D E D I C AT I O N

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To my wife, Jeannette, and my family, who tolerate, sustain,

support, humor, inspire, counsel, and best of all, most amazingly
and wonderfully, love me.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
FOR THE LOVE OF GUITAR
by
Rik Emmett

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 FOREWORD
Welcome to the second book in a series of four. As the
title of this installment suggests, the contents here are focused
on giving your hands some basic things to work with, and
getting you acquainted with some of the musical concepts that
might nurture your budding LOVE OF GUITAR.

By the way, if you’re curious about the origins of this

series, you can find a detailed Foreword and Acknowledgments
and a Preamble in the first book of the series, The Basics Book.
If you’re anything like me, though, you usually skip over all of
this introductory stuff and cut to the chase.

So we’ll just take a short cut here, and

I’ll bring you on-line by reiterating some of
the basic philosophy ‘round these parts.
The Alpha and the Omega is a simple love
of the guitar. This series of books is
dedicated to the proposition that
everyone is entitled, every now and
then, to just sit back and do a little
pickin’ & grinnin’.

I
THE BASICS BUILDING
BLOCKS BOOK BOOK TWO

CONTENTS
Page
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I
Key to Notational Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IV

Introduction to Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Basic History of Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Modes, Part Two - Fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
When & Where to Use Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
FOR THE LOVE OF GUITAR:
Full-Scale Fundamentals, Flexible Future . . . . . . . . . . . . . . . . . . . . . .5
Horizontal Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
FOR THE LOVE OF GUITAR:
Sublime Potential in Basic Impulse . . . . . . . . . . . . . . . . . . . . . . . . .6
Further Horizontal Movement - Scale Formulas . . . . . . . . . . . . . . . . . . . .8
Shifting & Strumming: Meter Breakdowns . . . . . . . . . . . . . . . . . . . . . .10
FOR THE LOVE OF GUITAR:
Keep Mentally Ahead of the Physical Activity . . . . . . . . . . . . . . . .10
FOR THE LOVE OF GUITAR:
Hungry Heart, Open Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Introduction to Some Different Chord Forms . . . . . . . . . . . . . . . . . . . .12
FOR THE LOVE OF GUITAR: Effective is Acceptable . . . . . . . . . .13
Building Songs with Moving Chord Forms . . . . . . . . . . . . . . . . . . . . . . .14
The Money Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
To Speed Or Not To Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Basic Ear Training - Recognizing Intervals . . . . . . . . . . . . . . . . . . . . . . .19
Power Chords & Chanting Monks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Rock & Roll Power Chords, Part Two
Add-ons and Suspensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
A Primer on Tension and Resolution . . . . . . . . . . . . . . . . . . . . . . . .23

II
 • • • • •• TABLE OF CONTENTS (Cont’d)

Back-Bent Knuckle Partial Barres, Part One . . . . . . . . . . . . . . . . . . . . . .24

Back-Bent Knuckle Partial Barres, Part Two . . . . . . . . . . . . . . . . . . . . . .26
FOR THE LOVE OF GUITAR: Function Over Form . . . . . . . . . . .27
Altered Chords - Passing Chords - Voice Leading . . . . . . . . . . . . . . .27
That Chromatic Feeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Coming to Terms with Signs & Symbols, Part One . . . . . . . . . . . . . . . . .31
Part Two: Chord Symbols and Road Signs . . . . . . . . . . . . . . . . . . . . . . .33
Shapes that Cross Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
FOR THE LOVE OF GUITAR:
Transpose the Known Into the Unknown Fingerstyle Chording . . .35
Fingerstyle Chording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Some Engaging Fingerstyle Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Light Bulbs, Four Steps & Five Block Shapes . . . . . . . . . . . . . . . . . . . . . .39
FOR THE LOVE OF GUITAR: Donkey Work . . . . . . . . . . . . . . . . .39
FOR THE LOVE OF GUITAR:
The Shape Shifter’s Memory Patterns . . . . . . . . . . . . . . . . . . . . . . . .41
An Octaves Primer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
FOR THE LOVE OF GUITAR:
Don’t Let Your Train of Thought Stop Here . . . . . . . . . . . . . . . . . . .45
The Power of Five - The Pentatonic Scale . . . . . . . . . . . . . . . . . . . . . . . .46
Building Up the Fingerboard with The Five Block System . . . . . . . . . . .48
The Five Block System, Part Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
FOR THE LOVE OF GUITAR: The Five W’s
Who? What? When? Where? and Why? . . . . . . . . . . . . . . . . . . . . .50

III
 KEY TO NOTATIONAL SYMBOLS
2
THE FOLLOWING SYMBOLS are used to indicate fingerings, techniques, and
3 1 effects commonly used in the guitar music notation in this series of books.
4
q
g
4 Left-hand fingering is designated by ras
small Arabic numerals near note heads Rasgueado.
T
(1 = 1st finger, 2 = 2nd finger,
3 = 3rd finger, 4 = pinky, T = thumb). //// Indicates desired rhythm for chordal accompaniment
(the choice of voicings is up to the player).
In some music examples, the fingerings
appear in the space between the standard
notation staff and the tablature staff.
m
How Tablature Works E 2
i B T
a G A
The horizontal lines represent D B0
l
A
the guitar’s strings, the top line E
p q Right-hand fingering is p represents the high E. The numbers designate the frets
designated by letters
to be played. For instance, a 2 positioned on the first
(p = thumb, i = index,
m = middle, a = ring, line would mean to play the 2nd fret on the first string
l = pinky). (0 indicates an open string). Time values are indicated
on the coinciding lines of standard notation seen
5 q A circled number (1-6) indicates the string on which
directly above the tablature. Read the music from left to
a particular note is to be played. right in the conventional manner.
³ Pick downstroke. Pick upstroke.
D D9

CV The C indicates a full barre; the Roman numeral IV 1

designates the proper fret. 1 2 2 3
3
CV The C indicates a first finger half-barre covering
either the first three or four strings, depending on
what is called for in the notation.
3 Partial barre with the designated finger. Chord Diagrams
Left-hand finger vibrato. In chord diagrams, vertical lines represent the
B
Bend; play the first note and bend to the required strings, and horizontal lines represent the frets. The
5 (7)
pitch (bent note is in parentheses). See tab following symbols are used:
explanation.
Nut; indicates 1st position.
R
A reverse bend; strike an already bent note, then
(7) 5 x Muted string or string not played.
allow it to return to its unbent pitch (bent note is in
parentheses). o Open string.
H
5 7 Hammer-on (lower note to higher). Barre (partial or full).
P
7 5 Pull-off (higher note to lower). • Placement of left-hand fingers.
T Indicates right-hand tapping technique. V Roman numerals indicate the fret at which a chord is
S located.
5 7 Slide; play first note and slide to the next pitch (in
tab, an upward slide is indicated with an upwardly 1 Arabic numerals indicate left-hand fingering
slanting line, while a downward side is indicated with (e.g., 1=index, etc.)
a downwardly slanting line).
Strum (an arrowhead is often used to indicate Note: For more info on understanding chord symbols, check out
direction). the chapter entitled “Outlining The Numbers Game” on page 29
of “For The Love of Guitar, Book One - The Basics Book”.
IV
 INTRODUCTION TO MODES
Fig. 2 Fig. 3
At the risk of excommunication from the guitar A whole-step
player club, let’s go to a piano keyboard (gasp!) as a W W represents a distance
1
simple, graphic intro to modes. If you play just the of two frets on a 2 2 2
natural notes of the white keys (no black keys, no W W guitar, a half-step just
sharps or flats) from one C to another C, that’s the H H one. So, for example, 4 4
Ionian mode.(Fig.1) W W
an E Ionian scale on a
guitar fingerboard could look
Fig. 1
W W like (Fig. 2), or (Fig. 3).

W W Another way to think of the

H H modes and memorize them is by
C D E F G A B C D E F G A B their intervallic formulas, which
are based on a system of numbering the major scale
Ionian
Dorian (Ionian) degrees. Here is a C Ionian scale (Fig.4):
Phrygian
Lydian Fig. 4
Mixolydian
Aeolian
Locrian

As you can see, there is a mode that can be built root 2 3 4 5 6 7 root
on each natural scale degree. By doing this, we can
identify the scale formula for each mode, which is the So the intervallic scale formula for the Ionian
unique pattern of interval distances between the notes mode would read R (root), 2, 3, 4, 5, 6, 7, R. These
of each scale (column 4 of the chart below). In these numbers represent the distance between the Root note
formulas, W is representative of a Whole-step, which of the scale, and the note in question. Here’s a chart
is a two semi-tone distance: H is a Half-step, a one of the modes, laid out in a way that clearly illustrates
semi-tone distance. how each mode differentiates itself from the “parent”
Ionian by the amount of alterations that are made to
the original Ionian major scale-degree formula. These
NATURAL
SCALE MODE # SCALE FORMULA alterations are the distinguishing characteristics of
C Ionian 1 W W H W W W H each mode, and are circled in the chart below.

D Dorian 2 W H W W W H W # MODE
E Phrygian 3 H W W W H W W 1 Ionian R 2 3 4 5 6 7 R
F Lydian 4 W W W H W W H 5 Mixolydian R 2 3 4 5 6 b7 R
G Mixolydian 5 W W H W W H W 2 Dorian R 2 b3 4 5 6 b7 R
A Aeolian 6 W H W W H W W 6 Aeolian R 2 b3 4 5 b6 b7 R
B Locrian 7 H W W H W W W 3 Phrygian R b2 b3 4 5 b6 b7 R
7 Locrian R b2 b3 4 b5 b6 b7 R
4 Lydian R 2 3 #4 5 6 7 R

1
 • • • • •• INTRODUCTION TO MODES (Cont’d)

The Basic
History of Modes
(This little aside will come in handy as background
trivia for any future game-show contestants!)

I n 1547 a Swiss monk named Henricus Glareanus

(old Henry of Glarus) wrote a book called Dodecachordon,
which proposed a revision to Pope Gregory’s 6th century
Plagal Modes with a new theory of 12 modes, giving them
what he (mistakenly) thought were the original Greek names
from the days of Pythagoras (4th Century B.C.). These
erroneous designations caught on anyhow, and then
everyone else (mistakenly) started calling these mislabeled
scales “Ecclesiastical” modes because monks like Henry
in the church were practically the sole source of
education - even though the modes themselves were
secular, universal, and not Ecclesiastical at all. And so
it came to pass that Henry’s folly was compounded, and
even in this day and age we can smile in recognition of
bureaucratic bungling and accept it as well within the
natural flow of our flawed human activity, as we
continue to muddle along.

But for now, guitarists, it’s back to the practical. Despite

the inevitabilities of our fallabilities, but in accordance with
the secular scribblings of a more modern and celebrated
layman, Peter of Brixton, let’s…

“pick up our guitars and play,

just like yesterday,
then we’ll get on our knees and pray
we don’t get fooled again”.

2
 • • • • •• INTRODUCTION TO MODES (Cont’d)
Fig. 5
G Ionian
Here’s the G Ionian scale in a two-octave
fingering (Fig. 5):
1 1 1 1
This form of playing the scale is called the “first- 2 2 2 2
3 3
form” fingering, and is sometimes referred to as the
4 4 4 4 4
E form, because it falls in the same position and
Fig. 6 Fig. 7 follows the same “shape” of the
first-form barre chord (Fig. 6).
2
This is based on the shape of the
3 4
1 first-position E chord (Fig. 7).
2 Now let’s extrapolate the modes
3 4 from that G scale (Fig. 8 to 13).

Make sure you’re clear on the memorization of the

constructional theory behind these modes before you move
on. It’s not exactly fun and games, but we’ve all got to keep
muddling along; that’s undoubtedly what would make both
Henricus and Pete proud of us.

Fig. 8 Fig. 9 Fig. 10

A Dorian B Phrygian C Lydian

1 1 1 1 1 1 1 1
2 2 2
3 3 3 3 3
4 4 4 4 4 4 4 4

Fig. 11 Fig. 12 Fig. 13

D Mixolydian E Aeolian F# Locrian

1 1 1 1 1 1
2 2 2
3 3 3 3 3 3
4 4 4 4 4 4 4 4 4

3
 MODES, PART TWO - FINGERINGS
Now that we’ve cracked the code of the When and Where
Ecclesiastical Modes, uncovering their history and To Use Modes
formulas, let’s look at fingerings and usage - the
how-to of modes.
How do you know when and where to use these
Here are the seven modes, in arguably the easiest modes? What are the indicators that let you know
fingerings. Since it’s boring when examples are always where it’s harmonically appropriate to improvise with
in C, and since it’s comfortably in the middle of the them? Of course, your own ears and artistic spirit
neck, let’s start on an A (Fig. 1 through 7). should be your ultimate guide. Certainly, a governing
philosophical and aesthetic rule in this infinitely
mysterious universe is that there are no such things as
Fig. 1 A Major Fig. 2
bad notes: no such thing as mistakes. (It might be
A Ionian A Dorian
IV IV difficult to justify the appropriateness of Ornette
1 1 1 1 1 1
1 1 2 2 1 1
Coleman’s harmolodics, however, when you’re
2 2 2 2
3 3 subbing-in on a Middle Of The Road Lounge Singer’s
4 4 4 4 4 3 3 4 4 3 weekend bar mitzvah gig.) There are some general,
4 4 practical directions and applications, a common sense
that can make life relatively simple.
Fig. 3 Fig. 4
A Phrygian A Lydian Mode 1.
V 1 1 1 1 1 1 IV 1 1 1 1 1 Ionian works well over major sounding chords,
2 2 2 2 2 such as C, Cmaj7, Cmaj6 and C6/9. As long as a
3 3 3 3 3 3 song’s chord progression uses diatonic chords (those
4 4 4 4 4 4 4 4
composed of scale tones only) of the key signature,
you can usually whittle away in the Ionian of that key,
regardless of the changes. Example: In the key of G,
Fig. 5 Fig. 6 with a progression of Am7, D7, Bm7, Em7, Cmaj7,
A Mixolydian A Aeolian D7, Gmaj7, you can play G Ionian the whole time and
IV 1 1 1 IV 1 never hit a truly bum note. And even if you did,
2 2 2 1 1 1 1 1 2 1 1 you’re probably only one or two scale degrees away
3 2
from pulling off an interesting little tension and
4 4 4 4 3 3 3 3 4
4 4 4 4 resolution anyway.

Mode 2.
Fig. 7
Dorian functions well over the whole family of
A Locrian
minor chords (Cm, Cm7, Cm6, Cm9, Cm11, etc.).
V 1 1 1 1 1
It’s one of the most commonly used improvising
2 2 2
3 3 scales, and it works particularly well in situations
4 4 4 4 4 where the chord changes are, say, Cm to F (or, say,
Cm7 to F9), or Cm to B b .

4
 • • • • •• MODES, PART TWO - FINGERINGS (Cont’d)

Mode 3.
Phrygian sounds very Latin in nature. If One commonly encounters this chord and mode
someone were pounding out an E, F, G flamenco- when in a song that’s, say, in G, but the key sense is
sounding progression like Malaguena, you could be heading towards the relative minor (which would be E
tearing up and down E Phrygian scales and fantasizing minor), and the progression achieves this daring feat
you’re Al DiMeola on tour with Paco de Lucia. by “passing” through an F#m7 b 5 to B7 change.

Mode 4. Here’s an alternative set of five modal scale

Lydian also relates to the major chord family, but fingerings, courtesy of Arnie Berle. You’ll notice that
the raised 4th suggests something a little different. they require some five-fret stretching, a technique
Let’s say a song is in C, and the progression goes from which is going to be tough for beginners and some
C to D7 or D9, and then on to G. Well, the Lydian intermediate players, but give it your best shot, and
would be perfect to play over the D7: The raised 4th take the time to do things right.
of C Lydian is an F#, which is the major 3rd in the D7 Dorian Phrygian
chord. Lydian also functions over diminished 5th and 1 1 1 1 1 1
augmented 11th chords. (That raised 4th is the same root root
1 1
as a lowered 5th, which is to say that it’s the 2 2 2 2 2 2 2 2 2 2 2 2
enharmonic equivalent, while a raised 4th bumped up 3 3
4 4 4 4 4 4 4 4
an octave becomes an augmented 11th.)
Mixolydian Aeolian
Mode 5.
1 1 1 1
Mixolydian works great over the dominant 7th root root
1 1 1 1
group of chords-C7, C9, C11, C7sus4, C13. 2 2 2 2 2 2 2 2 2 2 2
3 3
Mode 6. 4 4 4 4 4 4 4 4 4
Aeolian is the natural, or pure, minor scale, and
Locrian
along with Dorian it’s one of the most commonly
employed scales for improvisation. It’s the same scale 1 1 1 1
root
1
as the melodic minor descending, and it works well
2 2 2 2 2
over minor chords, especially in tonic situations. 3 3 3
Example: The song is in D minor and the chords go 4 4
Dm to B b, or Dm to Gm.

Mode 7. For The Love Of Guitar

Locrian works well over the m7 b 5 chord. Here
are three forms of that baby (Fig. 1, 2 and 3).
FULL-SCALE
F U N DA M E N TA L S ,
Fig. 1 Fig. 2 Fig. 3 FLEXIBLE FUTURE
m7 5 m7 5 m7 5
root
1 root 1 2 root 1
Remember that you’re trying to acquire
the basics of a technique that will allow for the
2 3 4 3 4 3
most flexible, unlimited, rewarding, artistic,
and musical future. Don’t shortchange
yourself physically, out of laziness.

5
 HORIZONTAL MOVEMENT
Ex. 1 Ex. 2 Ex. 3
C Major Scale Two-octave Two-octave
G major scale G blues scale For The Love Of Guitar
1 1 1 III 1 1 1 1 III 1 1 1 1 1 1 SUBLIME
2 2 2 2 2 2 2 2 POTENTIAL IN
3 3 3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 4 BASIC IMPULSE

There is a sublime potential waiting to be

M ost self-motivated beginners pick up a guitar, exploited within our initial basic impulses. It lies in
and try to figure out simple little licks on one string. the fusion of conceptual elements of technique and
Back in the 60’s, your humble author struggled with structure. The combination of vertical and horizontal
stuff like the Stones’ “Satisfaction,” or the Surfaris’ movement can bring
“Wipe Out.” Often, these little struggles to pick out us out of the Dark Ex. 4
E F#m
melodies from tunes on the Hit Parade are Ages of our
characterized by the simplistic technique of sliding sophomoric diddling 2
one finger up and down on one string. towards the… 3 4 1
drum roll, please…
Constant, awkward, huge position shifts 3 4
Enlightenment of
eventually become impractical. The introduction of Higher Musical
chords into the picture, and exposure to the scales Purposes.
shown in the following three examples, destroys the G#m A
naive, horizontal approach of a rank amateur, and Let’s address
IV 1 V 1
leads the majority of guitar players into the conceptual the concept of
2
“space” that they spend most of their playing time in - horizontal move- 3 4 3 4
namely, the Vertical World. ment, the idea of
going up and down
With fingers flying faster than their brains can the neck, instead of
follow and itchy digits getting too big for their midget across it. Since B A/C
britches, brazen sophomores glue their left thumbs to scales move up and
the back of their guitar necks and wail away on one VII 1 IX 1
down in natural, set
2 2
pattern in one position… until their audiences grow formulas, let’s 3 4 3
catatonic with the boring repetition. concentrate on 4
memorizing their
Eventually our intrepid axemen become aware of
patterns
the awful truth: it’s not just a Vertical World. One
horizontally. Ex. 4 B/D E
must be prepared to make a horizontal move on
shows a way of
occasion. They rediscover the value of those first few XI 1 XII 1
harmonizing an
innocent, crude, yet instinctively legit attempts to pick 2 2
ordinary E major 3 3 4
out a melody on the guitar.
scale with full chords 4
up the neck.

Continued • • • • • •
6
 • • • • •• HORIZONTAL MOVEMENT (Cont’d)
Ex. 5
Sixths Thirds Ex. 6 is a suggestion of a major-scale exercise that
works on any string but is written here in G for
simplicity’s sake. Its value lies in its relentless left-
0 3 3 1 1 3 3 1 2 1 1 2 2 1 1 1
hand shifting, just to play the next triplet pattern, thus
1 2 2 2 2 2 2 2 3 3 3 3 3 3 3 2 forcing you to think and feel horizontally on the
fingerboard. The five-fret stretches of the fourth and
0 2 4 5 7 9 11 12
fifth triplets are challenging too, but if you harbor
T 1 2 4 6 8 9 11 13 13 11 9 8 6 4 2 1
A 14 13 11 9 7 6 4 2 dreams of masterful technique, you’d better get
B
accustomed to fingerings like this. For variation, try
If you extract some elements from the examples, you picking every note alternately, up and down, and also
will find that the double-stops of Ex. 5 offer some try picking just the first note of each triplet and
interesting colors for melodic, horizontal movement. hammering-on the following two.
Try practicing these scales by sliding up and into the
Ex. 6
next notes. You might also try ascending and
descending alternately (e.g.: E, G#, F#, A G#, B, A, C#, 3
4
etc.). Eventually you should get the hang of
4 3 3 3
improvising little melodies using these horizontal
3 3 3
major-scale double-stops. And remember: space 3 2
0 1 3 1 3 4 1 2 4 1 or 4 1 or 4 1 3 4 1 2 4 2
constraints only allow for an example or two in a 2 3

book, but you should be figuring these out and

T 0 2 4 2 4 5 4 5 7 5 7 9 7 9 11 9 111211121412
learning them in all keys - at the very least, the open- A
B
string keys of E, A, D, G, and B, and the trickier F and
B b . That’ll give you a good handle on the concept.

Why should you bother to learn this?

Because an awareness of the different chord
structures and patterns that exist on any given degree
of a scale (or, for that matter, a melody) allows you to
shift horizontally into new positions, where new
harmonic possibilities exist.

7
 FURTHER HORIZONTAL MOVEMENT -
SCALE FORMULAS
Ex. 1A
Here are some additional 3
inventions of exercise studies that
4
seem natural and guitar-idiosyncratic. 4
They are intended to exploit and 3 3 3 3 3 3
develop horizontal concepts (linear, 1 3 1 1 2 1 1 3 1 1 3 1 1 3 1 1 2 1 1 3 1 0

one-string motion, position shifting), H P H P H P H P H P H P H P

but they might also be useful in T

A 12 14 12 11 12 11 9 11 9 7 9 7 5 7 5 4 5 4 2 4 2 0
strengthening some other techniques, B
namely hammering-on, pulling-off,
and triplet phrasing. You’ll notice that Ex. 1B
the exercise formula of Ex. 1A is E phrygian mode scale exercise
repeated in Ex. 1B, but the string,
scale, and therefore the fingerings are
different. Ex. 2A and Ex. 2B also have 4
their differences, to illustrate the 4 3 3 3 3
3 3 3
versatility of an exercise like this, and
1 2 1 1 3 1 1 3 1 1 2 1 1 3 1 1 3 1 1 3 1 0
hopefully prod you towards applying
H P H P H P H P H P H P H P
many of the following scale formulas 12 13 12 10 12 10 8 10 8 7 8 7 5 7 5 3 5 3 1 3 1 0
to them: T
A
B

Major / Ionian mode root 2 3 4 5 6 7 root

Harmonic minor root 2 b3 4 5 b6 7 root
Natural minor/
pure minor/
aeolian mode root 2 b3 4 5 b6 b7 root
Melodic minor (ascending) root 2 b3 4 5 6 7 root
Melodic minor (descending) root b7 b6 5 4 b3 2 root
Dorian mode root 2 b3 4 5 6 b7 root
Phrygian mode root b2 b3 4 5 b6 b7 root
Lydian mode root 2 3 #4 5 6 7 root
Locrian mode root b2 b3 4 b5 b6 b7 root
Country pentatonic root 2 3 5 6 root
Blues pentatonic root b3 4 5 b7 root
Blues scale root b3 4 b5 5 b7 root
Dominant lydian root 2 3 #4 5 6 b7 root
Whole-tone root 2 3 b5 b6 b7 root
Diminished root 2 b3 4 b5 b6 n6 7 root

8
• • • • •• FURTHER HORIZONTAL MOVEMENT
- SCALE FORMULAS (Cont’d)
Ex. 2A
3
4
4
4 0 3 0 1 0 3 0 1 0 1 0 3 0 1 0 1 0 3 0 1 0 1 0 2 0 1 0 1 3 1 0

P P P P P P P P P P P P P P HPP

T 12 0 11 0 9 0 11 0 9 0 7 0 9 0 7 0 5 0 7 0 5 0 4 0 5 0 4 0 2 42 0
A
B

Ex. 2B

4
4
3
3 0 1 0 1 0 3 0 1 0 1 0 2 0 1 0 1 0 3 0 1 0 1 0 3 0 1 0 1 2 1 0
P P P P P P P P P P P P P P HPP

T 12 0 10 0 8 0 10 0 8 0 7 0 8 0 7 0 5 0 7 0 5 0 3 0 5 0 3 0 2 32 0
A
B

Ex. 3
Diminished arpeggio

1 4 1 4 1 4 1 4 1 4 1 4

9 12
T 8 11
A 6 9
B 5 8
4 7
3 6

Nirvana may still be many reincarnations away for readers and author
alike, but Ex. 3’s diminished arpeggio is an indication of where this horizontal
thinking can lead. Here it fuses with two other Big Guitar Education concepts,
namely vertical movement and fingerboard patterns, or shapes, to give us a
unique, challenging, but very useful structure.

And speaking of diminished, this topic is just about exhausted. So go and

PRACTICE ‘til your fingers bleed (almost) and you grow catatonic with the
boring repetition. Repetition. Repetition. And remember what Ignace
Paderewski, the world-renowned Polish piano virtuoso, said to Queen Victoria
when she proclaimed him “a genius” after hearing him perform. Alluding to
years of gruelling, disciplined daily practice, Paderewski replied, “Perhaps, Your
Majesty, but before that I was a drudge.”

Yo, Ignace, that’s tellin’ it like it is.

9
 SHIFTING AND STRUMMING
Ex. 2
Shifting Problems and Example: You
Ex. 1
D G
Meter Breakdowns have trouble getting
from an open-string
position D (Ex.1) to a 1 2 2
When you change chords - or shift positions - G chord (Ex. 2). So 3 3 4
the meter of the song can break down and grind to a while you strum on the
halt as fingers grope for the next position. Helpful D chord, forget about
hint: as soon as you’re successfully playing a chord - it and look at the fingerboard, and start concentrating
or playing in one position - let that go to your on shifting your 3rd finger from the 3rd fret on the B
“unconscious” awareness, and start visualizing your string straight up and across to the 3rd fret on the low
future fingerboard destination a bar or a few beats E string. Then form a mental picture of the finger
before you have to move there. placement for the rest of the G chord. When the time
comes to change, you are mentally prepared and can
For The Love Of Guitar
make the change smoother.
K E E P M E N TA L LY A H E A D
The trick is to always keep mentally ahead of the
OF THE PHYSICAL
physical activity. The same thing is useful when
ACTIVITY you’re forced to make a long shift up or down the
neck. Visually and mentally anticipate, and you will
arrive at the destination prepared, rather than
stumbling into foreign territory.

Like a chess or snooker player, who must

concentrate on the move or shot at hand, while also
plotting out the next possibilities, perhaps projecting
several steps ahead, you must develop a sense of
continuity.

It’s like tur ning

SOUNDS
I N T O WO R D S
into
SENTENCES INTO A
S T O R Y.
10
• • • • •• SHIFTING AND STRUMMING (Cont’d)

Chord Strumming
T his is for people who have trouble keeping tempo while
changing chords. Slow down the song, even to an agonizingly
slow tempo if necessary, to allow a chord change or position
shift to occur without losing the rhythm. It’s been said a
thousand times, so it’s a cliché, but it nevertheless remains
completely valid…

The tempo is not as important as the flow or feel.

Once you’ve got that (the hard part), you can begin to
gradually increase the tempo (the easier part) until it’s up to
speed. (There’s more on the big preoccupation with
developing speed a few chapters ahead.)

For The Love Of Guitar

H U N G RY H E A R T, O P E N M I N D

One can’t help but smile at some

guitarists who want to build a style or
career while projecting an image of
playing what they “feel,” and not
wanting to be hung up on theory and technique and the
names of chords, or to be “distracted” or influenced by other
forms of music. They want to believe, and want others to
believe, that ignorance is soulful bliss. Although the world is
wide and it takes all kinds, it must be recognized that life, and
art cannot always be that simple. The human spirit may
indeed find a naive bliss in blind ignorance, but ignorance can
also be dangerous, breeding fear and prejudice. The
unknown can be intimidating and mystifying, but it shouldn’t
be sacred. As a responsible artist and human being, the
guitarist has to push him or herself, test and challenge,
explore and discover. And they’ve got to have the proverbial
tools to till the soil.

So what’s the point? Have a hungry heart, but keep an

open mind. The artists who eliminate sound, fundamental
technique and the knowledge of theory and harmony from
their “style” have also eliminated all the wonderful, substantial
music that these tools can provide.

11
 INTRODUCTION TO SOME
DIFFERENT CHORD FORMS
Ex. 3
All you rock and rollers probably know the stuff 3
in the tablature in Ex. 1, 2, and 3. And if you play
Ex. 1 four times, Ex. 2 twice, Ex. 1 another two times,
then 3 once, 2 once, 1 once again, then a B or B7
chord for a bar, you’ve got “yer standard 12-bar rock
boogie blues” pattern in E. Here’s a twist you may not
know, though. Try the chord forms as substitutes for T
A 4 4 6 6 7 7 6 7 6
Ex. 1 and 2. B 2 2 2 2 2 2 2 2 2

Ex. 1
3 Aah, sort of Pete Townshend-y, eh? Or remember
Steppenwolf ’s “The Pusher” tune? Chord forms like
this are, to borrow a phrase, “meaty, beaty, big, and
3 4
1
bouncy.” They are what the doctor ordered for
solitary guitarists cranking out rhythm chords in a
power trio setting, because they’re fat, and those open
T strings fill out the tunes. That’s why guitarists love the
A
B 2 2 4 4 5 5 4 5 4 keys of E, A, G and D - for the open strings!
0 0 0 0 0 0 0 0 0

Substitute chords for Ex.1 Ex. 4 is an add9, a thick, interesting chord to

E7 Asus4add9 E7 (no 3rd) substitute for ordinary boring major chords. I also like
1
forms that turn open strings into pedal tones (a pedal
2 1 tone is a sustained, repeating underlying note: if it’s
3 2 above the harmonic movement, it’s called an inverted
3
pedal) and/or suspensions, like Ex. 5, 6, and 7.

Ex. 2 Ex. 4 Ex. 5

3
Badd9 F#m11

3 4
1
1 1

3 4 3 4

T
A 2 2 4 4 5 5 4 5 4
B 0 0 0 0 0 0 0 0 0
Ex. 6 Ex. 7
Aadd9 Bsus4
Substitute chords for Ex.2 VI 2 VII 1
A7 Dsus4add9 A7 (no 3rd) 3 2
3 4
2 3
1
2
2 3

Continued • • • • • •
12
 • • • • •• INTRODUCTION TO SOME
DIFFERENT CHORD FORMS (Cont’d)

Ex. 13
For The Love Of Guitar
EFFECTIVE IS 2

3
A C C E P TA B L E

Y ears ago, guitar teachers H H

used to hold fast to certain fundamentals
T 7 8 8 8 8 8 7
of physical technique - you must hold the pick just so: A 7 7 7 7 7
B 7 9 9 9 9 9 7
you must never, ever do this or that, etc. The advent 7 7 7 7 7
of so many groundbreaking pioneering artists who
blurred the distinctions and boundaries of stylistic Ex. 14
approaches, and just kept smashing the physical,
technical molds, finally relaxed a great deal of that
narrow, restrictive thinking. Nowadays, it’s more
common to find guitar teachers who think that most
H H H
any hand position or technique
Ex. 8
that gets the job done is okay, Gsus4 T 10 11 12
A 10 11 12
which includes tricks like using B 10 12 11 13 12 14
III T 1
the thumb for the bass in chord
forms such as the sus4 in Ex. 8. A whole new world opens up on the fingerboard
3 4
(Note: The thumb also helps when you progress from the major barre chord forms
mute the A string.) Conclusion: of Ex. 9 and 10, and learn the different major chord
Effective is acceptable. forms of Ex. 11 and 12. And here’s why: that 1st
finger, half-barring the fourth through first strings, is
Ex. 9 Ex. 10 physically anchored so that your other three fingers
Major barre chord Major barre chord can learn to dance around the position with
Form 1 Form 2 independence and, whenever you want it or need it, it
provides that home key major triad (the D, G and B
1 1 strings), waiting nice and solid.
2
3 4 2 3 4 Try this: take Ex. 11, remove your 2nd and 3rd
fingers, and strum the 4th, 3rd, & 2nd strings. Then
hammer back on your 3rd and 2nd fingers. And with
Ex. 11 Ex. 12 Ex. 12, you can hammer on the 3rd finger, then use it
Major barre chord Major barre chord across, fretting on the D or G strings. Use your 2nd
Form 3 Form 4
finger, hammering on three strings at a time, and
hammering-on or lifting off different fingers or even
1 1
2 combinations of fingers. As our example, the tab in
3 3 Ex. 13 is a Bm11 to Em7 Doobie Brothers “Long
4 4 Train Running” kind of lick, and Ex. 14 in the key of
G is a trademark Hendrix “Wind Cries Mary” type
of lick.

13
 BUILDING SONGS WITH
MOVING CHORD FORMS
Here are some practical Ex. 1 Spanish (phrygian mode) in flavor and the basic
examples and applications of chords C/G progression of classics such as “Malaguena.” All of this
based on the concept of a sliding, shows that one chord form goes a long way - and
1
unchanging form. Take the well- 2 because of the very nature of the guitar, can function
known first-position C major chord 3 4 in many different roles.
and make two alterations to it (see
Ex. 1), adding a G note (the chord’s The Practising Musician’s Lament
5th) on top with the 4th finger at the 3rd fret on the
E, or first, string. Shift the 3rd finger directly across
from the C note (3rd fret, fifth string) to the alternate
bass of a C chord, the G note (3rd fret, sixth string).
If you slide this chord form up the neck to the eight
(VIII) position - with your 1st finger at the 8th fret -
“I’m stuck in a rut,”
you’ve got a G/D (G chord, D bass note). Slide back
to the fourth position (IV) for an E b / B b chord, and … or “My jamming is stale and limited.” Well,
slide down again to the original first-position C/G, perhaps some classic chord progressions that provide
and you have an interesting three chord progression. the basis for hundreds of popular tunes, as well as
some interesting changes for jams or solos, might bust
Ex. 2 Ex. 3 Slide a first- your rut, as it were. Keep in mind that inspired
E G6/E position E chord improvisation is not the sole territory of the soloist,
IV (Ex. 2) up three frets but it relies equally on the accompaniment, feel,
2 1
3 4 2 3 to create G6/E groove, chord changes, color, and texture that
(Ex. 3), and then two surround the lead instrument.
more frets to an
Aadd9/E (Ex. 4), to If you’ve absorbed the blues progression, and
compose a common, realized the strong prevalence and function of tonic,
Ex. 4 Ex. 5
powerful, ringing subdominant, and dominant chords in the music of
Aadd9/E D
progression (open E Western civilization, then, in the key of E, you can
VI 1 play songs like “Louie, Louie” with E, A, and B chords;
and B strings, open
2 3 1 2 in C, you can play “Hang on Sloopy” with C, F, and G;
low-E pedal tone).
3
or you can even play “Wild Thing,” say , in G, with G,
Likewise, a first- C, and D. Shoot, if you figure out the right inversions
position D chord (different ways of ordering a chord’s notes), you could
(Ex. 5) slides up to the 5th fret (F/D), then the 7th, and actually play the intro to Richard Strauss’ Also Spracht
if you want you can keep going, up to the 10th, and Zarathustra (the theme from 2001), which is an
finally the 12th. intentional, monumental tribute to the basic power of
these chords. This three chord progression fuels tunes
One more example of this versatility: go back to
as diverse as UB40’s reggae-ish remake of “Red Red
that first-position E chord form, and slide it up one
Wine,” to Rush’s I IV V chordal theme in “La Villa
fret, then up two more, then back two, and return to
Strangiato.”
the original position. The E F G F E sequence is very
Continued • • • • • •
14
 • • • • •• BUILDING SONGS WITH MOVING CHORD FORMS (Cont’d)
Ex. 6
Am D F G

The Money Chords

Another common three-chord progression Lord,” Pink Floyd’s “Breathe,” or even Santana’s
besides the I IV V is I, b VII (functionally, a IV “Evil Ways.” This can be nice for stretching out a
chord of the IV chord), IV. Domenic Troiano little, playing two bars on each chord, and substituting
refers to it as the “money chords.” This is a altered chords for straight majors and minors. For
slightly heavier rock and roll version of a three- example, in A minor, you could play Am7 to D9, or
chord progression, and some examples include Bad Am9 to D7. Sometimes when jamming on this
Company’s “Can’t Get Enough Of Your Love,” and change, you could turn it around with the chords in
BTO’s “Takin’ Care of Business,” both in the key of C Ex. 6. You can repeat the Am to D as often as you like
(C B b F), or the chorus of Free’s “All Right Now,” in before you use the F and G to turn it around again.
the key of A (A G D A). You can also hear this (And an Fmaj7 sounds nice as a substitute for the
progression as the triplet accent figure at the end of straight F major.)
Led Zep’s “How Many More Times” in the key of E (D
D D A A A E), or as the verse changes in The Who’s Sometimes two chords that at first glance don’t
classic “Won’t Get Fooled Again.” This chord pattern seem to relate, can provide an interesting background
is probably the most widely exploited in pop music. for a solo. Pat Metheny’s “Phase Dance” often exploits
No wonder Dom calls them money chords (although, an interesting Bm to F tonality, and the intros to Def
they aren’t the chords in Pink Floyd’s “Money”). Leppard’s “Foolin’” and Heart’s “Crazy On You” use an
Am to F change with great success.

One of the all-time champion “goose-bumper”

chord progressions is Am, G, F, as in “All Along the
Watchtower,” the guitar solo in “Stairway To Heaven,”
“Layla,” “Gimme Shelter,” etc. One of the things that
Another timeless progression can be heard in makes that progression a gem for jamming on is that a
“Stray Cat Strut.” In A minor, it is Am G F E. Its lead player can draw on many different scale formulas
distinctly Spanish flavor crops up as an improvisatory to create a solo, and they all sound great: blues
base in pieces such as Al Di Meola’s “Mediterranean pentatonic: blues scale: natural, or pure, minor (also
Sundance,” and might be remembered as the bedtrack know as aeolian mode); and the descending half of a
of the old Zager & Evans tune, “In the Year 2525,” or melodic minor scale. If you were in the key of, say,
even further back as the first verse line under The Am, you could also use a G major, or A dorian, against
Ventures’ “Walk - Don’t Run.” In E minor, the the G and Am chords. You’d try to avoid these against
progression is Em D C B. The last chord is usually a the F chord, because they contain an F#, but then
dominant 7th. Check it out. You’ll be singing the again, some people get off on that kind of - shall we
verse from “Runaway” like Del Shannon before you say - tension.
know it.
In E minor, this progression would be Em, D, C.
It’s always nice to blow a little over simple, In D minor, it would be Dm, C, B b. In B minor, we’d
repeating chord changes such as Em to A. This can be have Bm, A, G. By now, you must be getting the
like the verse heads of George Harrison’s “My Sweet general idea.

15
 TO SPEED OR NOT TO SPEED
It’s hard to be a guitarist and avoid this whole ~ good meter, or “feel” (a good sense of
attitude of the “new kid in town,” “fastest gun in the A timing); and
rock wars” competitive kind of thing, and the
~ a thorough knowledge of scales, arpeggios,
preoccupation and infatuation that young players
seem to have with speed. B and chord forms, in their multiple
positions and inversions on the fretboard.
Very few good musicians learn to play things fast;
they learn them slow, just like everybody else. Once It’s like driving a car. First you learn to steer,
they’re comfortable with what they’ve learned, they shift, brake, signal, etc., then you start to really motor.
just step on the gas a little (or a lot). “Fast” is about But don’t forget that part of your driving (and
adrenaline, anger, nervous hyper-tension, power, and playing) responsibility is to exhibit discretion
energy. Some might even go so far as to say concerning the use of the power of speed.
hormones. Certainly, that’s how a lot of the energetic
Most musicians think of rapid note playing as
rocking stuff ends up sounding. If “fast” is how you
short bridges between ideas or phrases, bursts of
think the music, and how you feel it, then that’s how
energy acting as leading questions. Sometimes speed
you should try and interpret it, so that’s how it should
is flash, excitement, dynamics, fun exhilaration, or just
come out - sometimes.
flat-out showing off your chops. But we all know that
In improvising, speed should not be your main an egotistical braggart wears thin pretty quickly, so
goal or your priority. It is the bonus, side-effect result you should usually exert your taste/willpower over
of your mastery of two other basic, technical, your ego/hunger, and you’ll make better music.
educational mandates:

Continued • • • • • •

16
 • • • • •• TO SPEED OR NOT TO SPEED (Cont’d)

3. Pick the paths of least resistance

Learn to pick everything you can down-up,
down-up, etc. (this is called alternate picking). Then,
you can look at phrases, runs and such, and decide
which picking pattern is logical for smoothness, to
facilitate string changes, etc. So, for example, even
though you are attempting to keep things flowing by
constantly keeping the up-down alternate picking
going, you might choose to play two downstrokes in a
row if you were changing from one string DOWN to a
lower one: or, conversely, two upstrokes in a row as
you head from a note on one string to a higher one.
This kind of thinking leads to the beginning stages of
a common technique called SWEEP PICKING, where
the pick can run, or drag, through the plane of the
strings in one direction, and the fingering hand
provides colorful arpeggiated runs. It sounds very
impressive, even more virtuosic when articulated at
high speed.

Don’t
Here are some basic, practical tips for developing waste a lot
the ability to play fast. of time and
energy flailing your
1. Relax
arms, hands, and
To get good meter, tap your foot, breathe evenly,
fingers around.
and don’t tense up. This sounds like a contradiction,
but it’s true: the intensity of speed comes from a
relaxed, controlled state of “flow,” not a clenched jaw,
wired-for-impact tightness. Practice with a
metronome, and if you’re screwing up, slow it down
until you can handle the part evenly.

2. Get down with your homies

Play with other musicians as much as possible,
because what happens between players is the essence
of music: the sympathetic sharing and communicating
of musical ideas, based partly on a common feel and
understanding of meter. Your command of the feel Minimize your movements and
(tempo, meter, accented rhythms) and your sympathy
towards it will determine how appropriate your
MAXIMIZE
speed is. your musical output
POTENTIAL.

Continued • • • • • •
17
 • • • • •• TO SPEED OR NOT TO SPEED (Cont’d)

Before venturing into stylistic perversions and 5. Miscellany with variations

mutations, let’s stress that good fundamental A few more tips for building your speed: practice
techniques are universally acknowledged as a starting two-octave major and minor scales, ascending and
point, but are not carved in stone as gospel. descending, in four positions in all keys, and spice ‘em
Individual adaptations and variations are more par for up with these variations:
the course, therefore many techniques vary greatly.
That’s why I don’t recommend that everyone • up-and-down alternate picking; triplet
necessarily go by the book (even THIS one) - only be picking (each scale note as a triplet);
aware that personal, stylistic idiosyncrasies develop as
one wrestles with the instrument in search of results,
• mandolin tremolo picking (each scale
note held for two slow beats while your right hand
which explains the following technique.
down-and-up “tremolos” out an even effect, like a
snare drum press roll, on the string);

• sequences (e.g., C major scale ascending,

C E D F E G, etc., or C B C, D C D, E D E, F E F, G F G,
etc.). Try these (or any other patterns in any order
you might concoct) by playing them in straight eights,
and then grouping them in triplets: or hammer notes
on ascending and do pull-offs descending.

Think of guitar playing speed as “flow” - like a

The side of the pick “slices” the strings for river running downhill, following the paths of least
faster circle-motion picking. resistance. When you’ve mastered the basics of meter,
note selection, and position, then you slide into the
4. Angles and Edges right places and times in the music and let your
Personally, my right-hand picking alters when I fingers run some second-nature courses, following a
embark on faster passages, and the pick attack changes logical gravity within the feel while going with the
from a traditional down-up flatpick wrist motion to a flow.
back-edge-of-the pick slicing down and front-edge
Without getting too artsy-fartsy
slicing up, creating a circle-motion with the fingers.
about it all, you’ll find concepts like
My right hand drops to a position more parallel to the
speed end up being completely relative,
strings and usually anchors with the fleshy back part
esoteric and personal, and after a while
of the hand on the bridge for a mandolin-tremolo
you’ll realize that you are
picking technique where the side of the pick is
limiting yourself, and your
“slicing” the strings more than actually “flat” picking
audience, if “speed” is your
them. (* Note: there’s a full chapter on PICKING
only goal.
techniques in Book One, The Basics Book.)

Once, I saw Pat Metheny and Eddie Van Halen

perform in the same week, and unless my eyes
deceived me, their right hands did similar shifts in
techniques when the rate of notes-picked-per-second
was stepped up.

18
 BASIC EAR TRAINING
Recognizing Intervals
Okay, play any note on your guitar (or piano). In this
case, let’s say it’s an A. Then pick an interval out of the air -
say, a perfect fifth (fairly easy). Now , try to
A to E - a Perfect Fifth Interval
sing the E note to give you the interval.
Then play the interval on your instrument
and see how close you are. Don’t play the
interval before you try to sing it: then
you’re only imitating, not ear training. Force your brain to
seek out and determine the interval you’ve chosen.

Perfect Major Major Perfect Perfect Major Major Perfect

Unison 2nd 3rd 4th 5th 6th 7th Octave

Start with the easier intervals; octave, perfect fifth, major

and minor third, perfect fourth; then move on to the more
difficult major sixths, sevenths, seconds, and their minor
equivalents.

Minor Minor Augmented Diminished Minor Minor

2nd 3rd 4th 5th 6th 7th

Enharmonic Equivalents
(they sound the same)

Then try augmented fourths (flat fifths) and compound

intervals. (Within an octave, intervals are called “simple;”
beyond an octave, “compound.”) This ear- Compound Intervals
trained recognition of intervals is an Major Perfect Major
integral part of a musician’s world, and it’s 9th 11th 13th
close to the heart of the constant mental
game played by composers.

19
 POWER CHORDS AND CHANTING MONKS
Here are a couple of chord forms that sound is the most basic, primitive, full, and
more rock and roll than good old regular G and C powerful harmony that exists. It’s
major chords - the G5 and Cadd9 of Ex. 1 and 2. The the first different sounding note
reason these are fuller and thicker-sounding is that you come to when you travel up
they de-emphasize the sound of the major the harmonic overtone series.
3rd and emphasize the strength of Monks used to chant it. Ex. 1, 3,
the perfect 5th. In the case of 4, 5, and 6 are often used to do a
the G, the common first- final tuning check, because the
position fingering would sound sympathetic resonance of the
out two B notes (G’s major 3rd); at fifths in the different keys lets one
the 2nd fret on the A string, and the know - and feel - that the guitar is
open B string. But the fingering in the settled into an even temperament.
example eliminates the wimpy B’s and adds
the 3rd fret D on the B string, giving the Ex. 3 Ex. 4 Ex. 5
chord the strong, resonating sound of two E5 A5 D5
5ths combined with the open D string.

In the case of the Cadd9, 1 1 1

2
things are a little more 3
complicated, but the theory of 4 4 4
the strengthening power of
perfect 5ths holds true.
Consider - the 3rd fret on the Heavy rock players rejoice in the “power 5th.”
1st string is a G (the 5th of C), Chord charts and sheet music now routinely use the
and its inclusion in the chord chord symbols A5 or D5, a relatively new development
eliminates the sweeter, to those that lead a sheltered life. They use the two-
thinner-sounding open E string forms shown in Ex. 6, 7, and 8, and slide them
(the major 3rd). all over the neck to crank out classic anthems like
Ex. 1
G The 3rd fret on the Deep Purple’s “Smoke On The Water,” The Kinks’
B string is a D, the add9 of Cadd9, but it’s “You Really Got Me,” and countless others. More
also a perfect 5th away from the two G often than not, the octave is added to the 5th to give
1
2 3 4
notes ringing out in the chord, so in a way, added power (so Ex.6 becomes Ex. 9; Ex. 7 becomes
this Cadd9 relies on the sound of the root, Ex. 10; and Ex. 8 becomes Ex.11). These chords are
its 5th, and the 5th of its 5th. A nice thick all the more interesting because of their strength
compound strength, in a way! combined with their ambiguity. Because there is no
Ex. 2
3rd (major or minor) present in the chord, the full
Cadd9 Take a look at the power chords, in impact of the musics strongest interval is ringing out
Ex. 1, 2, and 3 that also exploit the root without the coloring of even the most basic extended
1
and 5th relationship (E, A, and D, harmony. The chord could be major or minor, but it’s
2 3 4 respectively). Aside from the sound of an going to let the melody make that decision.
octave, the sound of a perfect fifth interval

Continued • • • • • •
20
• • • • •• POWER CHORDS AND CHANTING MONKS (Cont’d)

Ex. 6 Ex. 7 Ex. 8

1 1 1

3 3 3

Ex. 9 Ex. 10 Ex. 11

1 1 1

3 4 3 4 3
4

So, speaking of chanting monks, here’s a tidbit of

semi-useless information that someday you can use to
astound some snobby college music major.

(File this under Two-Martini Cocktail Party Idle Chatter.)

I n the Middle Ages, for time signatures in

musical notation, a circle indicated “perfect” time,
which was music with three beats to the bar,
undoubtedly referring to the Holy Trinity. If you
started to stretch out a little and went to four beats
in a bar, the circle cracked open on the right side,
and you were now messing around in “imperfect”
time. As the Middle Ages wore on, cracked circles
starting looking like capital “C’s,” and imperfect
evolved into “common.” Nowadays, a “C” with a
vertical line through it symbolizes “cut” time (2/2).

Are we ready for another round?

21
 ROCK & ROLL POWER CHORDS, PART TWO

Add-Ons and Suspensions Ex. 2 Ex. 3

Esus4 E
Let’s expand our sonorities somewhat and go in 1
search of add-ons and suspensions. 2 3
2 3 4
A power chord provides strength, weight, size,
etc., but ideally, remains ambiguous. For example,
a heavy metal rhythm guitarist cranks out an A5
Ex. 4 Ex. 5
chord while the lead player can shift from an A blues
scale to a C pentatonic to an A dorian in his solo Asus4 A
without ever clashing.
1 2 1 2 3
Ex. 1 Another chord that still has a nice, 4
Asus2 full ring to it but adds an extra touch of
ambiguity is a sus 2 (see Ex. 1). Again, this
chord has no 3rd, and thus possesses a
2 3 suspended animation feeling - not major, Ex. 6 Ex. 7
not minor, but a more vague, ambiguous Dsus4 D
musical statement. A closely related chord
is that Cadd9, the Ex. 2 back on page 20: the 2 is the 1 1 2
same note as a 9, except an octave apart. Think of add 3 4 3
9 chords as major chords with a ninth added, and use
the term sus 2 when there is no major third present
in the chord.

In the case of the power 5th, the chord is a example of suspension and resolution is the sus4
primal, strong, resolute statement. It literally has the (suspended) chord. An Esus4 (Ex.2) resolves nicely
most basic harmonic flavor or color. Suspension and back to an E (Ex. 3); Asus4 to an A (Ex. 4 and 5); and
add-on chords, obviously, have a more “suspended” Dsus4 to a D (Ex. 6 and 7). The barre sus4 chords
kind of ambiguity, and the average Western music and their major resolutions are also shown as Ex. 8
listener’s ear has grown accustomed to hearing that and 9, and Ex. 10 and 11. What happens in each case
harmonic ambiguity introduced to create tension, so is that the major 3rd is eliminated from the chord, and
that the composer can then bring about its resolution the 4th step of the major scale is added to give a chord
(although nowadays there seems to be more and more sound that seems to hang in the air, looking for
tension and a lot less resolution). The simplest somewhere to go.

Continued • • • • • •
22
• • • • •• ROCK & ROLL POWER CHORDS, PART TWO (Cont’d)

Ex. 8 Ex. 9 Ex. 10 Ex. 11

First form sus4 First form major Second form sus4 Second form sus4
barre chord barre chord barre chord barre chord

1 1 1 1
2
2 3 4 3 4 2 3 2 3
4 4

Ex. 12
Playing a chord progression that goes from a
Dadd9 D to a Dsus4 to a Dsus2 (Ex. 12), is a heck of a lot
more interesting than just strumming along on a
1 plain old D. (*Note: many chord charts and
3 symbols might simply say Asus or Dsus, expecting
you to know that the unindicated suspension in
question is in fact the 4th.)

A PRIMER ON TENSION
A N D R E S O LU T I O N

If you were doing a song in the key of Ex. 13

C, and you were playing a G chord for, let’s G7
say, four beats, and then going to a C chord, you
could create harmonic tension by playing a G7 1
2
(a dominant chord), as in Ex. 13, on the last beat
3
or two of the bar before the return to the C
chord. That’s because the F note at the 1st fret
of the E string (the minor 7th of the dominant
G chord in the key of C) tends to make a listener’s ear seek
resolution in the E note (the major 3rd) found as the open
E string of the C chord that follows.

23
 BACK-BENT KNUCKLE PARTIAL BARRES,
PART ONE
Ex. 1 Ex. 2 Fig. B
F F
Finger’s
1 1 Flat Knuckle
Pressure
2 root 2
3 4 3 4

root

Most people find the F major chord shown in

Ex. 1 the first really hard thing to learn on the guitar.
Trying to get the fleshy pad above the joint behind the
fingertip of the 1st finger to successfully fret the first
string seems like an impossible task - at the very least,
an ancient Medieval torture test. But in time, it can be This kind of physical problem Ex. 3
conquered, just as you eventually developed the arises again in the barre chord forms of Gm7
seemingly inhuman strength it took to accomplish a Ex. 3 and 4. Here, you’re required to
barre chord (Ex. 2), where the 1st finger holds down flatten out not the 1st finger but the
all six strings. (The “Intro to Barre Chords” chapter was 3rd, and not only drive the knuckle flat 2 3
back in Book One.) down but somehow “overflex” it and
root
Fingertip Pressure back-bend it to achieve the correct
technical result (Fig. C). Ouch! But
Ex. 4
when you get the hang of it, you’ll start
Fig. A C9
to realize something: you don’t have to
play a second-form major barre chord
with the fingering of Ex. 5; you can 1
“back-break” the 3rd or 4th fingers to 2 3

fret the triad on the D, G, and B strings root

(see the B b of Ex. 6 and the minor
seventh form of Fig. D). So instead of moving and
stuffing all available fingers into one chord form, take
What makes these two things so difficult at first is it easy and lay down one.
Back-Bent
the different physical techniques required of the left- Knuckle Pressure
hand fingers. Instead of the “hooked” approach of the
finger, with its tip pushing the string down into the Fig. C
fret (see Fig. A), one now has to flatten out the 1st
finger and use more of a squeezing technique which
requires more of an overall hand coordination, using
the thumb in the middle of the back of the neck and, Finger’s
Flat Knuckle
in the case of the full barre, really driving the Pressure
straightened-out finger’s knuckle into the fretboard
(see Fig. B).

24
• • • • •• BACK-BENT KNUCKLE PARTIAL BARRES - PART ONE (Cont’d)

Ex. 5 Ex. 6 Ex. 7

B B F

1 1 1

root 2 3 4 root 3 (or 4) root 4

Frequently, when called upon to play straight power 5th

chords, you can use the forms and fingerings of Ex. 6 and 7
for ease and simplicity, and also because it gives your left
hand a chance to rest a little - it’s such an undemanding
physical form, once you’re used to it.
Fig. D

Back-Bent
You’ll also find this particular
Knuckle technique very handy when you
Pressure
advance to certain jazz voicings and
fingerings. You’ll
encounter it most often Ex. 8
when the 1st finger has to C 6/9
fret “inside” groups of
strings, as in Ex. 8 and 9. 1
You’ll note that in Ex. 8, the 3rd finger is also 2 3
required to “back-bend” at the knuckle to fret
root
both the B and E strings.
Ex. 9
For beginning to intermediate-level players, C7 9
this is physically demanding stuff. But Ex. 8
and 9 should illustrate that good fundamental
1
techniques (e.g. learning Ex. 1 through 4) are
2 3
building blocks that very definitely connect and
lead to an exciting, rewarding future. root

25
 BACK-BENT KNUCKLE PARTIAL BARRES,
PART TWO
A back-bent knuckle type of fingering frees up That 1st finger at the 2nd fret of the D string is
other fingers to do all sorts of alterations, instead of sounding an E, which is the third note going up the
having them locked down, fretting strings of the major scale (C, D, E … ) from C, which makes it a
original chord voicing. For instance, take a look at major third. This means that the chord won’t have a
Ex. 1, a Gm7. (Keep in mind that it’s a movable chord small “m” for “minor,” but will stand as a plain old
form: the 2nd finger frets the root of the chord on the capital “C,” and everyone’s supposed to know that it’s
sixth string, so wherever you slide it on the neck, the a major chord that has a major 3rd in it. (By the way,
note held by the 2nd finger provides the “letter name” the 3rd finger at the 3rd fret on the E string is playing
of the minor 7th chord that you’re playing). You’re a G note, the fifth note up the C major sale, which also
actually fretting four strings, which could be done by makes an anonymous contribution to the chord
using all four available left-hand fingers; but by using symbol.) Now we get to the tricky part.
the 3rd finger and back-bending a partial barre across
three strings, you still have two fingers left to do neat The 3rd finger is fretting a B b note at the 3rd fret
things, such as Ex. 2 of the G string. That is a lowered 7th, or a minor 7th,
Ex. 1 Ex. 2 (a Gm9). Or if you sometimes called the dominant 7th, being the seventh
Gm7 Gm9 wanted a really full, note up in the C minor scale. So, how come the chord
thick-sounding symbol doesn’t have a “7” in it? Because, just as
6-string chord, you earlier, when we assumed the chord’s major status by
2 3 2 3 could add another the representation of a plain capital “C” without any
minor 3rd to the further delineation, the presence of the simple “9” in
root 4
chord by fretting the the symbol represents two things: a 9th note in the
A string at the 1st chord (the 3rd finger, 3rd fret of the B string, a D
Ex. 3 Ex. 4
Gm9 C9 fret with your 1st note, is the ninth note going up a C scale) and also the
finger, as in Ex. 3. anonymous existence of the lowered 7th in there, too.
1 Okay? (Geez. Two and a half paragraphs for one tiny
1 Now let’s review little chord symbol. Talk about pedantic!) So on we go.
2 3 2 3
the 9th chord form
Ex. 5 Ex. 6 Ex. 7
4 root of Ex. 4, …but wait…
C13 Cm9 E maj7
There’s a voice crying out from the wilderness, 1 1
saying, “Capital letters, lower case m’s, dims, augs, 1
numbers - what is this? It’s all so confusing. Why is it 2 3 2 3 3
called a 9th chord?” Okay, let’s take it apart and see
4
how it works. This particular example is a C9,
although, just as in Ex. 1, the form in question can Because the 3rd finger is holding down the fort
slide anywhere on the neck, and the 2nd finger fretting on the G and B strings, the pinky is free to land
on the A string gives us the root (and name) of the farther up the fretboard, to give us the C13 of Ex. 5.
chord. (In this case, the 3rd fret of the A string, a C.) A little one-fret-backwards adjustment to the 1st
finger can change Ex. 4’s C9 into Cm9, as in Ex. 6.

Continued • • • • • •
26
• • • • •• BACK-BENT KNUCKLE PARTIAL BARRES - PART TWO (Cont’d)

You’ll note that the lowering of the 3rd, from major to barre. When the 9th, 11th, or 13th note in a chord is
minor, caused a lower-case “m” to be added to the flattened (b) or sharpened (#), the chord is now
chord symbol to delineate the minor status of the referred to as “altered.” Altered chords are frequently
chord. A further tiny alteration, removing the 2nd used in chord progressions to create a stronger
finger from the A string and then not even playing the relationship between melody and harmony as the
string, transforms exactly the same fingering’s chord music “passes” from one chord to another. These
form from a Cm9 into an E b maj7 (Ex. 7)! Uh-oh, compositional choices are made to create a sense of
there’s that wilderness voice again. Okay, okay, here’s direction in the voicings of the harmony or melody:
the explanation… to weave logical threads through the music, and build
a narrative flow that creates an anticipation and
For The Love Of Guitar expectation of a destination. This is called, logically
FUNCTION enough, voice leading.
OVER FORM Now that you’ve got the hang of utilizing your
pinky above and beyond these partial
It’s basically a triumph of function Ex. 9
barres, you might get a kick out of trying
the “passing” chord form, Ex. 9, a C7 b 9 b 13,
over form. In Ex. 6, assume that the 2nd C7 9 13
finger C note on the 3rd fret of the A string is
which is a monstrously intimidating chord
functioning as a root note for the rest of the notes. In
symbol, but demystified (hopefully) 1
turn, these notes assume roles relative to that C’s
through the application of the analysis 2 3
existence, which is to say, a Cm9. By disposing of it 4
provided so far. You might also note how
in Ex. 7, we are forced to look elsewhere for a note
Ex. 9 relates to Ex. 5. Just as the B string’s
D was dropped to a D b (9 to b 9), the E string’s A
that defines the sound, and function, of the remaining
(5th fret) drops one fret to an A b (13 to b 13).
group of notes. In other words, we moved the
em-pha-sis to a different syl-la-ble. The 1st finger at
the 1st fret of the D string is the most logical choice Ex. 10 Ex. 11 Ex. 12
(although not all chords are named after their lowest C aug C13 C7 9 13
bass note). Anyhow - voila! - E b maj7!
1 VIII 1 2 VIII 1 2
2 3 4
3 4

As an added bonus, we’ll close this look at bent-

Altered Chords - “Passing” knuckle partial barres with Ex. 10, 11, and 12, and a
Chord Voicings - Voice Leading little progression on the next page of some of these
Ex. 8 chords and forms that you might enjoy hearing strung
Some of the more advanced C7 9 together. Uh-oh, more voices - not to mention
chord forms showed where the back- sobbing and gnashing of teeth. Listen, people, don’t
bent knuckle technique can lead. One get frightened off by these fancy, highfalutin’ chord
1
of those was the b 9 form of Ex. 8. 2 3
symbols. Just take it real slow, and try to get a sense
Note its relationship to Ex. 4: you of the melody inherent in the voicings. (The voicings
drop the 3rd-finger D note on the B of the chords, not the ones that keep coming out of
string one fret back to a D b on the 2nd fret, which the wilderness.)
your 1st finger holds down with a bent knuckle partial
Continued • • • • • •
27
 • • • • •• BACK-BENT KNUCKLE PARTIAL BARRES - PART TWO (Cont’d)

In bar 4 of the little “Back-Bent Ballad”, you see an Em7 b 5. Don’t

be intimidated by the chord symbol - take a look at the chord form.
Look familiar? That’s right, it’s the top four strings of Ex. 4 and Ex. 12.
Not only is this the same form, but in the case of Ex. 4, it’s in exactly
the same place. As it was in the case of Ex. 6 and 7, this is again an
example of function. That little group of four notes gets a chord name
because it works one way in one key, or progression, and then gets a
new identity when it’s working totally differently in another key.

This chord duplicity is one of the idiosyncratic joys of the

guitar. It’s wonderful to find that so many different, and even
sophisticated, chords exist within the same frameworks of
forms and shapes on the fingerboard. It also provides a great
insight - especially in light of these partial barre chords -
into the genius of one Django Reinhardt, who reinvented
jazz guitar in his own way, perhaps not despite - but,
arguably, partly due to - the handicap of two
paralyzed fingers on his left hand!

“Back-Bent Ballad”
III 1 1 III 2 3 III 2 3 1 1
2 1 1 2 2
4 3 4 4 2 3 2 3

Fmaj7 Fmaj7 Gm7 Gm9 C9 C7 b 9 Am7 Dm7

G 3
III 1 1 III III 1 2
1 2
1 2 3 2 3 4
3 2 3 4

Em7 b 5 A7 Dm9 Dm7 G13 G7 b 9 b 13

C/G
III 2 3 VI 1 2
3 4 1 1
4 2 3 2 3
4

Gm9 Bb maj7 C9 C7 b 9 b 13

28
 THAT CHROMATIC FEELING
Ex. 1
1 1
If the blues pentatonic scale (Ex. 3) is the most
1 2 basic element of soloing, then the inclusion of the tiny
1 2 3 three-note phrase of Ex. 4 (in the key of A: D, Eb, E )
2 3 4 is arguably the most basic bit of chromatic movement
3 4
to introduce into your playing. Think about it,
4
though. “Blues” boasts as one of its primary
characteristics, the “bent” notes of the b 5, b 3, and b 7.
And in many, many contexts, a soloist or composer
could easily slide from the Pentatonic scale into the
Dorian Mode (major 6th), the Aeolian (minor 6th), or
even the Mixolydian (major 3rd). (Please refer back to
the earlier chapters on Modes and the Scale Formulas in
the Further Horizontal Movement chapter if you’re
confused.)
Ex. 3
Music that moves in semi-tone, or one-fret,
steps (either up or down) is called chromatic. Ex. 1 V 1 1 1
is a chromatic scale. Generally, strict chromaticism is
3 3
avoided in most pop music because it introduces
4
many notes that are “outside” the harmonic structure
of a particular tune. But it is a device that does get
exploited frequently as a “passing” kind of phrase.
Take a look at Ex. 2, which is a Jimi Hendrix /
“Hey Joe” kind of lick. You can see how some of the
root 3 4 5 7 root
notes from the chromatic scale are omitted, but the
phrase itself retains the feeling of chromatic rising
because of the four little chromatic sequences - Ex. 4
E to G, B to D, F# to A, and C# to E. V 1 1 1
2
Ex. 2 3 3
4 4
4

T
A root 3 4 5 5 7 root
B 3 2 3 4 5 4 5 6 7
0 1 2 3 2 3 4 5
Chromatic

Continued • • • • • •

29
• • • • •• THAT CHROMATIC FEELING (Cont’d)

Ex. 5
IV 1 V 1 1 1
1 1
3 3 3 3
3 3 4 4 4
4

melodic minor, ascending descending

root 2 3 4 5 6 7 root root 7 6 5 4 3 2 root

Now, if you were to superimpose all of these scales on top

of each other, you’d get a pretty good idea of which chromatic
elements are common and exploitable, and what areas are less
traveled. The flat two and the major seven in particular,
would seem to be more avoidable under general
circumstances, perhaps unless specifically called for by the
chord changes in the progressions you’re playing over.

Still, music isn’t all that different than real life -

anything’s possible. Who would think that The Boss had
anything in common with Richard Wagner? And yet, there it
is - the one octave descending E chromatic scale rhythmic
phrase that provides a powerful, emphatic ending to the
bridge and guitar solo of Bruce Springsteen’s “Born To Run.”
General rule of thumb? Chromaticism is an evocative device:
going up creates tension and expectation, going down gives
you that sinking feeling, and wandering around is definitely
unsettling (where’s the key centre? where’s the melody?).

So the next time that you’re pondering,

“ H OW S H A L L I G E T
THERE
F R O M H E R E ? ”,
consider that Chromatic Feeling.

30
 COMING TO TERMS WITH
SIGNS & SYMBOLS, PART ONE
T he basic info you need to translate the symbols
and notation found between these covers contains a
few ancient, foreign mysteries. One such area is right-
hand fingering, where your thumb is represented by a
p, which stands for pulgar; your index is an i, for
m indicio (not index); m (the middle Volume
i a
finger) stands for medio; and the triple piano (ppp) as soft as possible
l ring finger is indicated by a, for pianissimo (pp) very soft
p anular. These are Spanish words. piano (p) soft
The pinky is not standardized - it is
Mezzo-piano (mp) moderately soft
sometimes represented by e, l, q, or n
- because it was not typically used, mezzo-forte (mf) moderately loud
historically, in classical music. forte (f) loud
fortissimo (ff) very loud
Speaking of Spanish, a rasgueado is a Spanish
strum. This particular indication means that the triple forte (fff) as loud as possible, also
composer wants you to forego conventional thumb known as Spinal Tap Heavy
strumming, (all rock & rollers will have to ditch the Metal (sthm)
pick - plectrum, if you’re European), and go with a
finger-roll kind of flamenco strum. It’s like the Volume Changes
opposite motion to drumming your digits on a
crescendo (cres. <) gradually louder
tabletop - you’re fanning and rolling them down
decrescendo (decres.>) gradually softer
across the strings, l through i.
diminuendo (dem.>) gradually softer,
Truth be told, if you’re a graduate of Bar Band getting “smaller”
101 at the School of Hard Knocks (like yours morendo gradually dying away
truly), you’re probably not too hip on foreign (i.e., fades out)
languages. Still, there is a wealth of basic
forte-piano (fp) loud, then suddenly soft
musical terminology one must learn; for
starters, even though music itself may sforzando (sfz) strongly accented;
be multilingual, the international suddenly loud
language of music terms and signs is
Italian. Break out a bottle of
Chianti, i miei studenti, for today’s
lesson is a list of musical terms
and signs. Please memorize and
store for reference.
Continued • • • • • •

31
 • • • • •• COMING TO TERMS WITH
SIGNS & SYMBOLS, PART ONE (Cont’d)

Tempo Style
grave very slow, heavy, solemn ad libitum (ad lib.) at the performer’s discretion
largo very slow, (self-indulgence time)
sweeping and broad a capella unaccompanied singing
lento slow (literally, in church style)

adagio slow, leisurely agitato agitated

andante walking pace animato animated

moderato medium attaca no pause

allegretto brisk walk, jogging pace cantabile in a singing style

allegro quick, lively, running con brio with energy and vigor

vivace vigorous, fully animated con moto with motion and movement

presto very fast dolce sweet and soft

giocoso gaily
grandioso with grandeur
grazioso gracefully
legato smoothly
leggiero lightly
maestoso majestic
marcato emphasized, marked
molto much, very
pensante heavily
poco a poco little by little
sempre always
sostento sustained

Changes in Tempo staccato short detached notes

accelerando (accel.) gradually getting faster mezzo-staccato a little less than staccato

ritardando (rit.) gradually getting slower staccatissimo very sharp and short notes

rallentando (rall.) getting very slow subito suddenly (not to be confused

with Sue-sue-sue-dee-oh,
ritenuto (riten.) abruptly slower which in Phil Collins-ese
allargando (allarg.) gradually slower means ambiguous…)
and louder rubato literally, “robbed” time:
a tempo return to the original pace staying in meter, but
meno mosso a little less pace interpreting and expressing
the written note lengths in a
piu mosso a little more pace more personal fashion.
tutti everybody, all in

32
 PART TWO: CHORD SYMBOLS
AND ROAD SIGNS
Chord symbols can become a little confusing because different geographical regions can
develop different symbolic codes, and different transcribers and copyists develop their own styles
and idiosyncracies. Also, because so many rhythm section players start out in basement or garage
bands, their reading and charting skills are often self-inventions.

Nevertheless, using the good old, no-sharps-or-flats key of C as the example, here is a list of
some of the varying chord symbols that one may encounter in their musical travels:

SYMBOL CHORD DESCRIPTION NOTES

C C major C, E, G
Cm Cmin Cmi C- C minor C, E b, G
C7 Cdom7 C dominant 7th C, E, G, B b
Cmaj7 CM7 C∆7, C7 C major 7th C, E, G, B
Cm6 Cmin6 C-6 C minor 6th C, E b, G, A
Cm7 Cmi7 C-7 C minor 7th C, E b, G, B b
Cm9 Cmi9 C-9 C minor 9th C, E b, G, B b, D
C6 Cadd6 C (MAJOR) 6th C, E, G, A

Notice how these three following chord symbols

ASSUME the minor seventh is included with the major third.

C9 C 9th C, E, G, B b, D
C11 C 11th C, E, G, B b, D, F
C13 C 13th C, E, G, B b, D, F, A
C6/9 C add 6th, add 9th C, E, G. A, D
C/G C major over a G bass note G, C,E,G
C/E C major over an E bass note E, C,E,G
Cmin maj7 C minor, add the major 7th scale degree C, E b, G, B
Co Cdim C diminished C, E b, G b
CO Cm7 b 5 C half diminished, or
C minor 7th with a lowered (flatted) 5th C, E b, G b, B b
Cdim7 Co7 C diminished 7th C, E b, G b, A

33
 SHAPES THAT CROSS OVER
One of the really neat, idiosyncratic things Ex. 5
F
Ex. 6
C aug
about the guitar is the existence of shapes and patterns
in the left-hand fingerings. Because of this, when 1 1
you’ve learned one thing that’s relatively simple, 2 2
3 3
you’ve often also acquired much more that can get
downright exotic and tasty.

Fig. 1 Fig. 2
Ex. 7 Ex. 8
B m C7 9

1
2 1
3 2 3
4

Now let’s look at the F in Ex. 5. If you just lift

and move the whole fingering shape vertically across
and up one string, and then strum the middle four
Preparation of right hand Sounding the chord strings instead of the top four, you’ve got a Caug
chord (Ex. 6). If you were to drop the shape down
You’ve probably already stumbled onto this one, you’d of course run out of strings, but you’d also
concept through the E and Am first-position chords get a B b m triad (Ex. 7) by maintaining the integrity of
(Ex. 1 and 2, respectively). Notice how the shape of the fingering shape on the G, B, and E strings. Here’s
the fingering remains exactly the same, except that it another: move the C7#9 shape in Ex. 8 across one
has “crossed over” vertically and moved down by one string and - voila - G7 (Ex. 9).
string. This shape Ex. 9
Ex. 1 Ex. 2 also forms the barre One finger is circled in most of G7
E Am chords of Ex. 3 and 4, the chord diagrams. That particular
2 1 although the note is the root of the chord form, so 1
3 4 2 3 fingerings are anywhere you slide it on the 2 3
fingerboard, the chord will take the 4
changed as the 1st
finger makes the name of that note. If you were to
barre. (Just as an slide Ex. 9 up the neck so that the 2nd finger was at
Ex. 3 Ex. 4 aside: if you were to the 7th fret, you’d have a B7 chord. Likewise, the form
F Bm remove the 4th finger of Ex. 8, with that 2nd finger up at the 10th fret,
from the shape, Ex. 3’s would be G7#9.
F# becomes an F#7.
1 1
2 2 The same alteration
3 4 3 4 turns Ex. 4’s Bm into
Continued • • • • • •
a Bm7.)

34
 • • • • •• SHAPES THAT CROSS OVER (Cont’d)

Ex. 10 Ex. 11 Ex. 12 Ex. 13 Ex. 14

C Fmaj7 Gmaj7 A aug A aug
III 1 III 1 V 1
1 1 2 3
4 4 2 2 4
3 3
4 4

Ex. 15 Ex. 16
Here are some more shape-related forms: Move the
E6 E6
fingering shape of Ex. 10, C, across, and you get Ex. 11,
Fmaj7; shift Ex. 12, Gmaj7, and get Ex. 13, Aaug; move the V 1
shape of Ex. 14, Aaug, and you have Ex. 15, E6; displace the 2 3 1
4
fingering in Ex. 16, E6, by one string, and it’s Ex. 17, B7
3 4
(continue over to the next string, and you have Ex. 18.
F#7sus4); move Ex. 19, Gm7, over to arrive at Ex. 20, Cm9;
and shift Ex. 21, C7, across and you’re playing Ex. 22, F6.
Ex. 17 Ex. 18
For The Love Of Guitar B7 F 7sus4

TRANSPOSE THE
1 1
K N OW N I N TO
T H E U N K N OW N 3 4 3 4

The concept at work here is that,

quite often, when searching creatively, the Ex. 19 Ex. 20
genesis of a new direction can begin by taking some known Gm7 Cm9
quantity and placing it in unusual circumstances. This is not
1 1
to say that you will discover totally original fingerboard ideas:
merely that this combination of familiarity with unfamiliarity 2 3 2 3
can sometimes prove useful in sparking some new directions
in personal creativity.
Ex. 21 Ex. 22
C7 F6

1 1
2 2
3 4 3 4

35
FINGERSTYLE CHORDING
In the previous chapter, you’ll notice that with the
exception of Ex. 1 through 4, Ex. 7, and Ex. 17 through 20, all
of these chord forms are voiced on four adjacent strings. Just
for fun, why don’t you try playing them by picking the bass
note (or root note, the circled one) with your thumb, and the
remaining three strings with three fingers of your right hand,
as in Fig 1 and 2. Try picking all strings simultaneously, so
the four notes sound evenly, all at once (Ex. 23, using the
notes of Ex. 10’s C chord). Then try “rolling” through the
strings (Ex. 24), so that the notes sound as if you had
strummed down across them. Finally, you might try this:
pick the bass note with your thumb, all by its lonesome, and
them simultaneously “free stroke” (without resting on the
adjacent string) the remaining three strings (Ex. 25). If you
absolutely refuse to give up your pick, then try all of the
above with your pick substituting for the thumb, and call
into action your middle, ring, and pinky to sound out the
other three strings.

Ex. 23 Ex. 24 Ex. 25

a a
m m
i i
p p

Once you become accustomed to this chording method,

I think you’ll find it a very clean, balanced, and accurate way
to sound out chord voicings, and you’ll begin to develop a
real appreciation for the style of pickers like Chet Atkins and
Mark Knopfler. You’ll also get a first leg up on some of that
hip jazz guitar stuff, where cats are chord compin’ and
walkin’ the dog - that’d be improvising harmonic structures
while playing their own accompanying bass line.

36
 SOME ENGAGING FINGERSTYLE CHORDS
Calling all you nimble-fingered pretenders to the
thrones of guitar godhood, sitting around practicing Ex. 1 Ex. 2
C 5 B
your virtuosic two-handed tapping, sweep picking,
multi-octave arpeggiated lines, licks, tricks, fills, and VII 1 VII 1
thrills: 2
2 3
3

Ex. 3 Ex. 4
Em7 A7
PLEASE V 1 V 1
2
2 3 4
4

A “tricky” chord change in question was a C( b5)

leading to a B, as illustrated in Ex. 1 and Ex. 2. Try
picking it with your right-hand thumb(p), 1st(i), and
2nd(m) fingers (on the D, G, and B strings,
respectively).
at least just for the
F E W M I N U T E S I T W I L L TA K E Another nice change that forms the backbone of
many songs besides “Undun,” is the Im7 to the IV7,
TO READ THIS CHAPTER!
illustrated here as Em7 to A7 (Ex. 3 and 4). Again,
Thanks.
you might want to try ditching your pick to get into a
One night, at an industry function rubber chicken fingerstyle right-hand approach, adding the 3rd (a)
dinner seated alongside fellow guitarist Randy finger to cover the voicing (p, i, m, a on the A, D, G,
Bachman (of Guess Who and Bachman-Turner and B strings, respectively, followed by p, i, m, a on the
Overdrive fame) and enjoying some early Winnipeg E, D, G, and B strings), such as Randy did in
Lenny Breau stories, the old chapter-topic-spider- emulation of Lenny, who was in turn
sense started tingling. I related an anecdote about emulating his master and
being at DiMarzio’s booth at a National Association of mentor, Chet Atkins.
Music Merchants’ convention, when confronted by a
couple of gonzo, supersonic, distortioned rockoids
who were eager to trade knowledge even-up: hot
fretboard pyrotechnics riffs for some of those energy-
efficient, cooler-than-cool chord changes from The
Guess Who’s classic “Undun” (Greatest Of The Guess
Who, RCA, AYL13746).
Continued • • • • • •

37
 • • • • •• SOME ENGAGING FINGERSTYLE CHORDS (Cont’d)
Ex. 5
X 1 X 1 VIII 1 VIII 1 VI 1 VI 1 V 1 V 1 V 1 VII 1 VIII 1 X 1
2 2 2 2 2 2
2 3 2 3 2 3 2 3 3 3 4 4
4 4 4 4 4 4 4 4

Am7 D7 Gm7 C7 Fm7 Bb 7 Em7 A7 Dm7 Em7 F G

a
4 m

4 i

Once you’re feeling comfortable with this change, try this

little exercise to exploit it in a sequence, with a little right-hand
development tossed in for good measure (Ex. 5). Notice on the
second beat of bars 1, 2, and 3, there’s an eighth-note rest
accompanied by X’s on an eighth-note stem. What you should
try here is a little percussive click against the strings with your
right hand’s nails (i, m, a) and the outside of your right thumb,
while muting the strings with your left hand. This little subtlety
helps give the exercise a better feel and flow.

Ex. 6A Ex. 6B Ex. 6C

Em/B Em/C Em/C

2 3 2 1
3
3

Ex. 7
Em/B Em/C Em/C# Em/C

Ex. 8
Finally, speaking of good measures and
E Dorian
Randy’s fingerstyle chords, here’s a progression of
three chords from the bridge of “Undun” that is
1 1 1 1 1 1 another classic for creating a dark, Ex. 9
2 2 2 mysterious, sad, minor mood (Ex.6).
3 3 3
E Aeolian
Try looping the changes like in Ex. 7,
4 4 4 4 4
then jam on them. Try using E Dorian
1 1 1 1 1
(Ex. 8) over the Em/B and the Em/C#, and E
2 2 2 2
Aeolian over the Em/C (Ex. 9). 3 3
4 4 4 4 4 4

38
 LIGHTBULBS, FOUR STEPS
AND FIVE BLOCK SHAPES
QUESTION:
How many guitarists does it take to screw in a light bulb?

ANSWER:
Ten. One to screw in the light bulb, and nine to stand around and mutter,
“Not bad, but I coulda done better.”

Ex. 1 Ex. 2
Yeah, well, an old joke. But the Em Em
timeless aspect of it is that “better” is so
subjective. And the ironic paradox is that
2 3 1
if we all want to get better as we go along,
2
we must keep trying to look at our craft 3
and artistic talents objectively. 4

We all get into ruts and have to start Ex. 3 Ex. 4

looking for something to pull us out. The first big Em Em
relatively standard rut usually comes after a guitarist
IV 1 VII 1
knows some chords, and has a good sense of the
2 3 2
standard two-octave, one-position, blues-pentatonic-
4 3 4
scale lead stuff - root, b 3rd, 4th, 5th, b 7th, root (Ex. 6).
But to be able to move up and down the neck fluidly,
changing positions, to add some spice to the act, as it
Ex. 5 Ex. 6
were, ah, there’s the rub, er, rut. What leads us out of
Em
that slump is a simple but complete concept of the
fingerboard: a grasp of the location of every inversion IX 1
of a chord between the 1st and 12th fret, 2 2 2 2
superimposing the blues pentatonic scale over each 3 3 3
4
one, and committing it to memory.

For The Love Of Guitar

D O N K E Y WO R K
T here’s no magic involved: there seldom is, in
Step One: The 5 Block System Shapes Up
the pursuit of solid, reliable basics. I often call it
E is a good rock and roll guitar key. Let’s look at
Donkey Work. The legendary virtuoso Paderewski
the first five examples of Em chords, all in different
called it drudgery. Call it whatever you want, curse it
inversions and positions up the neck. The triad
if you like, but accept it. Piecing together several little
shapes in Ex. 1 through 5 are outlined because we are
bits of finite information that you probably already
concerned with memorizing the shapes of the chords,
know is often the best and only way to screw in the
rather than the full chords with their particular
light bulb over your head.
fingerings and their positions on the fretboard. That’s
step one.

Continued • • • • • •
39
 • • • • •• LIGHTBULBS, FOUR STEPS
AND FIVE BLOCK SHAPES (Cont’d)

Ex. 11 Ex. 12
ascending ascending

2 2 2
Step Two: Superimposition 3 1 1 1
Step two requires superimposing the 2
Ex. 6
3 3 3 1 1
E blues pentatonic scale of Ex. 6 through
Ex. 10 over each chord inversion. Notice 3 3 3 3 1
2 2 2 the “lower” row of fingerings across the 1
3 3 3 strings in each diagram - for instance, in 3 2
3 1
Ex. 6, the left-to-right 3-2-2-2-3-3
fingering shape (which is
Ex. 7 3 3
the “lower” connect-the-dots pattern in
the diagram but actually the “upper”
row in terms of notes sounding on the 1 1 1
1 1 1 Ex. 13 Ex. 14
fingerboard). It forms the “upper” row 3 descending ascending
of the next inversion’s example - the 3 4 4 3 3
3-2-2-2-3-3 of Ex. 6 becomes the
1-1-1-1-1-1 of Ex. 7. Notice how those triadic shapes
1 2
of Ex. 1 through Ex. 5 sit right in the heart of the scale
1
patterns of Ex. 6 through Ex. 10. 4 2 2 1
1 1 1

Ex. 8 Ex. 9 Ex. 10 3 3 1 1 4 4 4 4 1

1 4
IV 1 VII 1 1 1 1 1 IX 1 1 3 3
1 1 1 1 1 1 1 1 1 1 3 1 4 4
3 3
3 3 3 4 3 4 4 3 4 3 3 4 4 3 3 3 3 4
4

Continued • • • • • •

40
 • • • • •• LIGHTBULBS, FOUR STEPS
AND FIVE BLOCK SHAPES (Cont’d)

For The Love Of Guitar

T H E S H A PE S H I F T E R’ S
M E M O RY PAT T E R N S

Recognizing shapes and patterns, relating

them to each other, memorizing and applying them
are perhaps the most basic concepts of lead guitar playing.

Step Three: Illumination

In step three the light bulb comes on, as the scale patterns
start to tie together. Ex. 11 through Ex. 14 are some
suggestions of fingerings and shifts. Visualize how the triad
chord-inversion shapes fit into these runs so that you can see
how each position is exploited. Once you’re comfortable with
Ex. 6 through Ex. 10, try to get personal and creative. Using
Ex. 11 through Ex. 14 as guides, find your own shifts and
fingerings that are comfortable and smooth.

Step Four: Towards the Infinite

Step four is about inserting your personality into the
study material, adding bends, licks, phrases, and rhythmic
structure. This is the step that lasts a lifetime.

QUESTION:
So how many guitarists does it take to screw in a light bulb?

ANSWER:
Step by step, inch by inch, blow by blow, note for note, & by and by, Lord, by and by.

41
 AN OCTAVES PRIMER
Ex. 1
an interval of a perfect octave

The “perfect” octave of music theory textbooks, The four most Fig. 1
commonly referred to in everyday guitar player common octave phalanges
of the
parlance as just a plain old octave, consists of the two positions are shown fingers
closest notes with the same letter in Ex. 4 through distal
Ex. 2 middle
name - e.g., C and the next C up or Ex. 7. You should
proximal
down (see Ex. 1 and Ex. 2), or D and mute the string between
the next D up or down (Ex. 3), and the octave fingerings with
so on. the inside fleshy pad of the
Ex. 3 distal phalange of your 1st
Using octaves to flesh out finger (see Fig. 1). In the case of Ex. 4, the inside
an interpretation of a melody is fleshy pad of the proximal phalange of the 1st finger
a very common technique, mutes the E (first) and B strings (Fig. 2).
widely used by guitarists playing
in a traditional jazz style or anyone simply seeking a Fig. 2
rounder, mellower, fatter tone. This was epitomized in 1st finger
the work of Wes Montgomery, and has evolved distal mute
perhaps most notably with the popularity of the
4th finger
stylings of George Benson. distal mute

1st finger
Ex. 4 Ex. 5 proximal
mute

1 1

4 4

When the octave position is on the higher strings

Ex. 6 Ex. 7 (as in Ex. 5 through Ex. 7), the 2nd finger’s distal pad
should mute the unwanted upper strings (Fig. 3). All
1 1 of this left-hand finger muting allows your right hand
to sound out the octave with a light brushing “free”
4 4
downstroke (Fig. 4); or you could employ the same
style of stroke using the flesh of your right thumb, like
Wes did.

Continued • • • • • •
42
 • • • • •• AN OCTAVES PRIMER (Cont’d)

Fig. 3
The method of playing in octaves is one
2nd finger of shifting and sliding: squeezing the
distal mute
octave fingering, then releasing the
pressure while maintaining the
1st finger
distal mute mutes, and shifting to your next
notes. Despite the one-fret stretch
4th finger difference between Ex. 4 and Ex. 5,
distal mute
or Ex. 6 and Ex. 7, the attitude of the
left hand never really alters; it just
shifts and crosses in parallel horizontal
and vertical movement.

The way to start assimilating octaves into your playing

is by practicing two-octave scales (major and minor, in all
keys) and by creating little exercises on pentatonic and blues
scales. Ex. 8 should give you an idea of the kind of thing
you should be doing in all keys.

Ex. 8 B pentatonic

13 15 18
T 6 8 11 13 15
A 3 5 7 10 12 15
B 3 5 3 5 8 10 12
1 3 5
1 3

G blues

15 13
T 15 14 13 11
A 12 10 12 10
B 12 11 10 8 12 11 10 8 5
10 8
10 9 8 6 3

Continued • • • • • •

43
 • • • • •• AN OCTAVES PRIMER (Cont’d)
Fig. 4 Fig. 5A

Once you have the hang of it, there are

two more basic things to note. Fig. 5B
Because the method itself is one of shifting and

1 sliding, it only makes sense that a natural

evolutionary step in octave phrasing is “sliding”
up into notes. One and two-fret grace-note slide-ins
are very common when employing this technique.
Ex. 9 illustrates this point.

Ex. 9

4
4
Fig. 5C

S S S S
13 15 13
T 13 15 14 11 13 11
A 10 12 10 10 12
B 10 12 11 8 10 8
8 10

You don’t have to sound out octaves as in Fig. 4;

2 you could be more exact and pick them out

with your thumb and a finger, or your pick and
a finger (some prefer to use the 2nd or 3rd- as in
Fig. 5). In that case, there are three more octave
fingering positions you should know (Ex. 10 through Ex. 10 Ex. 11 Ex. 12
Ex. 12), where there are two strings between the
fingerings, and the higher octave note is played down 1 1 1
the fingerboard behind the lower-sounding octave
note. The thing to notice here is that because the 3 3
4
picking hand has become more precise, it is no longer
critical to employ all of the left-hand muting
techniques outlined in Fig. 2. and Fig. 3.
Continued • • • • • •

44
• • • • •• AN OCTAVES PRIMER(Cont’d)

For The Love Of Guitar

D O N ’ T L E T YO U R T R A I N
OF THOUGHT STOP HERE

It is worth repeating: as you work on the examples

from this, or any other chapter, remember they are only
basic suggestions. They should only serve as a
starting point for your own creativity
and application.

Nothing here is ever

sacred gospel:
TA K E W H AT YO U
CAN USE AS A
TO OL
AND
BUILD
W I T H I T.

45
 THE POWER OF FIVE -
THE PENTATONIC SCALE
E veryone has music that acts like aural The pentatonic scale (from the Greek penta,
lodestones in the soundtrack of their lives. One of meaning five) has five notes in each octave. The folk
mine is Led Zeppelin’s debut album (Led Zeppelin, music of many cultures is based on pentatonic scales.
Atlantic, SD8216). It conjures up powerful memories (“Auld Lang Syne,” for example, has a pentatonic
of 1969, when I was a 16-year-old basement-band melody. So does “Suki Yaki,” a song that seems to
guitarist. (It’s like Robbie Robertson sings in recycle back to #1 on the pop charts every decade.
“Somewhere Down The Crazy River” “…did you hear Surely this says something about the universal appeal
that? Oh, this is sure stirring up some ghosts for me.”) of these notes.) We usually encounter pentatonic
scales in one of two contexts: as a major pentatonic
There I was, in my boyhood scale, with root, 2, 3, 5, and 6 (you can think of it as a
bedroom, a trusty one-pickup major scale that’s “missing” scale degrees 4 and 7 - see
Kay in hand, wearing out the Ex. 1); or as a minor pentatonic or blues scale, with
needle on the old Seabreeze as I root, b3, 4, 5, and b 7 (see Ex. 2 - the b 3 and b 7 of the
tried to decipher the beautiful, blues pentatonic scale are the two supporting players
cascading run that Jimmy Page plays in the troika of legendary “blue notes”: a b 5 is the
on “Communication Breakdown.” “blue” note that draws all the Gershwin-esque
Suddenly the proverbial lightbulb attention, probably for expanding beyond pentatonic
went on over my head. Hey! That boundaries).
cool pattern he plays over E major is
the same one I’d use if I were Ex. 2
playing blues in the key of C#!
E “blues” pentatonic
I had discovered the beautiful duplicity of the
pentatonic scale. Three frets below the basic blues
scale pattern, the same fingering yields a major-ish, root 3 4 5 7 (root)
“country” sound.
Here’s a party trick: drag your fingers harp-style
Ex. 1 across a piano’s black keys while holding down the
sustain pedal. Not only will everyone be impressed by
E major
the guitarist who has been so modestly concealing his
keyboard chops, but you’ll have played a G b major
pentatonic scale (or an E b blues scale—remember, E b
root 2 3 4 5 6 7 (1)
is three frets below G b).
E major pentatonic

root 2 3 5 6 (1)
Continued • • • • • •

46
 • • • • •• THE POWER OF FIVE - THE PENTATONIC SCALE (Cont’d)

Each pentatonic fingering can be interpreted as The two pentatonic scales are not mutually
either major or blues/minor, depending on which note exclusive. Our culture’s pop music has assimilated
you designate as the root. Ex. 3 shows major and both, so you can combine them in the same song,
minor pentatonic scale fingerings (for E major and C# solo, or heck, even in the same bar of a riff. Try
blues, respectively) in five positions. Notice that the playing over a 12-bar blues progression using the
fingering is the same for both scale types, but that blues/minor pentatonic fingerings. Then, try sliding
different notes serve as the root. any of the five fingerings down three frets to get the
major, “country” sound. Grasping this concept is a
Ex. 3 good first step towards understanding the more
E major advanced modal superimposition concepts of players
pentatonic C# blues
such as Frank Gambale and Larry Carlton.

Finally, a word about the power of the number

five. The fifth is the most basic, powerful interval; the
Circle of Fifths is a fundamental concept in music
theory; and the ancient
In o u
Chinese revered the polyc r mic rot
IV IV number five because it the p hromat i onal,
e c
signified the five profo ntatonic wor ld,
und, scale
elements, the five types of ex pr imal is a
press mean
we st io s
of human relationships, ill m n that
and the five types of appr a y not
VI VI or un eciate
grain. derst
a
fully nd
e nou
gh.

IX IX

XI XI

47
 BUILDING UP THE FINGERBOARD
WITH THE FIVE-BLOCK SYSTEM
Ex. 1 C A G E D

1 1
2 1 2 3 2 2 3 1 2
3 3 4 3

One of the most important fingerboard shape of the first-position chords. The diatonic major
concepts is the five-block system. scales that correspond to each chord form are shown
at the bottom of the example. The root notes - all C’s
Jim Ferguson provided me with my introduction in this case - are circled. It’s not the pin-up foldout
to the classic five-block system, which is based on five of the month, but it’s probably one of the most
simple first position chord forms (Ex. 1). fundamental building blocks of fretboard knowledge.
Now let’s take the five forms and put them on the Now you’ve got a system that covers the entire
fingerboard as different voicings of the same chord, in fingerboard, but it won’t do you much good if you
the same key, all the way up the neck (Ex. 2). Don’t can’t transpose it into all the major keys. Once you’ve
get confused—the chords at the top of Ex. 2 are all C digested that, it’ll be time to move on to other
chords, but they’re labeled according to the visual quinary things.

Ex. 2
“G” form “A” form “G” form “E” form “D” form “C” form... again

1 III 1 V 1 VIII 1X 1 XII 1

C 2 2 2
Chords 3 2 3 4 2 3 4 2 3 3
3 4 4 4

Strings III V VIII X XII

1

III V VIII X XII

II V VII IX XII
Major
Scales

48
 THE FIVE-BLOCK SYSTEM, PART TWO
Ex. 1 G scale system
“G” form “E” form “D” form “C” form “A” form

IV VII 1 1 1 1 1 1 IX
1 1 1 1 1 1
2 2 2 2 2 1 1 1 1 1 1 1 2 2 1 1 2 2 2 2 2 2 1 1
3 3 3 3 2 2 2 2 3 3 3 3
4 3 3 3 3 4 4 3 3 4 4 4 4 4 4 4 4 4 3 3
4 4 4 4 4 4 4 4 4 4

Ex. 2 E scale system

“E” form “D” form “C” form “A” form “G” form

1 1 1 1 IV 1 1 1 1 1 1 VI 1 1 1 IX 1
2 2 2 2 2 2 1 1 2 2 1 1 2 2 2 2 2 2 1 1 1 1 1 2 1 1
3 3 3 3 2
4 4 4 4 4 3 3 4 4 3 3 4 4 4 4 4 4 4 4 4 3 3 3 3 3 4 3
4 4 4 4 4 4 4 4

Those of you who have done your woodshed duty from last chapter can
double-check your work against Ex. 1 and Ex. 2. Those of you who claim the
dog ate your homework should feel ashamed - consider these offerings a free
introductory gift. Come up with fingerings for the other nine keys on your
own, and say three “Hail Chuck Berrys” as penance for your indolence.

To fully assimilate the five-block system into your Ex. 3

playing, you must connect the dots. How will you Ascending Descending
shift from one scale position to the next? Ex. 3 shows G major scale G major scale
one way to combine three positions in order to
execute a smooth run. In the ascending run, the first 1 1
III 2 2 III 2 2
five notes come from the “E-form” G scale. The
1 1 1 1
arrow represents a shift up to the “D-form” G scale
V 4 4 2 2 V 4 2 2 2
for the next seven notes. A second shift takes you up
to the “C-form” G scale for the final six notes. VII 4 4 4 1 1 VII 4 4 1 1 1
2 2 2 2
When and where to shift is a matter of personal 4 3
choice—comfort and ease of memorization are the X 4 4 X 4 4
most important criteria.

Attention dog-feeders:
This doesn’t mean that you don’t have to

WO R K I T O U T !

49
FOR THE LOVE OF GUITAR: THE FIVE W’S

Journalists are taught to answer these questions, as inquiring minds

have a need, a fundamental desire, to know.

Why shouldn’t musicians ask themselves the same questions?

Who? Who am I?
Have I committed my heart and
soul to the music that I’m
When? Timing… is… everything.
Is my playing appropriate? Am I playing the
making? Who is my audience,
right note at the right time? Am I adding to
and am I reaching them?
the groove? Can I give the performance a real
sense of occasion?

What? Do I understand what I’m doing? Do I

have perspective and awareness? What is the significance of
the music to me and to my audience?

Where? “Where” is closely

related to “when.” I once saw Larry Carlton
and B. B. King together on a TV show.
Larry said that when he wanted to improve
his phrasing and placement, he went back
to B.B.’s records and found that he was WhY? A good actor searches for
playing everywhere that B.B. wasn’t, and motivation. If you want to make it really matter,
vice versa. He turned his playing around, you’ve got to have a reason. You don’t necessarily
and the rest is history. have to spell it out for your audience. But if you
don’t think they can tell the difference between a
committed performance and a meaningless one,
why are you bothering in the first place?

50
 That’s it for Book Two.
Thanks for visiting the construction site:
I hope you’ve found some Building Block materials that
you can work with. The chapters in Book Three,
“The Basic Brainstorming Book,”
are meant to get you thinking about
some different approaches

F O R T H E L O V E O F G U I TA R ,
and some different directions in which you might want
to channel your affections.
I certainly hope that our paths will cross again.
Meanwhile, Pick & Grin.

51
 YO U C A N C O N TA C T :

at
P.O. Box 97522
Highland Creek, Ontario M1C 4Z1
Canada
www. rikemmett.com

Book One
The Basics Book
Book Two
The Basic
Building Blocks Book
Book Three
The Basic Brainstorming Book
Book Four
The Beyond Basics Book

Design: Jeanine Leech

& Mr. E.

Editorial Assistance: Nancy Wood

Technical Assistance: Lee Olsen

Cartoons and Illustrations: Rik Emmett

Figures and Illustrations: Jeanine Leech

Music Examples written by: Rik Emmett

Photography: Jeannette Emmett

Jeanine Leech

OHB-FTLOGB2
Copyright ©1998 Open House Books
Rockit Sounds Publishing [SOCAN].
A Division of Rockit Sounds, Inc.

All rights reserved. No part of this publication may be

reproduced or utilized in any form or by any means,
electronic or mechanical, including photocopying, recording,
or by any information storage and retrieval system, without
permission in writing from the publisher.
 A B O U T T H E A U T H O R

R ik Emmett is one of Canada’s most respected musicians;

a virtuoso professional guitarist since 1970, a multi-talented
singer, songwriter and prolific producer. His career as an
award-winning recording artist began in 1976, and over
the years he has also been a published
cartoonist, a popular magazine columnist
for Guitar Player, and an educator.
Currently, he lives in Mississauga,
Ontario with his wife and four ne
Book O
children, and continues to write,
B a s i c s Book
record and tour. For up-to- The wo
date, comprehensive Book T
sic
information, you can The Backs Book
visit his official website
u i l d i n g Blo
B hree k
at www.rikemmett.com. Book T ing Boo
i c B r a i nstorm
s
The Ba Book F
our
s Book
B a s i c
yond
The Be