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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Guitar Music Theory Numbers & Intervals On the Fretboard

By Desi Serna

Guitarists play and use intervals for melody, harmony, riffs, lead guitar solos, and bass lines. Understanding how intervals are played on the fretboard is an important part of learning about guitar theory, understanding music and popular songs. This free guitar lesson will explain what intervals are, how they’re numbered, which intervals are commonly used, and what songs make good examples of using intervals such as thirds, fourths, fifths, sixths and sevenths. This music theory instruction is based on the book Fretboard Theory Chapter 9 Intervals by Desi Serna.

Scale Steps, Intervals & Theory

The distance between notes can be expressed in terms of frets, steps, or intervals. Frets is an acceptable term to use when dealing with other guitarists. Steps is a general music theory term used and understood by all musicians. But thinking of the distance between notes as intervals is the most concise and universal way. This allows guitar players to think of the distance as an independent unit of measure rather than a series of frets or steps.

The Theory of Major Scale Intervals

The major scale is used to measure the distance between notes. For example, the distance between the first and second notes of the major scale is two frets, one whole-step or a “second” interval. The distance between the first and third notes of the major scale is four frets, two whole-steps or a “third” interval. There are seven notes in the major scale and thus seven intervals. An eighth term, octave, refers to a higher or lower occurrence of the same note.

Harmonizing the Major Scale in Thirds

Guitar players map out interval shapes on the fretboard, then use these note combinations to play musical parts. One way this is accomplished is by playing entirely through a major scale pattern and adding a third interval to each note. In other words, playing through the major scale two notes at a time with the second note always a third a head. In order to do this correctly notes must be confined to the major scale being used. As a result, some third intervals are major while others are minor. Playing in this manner is one way to harmonize the major scale (and is similar to how guitar players learn chord progressions and playing by numbers but that’s another topic).

The famous guitar intro to Brown Eyed Girl by Van Morrison is a great song example of playing a major scale melody harmonized in thirds. “Walk on the Wild Side” by Lou Reed is a song that uses this same technique on the bass guitar. Many other famous songs have prominent guitar intros, riffs or solos that use third intervals. Some good examples are listed below.

Third Interval Songs

“Blackbird” The Beatles

“Heaven” Los Lonely Boys

“Patience” Guns and Roses

“Your Body is a Wonderland” John Mayer

“Have You Ever Really Loved a Woman?” Bryan Adams

“Scar Tissue” Red Hot Chili Peppers

“Rhiannon” Fleetwood Mac

“La Bamba” Los Lobos

“Peace Train” Cat Stevens

“Wanted Dead or Alive” Bon Jovi

“Two Step” Dave Matthews Band

“Tripping Billies” Dave Matthews Band

“Lover Lay Down” Dave Matthews Band

“Grey Street” Dave Matthews Band

“Brown Eyed Girl” Van Morrison

“Walk on the Wild Side” Lou Reed

Fifth Intervals & Guitar Power Chords

Playing in fifths is another way to harmonize the major scale using intervals. Fifth intervals are simply power chords and are usually written with a number 5. Full chords consist of a root, third and fifth interval, so power chords are theoretically not chords in the music world. They’re intervals. In fact, they are the most common type of interval played on the guitar. Any time power chords are used it may as well be called playing in fifths. The guitar riff in Iron Man by Black Sabbath is just one example of many that use power chords, or fifth intervals (songs can begin at any major scale degree or mode by the way). Intervals can also be inverted by putting the root above the interval. Inverted fifth intervals can be heard in the intro to Smoke On the Water by Deep Purple. (Some players mistake these shapes for fourths.)

Intervals: 3rds, 4ths, 5ths, 6ths and 7ths

Other intervals can be worked out on the guitar also. This is done by playing through a major scale two notes at a time with the second note a certain distance ahead. Only notes found in the scale should be used. Once guitarists get interval shapes mapped out on the fretboard, they should try moving them into different octaves and positions on the guitar neck or transposing them to new keys.

Studying Guitar Theory & Intervals

Understanding how intervals are played and used in popular songs is critical to developing a solid knowledge of guitar music theory. The harmony that intervals create are not just used in guitar riffs and solos but parts played on other instruments as well including voices. Singing in harmony is no different than playing in thirds or fifths, etc. In fact, many singers will work out a vocal harmony part on an instrument first in order to teach themselves how to sing the intervals correctly. Smart players use guitar theory and intervals to help them in all aspects of their musicianship.

Play Until Your Fingers Bleed!

Mr. Desi Serna (Google Me!)

Author of Fretboard Theory

http://www.Guitar-Music-Theory.com

Pentatonic/CAGED/Progressions/Modes

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Playing Guitar Chord Progressions By Numbers – Guitar Theory Lesson

By Desi Serna

Becoming a good guitar player requires a strong knowledge of music theory and chord progressions. Recognizing chord movement and playing by numbers can help guitarists:

” Chart, learn and remember songs better

” Apply and use scales correctly

” Play by ear

” Compose music and improvise jams

” Apply guitar theory to the fretboard

Triads of the Major Scale

guitar chord progressions are critical to guitar theory and stem from major scale patterns. Each of the major scale’s seven notes can be played as a chord. To build guitar chords, each note is combined with others three and five degrees ahead in the scale. Hence the terms root, third and fifth (or 1 3 5). These three chord tones are called a “triad”.

1-3-5, Root, Third, Fifth
Not all triads, or chords, in the major scale are the same. This is because some triads have major thirds (two whole-steps or four frets above the root) while others have minor thirds (one and a half-steps or three frets above the root). This occurs because the distance between major scale tones varies (some notes are a whole-step apart while others are a half-step apart). Coincidentally, the fifth intervals are all the same with the only exception being the chord built on the very last scale tone.

Play By Numbers

The major and minor chords in the major scale create the sequence major, minor, minor, major, major, minor, minor (flat 5). Often referred to as the “Nashville Number System,” the theory behind this sequence is one of the most important elements of music. Major scale chords are best represented by Roman numerals with major chords written in upper case and minor chords written in lower case as follows: I ii iii IV V vi vii

Learn Chords and Keys By Pattern

Different keys have different key signatures (sharps and flats), different notes, and different chords. But the major/minor number sequence remains the same regardless of key. The number system can be visualized on the guitar as a chord pattern so that guitar players needn’t be concerned with key signatures and notes. When this pattern is shifted around the neck, guitarists can instantly see all the chords for each key. Guitar players have a music theory advantage because of this ability to move patterns on the fret board.

Learn and Remember New Songs
Playing chord progressions and playing by numbers go hand in hand and the concept is easier on the guitar than many other instruments. Good players know the right way to map things out on the guitar neck. Visualizing chord patterns on the fretboard will help players group songs by number instead of trying to keep track of movement in other ways. No more minds cluttered with confusing chord information because everything can be simplified with numbers. This really helps guitarists learn and remember new songs.

Learn Guitar Music Theory

Charting chord progressions has more advantages than just playing songs. Progressions play a role in learning guitar theory including using pentatonic and major scale patterns properly, recognizing modes and modal scales, playing intervals and adding extensions to chords.

Hear and Play By Ear

How do some musicians seem to know what’s coming next in a song the first time through? Apparently, knowing where to look is half the battle. When a player maps out all the chords of a key, it’s possible to assume the chord change or even anticipate the chord movement before it happens. Many songs are based on typical progressions, and experienced musicians become very familiar with common changes. Often times numbers are called out on the stage. Many guitarists want to be able to understand these queues, not to mention sit around and talk theory with real musicians without feeling like an idiot.

Composing Music and Improvising
Mapping out keys, determining chord movement, applying scales and playing by ear are all necessary for song-writing and jamming. Guitarists don’t need to leave spontaneity to chance. When technical details are worked out before hand, improvising and composing becomes much easier (and better).

Play Until Your Fingers Bleed!

Mr. Desi Serna (Google Me!)

Author of Fretboard Theory

http://www.Guitar-Music-Theory.com

Scales, Chords, Progressions, Modes

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