Guitar For Beginners - Basic Music Theory - Key Signatures

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Guitar For Beginners - Basic Music Theory - Key Signatures
By Michael Fletcher

Sooner or later, almost every beginning guitarist develops the desire to progress. Many are confused with regard to direction. In other words, many ponder their educational path. With so much information available, it’s no wonder that the world of guitar playing begins to seem more like a giant puzzle rather than a well defined musical highway.

Here’s a question to ponder. When is a beginner no longer a beginner? Is there some secret ceremony that is conducted by the guitar spirits thus, presenting one with a certificate proclaiming that an intermediate guitar player has now entered the room? Is there a local college professor who proclaims one an intermediate player due to his/her subjective view on levels of musicianship? Perhaps there is. Perhaps there is not. Are there actually levels of musicianship? In short, yes. However, this concept is nothing to be concerned with at this stage of the game. Let’s just drop the labels and progress.

More than likely, many guitarists are left to progress on their own. Many cannot attend college or an institute geared for the guitarist. However, progressing doesn’t mean that one has to enroll in the local university. Today, there are great guitarists who have never set foot in a music classroom. By the way, many of them are generating millions and millions of dollars as a result of their own personal progress on the guitar. This is great news. Just think for a moment, personal progress without judgment, labels, or a time frame. This is a winning proposition for all.

For purposes of this article, it is presumed that you have already learned and are playing a few guitar scales, some simple guitar chords (perhaps some difficult guitar chords), and have been learning some of your favorite songs. In other words, you’re relatively satisfied with your progress thus far. Further, you’ve developed some good facility and mechanical strength. You’re no longer clumsy on the guitar. You’re ready to truly progress.

Educating one’s self regarding key signatures is a great place to start. Knowledge of key signatures is essential to one’s understanding of tonality (tonal centers, etc.). Think of it this way, without knowing what notes, tones, or chords actually belong to any particular tonality, how can one play the guitar freely without creating a musical train wreck? Guessing is a fool’s game. Knowing is a winner’s game.

Can millions be made without knowledge of key signatures or music theory? The answer is yes. However, one would have to surround him/herself with very knowledgeable musicians in the recording studio and in creative sessions. The rich and famous can afford this type of luxury. I’m betting that most cannot. Education is a beautiful thing folks. Why risk an entire career based on a roll of the dice? Don’t guess at music, know it.

For those who are not willing to bank on fame and fortune, let’s get started on some explanations regarding key signatures. First, there are fifteen major key signatures. Certain key signatures employ sharp signs (#), and some employ flat signs (b). Now, I have no intention at this juncture to itemize every key signature for you in this article. However, I will give you a few tips on tonality and recognition of key signatures. The rest will be an assignment for you to complete.

The first example we’ll study is the key of C major, also referred to as the key of no sharps, no flats. The key of C major does not contain any sharp signs or flat signs. All of the notes are natural. Taking this one step further, each and every major scale represents its own respective major key signature. For example, by reciting the notes contained in the C major scale (C-D-E-F-G-A-B-C), we discover all of the notes contained in the key of C major. Any other note, is considered chromatic (does not belong) to the key of C major. For those who are interested, any major scale (Ionian) contains half steps between the 3^rd and 4^th degrees and also between the 7^th and 8^th degrees of the major scale. This is the specific criteria for a major scale.

There is a specific order in which sharps or flats are entered into a key signature. In short, there is an order of sharps and an order of flats. The order of sharps is F-C-G-D-A-E, and B. The order of flats is B-E-A-D-G-C, and F. The order for each is always from left to right. For example, the key of G major is also referred to as the key of one sharp. In other words, we know that the key of G major contains one sharp sign. What note is going to be sharp? Look at the order of sharps. We match the number of letters (notes) from the order of sharps to the number of symbols contained in the key signature.

Since the key of G major contains one sharp sign, only one note will be sharp (look at the order of sharps). Because we always enter the order of sharps from left to right, what is the first letter (note) that we run in to? F is the answer. Therefore all F’s will be sharp in the key of G major. Therefore, the diatonic notes (notes that belong) contained in the G major scale are G-A-B-C-D-E-F#-G. Notice that the F note is sharp. Hence, we now know exactly what notes belong to the key of G major.

The key of D major is also known as the key of two sharps. What two notes will be sharp in the key of two sharps (D major)? Look to the order of sharps. What are the first two letters (notes) in the order of sharps? Looking from left to right at the order of sharps, we discover that all F’s and C’s will be sharp in the key of D major (key of two sharps). We matched the number of notes in the order of sharps to the number of symbols (sharp signs) contained in the key signature. Two sharp signs, two notes from the order. Therefore, the D major scale is D-E-F#-G-A-B-C#-D. Once again, we’ve discovered all of the diatonic notes for the key of D major.

Do key signatures that employ flat signs work any differently? The answer is no. The same principle applies. For example, the key of F major is also referred to as the key of one flat. Look at the order of flats. Which note, in the key of F major is flat? That’s right, B. Therefore, the F major scale contains the notes F-G-A-Bb-C-D-E-F. All B’s are flat. Now, let me explain why key signatures will play such an important role in your career as a guitarist.

Imagine walking on to a stage with some other very talented musicians. Suddenly, you’re in formed that you’re to solo in the key of six sharps. The next thing you hear is the drummer clicking off the tempo.

As a guitarist, it’s your job to know where every single note, diatonic to the key of six sharps, is on the ENTIRE fingerboard. What if this was your big opportunity to audition for the band of your dreams? At this point, all of the fancy guitar videos, that just teach a few licks and tricks, will not help you. A good and solid foundation in guitar theory (music theory) will.

The necessity for knowing (not guessing) just gets deeper and deeper, depending upon your goals as a guitarist. Whether your goal is to perform, record, arrange, produce, release CD’s, or to play backyard BBQ’s. The more you know about the guitar and music theory, the better you’ll become as a guitarist. Once again, this is a winning proposition.

The real challenge for most guitarists, is locating a guitar curriculum that really puts it all together. Once one locates the means to the end, the journey will be as it should be; enjoyable.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

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The Benefits Of Learning Music Theory - By Kevin Sinclair

By Kevin Sinclair

First of all, even though you don’t have to understand how to read sheet music to perform as a musician, you will need an understanding of music theory. It opens so many other doors for you in the world of music. Music theory will not show you how to understand music, but with music theory you will be able to communicate musical ideas, explore music in whole new ways, and redefine the tremendous scope that entails the magical world of music.

Music theory allows you to voice your opinion with others in the field, expand your musical horizon. Give a little input to a fellow musician and you’ll get something in return.

Notations And Communicating With Other Musicians

Music lovers all develop a keen sense of awareness, musically speaking. Sometimes, musicians explain that if they study music theory, then it’ll stunt their creativity. Wrong! The world’s greatest composers were all masters of music theory: Mozart, Beethoven, Brahms, J.S. Bach. These experts composed a keen understanding of the theoretical concepts. Years were spent studying the concept, down to some of the smallest details.

Music can be played by ear, picking out tunes without the aid of written music. Your ears can be your guide. The reason this is brought to light is that some musicians with strong theoretical training often disregard the art of playing by ear.

Think of playing music by ear this way: We’re all born as non-verbal creations. Communication begins with crying, making sounds, displaying body language. Parents quickly become experts on baby talk. It’s an innate sense. Over time, language develops by mimicking sounds. Toddlers don’t learn nouns and verbs; they learn to speak by example. Music can be the same way. Hence, the reason so many people pay top dollar for live performances. It’s invigorating, magical.

Understanding Harmony And Chord Progression

Chord progression and harmony, two features of music theory, help broaden any musician, regardless of their genre of study. Chord progression is a series of chords that are used to harmonize music. All compositions use chord progression. Those that improvise - which, as already mentioned, adds charm and magic to the environment of music - invent brand new melodies that blend in with an existing chord. It’s a musical transition, something that must be practiced, repeatedly. The great composers and musicians develop chord progressions and transitions until it becomes natural, a second-natured maneuver.

If a musician improvises in a more interconnected manner, these new melodies show the musician the progression as one whole unit, and not a series of bumpy transitions. The more practice that goes into this aspect of music learning theory, the more interesting substitutions they will develop along the way. Once the concept of chord progression and its structure is understood, it will be easier to remember. Jazz musicians, therefore, show a keen interest in the study and analysis of chord progression.

The study of music theory will show musicians and musical scholars that the objective, initially, is not to consider an entire composition in one sitting. Instead, musicians, students and teachers alike, view a chord progression in segments, or units. These units correspond to musical sections known as stanzas.

A stanza is the complete statement and development of a single musical idea. It’s a fairly simple act of dividing pieces into small manageable sections, with the melody itself forming, or suggesting the boundaries for sound.

Tonality, another element of chord progression, means different things to different people. Some would consider it to be this: any piece of music with a well-defined key center. Others envision any music that uses the conventional chords as tonal.

Music without the use of chords in a functional manner to reinforce a tonal center is not tonal. It is referred to as non-tonal music. The names of these styles are not always agreed upon between musical connoisseurs. But expressing difference is one key element that makes music such a beautiful art form, with countless possibilities.

So, if you are considering studying music, be it to play an instrument, teach music, or simply hone in on personal curiosity, learning music theory is a must for you.

Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development. http://www.musicianhome.com/

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