Today is my niece's first birthday. I composed a compilation as a gift to Mina, and it can be heard here:
http://soundcloud.com/greenemusic/happy-birthday-mina
This tune has two parts, A and B. In part A, it begins with an FMajor7 chord and uses two different finger picking techniques.
The first technique is called a "Forwards Roll". Translation: we use our thumb to pluck the bass note of the chord (either D(4)string or A(5)string or E(6)string), next we use our index finger on the G(3)string, next we use our middle finger on the B(2)string, next, we use our ring finger on the Hi-E(1) string. You pluck one after another, in a forwards motion.
The second technique is called a "Backwards Roll" and is essentially the exact opposite of the Forwards Roll. Translation: we start with our third finger on the Hi-E(1)string, followed by the middle finger on the B(2)string, followed by the index finger on the G(3)string in a backwards motion.
RHYTHM
This part plays six eighth notes in each measure, also known as 6/8 timing (or time signature). Translation: Six Eighth Notes Per Measure. Each chord is played for a value of six eighth notes (a single eighth note has a value of 1/2 a beat). This adds up to 3 beats in total for each measure. When counting in your head, try saying "ONE AND A" followed by "TWO AND A" and so on...
HARMONY
This chord breaks down the notes in the FMAJOR7 chord, which are: F A C E. Provided the 6/8 time signature, the notes we pluck are as follows: F A C E C A. Note: we are playing a Forwards Roll when we play F A C E and then we switch to the Backwards roll during the reverse notes C A.
The chord then descends down, lowering the bass note to an open D, so we pluck as follows: D A C E C A.
The chord then descends further, lowering the bass note to a C on the third position of the A(5)string, and so we pluck: C A C E C A
Finally, the chord descends to an open A, and so we pluck: A A C E C A.
After playing all these notes, you will have completed 4 measures and a total of 24 eighth notes (12 beats total). Repeat this as many times as you wish and have fun singing along if you so choose.
Friday, 23 December 2011
Wednesday, 21 December 2011
More On Modes
First off, what is a mode? A mode is a set of notes and or chords that harmonize with each other in a unique way, providing a noticeable, familiar sound. Each mode starts at a specific point in the scale of Do Re Mi Fa So La Ti Do. This is also known as their "Scale Degree".
The modes were named after greek islands, there are a total of seven (natural) modes and they are: IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXO-LYDIAN, AEOLIAN, LOCRIAN.
Scale Degree Name Notes
I MAJOR C IONIAN C D E F G A B C Do Re Mi Fa So La Ti
II minor D DORIAN D E F G A B C D Re Mi Fa So La Ti Do
III minor E PHRYGIAN E F G A B C D E Mi Fa So La Ti Do Re
IV MAJOR F LYDIAN F G A B C D E F Fa So La Ti Do Re Mi
V MAJOR G MIXO-LYDIAN G A B C D E F G So La Ti Do Re Mi Fa
VI minor A AEOLIAN A B C D E F G A La Ti Do Re Mi Fa So
VII minor B LOCRIAN B C D E F G A B Ti Do Re Mi Fa So La
You will notice that each mode starts at a certain point on the Do Re Mi scale, which is what produces that unique sound. Each mode has special qualities, and the type of mode you choose as your starting point will greatly affect the overall sound of your composition, and hence, it is very important to think about what kind of sound you want your composition to have before beginning. In general, MAJOR chords and modes tend to produce a happy, uplifting sound, whereas minor tends to produce the exact opposite effect; a saddening, reflective, seemingly morbid sound. Each chord will produce a sound that is either "more or less MAJOR or minor" when compared to the other chords available in that specific Key / Mode. This is determined by chords' Scale Degree, which tells us the chords' position in the Do Re Mi scale.
THEORY TIDBIT
You will also notice one can infer the Key by simply being told what Mode we are playing in. For Example: If I said "let's play something in D Dorian", you could respond by playing something that was in the Key of CMAJOR. You would know that if D = Re (Dorian) then C = Do (Ionian). To demonstrate a more complex example, if I said "let's play something in Gb Aeolian" you could respond by playing something that was in the Key of AMAJOR. You would know that if Gb = La (Aeolian), then A = Do (Ionian).
The modes were named after greek islands, there are a total of seven (natural) modes and they are: IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXO-LYDIAN, AEOLIAN, LOCRIAN.
Scale Degree Name Notes
I MAJOR C IONIAN C D E F G A B C Do Re Mi Fa So La Ti
II minor D DORIAN D E F G A B C D Re Mi Fa So La Ti Do
III minor E PHRYGIAN E F G A B C D E Mi Fa So La Ti Do Re
IV MAJOR F LYDIAN F G A B C D E F Fa So La Ti Do Re Mi
V MAJOR G MIXO-LYDIAN G A B C D E F G So La Ti Do Re Mi Fa
VI minor A AEOLIAN A B C D E F G A La Ti Do Re Mi Fa So
VII minor B LOCRIAN B C D E F G A B Ti Do Re Mi Fa So La
You will notice that each mode starts at a certain point on the Do Re Mi scale, which is what produces that unique sound. Each mode has special qualities, and the type of mode you choose as your starting point will greatly affect the overall sound of your composition, and hence, it is very important to think about what kind of sound you want your composition to have before beginning. In general, MAJOR chords and modes tend to produce a happy, uplifting sound, whereas minor tends to produce the exact opposite effect; a saddening, reflective, seemingly morbid sound. Each chord will produce a sound that is either "more or less MAJOR or minor" when compared to the other chords available in that specific Key / Mode. This is determined by chords' Scale Degree, which tells us the chords' position in the Do Re Mi scale.
THEORY TIDBIT
You will also notice one can infer the Key by simply being told what Mode we are playing in. For Example: If I said "let's play something in D Dorian", you could respond by playing something that was in the Key of CMAJOR. You would know that if D = Re (Dorian) then C = Do (Ionian). To demonstrate a more complex example, if I said "let's play something in Gb Aeolian" you could respond by playing something that was in the Key of AMAJOR. You would know that if Gb = La (Aeolian), then A = Do (Ionian).
Tuesday, 13 December 2011
Time For Some Tunes
Greenemusic can now be accessed through Soundcloud's website here:
http://soundcloud.com/greenemusic
Enjoy!
http://soundcloud.com/greenemusic
Enjoy!
Sunday, 11 December 2011
Terms and Conditions
Greenemusic Terms and Conditions
By listening to any reproduction of a Greenemusic original song or compilation thereof (the "product") , you thereby enter into an agreement with Greenemusic (the "Maker") and become the "Listener". This constitutes an understanding of the following Terms and Conditions.
1. The Listener understands that this music is only being produced and made available to the public for educational reasons, training, and other purposes that are not-for-profit.
2. The Listener agrees not to download, reproduce, or otherwise use a Greenemusic product for the purpose of personal profit. The Listener further agrees to not contravene The Copyright Act, or any other Act, with or without the use of a Greenemusic product.
3. The Listener understands that when the Maker produces musical compilations, this is not to be confused with original compositions, Greenemusic is not claiming ownership to any musical work provided as a contribution towards a Greenemusic Song. Contributors to musical compilations will be given due credit and the Maker will not claim authorship for another artists work, or otherwise infringe The Copyright Act.
By listening to any reproduction of a Greenemusic original song or compilation thereof (the "product") , you thereby enter into an agreement with Greenemusic (the "Maker") and become the "Listener". This constitutes an understanding of the following Terms and Conditions.
1. The Listener understands that this music is only being produced and made available to the public for educational reasons, training, and other purposes that are not-for-profit.
2. The Listener agrees not to download, reproduce, or otherwise use a Greenemusic product for the purpose of personal profit. The Listener further agrees to not contravene The Copyright Act, or any other Act, with or without the use of a Greenemusic product.
3. The Listener understands that when the Maker produces musical compilations, this is not to be confused with original compositions, Greenemusic is not claiming ownership to any musical work provided as a contribution towards a Greenemusic Song. Contributors to musical compilations will be given due credit and the Maker will not claim authorship for another artists work, or otherwise infringe The Copyright Act.
Tuesday, 29 November 2011
The Order Of The Modes
Each key will have seven natural chord positions, which are typically symbolized by roman numerals as such:
Numeral Example Major/minor
I C Major
II D minor
III E minor
IV F Major
V G Major
VI A minor
VII B minor
These seven chords make up the Key of Cmajor. By using certain techniques and choosing certain chords you can create different moods.
Try for example: I IV V also known as - Cmaj Fmaj Gmaj
And compare it to: VI III II also known as Am Em Dm
Numeral Example Major/minor
I C Major
II D minor
III E minor
IV F Major
V G Major
VI A minor
VII B minor
These seven chords make up the Key of Cmajor. By using certain techniques and choosing certain chords you can create different moods.
Try for example: I IV V also known as - Cmaj Fmaj Gmaj
And compare it to: VI III II also known as Am Em Dm
Monday, 28 November 2011
The D Dorian Scale - Position Ten
The D Dorian scale consists of the following notes: D E F G A B C D
The D Dorian Scale is at position ten meaning we place the first finger (index) on the tenth fret, the second finger (middle) on the eleventh fret, the third finger (ring) on the twelvth fret, and our fourth finger (pinky) on the thirteenth fret.
String Finger Fret
E 1 3 4 10 12 13
A 1 3 *4 10 12 14
D 1 3 *4 10 12 14
G 1 3 10 12
B 1 3 4 10 12 13
E 1 3 4 10 12 13
Practise playing the scale forwards and backwards
Remember to stay on the TIPS of your fingers
Play SLOWLY and TO A BEAT, tapping your foot is a great way to play to a beat
Say the notes as you play the scale, starting with D E F E G A B C D...
At this point we have learned the Locrian Scale, the Minor Scale, the Phrygian Scale, the Lydian Scale, the Dorian Scale. We will learn how to use these scales to transpose keys in future lessons.
The D Dorian Scale is at position ten meaning we place the first finger (index) on the tenth fret, the second finger (middle) on the eleventh fret, the third finger (ring) on the twelvth fret, and our fourth finger (pinky) on the thirteenth fret.
String Finger Fret
E 1 3 4 10 12 13
A 1 3 *4 10 12 14
D 1 3 *4 10 12 14
G 1 3 10 12
B 1 3 4 10 12 13
E 1 3 4 10 12 13
Practise playing the scale forwards and backwards
Remember to stay on the TIPS of your fingers
Play SLOWLY and TO A BEAT, tapping your foot is a great way to play to a beat
Say the notes as you play the scale, starting with D E F E G A B C D...
At this point we have learned the Locrian Scale, the Minor Scale, the Phrygian Scale, the Lydian Scale, the Dorian Scale. We will learn how to use these scales to transpose keys in future lessons.
Thursday, 24 November 2011
The E Phrygian Scale
The E Phrygian Scale consists of the following notes: E F G A B C D E
The E Phrygian Scale is played at the Open Position meaning that we don't use our index finger (it can be thought of as being the open position), we place our second finger (middle) on the first fret, our third finger (ring) on the second fret, our fourth finger (pinky) on the third fret.
String Finger Fret
E 0 2 4 0 1 3
A 0 3 4 0 2 3
D 0 3 4 0 2 3
G 0 3 0 2
B 0 2 4 0 1 3
E 0 2 4 0 1 3
Practise playing the scale forwards and backwards
Remember to stay on the TIPS of your fingers
Play SLOWLY and TO A BEAT, tapping your foot is a great way to play to a beat
Say the notes as you play the scale, starting with E F G A B C D E F E...
THEORY TIDBIT
The E Phrygian Scale gets its name based on the fact that it starts on an E and follows a pattern known as Phrygian. Phrygian is thought of as going from Mi to Mi (Mi Fa So La Ti Do Re Mi) or in this case, E to E (E F G A B C D E).
At this point we have now learned four scales: B Locrian, A Minor, F Lydian and E Phrygian. You should be able to play these forwards and backwards while saying the notes as you go along. The theory behind these scales will be explained in later lessons, but the important thing is to familiarize your fingers with the positions in each of these scales. You should practise playing without looking at your fingers for the best results.
The E Phrygian Scale is played at the Open Position meaning that we don't use our index finger (it can be thought of as being the open position), we place our second finger (middle) on the first fret, our third finger (ring) on the second fret, our fourth finger (pinky) on the third fret.
String Finger Fret
E 0 2 4 0 1 3
A 0 3 4 0 2 3
D 0 3 4 0 2 3
G 0 3 0 2
B 0 2 4 0 1 3
E 0 2 4 0 1 3
Practise playing the scale forwards and backwards
Remember to stay on the TIPS of your fingers
Play SLOWLY and TO A BEAT, tapping your foot is a great way to play to a beat
Say the notes as you play the scale, starting with E F G A B C D E F E...
THEORY TIDBIT
The E Phrygian Scale gets its name based on the fact that it starts on an E and follows a pattern known as Phrygian. Phrygian is thought of as going from Mi to Mi (Mi Fa So La Ti Do Re Mi) or in this case, E to E (E F G A B C D E).
At this point we have now learned four scales: B Locrian, A Minor, F Lydian and E Phrygian. You should be able to play these forwards and backwards while saying the notes as you go along. The theory behind these scales will be explained in later lessons, but the important thing is to familiarize your fingers with the positions in each of these scales. You should practise playing without looking at your fingers for the best results.
Wednesday, 16 November 2011
The F Lydian Scale - Position Two
The F Lydian Scale consists of the following notes: F G A B C D E F
The F Lydian Scale is played at Position Two meaning that we place our first finger (index) on the second fret, our second finger (middle) on the third fret, our third finger (ring) on the fourth fret, and our fourth finger (pinky) on the fifth fret.
Practise using all four fingers on all four fret positions on all six strings before continuing. Once you are comfortable with each position, move onto the next step.
String Finger Fret
E *1 2 4 1 3 5
A 1 2 4 2 3 5
D 1 2 4 2 3 5
G 1 3 4 2 4 5
B 2 4 3 5
E *1 2 4 1 3 5
*indicates a reach is needed, your first finger (index) must reach to the first fret
Practise playing the scale forwards and backwards.
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
The next step is to say each note name as you climb up or down the scale. (F G A B C D E F)
THEORY TIDBIT
The F Lydian Scale gets its name based on the fact that it starts on an F and follows a pattern known as Lydian. Lydian is thought of as going from Fa to Fa (Fa So La Ti Do Re Mi Fa) or in this case, F to F (F G A B C D E F).
At this point, you should be able to play 3 scales, (B Locrian, A Minor, and F Lydian) both forwards and backwards TO A BEAT. You should be able to name each note as you are playing.
The F Lydian Scale is played at Position Two meaning that we place our first finger (index) on the second fret, our second finger (middle) on the third fret, our third finger (ring) on the fourth fret, and our fourth finger (pinky) on the fifth fret.
Practise using all four fingers on all four fret positions on all six strings before continuing. Once you are comfortable with each position, move onto the next step.
String Finger Fret
E *1 2 4 1 3 5
A 1 2 4 2 3 5
D 1 2 4 2 3 5
G 1 3 4 2 4 5
B 2 4 3 5
E *1 2 4 1 3 5
*indicates a reach is needed, your first finger (index) must reach to the first fret
Practise playing the scale forwards and backwards.
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
The next step is to say each note name as you climb up or down the scale. (F G A B C D E F)
THEORY TIDBIT
The F Lydian Scale gets its name based on the fact that it starts on an F and follows a pattern known as Lydian. Lydian is thought of as going from Fa to Fa (Fa So La Ti Do Re Mi Fa) or in this case, F to F (F G A B C D E F).
At this point, you should be able to play 3 scales, (B Locrian, A Minor, and F Lydian) both forwards and backwards TO A BEAT. You should be able to name each note as you are playing.
Monday, 14 November 2011
The A Minor Scale - Position Five
The A Minor Scale consists of the following notes: A B C D E F G A
The A Minor Scale is played at Position Five meaning that we place our first finger (index) on the fifth fret, our second finger (middle) on the sixth fret, our third finger (ring) on the seventh fret, and our fourth finger (pinky) on the eighth fret.
Practise using all four fingers on all four fret positions on all six strings before continuing. Once you are comfortable with each position, move onto the next step.
String Finger Fret
E 1 3 4 5 7 8
A 1 3 4 5 7 8
D 1 3 *4 5 7 9
G 1 3 5 7
B 1 2 4 5 6 8
E 1 3 4 5 7 8
*indicates a reach is needed, your fourth finger (pinky) must reach to the ninth fret
Practise playing the scale forwards and backwards.
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
The next step is to say each note name as you climb up or down the scale.
THEORY TIDBIT
The Scale gets its name A Minor based on the fact that the starting point of the scale is A and also that it follows a specific pattern (Minor) which is also known as the sixth mode (Aeolian).
Think of the notes used during Do Re Mi Fa So La Ti Do As being C D E F G A B C.
The A Minor Scale goes from La to La (La Ti Do Re Mi Fa So La) or in this case, A to A (A B C D E F G A).
The A Minor Scale is played at Position Five meaning that we place our first finger (index) on the fifth fret, our second finger (middle) on the sixth fret, our third finger (ring) on the seventh fret, and our fourth finger (pinky) on the eighth fret.
Practise using all four fingers on all four fret positions on all six strings before continuing. Once you are comfortable with each position, move onto the next step.
String Finger Fret
E 1 3 4 5 7 8
A 1 3 4 5 7 8
D 1 3 *4 5 7 9
G 1 3 5 7
B 1 2 4 5 6 8
E 1 3 4 5 7 8
*indicates a reach is needed, your fourth finger (pinky) must reach to the ninth fret
Practise playing the scale forwards and backwards.
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
The next step is to say each note name as you climb up or down the scale.
THEORY TIDBIT
The Scale gets its name A Minor based on the fact that the starting point of the scale is A and also that it follows a specific pattern (Minor) which is also known as the sixth mode (Aeolian).
Think of the notes used during Do Re Mi Fa So La Ti Do As being C D E F G A B C.
The A Minor Scale goes from La to La (La Ti Do Re Mi Fa So La) or in this case, A to A (A B C D E F G A).
Thursday, 10 November 2011
The B Locrian Scale - Position Seven
The B Locrian Scale consists of the follwing notes: B C D E F G A B
The B Locrian Scale starts at Position Seven, meaning we place our first finger (index) on the seventh fret, our second finger (middle) on the eighth fret, our third finger (ring) on the ninth fret and our fourth finger (pinky) goes on the tenth fret.
Before moving to the next step, practise placing all four fingers on all four fret positions on all six strings. If you have trouble reaching, try to relax your wrist and make sure that your elbow is not touching the side of your body. Once you are comfortable with playing all the frets, move on to the next step.
String Finger Fret
E 1 2 4 7 8 10
A 1 2 4 7 8 10
D 1 3 4 7 9 10
G 1 3 4 7 9 10
B 2 4 8 10
E 1 2 4 7 8 10
Practise playing this scale forwards and backwards
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
Practise saying each note as you go (B C D E F G A)
The B Locrian Scale starts at Position Seven, meaning we place our first finger (index) on the seventh fret, our second finger (middle) on the eighth fret, our third finger (ring) on the ninth fret and our fourth finger (pinky) goes on the tenth fret.
Before moving to the next step, practise placing all four fingers on all four fret positions on all six strings. If you have trouble reaching, try to relax your wrist and make sure that your elbow is not touching the side of your body. Once you are comfortable with playing all the frets, move on to the next step.
String Finger Fret
E 1 2 4 7 8 10
A 1 2 4 7 8 10
D 1 3 4 7 9 10
G 1 3 4 7 9 10
B 2 4 8 10
E 1 2 4 7 8 10
Practise playing this scale forwards and backwards
Remember to stay on the TIPS of your fingers
Try your best to play TO A BEAT, tapping your foot is a great way to keep a beat.
Practise saying each note as you go (B C D E F G A)
Wednesday, 9 November 2011
Warm Up Exercise #2
In this exercise, we will learn a pattern called the "Backwards Roll" and we learn what symbols are associated with your right hand.
The following symbols will be at the bottom of the TAB, telling you which finger on your right hand should be used to the play the note. This will give you an idea about the finger picking pattern being used.
English Symbol Spanish
Thumb p Pulgar
Index i Indice
Middle m Medio
Ring a Anular
Pinky c, x, q, e, a Menique
In this exercise, we see the pattern of p i m a repeat
We use our thumb p to play the low E string Open
We use our index i to play the G string
We use our middle m to play the B string
We use our ring a to play the Hi-E string
We do not use our right hand pinky in this exercise
[E/1]--0-----------4--------3--------2----------1--------0----------1-------2--------3-------4--
[B/2]-----0-----------0---------0--------0---------0---------0---------0-------0--------0-----0
[G/3]--------0----------0---------0---------0--------0---------0---------0-------0--------0----0
[D/4]----------------------------------------------------------------------------------------------
[A/5]----------------------------------------------------------------------------------------------
[E/6]-0--------0-----------0--------0----------0--------0----------0--------0---------0-------0-
p a m i p a m i p a m i p a m i p a m i p a m i ......
The following symbols will be at the bottom of the TAB, telling you which finger on your right hand should be used to the play the note. This will give you an idea about the finger picking pattern being used.
English Symbol Spanish
Thumb p Pulgar
Index i Indice
Middle m Medio
Ring a Anular
Pinky c, x, q, e, a Menique
In this exercise, we see the pattern of p i m a repeat
We use our thumb p to play the low E string Open
We use our index i to play the G string
We use our middle m to play the B string
We use our ring a to play the Hi-E string
We do not use our right hand pinky in this exercise
[E/1]--0-----------4--------3--------2----------1--------0----------1-------2--------3-------4--
[B/2]-----0-----------0---------0--------0---------0---------0---------0-------0--------0-----0
[G/3]--------0----------0---------0---------0--------0---------0---------0-------0--------0----0
[D/4]----------------------------------------------------------------------------------------------
[A/5]----------------------------------------------------------------------------------------------
[E/6]-0--------0-----------0--------0----------0--------0----------0--------0---------0-------0-
p a m i p a m i p a m i p a m i p a m i p a m i ......
Tuesday, 8 November 2011
Warm Up Exercise #1
In this lesson we will learn how to read tablature (TAB):
TAB is the gift to all those guitarists who don't have time to do their rudiments and learn how to sight read. TAB tells the guitarist which string, and which fret to play and in what order. TAB gives you a vague idea of the rhythm without actually telling you the duration (beat) of each of each note.
In Warm Up #1 we begin at Position Seven which means we place our index finger on the Seventh Fret, our middle finger on the Eighth Fret, our ring finger on the Ninth Fret and our pinky on the Tenth Fret. We will travel UPWARDS on the Treble Clef as we start on the LOW E string and finish on the HIGH E string.
[E/1]-----------------------------------------------------------------------------------------------7
[B/2]---------------------------------------------------------------------------7----------7-8-10--
[G/3]------------------------------------------------------7-----------7-8-10---10-8-7-----------
[D/4]-----------------------------------7----------7-8-10---10-8-7-------------------------------
[A/5]-------------7-----------7-8-10----10-8-7---------------------------------------------------
[E/6]----7-8-10-----10-8-7------------------------------------------------------------------------
1 2 4 1 4 2 1 1 2 4 1 4 2 1 1 2 4 1 4 2 1 1 2 4 ...
The numbers at the bottom tell us which finger to use on our left hand
1 - index finger
2 - middle finger
3 - ring finger
4 - pinky finger
TAB is the gift to all those guitarists who don't have time to do their rudiments and learn how to sight read. TAB tells the guitarist which string, and which fret to play and in what order. TAB gives you a vague idea of the rhythm without actually telling you the duration (beat) of each of each note.
In Warm Up #1 we begin at Position Seven which means we place our index finger on the Seventh Fret, our middle finger on the Eighth Fret, our ring finger on the Ninth Fret and our pinky on the Tenth Fret. We will travel UPWARDS on the Treble Clef as we start on the LOW E string and finish on the HIGH E string.
[E/1]-----------------------------------------------------------------------------------------------7
[B/2]---------------------------------------------------------------------------7----------7-8-10--
[G/3]------------------------------------------------------7-----------7-8-10---10-8-7-----------
[D/4]-----------------------------------7----------7-8-10---10-8-7-------------------------------
[A/5]-------------7-----------7-8-10----10-8-7---------------------------------------------------
[E/6]----7-8-10-----10-8-7------------------------------------------------------------------------
1 2 4 1 4 2 1 1 2 4 1 4 2 1 1 2 4 1 4 2 1 1 2 4 ...
The numbers at the bottom tell us which finger to use on our left hand
1 - index finger
2 - middle finger
3 - ring finger
4 - pinky finger
Monday, 7 November 2011
The Major Scale
In this lesson we will learn how to locate any Major Key by using the Chromatic Scale as a reference.
The Major Scale is derived from the Chromatic Scale by starting at any point and using the following pattern: (Tone = 2 fret difference, Semitone = 1 fret difference)
Tone - Tone - (Semitone) - Tone - Tone - Tone - (Semitone)
Pattern Example
(1st note) C
Tone
(2nd note) D
Tone
(3rd note) E
Semi-Tone
(4th note) F
Tone
(5th note) G
Tone
(6th note) A
Tone
(7th note) B
Semi-Tone
(8th note) C
REPEAT
As derived from the notes in the Chromatic Scale:
[C]-[C# / Db]-[D]-[D# / Eb]-[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]-[A# / Bb]-[B]-[C]
1st 2nd 3rd 4th 5th 6th 7th 8th
We see in the above example that D (2nd note) is a Tone away from C (1st note), E (3rd note) is a Tone away from D (2nd note), F (4th note) is a Semitone away from E (3rd note), G (5th note) is a Tone away from F (4th note), A (6th note) is a Tone away from G (5th note), B (7th note) is a Tone away from A (6th note) and C (8th note) is a Semitone away from B (7th note). This is what is meant by the phrase "Tone, Tone, Semi-Tone, Tone, Tone, Tone, Semitone". This pattern stays consistent in all Major Keys.
In the example of the Key of Emajor, the scale begins on the open E string and follows the pattern above:
Note: [E]-[F#]-[G#]-[A]-[B]-[C#]-[D#]-[E]
Fret: 0 2 4 5 7 9 11 12
In the example of the Key of Amajor, the scale begins on the open A string and follows the same pattern:
Note: [A]-[B]-[C#]-[D]-[E]-[F#]-[G#]-[A]
Fret: 0 2 4 5 7 9 11 12
Notice how in both examples, the scale began on an open (unfretted) string. Since the pattern (T-T-ST-T-T-T-ST) is exactly the same, the frets played in both examples is also exactly the same.
By now you should be able to identify all the notes in the Chromatic Scale, and you should be able to understand that each Major Key contains 7 notes, which follow the pattern (T-T-ST-T-T-T-ST). You should be able to play and identify the notes in both the Key of Emajor and the Key of Amajor.
The Major Scale is derived from the Chromatic Scale by starting at any point and using the following pattern: (Tone = 2 fret difference, Semitone = 1 fret difference)
Tone - Tone - (Semitone) - Tone - Tone - Tone - (Semitone)
Pattern Example
(1st note) C
Tone
(2nd note) D
Tone
(3rd note) E
Semi-Tone
(4th note) F
Tone
(5th note) G
Tone
(6th note) A
Tone
(7th note) B
Semi-Tone
(8th note) C
REPEAT
As derived from the notes in the Chromatic Scale:
[C]-[C# / Db]-[D]-[D# / Eb]-[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]-[A# / Bb]-[B]-[C]
1st 2nd 3rd 4th 5th 6th 7th 8th
We see in the above example that D (2nd note) is a Tone away from C (1st note), E (3rd note) is a Tone away from D (2nd note), F (4th note) is a Semitone away from E (3rd note), G (5th note) is a Tone away from F (4th note), A (6th note) is a Tone away from G (5th note), B (7th note) is a Tone away from A (6th note) and C (8th note) is a Semitone away from B (7th note). This is what is meant by the phrase "Tone, Tone, Semi-Tone, Tone, Tone, Tone, Semitone". This pattern stays consistent in all Major Keys.
In the example of the Key of Emajor, the scale begins on the open E string and follows the pattern above:
Note: [E]-[F#]-[G#]-[A]-[B]-[C#]-[D#]-[E]
Fret: 0 2 4 5 7 9 11 12
In the example of the Key of Amajor, the scale begins on the open A string and follows the same pattern:
Note: [A]-[B]-[C#]-[D]-[E]-[F#]-[G#]-[A]
Fret: 0 2 4 5 7 9 11 12
Notice how in both examples, the scale began on an open (unfretted) string. Since the pattern (T-T-ST-T-T-T-ST) is exactly the same, the frets played in both examples is also exactly the same.
By now you should be able to identify all the notes in the Chromatic Scale, and you should be able to understand that each Major Key contains 7 notes, which follow the pattern (T-T-ST-T-T-T-ST). You should be able to play and identify the notes in both the Key of Emajor and the Key of Amajor.
Sunday, 6 November 2011
The Chromatic Scale
In the first lesson we will answer the question "How do I know what note I am playing?". The first step is to memorize the notes in the Chromatic Scale.
Chromatic Scale is a set of 12 notes seperated by Semitones (Semitone = 1 fret). This means that every note is directly behind and in front of another note. This can be applied to any string on the guitar and will allow guitar players to find notes anywhere on the guitar.
In the following example the Chromatic Scale is being applied to the E string and the A string (6th string and 5th string):
[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]-[A# / Bb]-[B]-[C]-[C# / Db]-[D]-[D# / Eb]-[E]
[A]-[A# / Bb]-[B]-[C]-[C# / Db]-[D]-[D# / Eb]-[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]
A Sharp (#) indicates the note has been RAISED by a Semitone
A Flat (b) indicates the note has been LOWERED by a Semitone
Sharps and Flats are best thought of as the black notes on a piano. It is important to note that B and E do not have Sharps and C and F don't have Flats. They are separated by Semitones and are right beside each other on the fret board.
By now you should be able to locate notes on the fretboard by using the notes in the Chromatic Scale.
Chromatic Scale is a set of 12 notes seperated by Semitones (Semitone = 1 fret). This means that every note is directly behind and in front of another note. This can be applied to any string on the guitar and will allow guitar players to find notes anywhere on the guitar.
In the following example the Chromatic Scale is being applied to the E string and the A string (6th string and 5th string):
[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]-[A# / Bb]-[B]-[C]-[C# / Db]-[D]-[D# / Eb]-[E]
[A]-[A# / Bb]-[B]-[C]-[C# / Db]-[D]-[D# / Eb]-[E]-[F]-[F# / Gb]-[G]-[G# / Ab]-[A]
A Sharp (#) indicates the note has been RAISED by a Semitone
A Flat (b) indicates the note has been LOWERED by a Semitone
Sharps and Flats are best thought of as the black notes on a piano. It is important to note that B and E do not have Sharps and C and F don't have Flats. They are separated by Semitones and are right beside each other on the fret board.
By now you should be able to locate notes on the fretboard by using the notes in the Chromatic Scale.
Subscribe to:
Posts (Atom)