INTRODUCTION TO MUSIC THEORY
FOR GUITAR, V 0.2, (C) 1994, BY DIMITRIS DRANIDIS
Guitar is a very nice instruments for a lot of reasons. One can play
all kinds of songs, and music. One can learn to play the instrument
without a teacher too. And I guess most of the people out there
haven't had a teacher, just like me. It is really fun to learn and
explore the instrument all by yourself. (Though with a teacher it
would go faster :-)
Playing is great! Understanding what you're playing improves playing
and brings you closer to your instrument, your songs or music. I
believe that it does not need a lot to understand music theory.
[Theory is not a bad word. Get used to it.] Most guitar players are
interested in chords. Accompanying songs with the guitar is great!
Well all you have to do in order to play all the chords of this world
is to learn the intervals and then the chord construction. Then you
don't need any chord charts any more. If you want to understand
furthermore why a particular chord sounds good in a particular part in
a song then you must learn some harmony too. Harmony is based on
scales and chords. It has simple rules and is easy to understand if
you catch the main idea..
So let us begin.... This introduction covers
* Music Material
* CHORDS
* HARMONY
* SONGS for harmony exploration
* CHORD PATTERNS APPENDIX
_________________________________________________________________
Email:dranidis@informatik.uni-muenchen.de
URL: http://www.pst.informatik.uni-muenchen.de/~dranidis/
Dimitris Dranidis (10.11.1994)
MUSIC MATERIAL
Index
* Notes, tones, semi-tones
* Diatonic
* Accidentals
* Chromatic
* Solfege
* Intervals
* Types of intervals
* Inversion of intervals
Notes, tones, semitones
In well-tempered instruments (the guitar is one) we have 12 distinct
notes in an octave. These build the chromatic scale: (starting from c)
c #c d #d e f #f g #g a #a b c
1 2 3 4 5 6 7 8 9 10 11 12 1
Notes are noted with the first 7 letters of the latin alphabet:
a b c d e f g
and symbols for chromatic alterations: # (sharp) and b (flat). More on
these comes later. The following is a diagram of the frets and the
notes on the guitar. All the 12 tones and only these can be found on
the fretboard. The instrument is called well-tempered since it is
fretted and the intervals are not the physical intervals (those found
in the nature) but "well tempered" so that music in every key is
sounded as good as on any other key. If we exclude bending, then no
other notes can be played on this instruments. For example, there is
no note between c and #c.
e ||--f-|-#f-|--g-|-#g-|--a-|-#a-|--b-|--c-|-#c-|--d-|-#d-|--e-|...
b ||--c-|-#c-|--d-|-#d-|--e-|--f-|-#f-|--g-|-#g-|--a-|-#a-|--b-|...
g ||-#g-|--a-|-#a-|--b-|--c-|-#c-|--d-|-#d-|--e-|--f-|-#f-|--g-|...
d ||-#d-|--e-|--f-|-#f-|--g-|-#g-|--a-|-#a-|--b-|--c-|-#c-|--d-|...
a ||-#a-|--b-|--c-|-#c-|--d-|-#d-|--e-|--f-|-#f-|--g-|-#g-|--a-|...
e ||--f-|-#f-|--g-|-#g-|--a-|-#a-|--b-|--c-|-#c-|--d-|-#d-|--e-|...
1st 3rd 5th 7th 9th 12th fret
The distance between two succeeding notes is a half-tone (H). Two
half-tones build a whole-tone (W). On the guitar each fret is a
half-tone.
Diatonic
If we leave the sharped notes apart, then we get the 7 natural notes.
e ||--f-|----|--g-|----|--a-|----|--b-|--c-|----|--d-|----|--e-|...
b ||--c-|----|--d-|----|--e-|--f-|----|--g-|----|--a-|----|--b-|...
g ||----|--a-|----|--b-|--c-|----|--d-|----|--e-|--f-|----|--g-|...
d ||----|--e-|--f-|----|--g-|----|--a-|----|--b-|--c-|----|--d-|...
a ||----|--b-|--c-|----|--d-|----|--e-|--f-|----|--g-|----|--a-|...
e ||--f-|----|--g-|----|--a-|----|--b-|--c-|----|--d-|----|--e-|...
1st 3rd 5th 7th 9th 12th fret
Starting from c they build the C major scale:
c d e f g a b c
1 2 3 4 5 6 7
W W H W W W H
\_____/ \_____/
Observe this on the second string:
b ||--c-|----|--d-|----|--e-|--f-|----|--g-|----|--a-|----|--b-|--c-|...
These notes build a diatonic scale. A diatonic scale consists of 7
notes, arranged so, that they (usually) build 5 whole-tones and 2
half-tones. The first and the last tone of a diatonic scale is called
tonic. The seventh tone is called leading tone because it leads to the
tonic. There are names for the rest but we'll leave them for later.
Accidentals
There are two types of accidentals. The sharp and the flat. The sharp
(#) raises the tone of the note by a half-tone. In the guitar that's
the next fret. The sharp produces 7 sharped notes: (#c, #d, #e, ...).
because #e ~ f and #b ~ c only 5 notes are new. the flat (b here noted
as !) lowers the tone of the note by a half-tone. in the guitar that's
the previous fret. the flat produces 7 flatted notes: (!c, !d, !e,
...). again because !c ~ b and !f ~ e only 5 of them are new, and
these are the same which are produces by sharped notes, i.e. #c ~ !d,
#d ~ !e, #f ~ !g, #g ~ !a, #a ~ !b.
Chromatic
The chromatic scale consists of all the 12 notes, 7 from the diatonic
and 5 flatted or sharped.
Solfege
I find the alphabetic system very difficult to keep in mind or "sing".
I use solfege when I want to sing a melody, a chord, a scale or to
name a note. I might still write "c" but say "do". So what you should
learn is the sequence:
do re mi fa sol la ti do
c d e f g a b c
Unfortunately the only easy to remember is f (fa) therefore one must
memorize this sequence. Altered notes are easy to remember too:
di ri fi si li
#c d# #f #g #a
and
ra ma -- lo ta
!d !e !g !a !b
though you won't need them a lot.
Intervals
By intervals we mean the distance between the notes in the diatonic
scale:
_____________________13th_____________________
/_________________11th_________________ \
/______________9th______________ \ |
/ __________octave__________ \ | |
/ \ | | |
c d e f g a b c' d' e' f' g' a'
\2nd/ | | | | |
\__3th__/ | | | |
\____4th____/ | | |
\______5th______/ | |
\________6th________/ |
\__________7th__________/
So d is a second away from c, e is a third away from c and so on. c'
is an octave away from c and d' is a ninth away from c and so on. So d
is either a second or a ninth away from c, f is either a fourth or an
eleventh away from c. If we begin from e, then f is a second away from
e and g is a third away form e and so on. Notice however that the
second c-d is a whole-tone, while the second e-f is a half-tone; the
third c-e consists of two W's (four H's), while the third e-g consists
of one H and one W (three H's). In order to distinguish between
"small" and "big" intervals we need to declare types of intervals. In
the following we use the letter H for half-tones. By an interval of 5
H we mean five half-tones or equivalently 5 frets on the guitar.
TYPES OF INTERVALS
There are five types of intervals:
1. Perfect (p)
Perfect intervals are the unison or octave, the perfect fourth and
the perfect fifth. These are noted as u, o, p4 and p5
respectively. A perfect fourth consists of 5 H, and a perfect
fifth of 7 H.
Ex. c-c, d-d, ... : u or o, (0 H or 12 H)
c-f, d-g, e-a, f-!B, g-c, a-d, b-e, ...: p4, (5 H)
c-g, d-a, e-b, f-c, g-d, a-e, b-#f, ...: p5, (7 H)
2. Major (M)
Major intervals are the major second, third, sixth, and seventh.
These are noted as M2, M3, M6 and M7 respectively.
Ex. c-d, d-e, e-#f, f-g, g-a, a-b, b-#c,... : M2, (2 H)
c-e, d-#f, e-#g, f-a, g-b, a-#c, b-#d,... : M3, (4 H)
c-a, d-b, e-#c, f-d, g-e, ... : M6, (9 H)
c-b, d-c#, e-#d, f-e, g-#f,... : M7, (11 H)
(At this point notice that all the intervals in the major scale
[Ionian mode] are either perfect or major)
3. Minor (m)
Minor intervals are the minor second, third, sixth, and seventh.
These are noted as m2, m3, m6 and m7 respectively.
Ex. c-!d, d-!e, e-f, f-!g, g-!a, b-c : m2, (1 H)
c-!e, d-f, e-g, f-!a, ... : m3, (3 H)
c-!a, d-!b, e-c, f-!d, ... : m6, (8 H)
c-!b, d-c, e-d, f-!e, ... : m7, (10 H)
(You should not associate minor intervals with flatted notes. If
we start the diatonic scale from the note E then all the natural
intervals are either minor or perfect:
e-f : m2,
e-g : m3,
e-a : p4,
e-b : p5,
e-c : m6,
e-d : m7
[by the way, that's the E phrygian mode])
4. Augmented (#)
Augmented intervals are perfect or major intervals which are
raised a half-note step. Most used are the augmented fifth (#5)
and ninth (#9).
Ex. c-#g : #5, (8 H)
c-#d : #9 (15 H)
(Notice that the second and the ninth are the same notes an octave
away:
c d e f g a b c' d' e' f' g' a' ..
1 2 3 4 5 6 7 8 9 10 11 12 13 ..
the same is true for the fourth and the elfth or for the sixth and
the thirteenth.)
5. Diminished (b)
Diminished intervals are perfect or minor intervals which are
lowered a half-note step. Most used are the diminished fifth and
seventh which are noted as b5 and b7 respectively.
Ex. c-!g : b5, (6 H)
c-!!b : b7 (9 H)
(Notice the double-flatted b; we could write a instead, but a is
the sixth in the diatonic and we want the seventh which is b)
If we put these intervals in a sequence and tidy them up, we get the
following nice table:
chromatic c !d d !e e f !g g !a a !b b c
--------------------------------------
diatonic c d e f g a b c
sharps #c #d #f #g #a
flats !d !e !g !a !b
======================================
perfect u p4 p5 o
minor m2 m3 m6 m7
major M2 M3 M6 M7
augmented #2 #3 #4 #5 #6
diminished b3 b4 b5 b6 b7
--------------------------------------
u m2 M2 m3 M3 p4 b5 p5 m6 M6 m7 M7 o
Notes on the same column are equivalent and interchangeable. These
notes are called enharmonic. For example C# is enharmonic with Db.
ON THE FRETBOARD
The first thing you should notice are the intervals between succeeding
open strings: e-a : p4, a-d : p4, d-g : p4, g-b : M3, b-e : p4 So all
the intervals are perfect fourths except the one between g and b which
is a major third.
So take two stings, fret on the second (third in the case of b) fret
of the second string and you get a perfect fifth. Ex. e-b, a-e, d-a,
g-d, b-#f.
e ||----|-f#-|----|...
b ||----|----|--d-|...
g ||----|--a-|----|...
d ||----|--e-|----|...
a ||----|--b-|----|...
e ||----|----|----|...
In the following one can see all the intervals on the fretboard. One
must start from a fret noted as R(oot). Roots are found on all strings
so this is a complete diagram. Note that it is circular too.
e ...|-M6-|-m7-|-M7-|--R-|-m2-|-M2-|-m3-|-M3-|-p4-|-b5-|-p5-|-m6-|-M6-|...
b ...|-M3-|-p4-|-b5-|-p5-|-m6-|-M6-|-m7-|-M7-|--R-|-m2-|-M2-|-m3-|-M3-|...
g ...|--R-|-m2-|-M2-|-m3-|-M3-|-p4-|-b5-|-p5-|-m6-|-M6-|-m7-|-M7-|--R-|...
d ...|-p5-|-m6-|-M6-|-m7-|-M7-|--R-|-m2-|-M2-|-m3-|-M3-|-p4-|-b5-|-p5-|...
a ...|-M2-|-m3-|-M3-|-p4-|-b5-|-p5-|-m6-|-M6-|-m7-|-M7-|--R-|-m2-|-M2-|...
e ...|-M6-|-m7-|-M7-|--R-|-m2-|-M2-|-m3-|-M3-|-p4-|-b5-|-p5-|-m6-|-M6-|...
How to use this diagram? Say you got the following chord with three
open strings:
e ||--f-|----|----|...
b 0|----|----|----|...
g 0|----|----|----|...
d 0|----|----|----|...
a ||----|--b-|----|...
e ||----|----|--g-|...
Say you want to find out what's the name of this chord (Assuming you
do not already know it). Place this pattern on the diagram, so that
the fretted g on the sixth string, falls on the R on the sixth string.
Then notice where the rest of the notes fall:
e ||-m7-|----|----|...
b M3|----|----|----|...
g R|----|----|----|...
d p5|----|----|----|...
a ||----|-M3-|----|...
e ||----|----|--R-|...
So, if you know that M3, p5 and m7 build the dominant seventh (more on
building chords comes later) , then you tell that this is the G7
chord. Example To demonstrate the use of intervals let's take any
note, say F, and name all the intervals. That's relatively easy if we
write down the chromatic scale, starting from F, and placing the
interval sequence below it (see table):
f !g g !a a !b b C !d d !e e f
-------------------------------------
u m2 M2 m3 M3 p4 b5 p5 m6 M6 m7 M7 o
The same for !a:
!a !!b !b !c c !d !!e !e !f f !g g !a
----------------------------------------
u m2 M2 m3 M3 p4 b5 p5 m6 M6 m7 M7 o
(If you are puzzled with the double flatted notes: the minor second of
!a is a natural, but we call it !!b which is enharmonic to a, because
b is the second of a in the diatonic)
Table 1 gives the interval between two notes.
Table 1.
c #c d #d e f #f g #g a #a b
c -- m2 M2 m3 M3 p4 b5 p5 m6 M6 m7 M7
#c M7 -- m2 M2 m3 M3 p4 b5 p5 m6 M6 m7
d m7 M7 -- m2 M2 m3 M3 p4 b5 p5 m6 M6
#d M6 m7 M7 -- m2 M2 m3 M3 p4 b5 p5 m6
e m6 M6 m7 M7 -- m2 M2 m3 M3 p4 b5 p5
f p5 m6 M6 m7 M7 -- m2 M2 m3 M3 p4 b5
#f b5 p5 m6 M6 m7 M7 -- m2 M2 m3 M3 p4
g p4 b5 p5 m6 M6 m7 M7 -- m2 M2 m3 M3
#g M3 p4 b5 p5 m6 M6 m7 M7 -- m2 M2 m3
a m3 M3 p4 b5 p5 m6 M6 m7 M7 -- m2 M2
#a M2 m3 M3 p4 b5 p5 m6 M6 m7 M7 -- m2
b m2 M2 m3 M3 p4 b5 p5 m6 M6 m7 M7 --
Inversion of intervals
An interval is inverted if we change its sequence. So c-d is inverted
to d-c. c-d is a M2 and d-c is a m7.
Rules of inversion:
1. minor intervals become major and vice versa,
2. augmented intervals become diminished and vice versa,
3. perfect intervals remain perfect,
4. 2nds become 7ths, 3rds become 6ths, 4ths become 5ths and vice
versa.
Ex. m6 ==> M3, p4 ==> p5, m2 ==> M7, ...
_________________________________________________________________
CHORDS
Index
* Triads
+ Major
+ Minor
+ Augmented
+ Diminished
* Figured bass notation
* Stacked thirds
* Enharmonic chords
* Sevenths
+ Dominant 7th
+ Major 7th
+ Minor 7th
+ Minor triad major 7th
+ Half diminished 7th
+ (Full) Diminished 7th
* Figured bass notation
* Circle of thirds
* Ninths
If you understood the intervals then you will easily understand the
chords. Chords are three or more tones which sound simultaneously. The
character of a chord and its name depends upon the intervals of the
tones from a concrete tone which is called root and is (usually) self
present in the chord.
Triads
Triads are chords consisting of exactly three notes. There are four
kind of triads: major, minor, augmented and diminished.
MAJOR
The most common chord is the major chord. It consists of a major third
and a perfect fifth.
Ex. C major, simply C : c e g
\M3/ \m3/
\___p5__/
Note all the intervals involved in this chord:
c e g
from c -- M3 p5
from e m6 -- m3
from g p4 M6 --
So if the chord has the third e at the bass note then the intervals
are a m3 to g and a m6 to to c. That's the first inversion of C. If
the chord has the fifth g at the bass note then the intervals are a p4
to c and a M6 to to e. That's the second inversion of C.
MINOR
The second most common chord is the minor chord. It consists of a
minor third and a perfect fifth.
Ex. C minor, simply Cm : c !e g
\m3/ \M3/
\___p5___/
Intervals:
c !e g
from c -- m3 p5
from !e M6 -- M3 (1st inversion)
from g p4 m6 -- (2nd inversion)
AUGMENTED
That's a major chord with an augmented fifth.
Ex. C augmented, simply C+5 or C+ : c e #g
\M3/ \M3/
\___#5__/
Intervals:
c e #g
from c -- M3 #5
from e m6 -- M3 (1st inversion)
from #g b4 m6 -- (2nd inversion)
DIMINISHED
A diminished triad is a minor triad with a diminished fifth.
Ex. C diminished, simply Cm-5 or Cmb5 : c !e !g
\m3/ \m3/
\___b5__/
Intervals:
c !e !g
from c -- m3 b5
from !e M6 -- m3 (1st inversion)
from !g #4 M6 -- (2nd inversion)
FIGURED BASS NOTATION
All the triads consist of a third and a fifth. Their 1st inversion
consists of a 3rd and a 6th and is notated as "6" in the figured bass
notation. The second inversion consists of a 4th and a 6th and is
notated as "46" [Note that "4" is below "6" in the normal (not-ASCII)
notation].
STACKED THIRDS
Seen from another point of view every triad consists of two stacked
thirds:
Major triad: M3 and m3,
minor : m3 and M3,
augmented : M3 and M3,
diminished : m3 and m3.
ON THE FRETBOARD
See the appendix for chord patterns on the fretboard.
ENHARMONIC CHORDS
If you experiment with the chord patterns by transposing them then you
might notice something about the augmented chords. If not, follow:
Play the G+ by using the "E"-pattern:
e ||----|----|--g-|----|----|----|...
b ||----|----|---->-#d-|----|----|...
g ||----|----|----|--b-|----|----|...
d ||----|----|----|----|--g-|----|...
a X|----|----|----|...
e X|----|----|----|...
1st 3rd 5th fret
Now play the B+ by using the "A"-pattern:
e ||----|---->-##f|----|----|----|...
b ||----|----|----|-#d-|----|----|...
g ||----|----|----|--b-|----|----|...
d ||----|----|----|---->-##f|----|...
a X|----|----|----|...
e X|----|----|----|...
1st 3rd 5th fret
Now play the Eb+ by using the "C"-pattern:
e ||----|----|--g-|----|----|----|...
b ||----|----|----|-!e-|----|----|...
g ||----|----|---->--b-|----|----|...
d ||----|----|----|----|--g-|----|...
a X|----|----|----|...
e X|----|----|----|...
1st 3rd 5th fret
The same notes are played in all chords. (Note that ##f ~ g, #d ~ !e).
So G+, B+ and Eb+ are the same chords. You could also find out that
C+, E+ and Ab+ are also the same chords. The same for F+, A+ and C#+
and for D+, F#+ and Bb+. Observations:
* (a) when you meet an augmented chord you can play in its place an
augmented chord a M3 or a #5 away.
* (b) You can make a scale consisting of major thirds. If we begin
from c: c e #g c \M3/ \M3/ \M3/ There are only 4 scales of this
kind. Find them!
Sevenths
A triad consists of 2 thirds. 3 thirds make a seventh. There are 6
kinds of seventh chords:
DOMINANT 7TH
It is a major triad with a minor seventh.
Ex. G dominant 7th, simply G7 : g b d f
\M3/ \m3/ \m3/
\___p5__/
\_____m7_____/
\___b5___/
Note all the intervals involved in this chord:
g b d f
from g -- M3 p5 m7
from b m6 -- m3 b5
from d p4 M6 -- m3
from f M2 #4 M6 --
Characteristic interval of this chord is the diminished 5th between
the major third (b) and the minor seventh (f). If you notice the
construction of the chord, it consists of two triads sounding
together: a major triad (g b d) and a diminished triad (b d f)
MAJOR 7TH
It is a major triad with a major seventh.
Ex. G major 7th, simply Gmaj7 : g b d #f
\M3/ \m3/ \M3/
\___p5__/
\_____M7_____/
\___p5___/
Note all the intervals involved in this chord:
g b d #f
from g -- M3 p5 M7
from b m6 -- m3 p5
from d p4 M6 -- M3
from #f m2 p4 m6 --
If you notice the construction of the chord, it consists of two triads
sounding together: a major triad (g b d) and a minor triad (b d #f)
MINOR 7TH
It is a minor triad with a minor seventh.
Ex. G minor 7th, simply Gm7 : g !b d f
\m3/ \M3/ \m3/
\___p5__/
\_____m7_____/
\___p5___/
Note all the intervals involved in this chord:
g !b d f
from g -- m3 p5 m7
from !b M6 -- M3 p5
from d p4 m6 -- m3
from f M2 p4 M6 --
This chord consists of two triads: a minor triad (g !b d) and a major
triad (!b d f).
MINOR TRIAD MAJOR SEVENTH
It is a minor triad with a major seventh.
Ex. G minor, major seventh, simply Gm(maj7) :
g !b d #f
\m3/ \M3/ \M3/
\___p5__/
\_____M7_____/
\___#5___/
Note all the intervals involved in this chord:
g !b d #f
from g -- m3 p5 M7
from !b M6 -- M3 #5
from d p4 m6 -- M3
from #f m2 b4 m6 --
Characteristic interval of this chord is the augmented 5th between the
minor third (!b) and the major seventh (#f). If you notice the
construction of the chord, it consists of two triads sounding
together: a minor triad (g !b d) and an augmented triad (!b d #f).
HALF DIMINISHED 7TH
It is a diminished triad with a minor seventh.
Ex. G half diminished 7th, simply Gm7b5 : g !b !d f
\m3/ \m3/ \M3/
\___b5__/
\_____m7_____/
\___p5___/
A half diminished appears in the seventh degree of the major scale:
B7b5 : b d f a Note all the intervals involved in this chord:
b d f a
from b -- m3 b5 m7
from d M6 -- m3 p5
from f #4 M6 -- M3
from a M2 p4 m6 --
If you notice the construction of the chord, it consists of two triads
sounding together: a dim. triad (b d f) and a minor triad (d f a)
(FULL) DIMINISHED 7TH
It is a diminished triad with a diminished seventh.
Ex. G diminished 7th, simply Gdim : g !b !d !f
\m3/ \m3/ \m3/
\___b5__/
\_____b7_____/
\___b5___/
Bdim : b d f !a
Ddim : d f !a !c (d f !a b)
Note all the intervals involved in this chord:
b d f !a
from b -- m3 b5 b7
from d M6 -- m3 b5
from f #4 M6 -- m3
from !a #2 #4 M6 --
Characteristic intervals of this chord are the two diminished 5ths and
the diminished 7th. If you notice the construction of the chord, it
consists of two diminished triads sounding together: a dim. triad (b d
f) and a dim. triad (d f !a) Another thing to notice is that Bdim,
Ddim, Fdim and Abdim are all enharmonic chords. Remember the
observations we made about the augmented chords and the major thirds.
We can make similar observations about the diminished sevenths and the
minor triads: Observations:
* (a) when you meet a diminished seventh chord you can play in its
place a dim.7th chord a m3 or a b5 or a b7 away.
* (b) You can make a scale consisting of minor thirds. If we begin
from b: b d f !a b~(!!c) \m3/ \m3/ \m3/ \m3/ There are only 3
scales of this kind. Find them out!
Figured bass notation
All the sevenths consist of a third, a fifth and a seventh. Their root
position has the notation "7". Their 1st inversion consists of a 3rd,
a 5th and a 6th and is notated as "56" (remember "5 below 6"). The
second inversion consists of a 3rd, a 4th and a 6th and is notated as
"34". The third inversion (seventh in bass) consists of a 2nd, a 4th
and a 6th and is notated as "2". Stacked thirds or simult.triads Every
seventh consists of three stacked thirds, OR every seventh consists of
two triads:
thirds triads
diminished 7th : m3 m3 m3 OR dim dim
half diminished 7th : m3 m3 M3 OR dim min
minor 7th : m3 M3 m3 OR min maj
minor, major 7th : m3 M3 M3 OR min aug
dominant 7th : M3 m3 m3 OR maj dim
major 7th : M3 m3 M3 OR maj min
QUESTION : Are there any augmented sevenths chords?
Circle of thirds
You surely noticed how important are the thirds for the chord
construction. Therefore you must know fluently the circle of thirds in
the diatonic:
c e g b d f a c
do mi sol ti re fa la do
If you know this sequence fluently, then you can immediately tell
which notes consist for example the Fmaj7: f a c e, or every other
chord. You must however be able to alter the sequence if needed. For
example F7: f a c !e. This sequence is also valuable by music-reading.
A stuff with the key of C consists of 5 lines. On these lines fall the
notes E,G,B,D,F. Between these lines fall the notes F,A,C,E.
Ninths
(Almost) All the sevenths can become ninths by stacking another triad
on their top. The ninth must be a major ninth from the root. For
example:
Ex. G dominant 9th, simply G9 : g b d f a
\M3/ \m3/ \m3/ \M3/
\___p5__/
\_____m7_____/
\________M9_______/
If the added ninth is not a M9, that must be noted with an alteration
sign. For example:
G7b9 : g b d f !a has a minor ninth (not a diminished!)
G7#9 : g b d f #a has an augmented ninth.
QUESTION : Well, which sevenths cannot have a ninth on top of them?
HARMONY
In this section we will learn some simple classical harmony which also
applies to western folk music, or rock music, or simple jazz.
Index
* Major scale
* Triads
+ Tonic
+ Dominant
+ Subdominant
* Dominant seventh
* Subdominant sixth
* ii-V-I progression
* Parallels
+ Tonic parallel
+ Dominant parallel
+ Subdominant parallel
* Dominant seventh without root
* Secondary dominants
* Minor scales
* Other chords
* Altered chords
+ Neapolitan sixth
+ Altered dominants
* Modulation
MAJOR SCALE
Classical harmony is based on two scales. The major and the (harmonic)
minor scale. Let us begin with the major scale. C major scale:
W W H W W W H
c d e f g a b c'
i ii iii iv v vi vii
All the notes in the scale have a name:
i : tonic
ii : supertonic
iii : mediant
iv : subdominant
v : dominant
vi : submediant
vii : leading tone
For the moment memorize the tonic (i), subdominant (iv), dominant (v)
and leading tone (vii).
Triads
The following three triads are the most important chords in classical
harmony: tonic, dominant, subdominant.
TONIC
The triad over the tonic note (in C major the C major chord : c e g)
is also called tonic. We will note the tonic as I. A piece (written in
the C major) usually begins with the tonic (C major) tonic and almost
always ends with the tonic tone.
DOMINANT
The triad over the dominant note (in C major the G major chord : g b
d) is also called dominant and is noted as V. The dominant chord
contains the leading tone which tends to resolve to the tonic.
SUBDOMINANT
The triad over the subdominant note (in C major the F major chord : f
a c) is also called subdominant and is noted as IV.
Note that the notes in these three chords cover the whole scale:
IV
+-----+---+
| | |
c d e f g a b
| | | | |
+---+---+ |
I | | |
+-----+---+
V
Also note that all of them are major triads.
The most important seventh is the dominant seventh:
Dominant seventh
If we build the seventh on the fifth degree of the scale then we get a
dominant seventh chord (that's why this kind of seventh is called
dominant) (in C major the G7 : g b d f) and is noted as V7. The
dominant seventh contains a diminished fifth (b - f) which is
considered as dissonance and must be resolved. In the classical
resolution the leading tone (b) goes to the tonic (c) and the seventh
of V7 (f) goes to the third of I (e):
Resolution
----------
* f --> e
d --> c (or e)
* b --> c
g --> g
V7 forces I to come. Try playing C | G | C and then C | G7 | C to note
the difference. How does C | G7 | F sounds? The tonic I, the
subdominant IV and the dominant (seventh) V7 are the main chords for
(all the) songs of western music. Some songs do not have any other
chords. I will list these chords for the more important keys:
Key | I IV V7 | notes of the diatonic
----+-------------+---------------------------
Eb | Eb Ab Bb7 | !e f g !a !b c d !e
Bb | Bb Eb F7 | !b c d !e f g a !b
F | F Bb C7 | f g a !b c d e f
- C | C F G7 | c d e f g a b c
G | G C D7 | g a b c d e #f g
D | D G A7 | d e #f g a b #c d
A | A D E7 | a b #c d e #f #g a
E | E A B7 | e #f #g a b #c #d e
B | B E F#7 | b #c #d e #f #g #a b
Check out some popular songs you know and watch out for the presence
and use of these chords.
Subdominant sixth
Another fairly often used chord is the major sixth on the 4th degree,
the subdominant sixth (f a c d) which is noted as IV6 when the fifth
is not present and as IV56 (5 below 6) if the fifth is present. [Note
that it is the same chord with a minor seventh on the second degree].
From now on we will only note it as IV6 and enclose the fifth in
parenthesis if optional.
ii-V-I progression
With the use of tonic, subdominant sixth and dominant seventh we can
play the most played progression in the world of modern music, the so
called ii7-V7-I progression, which is actually a IV6-V7-I progression.
Why don't we call it then IV-V-I progression? A lot do. We saw that
IV6 is the same with the seventh on the second degree. People like
ii-V-I more because sevenths are more common than sixths and moreover
the movement in the bass is better because of the fourth fall: d falls
to g and g falls to c.
The other degrees
We introduced chords on the 1st, 4th and 5th degree of the diatonic
scale. We can do the same with the rest notes of the scale. Before we
do so we introduce the notion of parallel chords.
Parallels
A chord is parallel to another chord if it is a third away. For
example Am is the parallel minor of C. The same way C is the parallel
major of Am.
TONIC PARALLEL
On the sixth degree of the scale is the parallel minor of the tonic.
This is noted as Ip or simply vi. (Am in C major). I is capital
because the tonic is major and p is small because the parallel is
minor.
DOMINANT PARALLEL
On the third degree of the scale is the parallel minor of the
dominant. This is noted as Vp or simply iii. (Em in C major)
SUBDOMINANT PARALLEL
On the second degree of the scale is the parallel minor of the
subdominant. This is noted as IVp or simply ii. (Dm in C major)
Dominant seventh without root
On the seventh degree of the scale one finds the diminished triad
which is a part of the dominant seventh. Therefore we denote the chord
on this degree as V/7 or vii (The slash should come over V but that's
not possible in ASCII). This chord relatively often replaces the V7
chord.
Now we have triads on all degrees of the diatonic major scale:
(c) (d) (f)
g a b c d e f
e f g a b c d
c d e f g a b
--------------------------------------
C Dm(7) Em F(6) G(7) Am Bmb5
I ii(7) iii IV(6) V(7) vi vii-
[Note that the parentheses are not part of the notation. They should
be erased if the optional note is present.] The dominant seventh V7
has the property that it establishes the key. One can find a
(unaltered) G7 only in the key of C major, a C7 only in the key of F
major, a D7 only in the key of G major and so on.
Secondary dominants
Each chord can be reinforced by playing its dominant seventh before
it. A commonly used chord is the double dominant which is the dominant
of the dominant. In C major, G is the dominant so D7 is the double
dominant seventh. A double dominant coincides with II7, ie with the
major second degree (Notice that normally the second degree is minor).
Play:
chords : C D7 G7 C (in C major)
or chords : F G7 C7 F (in F major)
-----------------------------
harmony: I II7 V7 I
to get an idea of how it sounds. Note that a double dominant contains
notes which are not in the scale. For example D7 is d #f a c, whereas
#f is not in the C major scale.
Dominants of the rest of the chords are called simply secondary
dominants. In the following we give all the secondary dominants of the
C major scale. Secondary dominants are noted with a V in parentheses
before the chord.
A7 Dm , B7 Em , C7 F , E7 Am
(V7) ii , (V7) iii , (V7) IV , (V7) vi
As secondary dominants we can also have secondary subdominants. They
are noted as (IV) before the chord. Double subdominant is the
subdominant of the subdominant. In C major, F is the dominant and Bb
is the double dominant. A double subdominant coincides with bVII, i.e
with the major lowered seventh degree.
Indeed any degree can appear as secondary. As we said a common
progression is the ii-V-I progression. This progression can be played
before any minor or major chord in a scale:
Dm7 G7 C , Am7 D7 G
ii7 V7 I , (ii7 V7) V
Em7 A7 Dm , F#m7 B7 Em , Gm7 C7 F , Bm7 E7 Am
(ii7 V7) ii , (ii7 V7) iii , (ii7 V7) IV , (ii7 V7) vi
Minor scales
If we now take the natural minor scale:
W H W W H W W
a b c d e f g a
i ii iii iv v vi vii
then we notice that
1. the tonic (a c e) is a minor chord and is noted as i.
2. the subdominant (d f a) is also a minor chord and is noted as iv.
3. the dominant (e g b) is also a minor chord and is noted as v.
The natural minor scale has no leading tone. Therefore it has no
dominant seventh. The seventh in the fifth degree is a minor seventh.
In order to restore this scale harmonically we raise the seventh (g ->
#g); then we get a scale with a leading tone:
W H W W H WH H
a b c d e f #g a
i ii iii iv v vi #vii
this is called the "harmonic" minor. That's why the name. We can now
build a major dominant (e #g b) which is noted as V. The seventh on
the fifth degree is also a dominant seventh (e #g b d) and noted as
V7. With the help of the V7 we can establish the tonic t. The invented
harmonic minor has an augmented second interval (WH) between the sixth
and the seventh note. This does not sound melodically correct (I find
it good sounding :-) so the sixth is raised too. Then we get the
following scale:
W H W W W W H
a b c d e #f #g a
i ii iii iv v #vi #vii
which is called (guess why) "melodic" minor. Notice that within this
scale we have a major subdominant too. Chords on all degrees of the
diatonic natural minor scale:
e f g a b c d
c d e f g a b
a b c d e f g
--------------------------------------
Am Bmb5 C Dm Em F G
i ii- III iv v VI VII
Note that all the chords are the same with those of C major scale. But
their function is different. Here is Dm iv, in C major it was ii and
so on. Chords on all degrees of the diatonic harmonic minor scale:
(b) (d)
e f #g (a) b c d
c d e f #g a b
a b c d e f #g
--------------------------------------
Am Bmb5 C+ Dm(6) E(7) F G#mb5
i ii- III+ iv(6) V(7) VI #vii-
Chords on all degrees of the diatonic melodic minor scale:
(a) (b) (d)
e #f #g (a) b c d
c d e #f #g a b
a b c d e #f #g
--------------------------------------
Am Bm C+ D(6) E(7) F#mb5 G#mb5
i ii(7) III+ IV(6) V(7) #vi- #vii-
The minor scales offer a big repertoire of chords to play.
Other chords
The dominant ninth on the V degree. Noted as V9. In C major : G9 (g b
d f a), in A melodic minor : E9 (e #g b d #f).
The half-diminished seventh on the vii degree. Noted as V/9 or vii7-5.
It is a dominant ninth with no root. In C major : B7b5 (b d f a). In A
melodic minor : G#7b5 (#g b d #f).
The (full) diminished seventh on the vii degree of the harmonic minor.
Noted as V/b9 because of the lowered (minor) ninth wrt to the dominant
or viio (The circle o denotes a full diminished seventh). In A
harmonic minor : G#dim (#g b d f)
Altered chords
The following chords are called altered because not all of their notes
belong to the scale they appear.
NEAPOLITAN SIXTH
The lowered subdominant sixth of the (harmonic) minor scale. Noted as
iv-6 or N6. In Am : Dm-6 (d f !b) is the same chord with Bb. Note that
we don't include the fifth (a) in the Dm-6. As a seventh chord the
neapolitan appears as a dominant seventh, i.e. Bb7 (!b r f !a), which
means that the fifth of subdominant Dm is altered too.
Note that one can have a neapolitan sixth in a major scale. In this
case one has to take the lowered sixth of the minor subdominant. For
example in C major, iv-6 : Fm-6 (f !a !d) same with Db. The seventh
Db7 is used too.
The neapolitan sixth can be noted as bII or bII7. This chord is a
substitute for the dominant V7 both in major and minor mode. It is
called the tritone substitution since the roots of bII7 and V7 are a
tritone (diminished 5th) away from each other. Actually the chords
V7b5 and bII7b5 are identical to each other.
Example: G7b5 : g b !d f and Db7b5 : !d f !!a !c. Check this out!
ALTERED DOMINANTS
The notes that should be raised or lowered are noted with # or b, or
sometimes with + or - respectively. Examples: D7#5 or D7+5, D7b9 or
D7-9, ....
The symbol "alt" is used to notate a dominant seventh with both
altered fifth and ninth: Galt = G7b5b9 or G7#5#9.
Modulation
Sometimes a piece written in the key of C major modulates in the key
of its relative minor Am or dominant G major or subdominant F major or
whatever key you want. We say that a piece modulates in another key
when it has changed the tonic to another key for some relatively long
part of the piece. However changes of keys can be short too. A short
change is noted with parenthesis when it ends to the tonic and with
angle parenthesis when it does not end to the tonic (though excepted).
Examples (these are right out of my head, I didn't even play them; who
knows? they may sound good :-) :
D7 Gm (Em7 A7) D7) G7 C.
C: ((V7) iv (ii7 V7) V7) V7 I
[Bb Gm F7] F C G7 C.
C: [I vi V7] IV I G7 I.
^ here is Bb excepted
_________________________________________________________________
Back Next
SONGS FOR HARMONY EXPLORATION
Wonderful tonight by Eric Clapton (in G major)
--
[Simple harmony: I V IV V I IV V I V vi IV V I]
G D C D
It's late in the evening, she's wondering what clothes to wear
I V IV V
...
C D G D Em
And then she asks me, do I look all right
IV V I V vi
C D G
And I say yes, you look wonderful tonight
IV V I
---------------------------------------------------------
THE BOXER by Simon & Garfunkel (in C major)
--
[Simple harmony: I vi V V7 I....]
C Am
I am just a poor boy though my story's seldom told
I vi
G
I have squandered my resistance
V
G7 C
For a pocket full of mumbles, such are promises
V7 I
Am G F
All lies and jest, still a man hears what he wants to hear
vi I S
C G G7 C
And disregards the rest
I V V7 I
Am G Am G F C
Lie la lie Lie.....
vi V vi I IV I
---------------------------------------------------------
Let It Be by the Beatles (In C major)
--
[Simple harmony, use of ii7]
C G Am F
When I find myself in times of trouble Mother Mary comes to me,
I V vi S
C G F C/E Dm7 C
speaking words of wisdom, let it be.---
I V IV I IV6 I
ii7*
.....
G Am G F C
Let it be,--- let it be,--- let it be,--- let it be.----
V vi V IV
C G F C/E Dm7 C
Whisper words of wisdom, let it be.---
I V IV I IV6 I
--
* IV6 = ii7. For example F6 = Dm7
---------------------------------------------------------
American Pie (in G major)
--
[Use of (V7)]
G C G D
bye bye Miss American Pie
I IV I V
(same ...
Drove my chevy to the levy But the levy was dry
And them good old boys were drinking whiskey and rye
)
Em A7
Singin' this'll be the day that I die
vi (V7)
Em D7
this'll be the day that I die.
vi V7
(Note that each strophe ends with a dominant. Therefore
we feel that this song never finishes. It rolls and rolls...
Play a tonic at the end to feel satisfied.)
---------------------------------------------------------
All My Loving The Beatles (in C major)
--
[Use of bVII, ii-V-I progression,
short change to relative harmonic minor]
Dm G7 C Am
Close your eyes and I'll kiss you tomorrow I'll miss you,
ii V7 I vi
ii -------- V -------- I
F Dm Bb G
remember I'll always be true.
IV ii bVII V
Dm G C Am
And then while I'm away I'll write home every day,
ii V I vi
F G7 C
and I'll send all my loving to you.
IV V7 I
Am Caug C
All my loving - I will send to you
vi I+* I
Am :(i III+ III)
Am Caug C
all my loving, Darling I'll be true.
vi I+ I
--
* Caug is a chord of A harmonic minor.
---------------------------------------------------------
Yesterday The Beatles (in F major)
--
[Short changes to relative minor, or dominant.
Extensive use of ii-V-I progression. Use of V/9]
F Em7 A7 Dm Dm/C
Yesterday all my troubles seemed so far away.
I ( ii7 V7 ) vi
ii ------ V ---------------- I
Bb C7 F
Now it looks as though they're here to stay,
IV V7 I
C/E Dm7 G7 Bb F
Oh I believe in yesterday.
V [ ii7 V7 ]* IV I
C
ii--V--
Em7 A7 Dm C Bb Dm Gm6 C7 F
Why she had to go I don't know she wouldn't say.
(ii7 V7) vi V IV vi V/9** V7 I
ii--V---I (ii-------V7-------I)
...
--
* Note the short change of scale: G7 implies C major, the dominant.
** Note that Gm6 (: G Bb D E) is a C9 (: C E G Bb D) with no root.
---------------------------------------------------------
Hotel California By The Eagles (in A minor)
---
[Simple minor scale harmony]
Am E
On a dark desert highway, cool wind in my hair
i V
G D
Warm smell of colitas rising up through the air
vii IV
[I V]*
F C
Up ahead in the distance, I saw a shimmering light
VI III
[I V]*
Dm
My head grew heavy and my sight grew dim
iv
E
I had to stop for the night
V**
....
F C
Welcome to the Hotel California.
VI III
[I V]*
E Am
Such a lovely place, such a lovely face
V i
F C
Plenty of room at the Hotel California
VI III
[I V]*
Dm E
Any time of year (any time of year) you can find it here
iv V**
--
* Note the relation tonic-dominant in each strophe, with a different
tonic.
** This song ends to the dominant too. Therefore it cannot be
abruptly interrupted, instead it fades....
CHORD PATTERNS APPENDIX
There are two main chord construction patterns. I'll call them the E
major and the A major patterns or simply "E" and "A", because these
are the chords in the first position.
Triads on the fretboard
"E"-PATTERN
The E major chord (E) consists of root E, major third G# and perfect
fifth B. The following six-string chord is a way to play E:
e R|----|----|----|... E
B p5|----|----|----|... B
G | |-M3-|----|----|... G#
D | |----|--R-|----|... E
A | |----|-p5-|----|... B
E R|----|----|----|... E
1st 3rd fret
On the right of each string we write the note. On the fret we write
the interval. Try to learn which interval you have on each string.
This will help when you build complicated chords. If you leave the 3rd
string unfretted then you get a G natural instead of a G#. That will
make a minor third and consequently the E minor (Em) chord:
e R|----|----|----|... E
B p5|----|----|----|... B
G m3(----|----|----|... G (==
D ||----|--R-|----|... E
A ||----|-p5-|----|... B
E R|----|----|----|... E
1st 3rd fret
The signs "(" or ")" in the place of a fret indicate which note should
be lowered or raised from the original major pattern to obtain the
desired chord. To get the augmented E (E+) you should begin with the E
major and raise the fifth a fret. The fifth is B and it appears on two
strings: the open second and the fretted fifth. You should raise both
of them:
e R|----|----|----|... E
B |)-#5-|----|----|... B# (==
G ||-M3-|----|----|... G#
D ||----|--R-|----|... E
A ||----|----)-#5-|... B# (==
E R|----|----|----|... E
1st 3rd fret
That's really difficult and impracticable to play as a six-string
chord. You should either play only the 4 notes starting from bass, or
the four higher strings starting from the D-string.
To get the diminished triad E (Eb5) you should begin with the E minor
and lower the fifth a fret. It is impossible to lower an open string
so this will only work on the 4 top strings (B should not sound!):
e R|----|----|----|... E
B X|----|----|----|...
G m3(----|----|----|... G
D ||----|--R-|----|... E
A ||-b5-(----|----|... Bb (==
E R|----|----|----|... E
1st 3rd fret
Well if you transpose these patterns and use your first finger as a
barre you can play the F chords (barre on 1st fret), the G chords
(barre on 3rd fret) and so on... That's why I call it a pattern.
"A"-PATTERN
The A major chord consists of A, C# and E. (Note that we leave the
first string because be strumming all the strings, three fifths (Es)
in the chord will give it an E chord character. In fingerpicking
however one can play it)
e p5|----|----|----|... E
B ||----|-M3-|----|... C#
G ||----|--R-|----|... A
D ||----|-p5-|----|... E
A R|----|----|----|... A
E X|----|----|----|...
1st 3rd fret
Well now you know how it goes... Fret C instead of C# to get the minor
chord (Am):
e p5|----|----|----|... E
B ||-m3-(----|----|... C (==
G ||----|--R-|----|... A
D ||----|-p5-|----|... E
A R|----|----|----|... A
E X|----|----|----|...
1st 3rd fret
Take the major and raise the fifth to get the augmented A (A+):
e ||-#5-|----|----|... E# (==
B ||----|-M3-|----|... C#
G ||----|--R-|----|... A
D ||----|----|-#5-|... E# (==
A R|----|----|----|... A
E X|----|----|----|...
1st 3rd fret
Take the minor and lower the fifth to get the diminished triad A
(Ab5). Notice the X's!:
e X|----|----|----|...
B ||-m3-(----|----|... C
G ||----|--R-|----|... A
D ||-b5-|----|----|... Eb (==
A R|----|----|----|... A
E X|----|----|----|...
1st 3rd fret
Transpose these patterns and get all the chords you need...
MORE PATTERNS
There are two more useful patterns. These are not so easily transposed
with a barre finger, but I will list them:
"C"-PATTERN
C major (C E G):
e 0|----|----|----|... M3
B ||--C-|----|----|... R
G 0|----|----|----|... p5
D ||----|--E-|----|... M3
A ||----|----|--C-|... R
E X|----|----|----|...
1st 3rd fret
C minor (C Eb G):
e X|----|----|----|...
B ||--C-|----|----|... R
G 0|----|----|----|... p5
D ||-Eb-(----|----|... m3 (==
A ||----|----|--C-|... R
E X|----|----|----|...
1st 3rd fret
C augemented (C E G#):
e 0|----|----|----|... M3
B ||--C-|----|----|... R
G |)-G#-|----|----|... #5 (==
D ||----|--E-|----|... M3
A ||----|----|--C-|... R
E X|----|----|----|...
1st 3rd fret
C diminished cannot be played with this pattern.
"D"-PATTERN
D major (D F# A):
e ||----|-F#-|----|... M3
B ||----|----|--D-|... R
G ||----|--A-|----|... p5
D 0|----|----|----|... R
A 0|----|----|----|... p5
E X|----|----|----|...
1st 3rd fret
D minor (D F A):
e ||--F-(----|----|... m3 (==
B ||----|----|--D-|... R
G ||----|--A-|----|... p5
D 0|----|----|----|... R
A 0|----|----|----|... p5
E X|----|----|----|...
1st 3rd fret
D augmented (D F# A#):
e ||----|-F#-|----|... M3
B ||----|----|--D-|... R
G ||----|----)-A#-|... #5 (==
D 0|----|----|----|... R
A X|----|----|----|...
E X|----|----|----|...
1st 3rd fret
D diminished (D F Ab):
e ||--F-(----|----|... m3
B ||----|----|--D-|... R
G ||-Ab-(----|----|... b5 (==
D 0|----|----|----|... R
A X|----|----|----|...
E X|----|----|----|...
1st 3rd fret
The last pattern. OK! There is one more. It is only a major chord
pattern.
"G"-PATTERN
G major (G B D):
e ||----|----|--G-|... R
B 0|----|----|----|... M3
G 0|----|----|----|... R
D 0|----|----|----|... p5
A ||----|--B-|----|... M3
E ||----|----|--G-|... R
1st 3rd fret
or
e ||----|----|--G-|... R
B ||----|----|--D-|... p5
G 0|----|----|----|... R
D 0|----|----|----|... p5
A ||----|--B-|----|... M3
E ||----|----|--G-|... R
1st 3rd fret
It is rather difficult to finger the minor or the diminished from this
pattern. You can try the augmented: G+ (G B D#)
e ||----|----|--G-|... R
B 0|----|----|----|... M3
G 0|----|----|----|... R
D |)-D#-|----|----|... #5
A ||----|--B-|----|... M3
E ||----|----|--G-|... R
1st 3rd fret
Sevenths on the fretboard
We won't give all the patterns for all the sevenths. It is easy and
good practice to find them out alone by alternating thirds, fifths and
sevenths. In each pattern we will give the dominant seventh and the
most important alterations.
"E"-PATTERN
E7
e R|----|----|----|... E e R|----|----|----|... E
B ||----|----|-m7-|... D B p5|----|----|----|... B
G ||-M3-|----|----|... G# G ||-M3-|----|----|... G#
D ||----|--R-|----|... E OR D m7|----|----|----|... D
A ||----|-p5-|----|... B A ||----|-p5-|----|... B
E R|----|----|----|... E E R|----|----|----|... E
1st 3rd fret
Em7
e R|----|----|----|... E e R|----|----|----|... E
B ||----|----|-m7-|... D B p5|----|----|----|... B
G m3(----|----|----|... G G m3(----|----|----|... G
D ||----|--R-|----|... E OR D m7|----|----|----|... D
A ||----|-p5-|----|... B A ||----|-p5-|----|... B
E R|----|----|----|... E E R|----|----|----|... E
1st 3rd fret
Edim
e R|----|----|----|... E
B ||----|-b7-(----|... Db
G m3(----|----|----|... G
D ||----|--R-|----|... E
A ||-b5-(----|----|... Bb
E R|----|----|----|... E
1st 3rd fret
"A"-PATTERN
A7
e p5|----|----|----|... E e ||----|----|-m7-|... G
B ||----|-M3-|----|... C# B ||----|-M3-|----|... C#
G m7|----|----|----|... G G ||----|--R-|----|... A
D ||----|-p5-|----|... E OR D ||----|-p5-|----|... E
A R|----|----|----|... A A R|----|----|----|... A
E X|----|----|----|... E X|----|----|----|...
1st 3rd fret
Am7
e p5|----|----|----|... E e ||----|----|-m7-|... G
B ||-m3-(----|----|... C B ||-m3-(----|----|... C
G m7|----|----|----|... G G ||----|--R-|----|... A
D ||----|-p5-|----|... E OR D ||----|-p5-|----|... E
A R|----|----|----|... A A R|----|----|----|... A
E X|----|----|----|... E X|----|----|----|...
1st 3rd fret
Amaj7
e p5|----|----|----|... E e ||----|----|----|-M7-|.G#
B ||----|-M3-|----|... C# B ||----|-M3-|----|... C#
G ||-M7-|----|----|... G# G ||----|--R-|----|... A
D ||----|-p5-|----|... E OR D ||----|-p5-|----|... E
A R|----|----|----|... A A R|----|----|----|... A
E X|----|----|----|... E X|----|----|----|...
1st 3rd fret
Adim
e ||----|-b7-(----|... Gb
B ||-m3-(----|----|... C
G ||----|--R-|----|... A
D ||-b5-(----|----|... Eb
A R|----|----|----|... A
E X|----|----|----|...
1st 3rd fret
HOW TO CORRECTLY TUNE YOUR GUITAR
There are several ways to tune a guitar. One is to use a set of pipes
for all six strings. I do not recommend this since a single pipe can
have the same result, and moreover alternate tunings are not covered
by the 6pipes-set. The second way is to use a single pipe as already
mentioned. This is usually a "A"-pipe with frequency of 440 Hz. On the
guitar it matches (unison) the 5th fret of the 1st string. The third
way is to use an "A"-fork. Well that's identical to a "A"-pipe and it
is a matter of taste which to use. Pipes are not expensive and handy
to carry with.
WHAT ABOUT HARMONICS?
No! Tuning with harmonics---other than the 1st harmonic on the 12 fret
which is an octave above the open string---are not correct
well-tempered tunings. The fequencies of natural harmonics (notes as
found in the nature) which are based on the length of vibrating
strings (1/2, 2/3, 3/4, ...) do not match the frequencies of the
artificial well-tempered tuning which is used in the western music.
OCTAVE BASED TUNINGS
A tuning is called octave based tuning when we are comparing unisons
or octave intervals while tuning all the strings. Every octave based
tuning tunes a guitar correctly, if it is correctly done.
Popular tuning procedure. Unison tuning
The following tuning is the most popular one and it is entirely based
on unisons.
* Tune the 5th string with the A-pipe.
* Tune the 6th string: Fret the 6th string on the 5th fret and
compare to the open 5th string.
* Tune the 4th string: Fret the 5th string on the 5th fret and
compare to the open 4th string.
* Tune the 3rd string: Fret the 4th string on the 5th fret and
compare to the open 3rd string.
* Tune the 2nd string: Fret the 3rd string on the 4th fret and
compare to the open 2nd string.
* Tune the 1st string: Fret the 2nd string on the 5th fret and
compare to the open 1st string.
The diagram illustrates the procedure.
e ||----|----|----|----|----|----|-
b ||----|----|----|----|--e-|----|-
g ||----|----|----|--b-|----|----|-
d ||----|----|----|----|--g-|----|-
a ||----|----|----|----|--d-|----|-
e ||----|----|----|----|--a-|----|-
1st 3rd 5th
A better tuning
Well an even better kind of tuning is based on octaves of the same
note for all the strings. You can tune all the six strings by
comparing A tones at different octaves and different strings with the
open 2nd string (A). This approach has the advantage that all the
strings are compared to the same string (2nd) and not to each other.
So errors on tuning of one string does not propagate.
Procedure:
* Tune the 5th string with the A-pipe.
* Tune the 6th string: Fret the 6th string on the 5th fret and
compare to the open 5th string.
* Tune the 4th string: Fret the 4th string on the 7th fret and
compare to the open 5th string.
* Tune the 3rd string: Fret the 3rd string on the 2th fret and
compare to the open 5th string.
* Tune the 2nd string: Fret the 2nd string on the 10th fret and
compare to the open 5th string.
* Tune the 1st string: Fret the 1sy string on the 5th fret and
compare to the open 5th string.
e ||----|----|----|----|--a-|----|----|----|----|----|----|----|...
b ||----|----|----|----|----|----|----|----|----|--a-|----|----|...
g ||----|--a-|----|----|----|----|----|----|----|----|----|----|...
d ||----|----|----|----|----|----|--a-|----|----|----|----|----|...
a ||----|----|----|----|----|----|----|----|----|----|----|----|...
e ||----|----|----|----|--a-|----|----|----|----|----|----|----|...
1st 3rd 5th 7th 9th 12th fret
More on:
major and minor
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