By Michael Fletcher

The Aeolian mode (also known as the pure minor scale or Natural Minor), as a stand alone musical mode (scale), is absolutely beautiful in sound and structure. Personally, I believe the Aeolian Mode to be the center of the musical universe. I, among others, believe this to be true for many reasons. Therefore, several of these reasons will be discussed throughout this article. You then, the reader, can decide for yourself as to the importance you place on this particular mode.

The quality of the Aeolian Mode is minor (minor 3rd interval between the root note of the scale and it’s 3rd). For purposes of application, the following elements apply:

1) The tonic note of the Aeolian mode must always be established. In other words, if we were analyzing a C Aeolian scale, the root note C must be voiced (established; played). It’s always important to establish a tonal center with any mode.

2) The third scale step must be used in order to establish the minor quality of the Aeolian Mode.

3) Only the natural 6th and 7th degree scale tones (no alterations) be used to attain and preserve the Aeolian modal flavor or essence.

Thus far, we’ve established the tonic note, the minor 3rd, and the use of the natural 6th and 7th degree scale tones for the Aeolian mode. It’s safe to say that Aeolian, at this point, has been born.

It’s helpful to think of the Aeolian Mode as being rooted on the sixth degree of the major scale. For example, the scale tones for the C major scale are C-D-E-F-G-A-B-C. Therefore, the Aeolian root note would be A (rooted on the sixth degree of the major scale). Thus, A-B-C-D-E-F-G-A (Aeolian). Do you notice that the tonic note is present? Do you notice that the distance between A and C is a minor third interval? Also the 6th and 7th degree scale tones are natural (no alterations). This is why I offered this particular example in the key of C major (key of no sharps, no flats). It’s easier to keep track of the theory.

keep in mind that, the actual theory involved here, ironically infers altered scale tones once we discuss key signatures other than the key of C major (key of no sharps). In the key of C major, half steps automatically occur between the 3rd and 4th degrees of the major scale, and then once again between the 7th and 8th degrees of the C major scale (no alterations are necessary). In every other key signature, the degrees of the scale must be altered (using sharp signs or flat signs) in order to create the specific formula needed (whole steps and half steps) to establish a major scale.

Once again, for purposes of this article we will be utilizing the C Aeolian Mode. By adding some difficulty, the learning process will be authentic. Therefore, prepare yourself for just a little confusion. However, with some concentration, any initial confusion should clear up shortly.

The Aeolian Chords are: I minor, II diminished, bIII major, IV major, V minor (7), bVI major, and bVII major. There are typical and then, very strong Aeolian chord progressions. We’ll examine both in this article.

TYPICAL AEOLIAN PROGRESSIONS: study the following progressions and transfer them to your guitar.

1) I minor (C minor) progressing to the bVII major (Bb major), progressing to the I minor (C minor), progressing to the bVII major (Bb major), progressing to the bVI major (Ab), progressing to the bVII major (Bb), progressing to the I minor (C minor).

NOTE: Notice that we brought our listener back to the tonic I minor (C minor). It’s very important to establish a tonal center.

2) I minor (C minor) progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the I minor (C minor).

3) I minor (C minor) progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the V minor (G minor), progressing to the IV minor (F minor), progressing to the I minor (C minor).

4) I minor (C minor) progressing to the bVII major (Bb), progressing to the IV minor (F minor), progressing to the I minor (C minor), progressing to the V minor (G minor), progressing to the I minor (C minor).

5) I minor (C minor) progressing to the V minor (G minor), progressing to the I minor (C minor), progressing to the bIII major (Eb major), progressing to the IV minor (F minor), progressing to the I minor (C minor).

NOTE: Do not emphasize the bIII major because it tends to suggest the I major chord in the actual key signature. This takes away from the Aeolian flavor.

6) I minor (C minor) progressing to the IV minor (F minor), progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the I minor (C minor).

The I minor, bVII major, to I minor are very strong Aeolian progressions, as well as the I minor, bVI major, bVII major, to the I minor.

It’s best to think of using triads (three part chords) when engaging in an Aeolian progression. My personal students are taught how to extend all chords to their fullest diatonic range. This adds flavor to any progression but will, most likely, annoy the strict theorists. There’s something to be said about Pop-Rock; we can get away with a lot of rule breaking and our audiences love it.

In the end, music is based on sound. All of the theory in the world is just theory unless analyzed, practiced, and implemented. The guitar is a wonderful instrument. We should all strive to continuously educate ourselves in order to unlock it’s endless secrets.

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

http://www.ultraguitarmethod.com/

Ultra Guitar Method is designed to place years of professional playing experience under your fingers in a very short amount of time thus, placing you light years ahead of the competition. All theoretical, technical, mechanical, and application principles contained in the method are designed exclusively for the guitar. Learning is made exciting and fun.

Make no mistake about it; if your goal is to understand the entire guitar fingerboard and experience an incredible new mechanical and theoretical freedom as a guitar player, then Ultra Guitar Method is an absolute must.

While others are losing valuable time on the standard old books of C, F and G, this is your opportunity to step directly into the future with a guitar method that is as flexible as your own personality and as vast as your imagination will allow.

Visit the Ultra Guitar Method website today. Your future is now.

Article Source: http://EzineArticles.com/?expert=Michael_Fletcher
http://EzineArticles.com/?The-Aeolian-Mode—Pure-Minor-At-Its-Very–Best—Another-Must-Know-For-Evey-Guitarist&id=1090332

By Michael Fletcher

The Mixolydian Mode is a great guitar scale to use against dominant types of chords. In essence, the Mixolydian Mode is a major scale that contains a minor 7th interval between the root note of the scale and it’s 7th degree. This minor 7th interval gives the Mixolydian Mode it’s dominant flavor. In a traditional major scale, the 7th degree interval is a major 7th not a minor 7th degree. Hence, dominant.

In order for a true Mixolydian tonality to emerge, the tonic note must be established, the major 3rd scale tone must be voiced, and the lowered 7th scale tone must be used. Otherwise, Mixolydian tonality is not authentic.

There are some general rules applicable to Mixolydian chords and progressions. For example, one must always use the I major chord (this establishes the tonic home-base for the listener), and the V minor or the bVII major chord(s) must be used so that the b7th scale tone is actually sounded. For this particular article, we will be analyzing the C Mixolydian Mode (scale) and it’s corresponding tonality (chords and scale tones).

The following chord progressions are strong Mixolydian progressions. It’s best to think in terms of triads when using the specific chords necessary to portray Mixolydian tonality. However, when these chords are extended to their diatonic 7th’s, 9th’s, and 13th’s, a very contemporary flavor and sound will emerge.

1) I major (C major) progressing to the bVII major (Bb major), progressing back to the I major (C major).

2) I major (C major) progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the IV major (F major), progressing back to the I major (C major).

3) I major (C major) progressing to the IV major (F major), progressing to the bVII major (Bb major), progressing to the I major (C major).

4) I major (C major) progressing to the V minor (G minor), progressing to the I major (C major).

5) I major (C major) progressing to the V minor (G minor), progressing to the VI minor (A minor), progressing to the IV major (F major), progressing to the I major (C major).

6) I major (C major) progressing to the V minor (G minor), progressing to the IV major (F major), progressing to the V minor (G minor), progressing to the I major (C major).

7) I major (C major) progressing to the V minor (G minor), progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the I major (C major).

Note that in all of the above referenced chord progressions, the tonic was always established. In other words, the listener was given a strong starting point for tonality and a strong return to the tonality. Always remember to define a strong tonality for the audience. Subconsciously, a listener doesn’t enjoy being left up-in-the-air musically. Give them something to hold on to.

The Mixolydian Mode, as with all other modes, has it’s own unique characteristics. It is beneficial for all guitar players to learn (or remember) these characteristics. The small details can, sometimes, make the difference between a great guitar solo (or chord progression) vs. a mediocre guitar solo or performance. But this is just the beginning. We’re barely scraping the surface here. As any of my students would testify, the rabbit hole gets deeper and deeper. However, their actual education gets easier and easier. The application becomes automatic for them.

It’s absolutely refreshing and empowering to approach an authentic playing situation with confidence. How is this achieved? Education and practice. There’s mental and there’s physical. One without the other is incomplete.

There are many guitarists who play extremely well. However, the truth be known, there are, most likely, giant gaps in their understanding of key signatures, key changes, chord construction, scale application, intervals, substitution principles, and much, much more. Does this make them any less of a musician (in their own realm) than anyone else? Of course not. Could they become better as a result of a pro-end education? Absolutely yes.

Something as simple as the Mixolydian Mode, it’s analysis and understanding, has the potential to launch an entire new desire to progress as a guitarist. It’s amazing how much music can result from simple concentration and practice. As a player, there’s good and there’s great. The difference is the decision to progress.

For those of you contemplating guitar lessons, make sure that you are well matched with your guitar instructor. Define your goals and don’t waste time. If your goal is to play a few songs and strum a few chords, then almost anyone can help you with that goal. If your goal is to progress beyond your favorite artist, then you should aim for the best-of-the-best for instruction and educational material (theory and application).

Until next time, practice, practice, practice.

© 2008 Michael E. Fletcher. All Rights Reserved.

http://www.ultraguitarmethod.com/

Ultra Guitar Method is designed to place years of professional playing experience under your fingers in a very short amount of time thus, placing you light years ahead of the competition. All theoretical, technical, mechanical, and application principles contained in the method are designed exclusively for the guitar. Learning is made exciting and fun.

Make no mistake about it; if your goal is to understand the entire guitar fingerboard and experience an incredible new mechanical and theoretical freedom as a guitar player, then Ultra Guitar Method is an absolute must.

While others are losing valuable time on the standard old books of C, F and G, this is your opportunity to step directly into the future with a guitar method that is as flexible as your own personality and as vast as your imagination will allow.

Visit the Ultra Guitar Method website today. Your future is now.

Article Source: http://EzineArticles.com/?expert=Michael_Fletcher
http://EzineArticles.com/?The-Mixolydian-Mode—A-Guitar-Scale-Rich-In-Flavor&id=1091376

Here is a really cool lesson by Erich Andreas of YourGuitarSage.com. This video guitar lesson discusses what Erich has coined as “The Most Powerful Scale in the World”. Its the Pentatonic Scale, which I am sure you  are familiar with and perhaps already know how to play. If you are not already familiar with the Pentatonic scale, it’s essentially a musical scale with 5 notes per octave. This is in contrast to a hepatonic or normal 7 note scale that you are accustomed to such as a major or minor scale.

In the following video guitar lesson, Erich will teach you how to play the Pentatonic Scale in every key both major and minor.  This will help you create solos and melodies over any song that is in a major or minor key, which is a lot!

So why is this scale so powerful? What makes this scale so fun to play, apart from it being so easy to remember and play, is that fact that you can play it over so many different chord progressions.  Erich will demonstrate this in the video lesson and more below. So watch, enjoy and practice the Pentatonic Scale!

httpv://www.youtube.com/watch?v=Hm24zj1kJVA

By Michael Fletcher

For those of you who have been following my series on guitar modes, you already know that I don’t waste words when it comes to explaining the theory and application surrounding each mode. However, keep-in-mind that there is rich history surrounding each mode. When you have time, research the history. I think you’ll find it very interesting.

Thus far, my approach to explaining the modes is more contemporary. This is done intentionally, as not to confuse the reader with different historic views and applications. However, in the future, I will build on what I’ve already explained in the entire series. Once again, this is intentional. Why? Foundation! It’s important that the reader develop a strong foundation in understanding the modes in their purest forms. Thereafter, more in-depth theory will become easier to understand.

The Phrygian Mode is created by lowering the 2nd degree of the Aeolian Mode, resulting in a very dark musical effect. It’s all about color (see previous articles).

In order for a true Phrygian tonality to emerge, study the following Phrygian Mode elements (essential to Phrygian.

1.) The Tonic note must utilized (established).

2). The minor 3rd scale step (b3rd) must be used to establish a minor scale quality.

3) The b2 (lowered 2nd) scale tone must be used because it is the characteristic sound of Phrygian.

Remember, The Phrygian Mode is a specific type of minor scale. It’s tonality is unique. In addition, Phrygian chords and Phrygian chord progressions are also unique. Study the following Phrygian chord elements.

1.) The Tonic I mi chord must always be established.

2.) The bVII mi chord, the bII MA chord, and the V dim. chords should be used for Phrygian flavor.

Phrygian Sale Tones (E Phrygian): E-F-G-A-B-C-D-E

Phrygian Chord Progressions:

1.) Imi (Emi) progressing to the bVII mi (Dmi), progressing back to the tonic Imi (Emi). Emi-Dmi-Emi.

2.) Imi (Emi) progressing to the bIIMa (FMa), progressing back to the Imi tonic (Emi). Emi-FMa.

3.) Imi (Emi) progressing to the IVmi (Ami), progressing to the bVIImi (Dmi), back to Imi (Emi). Emi-Ami-Dmi-Imi.

4.) Imi (Emi), to bIIMA (FMa), to bVIImi (Dmi), to Imi (Emi). Emi-FMa-Dmi-Emi.

The Phrygian chord progressions referenced above are great progressions against the Phrygian Mode.

As explained earlier, there are other Phrygian applications. For example, The Phrygian Dominant Scale is created by raising the 3rd degree of the Phrygian Scale as we studied above. Many Spanish-Flamingo players alternate these two scales when employing a Flamingo style. In fact the Phrygian Dominant Scale is also referred to as the Spanish Gypsy Scale.

From here, the theory gets thicker and thicker. It is not the goal of this article to create confusion for the reader. The goal is to offer a quick and easy approach to understanding the Phrygian Mode. The quicker the understanding of Phrygian theory, the quicker one can execute performance. Once again, this is exactly why a solid foundation and understanding is so important. Knowledge is power. Please folks, never forget that. Knowledge is power!

For those of you who, for one reason or another, have been putting off your progression through education,,,please stop this go-nowhere procrastination. Education is the vehicle to musical power. Don’t take this lightly!

Make this year, the year that nothing will stop you from progressing as a guitarist. There is absolutely no reason that should prevent you from becoming a better guitarist. He who hesitates is bossed! Remember that. If you don’t take care of yourself…who will?

©2009 Michael E. Fletcher. All Rights Reserved Worldwide.

http://www.ultraguitarmethod.com/

Ultra Guitar Method is designed to place years of professional playing experience under your fingers in a very short amount of time thus, placing you light years ahead of the competition. All theoretical, technical, mechanical, and application principles contained in the method are designed exclusively for the guitar. Learning is made exciting and fun.

Make no mistake about it; if your goal is to understand the entire guitar fingerboard and experience an incredible new mechanical and theoretical freedom as a guitar player, then Ultra Guitar Method is an absolute must.

While others are losing valuable time on the standard old books of C, F and G, this is your opportunity to step directly into the future with a guitar method that is as flexible as your own personality and as vast as your imagination will allow.

Visit the Ultra Guitar Method website today. Your future is now.

Article Source: http://EzineArticles.com/?expert=Michael_Fletcher
http://EzineArticles.com/?The-Phrygian-Mode—Another-Unique-Scale-For-Guitar&id=1810841

About Bill Palmer

BILL PALMER is a guitarist, composer/musician and an educational author. His style is a mix of rock tones, ambient sound-scapes and jazz-influenced harmony.

Along similar stylistic lines to Joe Satriani and Eric Johnson but with a voice all his own, Bill’s debut self-recorded album “Outlines” (ToneFreak records 2007) has garnered much critical acclaim from both music industry press and insiders and has been described as:

“Classic Satch style shred…” Australian Guitar Volume 64
“Face melting runs, complex arpeggios…” Rave Magazine 2008
“Your material is awesome, really great stuff…” Mark Holden – Aust. Idol Judge
“Great playing, writing and arranging – awesome!” T.J Helemerich (LA based producer)
“Bill Palmer’s “Outlines” is a guitar pickers heaven…” Manly Daily
“Tone, control and melody – epic sounding….” Australian Guitar Volume 64
“Plenty of heat, the songs are both catchy and original…” Manly Daily

Follow this link to reach Bill’s Website

Download Bill’s Songs from iTunes!

Chord Scales – Using Chords Within a Scale & Understanding Basic Harmony

Scales?

A scale is a an organized collection of notes. A scale can have as many notes as 11 the “Chromatic Scale” for instance but typically, the majority of scales have 7 different notes.

In the case of E Major, those 7 different notes are: EF#G#ABC#D# and the scale then ends on the same note it started on “E.”

When most guitar players think of scales, they imagine singlenotes played one at a time and sure, that is one such application of scales. However, a scale can also be applied by playing groups of notes from within the scale.

Chords & Scales? Yes You Can!

When 3 or more notes are played at once, we call that grouping a “chord.” Within a major scales, these chords ALWAYS follow a set pattern that are based off each note of the scale: Major, minor, minor, Major, Major, minor and lastly, diminished.

This means that in the key of EMajor, the chords based off the E, A and B notes will yield Major chords. The minor chords will fall on the F#, G# and C# notes and that leaves D# as the designated diminished chord.

So a “chord scale” is simply the chords from a scale played in a successive manner. We can apply this to acoustic guitar for a number of different chord voicing possibilities and further, it’s definitely helpful to know these shapes and ideas as it gets you out of the rut of “stock,” run of the mill chord voicings and shapes.

What we’ll also be doing is using particular open strings as “commontones” or “pedal tones” that give these chord shapes a “shimmer” to them that you just don’t get with barred or closed position shapes. Let’s take a look at some ideas in the key of E Major:

If you play through these, you’ll hear a continuity that you just don’t get with regular closed position barchords. They’re also a nice option have up your sleeve for the purpose of multitracking guitar parts when it comes to recording.

These kinds of shapes work well in the keys of D and A Major, take a look:

Without a doubt, you’ll find these chords helpful in understanding theory and how it applies specifically to guitar. And as bonus, you’ve got some great new “sounds” to toy with.

C and G Major chords also work but the minor chords can be a bit of a stretch so I’ve intentionally left these off. Instead, I’ve written the 3 major chords from each respective key which you can take a look at here:

At the end of the day, it’s all about options and while you may not like every single one of these chords, hopefully there are a couple that you do really like.

All of these voicing options can be arpeggiated as well which is where you pick each string individually rather than strumming. Experiment and see what works!