PATTERNS Transposition is the process of moving a group of notes together to a higher or lower pitch maintaining the relative distance between each note. To transpose these scale patterns to other minor keys, simply shift the pattern to another position guided by the root notes. For example: To play in the key of G minor instead of A minor, move any of the patterns back by a whole step, since G is a whole step below A.

Notice that the notes have kept the same relative distance from each other, resulting in the same shape, but the note names now correspond to the key of G minor (G, B ♭ , C, D, F, G). So as with the chord shapes, each scale pattern can be used for any key if moved to the correct location on the fretboard. TRANSPOSE WITHOUT SHIFTING Instead of shifting a single pattern to another position to change the key, you can stay in the same position while adjusting the pattern to fit the new key. This is a great test of fretboard fluency. Let’s try this with a progression of assorted minor chords: Gm, Dm, Am, Em, Bm, and F#m. The goal will be to play a pentatonic pattern in the key of each new chord, shifting as little as possible. First, find the root of each chord in the position with which you are working. It can then help to find each chord in that position. Lastly, determine which scale pattern to use over each chord. The following example is based around frets 2-6. When you feel comfortable with one position, try the same sequence of chord changes in the other positions.

Track 22



THE MAJOR P ENTATONIC SCALE THEORY: RELATIVE VS . PARALLEL R E L AT I VE

Keys relative to one another have the same notes but different roots. For every minor scale, there is a relative major scale. Likewise, for every major scale, there is a relative minor. The keys A minor and C major are relative to one another.

Three observations can be made when applying this to the fretboard: 1. The same five scale patterns can be used for major and minor. 2. Relative scales keep the same patterns in the same positions, but with a different root. 3. As the root notes will be different between relative scales, so too will the CAGED chord shapes.

P A RA L L E L

Parallel keys have the same root but a different collection of notes. The parallel major of A minor is A major.

To play parallel keys in the same position requires a different scale pattern.

To use the same scale pattern between parallel minor and major, the pattern shifts to a new position. Minor to parallel major: Shift the scale pattern down 3 frets Major to parallel minor: Shift the scale pattern up 3 frets

PRACTICE 1. 2. 3. 4.



What is the relative major of E minor? What is the relative minor of D major? What is the parallel minor of F# major? What is the parallel major of B ♭ minor?

MAJOR PENTATONIC SHAPES These are the same five patterns used for the minor pentatonic, however the root notes are different within each of the patterns. As with the minor patterns, major pattern 1 is the location of the E shape.

PRACTICING THE PATTERNS Here are the ascending-descending practice patterns for the key of C. Notice that they are all in the same positions as before when you played them in the key of Am (relative), but the chord at the end of each line leads the ear to believe that you played the C pentatonic instead of Am pentatonic.

Track 23

APPLICATION COMBINING THE SHAPES : As your fluency with the five individual patterns strengthens, try navigating between two or more. A good way to start this with the pentatonic scales is by ascending one of the patterns and shifting to descend through another. Track 24

This exercise can be applied to all five patterns, connecting the entire fretboard. Track 25

SEQUENCING A common musical gesture among classical composers and lead guitarists alike is the sequence. A sequence is the restatement of a musical idea at a higher or lower pitch level, maintaining a similar intervallic movement. These musical ideas can be short motives or full length phrases. Creating sequences can seem formulaic (and it is), but having an arsenal of them at your fingertips can add

variety to your playing. This section provides a few to get you started. The first example, written in the key of Am, ascends two notes, back one, up two, back one, and so on. The descent is just the opposite – down two and up one. Track 26

The second example is a six note sequence in the key of C that combines use of two of the scale patterns. Feel free to add slurs (hammer-on/pull-off) where you find most appealing. Track 27

Both of these sequences can easily be applied to any key and any pentatonic pattern. Try them with different patterns, and then try writing your own sequences.

S A M ’ S S E Q U E N CE

Lastly, I’ve added a fun sequence in the key of Gm that my friend, Sam, developed. Hopefully we will remain friends once he discovers that I have stolen the lick, shared it with the masses, and never compensated him for it. Track 28

DOUBLE-STOPS AND DEBUSSY P E N T AT O N I C S CA L E W I T H D O U BL E -S T O P S

Double-stop is a term used by string players to describe a two note harmonic interval. Here is the Am pentatonic scale with double-stops for each note of the scale. Track 29

F U N K GRO O VE

Double-stops are common occurrences in funk and country music. Try this funk riff. Pay attention to the use of staccato. Track 30

F RO M F U N K T O F RE N CH I M P RE SSI O N I SM

Composer Claude Debussy used the pentatonic scale in many of his compositions, including The Girl with the Flaxen Hair, written originally for piano but also played by many guitarists. Below is an excerpt of the last few measures where double-stops are used in an ascending Am pentatonic line. Make a note of where the shifts occur and consider which full pentatonic patterns exist in each position for reference. Track 31

Another worthy classical guitar example featuring pentatonic scales is Leo Brouwer’s Danza del Altiplano. This is a great piece to learn if you are looking for other ways to apply the concepts in this section to the classical guitar. Being a guitarist himself, it is probable that Brouwer had some of these shapes and patterns in mind when he composed the piece. PLAYING WITH ACCOMPANIMENT While the metronome can be an important tool for any musician, search for other ways to begin applying these scales toward musical goals. Have another musician play a chord while you play the corresponding scale. If another musician is not available, use resources such as loopers to record yourself playing the chords, then go back and play along, or find backing tracks to accompany yourself. YouTube is a great source for backing tracks. Search for a key and a genre with the words “backing track”, and a plethora of options will surface. Remember that everything we do, including practicing scales, is to get closer to our overall goal of playing better music. It is never too early to start applying the knowledge you obtain toward that purpose. Once you feel comfortable ascending and descending any scale pattern cleanly at a consistent

tempo, get creative. Listen to other artists (not just guitarists) and use any ideas that you like and make them your own. Learn their lick, then try altering it or building from it. The more licks you learn from various musicians and styles, the more versatile a musician you become.

DIATONIC THEORY WHOLE STEP/HALF STEP SEQUENCE Diatonic scales consist of 7 notes and can be identified as a pattern of whole steps (W) and half steps (H). Like the pentatonic scales, the two primary diatonic scales are the natural major and natural minor (or simply major and minor). You may also refer to them by their modal names, Ionian and Aeolian. Major

Minor

FROM CHORD TO SCALE

The diatonic scales have only two notes more than the pentatonics. Major

Minor

FROM MAJOR TO PARALLEL MINOR Parallel major and minor have four notes in common and three differing. Compared to the major scale, the minor has lowered scale degrees 3, 6, and 7. If you take one of the major scale patterns and flatten these three notes, the resulting pattern is still a familiar one, further conveying why you only need to learn five shapes instead of ten.



SCALE P ATTERNS M A JO R

Numbers = fingers MI N O R

APPLICATION SEQUENCES Both of the following examples are in the key of G major and use pattern 1, but as with the pentatonic sequences, the ideas can be applied to any key and any pattern. The first example is based on a motive that ascends two notes, and then back to the original. The descending pattern is an inverse of the ascending (descending two notes, and back to the original note). Track 32

The second example features a sequence of triplets. Track 33

ROOT – CHORD – SCALE The goal of this exercise is to strengthen your root, chord, and scale associations across the fretboard. Here is the process utilized by the following examples. 1. Play the root note. 2. Play the seventh chord (or triad) built from or around that note. 3. Play the scale from the same root to one note beyond the octave, ascending and descending. 4. Repeat the root and chord at the end. Going to the note above the octave (scale degree 9) will require a shift or stretch out of the normal pattern for two of these examples.

Major Track 34

Minor Track 35

FINDING MOTIVES ACROSS THE FRETBOARD Once you can play the scale patterns from the previous exercises, find or create a melody that you can duplicate in each position. DIES IRAE MOTIVE Dies Irae is one of the oldest recognizable melodies in the world. The melody was first used as a medieval Latin chant, but has since been quoted by numerous high-profile composers such as Joseph Haydn, Franz Liszt, Dmitri Shostakovich, and Hans Zimmer. The following two-measure example is the opening motive to Dies Irae played in the key of Am, repeated in multiple positions and octaves, and based around the CAGED scale patterns.

Track 36

BACH S EQUENCE Sequences are fairly abundant within music from the Baroque era. This example is taken from the Presto of J.S. Bach’s Sonata I for solo violin where a sequence is found in the first three notes of every measure. The last three notes remain the same in each measure, making the sequence slightly less obvious. Track 37

mm.25-28

The Presto is in the key of Gm, though this passage emphasizes the key of B ♭ . As with the Dies Irae motive, there are many ways and places to play this passage on the guitar. In fact, you could play this in any of the five patterns. In general, when choosing a position in which to play a passage, consider: where you are coming from in the music and where you are going Large shifts can be challenging and can potentially break the phrase. the tone color (timbre) In general, higher strings have a brighter sound, while lower strings have a darker sound. Not all music will fall within the confines of the CAGED System, but for the music that does, allow your knowledge and experience with those shapes and patterns to better your understanding of the music and the visual layout of the notes within it. This can also help you memorize the music with more ease and retain it longer, since the process engages more of the brain. The following diagrams and tablature display the five options for where and how to play the Bach example. The fretboard diagrams show the notes of the passage in the fuller context of each of the CAGED scale patterns, with the solid notes representing those used in the passage.



COMPARING SEGOVIA SCALES WITH CAGED PATTERNS Most classical guitarists are well acquainted with Andres Segovia’s Diatonic Major and Minor Scales. This is a collection of scales in all 24 keys (12 major and 12 minor) for which Segovia organized and provided detailed fingering information on how and where to play each note. Each of the scales ascend and descend through either two or three octaves, and in some cases, the descent is in a different position than the ascent. Rather than having to memorize 24 different scale patterns, Segovia’s collection uses many of the same patterns for multiple scales, totaling to only 8 different patterns needed for the entire collection. One of the goals of the “Segovia Scales” (as I will refer to them) is to improve upon a particularly challenging aspects of playing the guitar – shifting. That is, in part, why you will see some scales with shifts that could have otherwise been played with fewer shifts or even without any shifts. Observe the following Segovia Scales in the context of the CAGED System. Play through the scales provided and assess which pattern is in use at any time. Consider how you might normally play these two to three octave scales and if it is any different from how Segovia has organized them. Being able to make these associations with the CAGED patterns can help you retain the material and more easily problem solve when searching for ways to play other multi-octave scales.

C Major Scale (2 Octaves)

C Scale - Ascending

C Scale - Descending

Triangles = shifting points

G Major Scale (3 Octaves)

G Scale - Ascending

G Scale - Descending

If you have never studied the Segovia Scales, they merit some attention. As with any other scale exercises, focus on the coordination between your hands, the connection between notes (legato), and shifting with fluidity and accuracy. The minor scales in his collection are melodic minor rather than diatonic and as such do not entirely fit well within the scope of this book, but nevertheless are worthy of exploration.

MINOR BLUES SCALE The blues scale is a logical addition to this material because it takes a familiar scale (the minor pentatonic) and adds only one note, the blue note. Since blues influence is found in many modern genres such as rock, jazz, and country (not to mention all of their subgenres), the blues language is an important one to know.

THE B LUE NOTE The note added to the minor pentatonic scale to form the blues scaleis a ♭ 5 (or tritone), like the one used in the diminished chords. Casually, and in the context of blues and other forms of related music, it is referred to as the blue note (or even the “devil’s note” due to its distinctive clash with the root). The blue note, with scale degrees 4 and 5, add a brief element of chromaticism that we have not yet encountered in any of the other scales reviewed thus far. Bear in mind the addition of this note will require some alternative fingerings from what was used in the pentatonic scale.

SCALE P ATTERNS

Diamonds = blue note

F UNCTION AND USE Since the blue note is highly dissonant in relation to the root, it functions mostly as a passing tone, leading from scale degree 4 to 5, or vice versa. It is also common to bend the 4 up to the blue note and back. The musical term for this would be chromatic neighbor tone. Highlighting the blue note for an extended period of time will increase tension within a phrase. Use of the scales over minor chords is fitting, since it is, after all, a minor scale with ♭ 3. However, like the minor pentatonic scale, you might also find that the blues scale fits over major or dominant sounding chords, making it one of the most useful and versatile scales. When using it in this way, avoid landing or putting emphasis on the ♭ 3 since it would clash with the ♮ 3 in the major or dominant chords. In a way, blues guitar licks mimic the many expressive gestures found in blues vocal lines, such as sliding to and from notes or bending slightly out of pitch. For guitarists, this means using bends, hammer-ons, pull-offs, and slides. In other words, do not feel the necessity to pick or pluck every note when playing in this style.

LICKS FOR EACH P ATTERN Here are some blues licks to try for each pattern in the key of A minor. In each example, the blue note is not used as a target note, but rather as an embellishing (passing or neighboring) note. Track 38

Track 39

Track 40

Track 41

Track 42



THE MAJOR B LUES SCALE To get further use out of these patterns, the minor blues has a relative major. Think in the same context of transposing the pentatonic scale patterns from minor to major.

The blue note that formed a tritonewith the root in the minor blues key, will be a ♭ 3 in relation to the major blues key. The major blues scale is used frequently in country, rockabilly, and blues, and can give a major-based lead line a little more edge, or chromatic tension, to play with.

PUTTING IT ALL TOGETHER B UILDING LEAD LINES WITH CAGED SHAPES AND P ATTERNS Consider a song or chord progression for which you would like to create a lead melody. Now that you have the tools to move more freely along the fretboard and can better associate chords with related scales, your options have expanded. If your interests are in writing or improvisation, organize your creative process to be both efficient and effective. Try the process below to stay organized and to bolster what you’ve gained thus far from this book. Also read and play through the song examples provided to see how this method might be put to use. 1. Choose a chord progression to play over and do a little analysis. Are the chords all within the same key? 2. Choose a position and play the chords to that progression in that position. 3. Find the open and closed voicings of those chords in the location that you have chosen to focus on. 4. What are the notes around those voicings that can help lead you to and from the notes of each chord? Consider the pentatonic, diatonic, or even the blues scales. Play through the scale pattern(s) in that position. Remember that if the chords move outside of the original key, your scale may also need to change. 5. Try this process in as many different positions as you can. It is not a bad idea to restrict yourself to only focusing on one position or idea at a time. Too many options at once can be overwhelming. As you grow comfortable with individual tasks and they become more inhabited in your mind and in your playing, venture out and explore other options to always maintain forward momentum.

THE MOUNTAIN P ASS The Mountain Pass is a driving rock progression in 6/8 time, in the key of B minor. The phrases are inspired by the process mentioned above, and can most often be described in relation to the CAGED chord shapes and scale patterns. The scales used are B minor and B minor pentatonic. Here is a breakdown of which patterns are used and when they occur, as well as other notable connections to the material we have covered. mm.1-4 Pentatonic pattern 5 mm.5-6 Arpeggios of the D and A major chords based on closed voices mm.9-12 Pentatonic, pattern 1, ascending sequence mm.13-15 Diatonic pattern 1 m.16 Pentatonic pattern 2 mm.21-24 Open voiced arpeggios over D and A chords mm.25-28 Diatonic pattern 1, repeated notes with ascending sequence mm.29-30 Diatonic pattern 1, descending sequence m.31 A major chord (D shape) arpeggiated

The chords in the rhythm guitar part are all power chords consisting only of scale degrees 1 and 5. Here is the progression: Track 43

Track 44

A NIGHT ADRIFT This is a slower jazz based piece in a three-part form (ABA). It is in the key of C major and follows a standard jazz progression. The scales used are C major and briefly the E minor pentatonic at the end, which sounds unique when played over a C chord. Notice that the triads and arpeggios used in the song are not necessarily built from the root of the chord that is accompanying them. For example: the first chord is a Cmaj7 (notes: C, E, G, B), but the open chord voicing that is arpeggiated in the Gtr.1 line is a G major chord (notes: G, B, D). This gives the effect of a Cmaj9 sound (scale degrees: G = 5, B = 7, D = 9). Gtr.1 ends on F# which is the #4 scale degree. #4 (or #11 as you might read it as an extension beyond the octave) adds an interesting color tone to a maj7 chord. You might notice that this is the same note as the blue note, but it does not quite function in the same way. mm.1-3 Open voiced chords highlighting the extended notes of the Gtr.2 chords m.4 Diminished chord played over the dominant chord resulting in an altered dominant sound m.5 Diatonic pattern 1, descending sequence mm.6-7 Diatonic pattern 2 mm.9-12 Closed voiced chords alternate with melodic runs using diatonic pattern 1 mm.13Diatonic pattern 5, ascending sequence 14 m.16 Closed voiced chord arpeggiated, then diatonic pattern 1 m.17 Diatonic pattern 2 (set up for sequence) m.18 Diatonic pattern 2, descending sequence in groups of 6 m.19 Em pentatonic pattern 5, descending sequence

Track 45 & 46

F INAL THOUGHTS Hopefully this book has allowed you to explore the remainder of your fretboard with more ease and less mysticism. The CAGED System is one of the most useful methods for learning and navigating the fretboard, but it is not the only one, and I encourage you to venture through the others as well. Find knowledge and inspiration from as many sources as you can. Finally, remember that music is an art form not confined by shapes and patterns, so keep exploring. Learn the rules to the best of your ability… and then break them with the best of your creativity.

ABOUT THE AUTHOR

A native of middle Georgia, Sean Thrower is a guitarist, educator, composer, and author. As a musician, he has over 15 years of performance experience in a variety of genres and concert settings. He holds both a Bachelor and a Master of Music degree in classical guitar performance from the University of Georgia, where he studied with John Sutherland and Dr. Phil Snyder. Along with performing, Sean gives multiple clinics and masterclasses each year. As singer/guitarist for modern acoustic duo, Terminus Falls, Sean has performed an eclectic mix of music in a variety of venues from a 15th century villa outside of Florence to Nashville’s “favorite dive bar.” Their first album, Getting Lost, was released in April 2016. Sean’s second book, described below, was published in March of 2017. Currently, he is on faculty at Berry College, Georgia Highlands College, and Dalton State College, and is founder of the Rome Guitar Institute in Rome, Georgia. For more information, visit http://www.seanthrower.com/.

The Segovia Scales Illustrated with Standard Notation, Tablature, and Fretboard Diagrams By Sean Thrower



About Diatonic Major and Minor Scales by Andrés Segovia was published in 1953 and consisted of 24 scales, 12 major and 12 minor, for which he applied his own unique fingerings. Here in this book, those scales are re-illustrated using a combination of standard notation, tablature, and fretboard diagrams so that they are easier to read, quicker to learn, and accessible to more people. Also included in the book are practice methods that can be useful in learning and developing these scales.

AUDIO TRACK LIST 1. Jumping 2. Growing Expectations 3. A Dark Daze (Rhythm) 4. On the Horizon 5. Autumn Stroll (Rhythm) 6. Autumn Stroll 7. Layering 8. A Dark Daze 9. Sequence of Inversions (Major) 10. Sequence of Inversions (Minor) 11. Eric Johnson Style Run 12. Open Voicings in Open Position 13. Pop Progression 14. Dream Sequence 15. Diminished Chord Use 16. Excerpt from Caprice 9 17. Gypsy Sweeps 18. Diminished 7 Exercise 19. ii V I 20. Minor ii V i 21. Practicing the Patterns (Minor Pent) 22. Changing Keys within a Position 23. Practicing the Patterns (Major Pent) 24. Combining Shapes 1 25. Combining Shapes 2 26. Pentatonic Sequence 1 27. Pentatonic Sequence 2 28. Sam’s Sequence 29. Scale with Double-stops 30. Funk Groove 31. Girl with the Flaxen Hair 32. Diatonic Sequence 1 33. Diatonic Sequence 2 34. Root, Chord, Scale (Major) 35. Root, Chord, Scale (Minor) 36. Dies Irae Motive (2 octaves) 37. Bach Sequence 38. Pattern 1 Lick 39. Pattern 2 Lick 40. Pattern 3 Lick 41. Pattern 4 Lick

42. 43. 44. 45. 46.

Pattern 5 Lick The Mountain Pass (Rhythm) The Mountain Pass A Night Adrift (Rhythm) A Night Adrift Download instructions on Table of Contents page

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