Learning Guitar Theory – First 5 Steps

By Mike Beatham

Learning guitar can be split into two main categories – the physical and the theoretical. The physical aspects of learning guitar are the finger exercises and techniques you use to manifest your theoretical knowledge on the fretboard. As you can probably see, one cannot exist without the other. Once you’ve learned those first few chords, basic strumming/picking patterns and scale fingerings, and you begin to focus more closely on things like harmony and tonality, there is often an overwhelming feeling that there is much more to learning guitar than just “where to put your fingers”.

The first thing to note is that music theory can get very deep and complex. It takes years to fully grasp many theoretical elements. Therefore, right from day 1, you need patience! You also need to be prepared to get your head down to read and study diagrams with the same rigor as you would if studying at college/university. This is what puts off a lot of guitarists with a “quick-fix” mentality. Devote practise time to both physical and theoretical elements every day and the two will marry naturally over time. You’ll see!

So, where to begin?

1) Know what intervals are and how they work on guitar

You may have already learned a few scale fingerings, but do you know how specific intervals make up the unique tonal structure of that scale? Scale intervals, the spaces between each of the scale’s tones, are measured in “half steps/semitones” and “whole steps/whole tones”, and a sequence of whole steps and half steps in different combinations creates different scales. Intervals are, quite literally then, the building blocks of scales. For example, the major scale’s intervals are (where W = whole step and H = half step):

1 W 2 W 3 H 4 W 5 W 6 W 7 H 1… (repeat from 1 again)

So, first you need to learn how whole step and half step intervals work on the fretboard, both on a single string and in the relationship between two strings. For example, a major 3rd interval is made up of two notes, two whole steps apart. You could either map this interval out across one string (half step = 1 fret space, whole step = 2 fret space) or across two strings. Mastering intervals prepares you for knowing your way around scales like the back of your hand.

2) Know the major scale right across the guitar fretboard

The major scale is seen as the elementary scale western music is referenced against. Even minor scales are notated against the major scale’s note positions. For example, a minor third is symbolised as “b3 (flat 3rd)” because the 3rd has been flattened/lowered a half step from its original, major scale position. If you come across the symbol “#5 (sharp 5th)” that refers to the tone being sharpened/raised a half step from its original major scale position.

When learning the major scale, it’s important to get used to seeing the 1st tone – 1 – as the “root note”. The note of this root note defines the key center of the scale. To change key, simply move the root note and the interval structure with it. This is why scale patterns can simply be shifted up and down the fretboard to change key without changing their form/fingering. You can apply this root note/key concept to all other scales you learn.

Once you’re comfortable with how intervals work, using the major scale as your foundation, you have a few choices for that next logical step – you can either use your major scale knowledge to build chords or start looking at modal theory, which itself expands into several areas. Let’s look at chords first…

3) Chord theory and scale equivalents

The major scale is the foundation scale from which we build and notate/symbolise chords. Starting with that all important root note, we can stack up tones from, and modified from, the major scale. This creates a chord shape on the fretboard – where several tones of the scale are fingered/played at once, across several strings. So, if you know the major scale right across the guitar’s fretboard, you can identify a root note in several positions and build the chord from each, depending on the type of voicing you want (e.g. high or low?)

Chords can be built in the following core forms:

Major triad – root, 3rd, 5th
Minor triad – root, flat 3rd, 5th
Diminished triad – root, flat 3rd, flat 5th
Augmented triad – root, 3rd, sharp 5th
Suspended triad – where the 3rd of the major or minor triad is replaced with another tone, usually the 2nd or 4th.

Once you’ve mastered building those 3-note chords, you can move onto “7th chords” (4 note chords) and then “extended chords” (more than 4 notes), both of which simply add to those existing core triads.

What’s great about learning how to build chords from scratch is how that same knowledge can then be applied to building scales. When harmonising over a chord as a lead guitarist, it’s helpful to know which tones make up the chord you’re playing over so you can then draw those same tones for use in your lead harmony/solo. Chords and scales are drawn from the same source – intervals.

When you begin to see chords and scales as essentially the same thing, that’s when the big picture begins to reveal itself and you start to see how music works much more clearly.

4) Modal theory

Modes are often misunderstood and are actually, I believe, made to sound more complex than they actually are. After following steps 1-3, you should be ready to explore modal “systems”.

Modes are referred to as “modes of the …. scale”, for example “modes of the major scale”. This immediately tells us that we need to first know that core scale from which its modes are derived.

Let’s briefly introduce the modes of the major scale. Each note of the major scale – 1 2 3 4 5 6 7 – represents the root of a new mode. You can find out why they have weird names later, but it’s more cultural/geographic/historical than musical:

1 – Ionian
2 – Dorian
3 – Phrygian
4 – Lydian
5 – Mixolydian
6 – Aeolian
7 – Locrian

So, to play any of the modes from 2 – 7 (since 1 is the same root as the major scale) it’s like starting the major scale from a note other than its root, meaning you’re still essentially playing the notes of the major scale, but because the root has been moved up the scale to a new position, it adopts a new key center and it takes on a new sound and form/pattern on the fretboard.

Each of those modes, like scales, is built from a sequence of intervals that give them unique flavours and moods. However, they have another function which classifies them as modes. They work over particular chord sequences within that same scale (the major scale in this case). So, once you’ve learned the modes individually, as scales, it’s time to see how certain chord movements naturally complement them.

5) Modal chord progressions

Again, working with the major scale, we learned that each note represents the root of a new mode. Well, since each mode is essentially its own scale with its own sequence of intervals, we can also build chords around those same intervals, using the tones of the mode. For example, Mixolydian is a major mode/scale and uses a flat 7th (b7), so its chord equivalent would be major (see major triad from earlier) with a flat 7th. Think of it like superimposing the chord shape over the scale shape.

So there’s a task right there – learn the chord equivalents of each mode.

Ionian – major
Dorian – minor
Phrygian – minor
Lydian – major
Mixolydian – major
Aeolian – minor
Locrian – diminished

As we have 7 modes, we also have 7 equivalent chords, creating a chord scale, which will therefore use the same major scale intervals as its modes! It’s all connected. From this chord scale we can pull different chord sequences to create modal chord progressions.

For example, one chord progression could be: I ii V, or 1 2 5, which means we are using the equivalent chords of Ionian, Dorian and Mixolydian.

The big picture…

This is a lot to take in at once, I know, and this is why it’s essential to progress logically, using the 5 steps in this article. I hope you will continue to reference this “check list” as you progress.

Once you’ve accomplished “stage 5″, you’ll be ready to explore more freely, relying more on your musical intuition, that will have developed through those early stages. It’s all about building stable foundation knowledge which you can continue to build upon as your playing develops.

I hope this article has at least left you feeling more confident about the path you can take to mastering guitar/music theory. Then, finger placement will be less of a guessing game and more of an informed creative process, which is especially what the art of improvisation requires, when you come to it.

Enjoy the journey!

Mike Beatham runs a free, easy to follow guitar lessons site with backing tracks, tools and exercises to help you develop your own unique playing style. To learn more about the techniques discussed in this article, visit http://www.fretjam.com

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When Playing Guitar, Don’t Forget Your Thumb

By Keith Dean

You can use it to hitch a ride. Roger Ebert has made a fortune using one or both – up or down. It’s universally recognized as the sign for a number of affirmatives – “okay”, “good job”, “looking good”, “it’s under control”, among others. It’s also the appendage that one would be inserting “where the sun don’t shine” in a well known metaphor for aimlessly idling one’s time away. We are, of course, referring to the thumb.

In terms of playing guitar, the thumb is like the “red headed step child” of the playing hand. More neglected than even the “pinky” finger (but that’s for another article).

The focus of our playing hand, the hand that attacks the fret board, is typically centered on the first three fingers. These are the easiest to use. They are stronger, longer and faster than the pinky or thumb, so they face the call to action much more than their “weaker” siblings.

But as guitar players, we would be wise to make full use of all of our appendages when playing. In fact, we might be surprised to find that the effort that goes in to incorporating the use of the thumb into our playing technique will result in making some tasks on the guitar neck even easier!

Here are some uses for the thumb when playing guitar:

1. Walk Downs

2. Chord Formations

3. Muting

4. Added Pressure

5. Playing Lead

Let’s take a look at some of these:

1. Walk Downs – The thumb can be put to good use when playing a “walk down”. This is when you start on one chord and “walk down” to a resolution chord, typically by way of a “passing” chord in between.

When the bass notes of a walk down occur on the 6th string (low E in standard tuning), it is often easier to use the thumb to play some or all of those bass notes, rather than trying to use the fingers.

A good example would be the commonly used walk down from an open G chord, down to an Em. The passing chord between these two chords is normally a D/F# (D over F#). The easiest way to play this chord is to form an open D chord as normal, then wrap the thumb up on to the 2nd fret of the 6th string (F#). This method makes for a smooth transition.

2. Chord Formations – The thumb can also be used to assist in the formation of chords. Many chords are conducive to using the thumb. For example, a minor 7th chord could just as easily be played with the thumb.

Jimi Hendrix was known for making use of the thumb to form chords where most of us would use barre chords. Rather than “barring” the 1st finger across a fret to make a standard barre chord, he would often use his thumb to play the bass note, form the rest of the chord like normal, and then play the remaining notes as necessary with the first finger.

Try this next time you pick up the guitar. Play an A barre chord at the 5th fret. Now lift off your 1st finger that is making the “barre”. Then take your thumb and use it to play the A root note on the 5th fret of the 6th string. Finish by placing your 1st finger in the 5th fret of the 1st and 2nd strings. You are playing the same identical notes as the barre chord version, just with a different hand formation. Try this with minor barre chords as well. It can be a little liberating once you get used to it!

3. Muting – The thumb is a great tool to use for muting strings when strumming rhythm patterns. For example, an F chord in the open position is normally played using only the first four strings. It would be difficult to perform some aggressive strumming maneuvers without striking the 5th and 6th strings. Using the thumb to lightly mute these two strings will solve the problem. The same can be said for many open chords that do not use all six strings, such as the C, D and Am chords in the open position.

4. Added Pressure – There is a natural tendency when playing guitar to keep the thumb in a position that is wrapped over the top of the neck. There are times, however, when you may need some extra finger pressure on the strings to form a chord or play a lick. That extra pressure can often be found by bringing the thumb down to a position where the ball of the thumb is planted firmly on the middle of the back of the guitar neck. This increases the amount of pressure for the fingers and provides extra pivoting power.

In terms of conventional guitar instruction, this thumb placement position is often considered to be the accepted way to play guitar.

5. Playing Lead – There are some players who incorporate the thumb into playing lead runs and solos. It is really a matter of personal preference and what you get used to. I have never mastered this approach to playing leads but have seen other players use it effectively.

Regardless of your guitar playing style or approach, there are probably times when using your thumb when executing chords and licks might make good sense, and, make life a little easier. So when your fingers go out for a “dance” on the fret board, don’t forget to take the thumb along for the ride!

Keith Dean is founder of AdultGuitarLessons.com and a 30 veteran of stage and studio. He toured extensively as a road musician throughout the US and Europe, was a former lead guitarist for Jason Aldean, and has shared stages with Little Big Town, Wild Rose, Winger, Confederate Railroad and more. He is a published songwriter, owned and operated a successful music store, and has instructed numerous students in guitar. http://www.adultguitarlessons.com

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