As a beginner guitarist it is important to understand the various types of chords associated with the guitar. As we have discussed in the past, chord types include:
q Open Chords q Movable Chords q Barre Chords
Each type of chord has its place and they are equally valuable to the guitar player. In this article I want to discuss two simple "Barre Chords". Using two simple barre chord forms will give you a jump start on rhythm guitar. The two chord forms I am speaking of are the A Major chord and the E Major chord. I want to explain how you can use these two chords to play in any key in music. If you have a chord book available,
locate the A Major and the E Major chords. If you are a member at Riff TV.com, simply log-in and you will find chord diagrams in the members area. If you do not have an adequate chord book, you might want to consider these options:
Now that you have located the chord form diagrams, lets concentrate on the E Major chord. Practice forming the E Major chord with your middle finger, ring finger and fourth finger (pinky). Use your index or first finger to make a barre across all six strings. Forming the E chord in this manner is known as a "Barre" chord. When forming this E Major barre chord , you will use all four fingers. Practice forming this chord in various locations on the neck. It is a good idea to move this chord around on the fretboard until you get accustomed to moving the chord with ease.
As you practice using this movable E barre chord, trace and memorize the the chord voicing at specific locations on the neck. For example, the barred E chord at the third fret is a G Major chord. The barred E chord at the fifth fret is an A Major chord. Trace and identify the chords as they ascend the neck. Here is the progression as the barred E chord form moves up the neck:
E - F - F# - G - G# - A - A# - B - C - C# - D - D# - EThe first E chord in the progression is the open E Major. The second E chord in the progression is the barred E at the 12th fret. Memorize the progression and the voicing at the respective fretboard location.
Next, lets talk about the A Major chord. Practice making the A Major chord in its open position (second fret, depressing the second, third and fourth strings). As you add the barre and begin to move the A Major chord up the fretboard, form the chord like so:
Use the index finger to "barre" all six strings. Use the third (or ring) finger to depress the second third and fourth strings. Yes, that's right, this barre chord will be formed using only two fingers. Practice moving this barred chord form up and down the neck until you can move it with ease. Trace and identify the chords as they ascend the neck. Here is the progression as the barred A chord form moves up the neck:
A - A# - B - C - C# - D - D# - E - F - F# - G - G# - A The first A chord in the progression is the open A Major. The second A chord in the progression is the barred A at the 12th fret. Memorize the progression and the voicing at the respective fretboard location.
Now that you have become familiar with these two chord forms and their voicings as they ascend the neck, lets move to the tip that will help you get a jump start on rhythm guitar. For the purpose of this exercise use the following formula:
Begin with the barred E at the 3rd fret location. Then play a barred A chord at the third fret location. Finally, add a barred A chord at the 5th fret location. As you can see, a pattern emerges that establishes a key.
The barred E at the 3rd fret is a G Major chord. The barred A chord at the 3rd fret is a C Major chord. The barred A chord at the 5th fret is a D Major chord. Playing these three chords establishes the key of G Major. Here are the chords:
G - C - DPractice moving this chord pattern to different locations on the fretboard. For example, start on the 5th fret and move to the seventh fret. Always begin this exercise with the barred E Major, then add the barred A major at the same fret location. Finally, add a barred A chord two frets up from the starting fret. (In this example - the seventh fret).
Beginning this exercise at the 5th fret and working to the 7th fret establishes the key of A Major. The chords are as follows:A - D - E
Use this simple pattern to play rhythms in any key in music by changing the location on the fretboard. This tip will give you a jump start on playing rhythm guitar in any key.
In this lesson I want to introduce chord theory information that will assist you as you move through the basic triad chords for the major keys, relative minor keys and color chord lessons. We have been studying the keys of music and their relatives, additionally we have been adding color chords and building chord progressions. In our key/chord studies, there are only two major keys left to cover. I believe this is a good time to inject some chord theory information that will assist you in understanding how chords work.
Intervals:
It is necessary to understand intervals if the guitarist is interested in furthering his knowledge of chord construction. While the use of intervals is normally confined to melody and harmony, they are important to us as the chord will normally be comprised of tones that harmonize with the melody. It is not within the scope of this book to teach the rudiments of harmony, however the basic knowledge of harmony along with an understanding of music terminology related to harmony will aid any guitarist.
An interval is the distance between two notes of a scale measured by whole and half steps. The lower tone is considered the root or key tone, and the upper tone is the interval. An interval is the difference in pitch between the two tones when sounded.
Melodic Interval:When two tones of a different pitch, an interval, are played in succession it is called a melodic interval.
Harmonic Interval:
When two tones are played together as in a chord it is called a harmonic interval.
C Scale-Intervals:
There are five names given to intervals: major, minor, diminished, augmented, and perfect. The first interval is called the prime or unison interval—two notes of the same letter name. (prime: two tones of the same pitch.)
The second interval is the distance between the first note, the letter C and the next note in the scale, the note D. The third interval is the distance between the first note, C and the third note of the scale, the note E. The fourth interval is the distance between the C and the fourth note of the scale, the note F. The fifth interval is the distance between the C and the fifth note of the scale, the note G. The sixth interval is the distance between the note C and the sixth note, the note A . The seventh interval is the distance between the letter C and the seventh note of the scale, the note B. The last interval is called the octave since the eighth note of the scale is of the same letter name as the first note, one octave apart.
Perfect Intervals:
When the interval is the prime, fourth, fifth, or octave, and the upper note is of the same scale as the lower note it is called a perfect interval.
The second, third, sixth, and seventh intervals are called major intervals.
Minor Intervals:
When the notes of a major interval are brought closer together, we have a minor interval. This may be done by lowering the upper tone one half step, or raising the lower tone a half step. The minor interval applies only to major intervals - the second, third, sixth, and seventh tones.
Diminished Intervals:
The diminished interval is obtained by bringing a perfect interval closer together, or a minor interval closer together, lowering the perfect or minor interval.
Augmented Intervals:
When the interval between two tones is expanded, the interval is called augmented. This applies to both the major and perfect intervals. Each of these become augmented by: Raising the upper tone one half step, or lowering the lower tone one half step.
In this segment of our chord theory lessons, I want to continue our discussions that include types of chords, their definitions and their descriptions. It can be very tedious and even boring for new guitar players to discipline themselves to cover certain aspects of music theory. It is extremely important to understand the value of learning theory. As you grasp the concepts of chord theory, you will begin to be able to apply the concepts to any key in music. As you become accomplished in the concepts, you will become an invaluable musician to any musical group or setting.
Major Thirds:The term Major 3rd will appear in most all chord books. This term is used in place of other related terminology in chord construction. It is only one more form of describing basic chords.
Semi-Tones:
A semi-tone is one half of a whole tone. It is the smallest interval in modern European music. A semitone is the distance of one fret on the guitar. Two semi-tones equal one whole tone, the distance of two frets on the guitar.
Whole Step:The term: step, half step, is another way of saying: semi-tone, whole tone. A whole tone is one step, the distance of two frets on the guitar. A half step is the distance of one fret, or a semi-tone.
Building A Major Third:
A major 3rd interval is built on two whole tones. In the C scale a major 3rd would be the distance from C to E. The notes C to D being one whole tone and D to E the other whole tone. For example, use these three notes, C, D and E. While the D note is not a part of the major third interval, it is important in establishing the major third intervals as three letters are used.
Minor Thirds:The minor third is constructed on a whole tone, and a half tone, also called step, and half step. Let's use the C scale as an example. From the note C to the note D is one whole tone, or one step. From D we proceed a half step, or half tone to Eb. This is a minor third, from C to Eb . As in the major 3rd, we are using three letters—C D Eb . Only here we have played a step and a half, whereas a major 3rd would be two full steps.
The Major Chord Triad:There are five chord types that the student must learn. They are: major, minor, diminished, augmented, and dominant 7th. The major chord is constructed on a major 3rd and minor 3rd interval. To construct a major chord, we first build a major 3rd interval, C to E, then on the higher note, the E, we build a Minor 3rd interval giving us the note G. Thus we have the major chord triad for the C chord, C E G. In review we can state that a major chord is constructed by building a major 3rd and minor 3rd interval.
Minor Chord Triad:Minor chords are constructed by combining a minor 3rd interval with a major 3rd. This lowers the minor chord's third tone one semi-tone. When tones of a major interval are brought closer together we have a minor interval. We still have three letters used in building the Minor Third - C Eb and G.
Diminished Chord Triad:The diminished chord triad, unlike the major, minor and augmented chord, is a four note chord. It is comprised of two Minor 3rds superimposed over each other. The diminished chord is a very unstable chord and demands resolution to another chord.
Augmented Chord Triad:The augmented chord is constructed of two major 3rds superimposed over each other. There is no true root tone in an augmented chord. As a result of this condition, there is an unsettled relationship between the root and the 5th tone. The augmented (raised 5th) tone, the notes C to G#, eliminates the static quality of the chord and there is no single predominant tone as found in a major chord.
Major Seven Chord Triad:The major seventh chord is constructed of a major 3rd, minor 3rd, and a major 3rd. The major seven chord is a four tone chord and as the fourth note, the seventh note, is only a half step from the Root (1st) note of the chord triad, the major seventh chord is a stable chord and often used as a substitution for the tonic chord.
For additional information and helpful study guides that will increase your understanding of chord theory, consider purchasing the following:In this lesson we want to consider some basic information about pentatonic and blues scales. Understanding some basic information that relates to these scales will help you to become a better player.
The chords of a typical blues progression are dominant seventh chords. The scales that work best with these chords seem to be in the Mixolydian mode. As you probably know, the Mixolydian scale mode is the same as a major scale with a flattened seventh note. Therefore, it contains the tones of a dominant seventh chord ( i.e. Root, 3, 5, b7 ).
A scale in the Mixolydian mode provides the flattened seventh note. We must also remember that there is another important blue note. This additional blue note is the flattened 3rd. In many cases the flattened 3rd is combined with the major 3rd. The flattened 3rd can also be bent slightly sharp to suggest the major third. This produces a new pitch halfway between the two notes. The flattened 3rd does not occur in the Mixolydian scale mode. If we flattened the 3rd in the Mixolydian mode, the result would be a Dorian scale mode ( i.e. Root, 2, b3, 4, 5, 6, b7 ). The Dorian mode is built from the second step of any major scale. In order to apply a Dorian scale mode to a dominant seventh chord, play a major scale starting a whole step ( 2 frets ) below the root of the dominant seventh.
This technique generally applies to blues. However, exceptions are made when playing pure Chicago, Delta or Texas blues. In these blues forms, no flattened third is produced. At first, the major-key-versusblues-key approach may seem a bit confusing. The bottom line is it all comes down to your style and playing what feels and sounds good to the individual artist. The integration of the scale and scale mode also is dependent on how it fits with a particular blues arrangement. Always keep in mind that many approaches have their place and equal value in any arrangement. Practice combining several approaches to the blues and you will increase your musical vocabulary as you evolve in your understanding of blues structure.
Pentatonic and Blues Scales - Theory And ApplicationRock and Roll, and R&B have a very close relationship to Blues and Blues structure. Much of the music in these categories is built upon the Blues structure or formatting. Blues structure is the basis for many of the songs we know and love today. In order to appreciate the role Blues structure has played in modern music, we need to take a close look at Pentatonic and Blues scales.
Because the chords of the typical blues progression are all dominant seventh chords, the best scales to use may seem to be Mixolydian Mode scales. As you may know, a Mixolydian scale is the same as a major scale with a flatted seventh, and so it contains the tones of a dominant seventh chord (Root, 3, 5, b7).
Although Mixolydian scales provide the flatted seventh, there is another important blue note: the flatted third. Many times, this note is combined with the major third, or bent slightly sharp to suggest the major third by producing a new pitch halfway in between the two notes. The flatted third does not occur in the Mixolydian Mode. If we flatted the third in the Mixolydian Mode, the Dorian Mode would result (R, 2, b3, 4, 5, 6, b7). This mode is built from the second step of any major scale. To apply the Dorian Mode to a dominant seventh chord, play a major scale starting a whole step (two frets) below the root of the dominant seventh.
The main reason for this is although the major scale system can be effective in jazz blues, it is often unsuitable for Chicago, Delta, and Texas blues playing, because no flatted third is produced. Most of the time, its possibilities are ignored in favor of other scale systems, particularly the major and minor pentatonic scales and the blues scale.
Although the major-key-versus-blues-key concepts may seem a little vague at first, it helps to remember that these are really just two different systems of thinking. The bottom line is, it all comes down to playing what feels and sounds good. Just realize that many approaches are equally valid and can be combined to increase your musical vocabulary.
In association with this lesson, let's take a look at scales for twelve bar blues progressions. The structure of blues cannot be fully understood by simply analyzing chord and theory concepts unless you include the scale and it's role. The following scales can be used when improvising over a standard twelve-bar blues progression. All examples refer to blues in the key of A.
For I7 Chord (A7), use the following:A Major Pentatonic Scale
A Minor Pentatonic Scale
A Blues Scale
D Major Scale (provides A Mixolydian Scale)
G Major Scale (provides A Dorian Scale)
D Major Pentatonic Scale
G Major Pentatonic Scale
F-sharp Minor Pentatonic Scale (Relative Minor Scale)
F-sharp Blues Scale (Relative Minor Scale) For IV7 Chord (D7), use the following:
A Minor Pentatonic Scale
A Blues Scale
D Major Pentatonic Scale
G Major Scale (provides D Mixolydian Scale)
C Major Scale (provides D Dorian Scale)
B Minor Pentatonic Scale (Relative Minor Scale)
B Blues Scale (Relative Minor Scale)
G Major Pentatonic Scale
C Major Pentatonic Scale
For V7 Chord (E7), use the following:
A Minor Pentatonic Scale
A Blues Scale
E Major Pentatonic Scale
A Major Scale (provides E Mixolydian Scale)
D Major Scale (provides E Dorian Scale)
C-sharp Minor Pentatonic Scale (Relative Minor Scale)
C-sharp Blues Scale (Relative Minor Scale)
Learning Blues structure is an ongoing process that takes dedication and commitment. Practice everyday and study Blues theory in order to master and understand the concepts and essence of the style. The following resources have been carefully selected and will help you master the Blues:
In order to effectively use the guitar it is important to have a foundation in basic music theory. This article will discuss information about Enharmonic Tones and the Chromatic Scale.
In music there are only twelve notes. These twelve notes are designated by seven letters which are assigned to the notes ( A B C D E F G ) and five variables which are indicated by a sharp (#) or flat (b). The sharps and flats occur between all of the letter notes except between B and C or E and F. This means B#, Cb, E# and Fb do not exist. The following list illustrates the twelve notes that exist in a chromatic scale and their relative positions:
AA# (Bb)
B
C
C# (Db)
D
D# (Eb)
E
F
F# (Gb)
G
G# (Ab)
Each of the five notes with two letter designations are the sharps and the flats. Having two letter designations on one note is known as an "Enharmonic Tone". The letter designation given to the note will be determined by the direction of the scale. If you are ascending the scale, the note will be designated as a sharp. If you are descending the scale, the note will be designated as a flat.
When the twelve notes are played in succession, this is a chromatic scale. This rule applies if you are ascending or descending the scale. When the first note in any chromatic scale is repeated, we have played one Octave.
There are twelve notes in music. There are also twelve chromatic scales. Each chromatic scale can be played by starting the scale from a different note.Practice playing chromatic scales on your guitar using each of the six strings. Practice playing these scales while ascending and descending the fretboard. Learn to identify the notes of the chromatic scale on each string. Be sure to take care to identify the enharmonic tones on each string.
The Relationship Between Harmony, Melody, And Guitar Chords. Identifying Basic Triad Chords Using A Simple Diatonic Scale Formula.To understand harmony using primary guitar chords it is important to first define "melody". Melody is an organized succession of three or more tones. Lets use an example of a vocalist to assist us with our definition of melody. A vocalist can sing only one tone at a time. When a vocalist sings a succession of notes, this is referred to as melody.
Here is how a chord differs from a single tone and also a succession of tones or "melody". A chord is a series of three or more notes (or tones) played together at once. Since most guitars are a six stringed instrument (some are more than six strings), it is possible to play six notes or tones together at once. The term given to notes played simultaneously is a "chord". When playing all six strings using primary chords, we are actually playing only three notes. Several of the notes will be duplicated within the chord in a higher or lower octave.
Since a melody is a succession of tones which rise and fall in pitch, (with considerable variation between the higher and lower tones) it is not possible to use only one chord when playing rhythm guitar. A chord must harmonize with the succession of melody notes. In other words, each melody note must be one of the notes of the primary chord triad, or a closely related note. When the melody no longer harmonizes with the chord, the rhythm guitar player must change chords.
Most of the contemporary music that is played today can be harmonized with three chords. The three primary chords in a given key are also known as the basic triad. The basic triad chords are built on the first, fourth and fifth notes of the diatonic scale. These three chords are written as the I, IV, V chords of the respective key. The triads of the three primary chords of each key contain all of the notes of the major diatonic scale.
The names of the three primary chords within each key can be determined by applying the following formula to the major diatonic scale for the respective key:I
By using this simple formula, you can map the primary chords in any key of music.
For additional information and chord theory:
Chord Chemistry
Tablature is a visual "grid-type" system of writing music for guitar and any other fretted instrument. Tablature is not a modern invention. It has existed in various forms for several centuries and has been used in the past for flamenco, folk and lute music. Tablature was created out of necessity. Early musicians developed the system in order to communicate fretted instrument instruction.
The tablature system is simple. It sets out the fingering of a song in a visual "grid-type" system that could be referred to as a sort of "shorthand" for musicians. The system relies on the musician being able to hear a song or a phrase in a song, and have an idea how the melody goes from having heard the piece. It is used in conjunction with memory and familiarity of the song or phrase. When compared to standard music notation, tablature is easy to understand.
A drawback associated with tablature is it's inability to convey precise information about the timing and duration of notes