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6th string: 5th string:

4 - 5 - 6 -(7) 7 1 - 2 - 3
7 1 - 2 - 3 4 - 5 - 6 -(7)

0 1 2 3 4 5 6 7 8 9 10 11 12 0 1 2 3 4 5 6 7 8 9 10 11 12
E F F# G G# A Bb B C C# D Eb E A Bb B C C# D Eb E F F# G G# A

(# = up 1 fret b = down 1 fret)

Major minor 7th Major minor 7th


Bar: OOOOOO OOOOOO OOOOOO OOOOOO OOOOOO OOOOOO
|||O|| |||||| |||O|| |||||| ||||O| ||||||
|OO||| |OO||| |O|||| ||OOO| ||OO|| ||O|O|
|||(O)

I IV I V vi IV I V I bVII IV I I III7 vi IV
I I7 IV iv vi V IV III I bVI bVII I vi ii IV I
I iii IV V I ii IV I vi ii V I IV bVII III7 %
I7 % % % IV7 % I7 % V7 IV7 I7 V7 (Twelve Bar Blues)
I I I V V V V7 V7 V7 I I I I7 I7 I7 IV IV iv I I V I (Happy Birthday)

8-5---------------------|-10-8------------|-15-12-----------------------
----8-5-----------------|------10-8-------|-------15-13*----------------
--------7-5-------------|-----------9-(7)-|-------------14-(12)---------
------------7-5---------|-----------------|---------------------(14-12)-
----------------7-5-----|-----------------|-----------------------------
--------------------8-5-|-----------------|-----------------------------

I IV V - EITHER pinky/pointer on I (1st pos)


vi ii iii (II III7 VI7) - PINKY on I ('major pentatonic')
bVII bVI bIII (bII bV) - POINTER on I ('minor pentatonic')
III7 > vi/IV VI7 > ii II7 > V VII7 > iii IV < iv viim7b5

bends: rolls: motives:


b8-8-5-|----8-|----5-|---8---|(5)5---|---5-|------5-|-8-p5---|-5-h8-p5--
-------|-b8---|-b8---|-8---8-|-5---5-|-8---|-5-h8---|------8-|---------8

Practice every lick on every string in every position. *Methodically*


END EACH LICK ON EVERY NOTE in every scale. COMBINE 2, 3 or more licks.
2 wides & 1st narrow: bend 2 frets other 2 narrows: bend 3 frets

fast bend: pedal tones: sequences: 4/3 notes down/up from every note
b8r-p5---5-|-5-8-5---5---5-|-8-5-----5---------------|-8-5---5----------
-------8---|-------8---5---|-----8-5---8-5---8-5-----|-----8---8-5-8-5--
-----------|---------------|---------------7-----7-5-|-----------------7

R|||5R E ||.5|3 D (C) |R|||5 A (G)


|||3|| 2nd Pent ||||R| 4th Pent |||||| 1st Pent
|5R|.. skip 1 fret -> ||..|| skip 1 fret -> ..5R3. skip 2 frets
||||.. |||||| (back to E)
|...||
R = ROOT # = chord tones dot = pentatonic notes .|||.. (R)

R||35R Em ||||.3 Dm |R..|5 Am


|||||| 1st Pent |||5|| 2nd Pent ||||3| 4th Pent
|5R.|| skip 0 frets -> ||||R. skip 1 fret -> ||5R|| skip 2 frets
.|||.. ||||.. (back to Em)

---------------5-(8)9----------------(8)9-12----------------------12-17-
-------------5---------------------10----------------------(13)14-------
--------(5)6---------------------9-----------------------14-------------
-------7-------------------(10)11---------------------14----------------
(3)4-7-----------------7-12------------------12-(15)16------------------
------------------------------------------------------------------------
5 4 3 E F G A B C D E F G A m o o M o m 1
R-----------R-- 0 1 3 5 7 8 10 12 13 15 17 | | | | | |
-----R--------- | o m o | |
---------R----- <- ROOT NOTES M | | | o M 2
--------------- on 1st, 2nd and 3rd strings | | | o | |
--------------- o o M | m o 3
--------------- | | | | | |
Pentatonic Scales: o m o o | o 4
MINOR: MAJOR: 2 wide, 3 narrow, 2 wide, 3n... | | | | M |
bend | | o m | |
R--o (2) o--R Between 2nd and 3rd string: o M | | o o 5
o--o (2) o--o descending - shift 1 fret DOWN | | | | | |
ascending - shift 1 fret UP m o o M o m 1
o-o (2) R-o | | | | | |
o-R (3) o-o Narrows stacked on top of wide: | o m o | |
o-o (3) o-o descending, shift 1 fret up M | | | o M
ascending, shift 1 fret down

For all other scales, just add notes to pentatonics:


(notice symmetric placement of starred added notes)

Natural Minor
Major
Aeolian Dorian Phrygian <- minor
Blues: Ionian: Lydian: Mixolydian: <- Major

m--M m-*M m-*M m*-M <- 2 wides


O--O O*-O O-*O O*-O
M-O* *M-O *M-O M-O <- 3 narrows
O-m O-m *O-m O-m*
O*O O-O* O-O O-O*

d u d u
7-8-p7-5-|-5---------|---------5-|-8-7-5---|---5-6-7-|-8-p7-5-|-5-h7-8--
---------|---8-p7-p5-|-5-h7-h8---|-------8-|-8-------|--------|---------
---------|-----------|-----------|---------|---------|--------|---------
---------|-----------|-----------|---------|---------|--------|---------
---------|-----------|-----------|---------|---------|--------|---------
---------|-----------|-----------|---------|---------|--------|---------
d d d u u u u d d d
7-8-p7-5---5-|-5-----------|-----------5-|-----5-8-p5---|-8-p5-------5--
---------8---|---8-p7-p5---|---5-h7-h8---|---5--------5-|------5---5----
-------------|-----------7-|-7-----------|-5------------|--------5------
-------------|-------------|-------------|--------------|---------------
-------------|-------------|-------------|--------------|---------------
-------------|-------------|-------------|--------------|---------------

sequences (4 notes down from every note in the scale, try also 3 notes):

-8-7-5----7-5------5----------------|-----------------------------------
-------8------8-7----8-7-5--8-7-5---|-------------------------------5---
----------------------------------7-|-------4-----4-5---4-5-7-4-5-7-----
------------------------------------|-4-5-7---5-7-----7-----------------
------------------------------------|-----------------------------------
------------------------------------|-----------------------------------

Minor 3 6 | 2 * * * (o = minor)
4b7 |b3 | | | | o o o (* = major)
| | | | | | | 3 | | * (R and 5 = both)
5 R R 4 5 R R | 5 R o
| | | | | | | | -> | | |
| | | 5 6 2 | 5 * * 5
b7b3 Major o o
Open 1 2 3 4 5 6 7 8 9 10 11 12 13 14 <- Frets
1st: E F G A B C D E F
2nd: B C D E F G A B C # - UP 1 fret
3rd: G A B C D E F G A b - DOWN 1
4th: D E F G A B C D E
5th: A B C D E F G A B E-F, B-C: 1
6th: E F G A B C D E F all others: 2

C A G E D <- CAGED Major shapes


3--5-3 5R---5 --5R3- R---5R X5R---
||||R| |||||| |||||| |||3|| |||||| (TOP of each shape is
||3||| ||5R3| |3|||| |5R||| |||5|3 the BOTTOM of next)
|R|||| |||||| R|||5R |||||| ||||R| (1 3 5 from Ionian)

Cm Am Gm Em Dm <- caged minor shapes


X--5XX 5R---5 --5RXX R--35R X5R---
||3||| ||||3| |3|||| |||||| |||||3 (1 b3 5 from Ionian)
|||||| ||5R|| |||||| |5R||| |||5|| OR
|R|||| |||||| R||||| |||||| ||||R| (6 1 3 from Aeolian)

C7 A7 G7 E7 D7 <- (dominant) 7th shapes


xxxxxx 5R-7-5 --5R3- R-7-5R X5R---
||||R| |||||| |||||7 |||3|| ||||7| (1 3 5 b7 from Ionian)
||3||| ||5|3| |3|||| |5|||| |||5|3
|R|7|| |||||| R||||| |||||| |||||| R = 1

4 - 5 - 6 - 7 1 7 1 - 2 - 3 I II III IV V VI VII
7 1 - 2 - 3 4 - 5 - 6 - 7 1 i ii iii iv v vi vii

I(maj7) ii(m7) iii(m7) IV(maj7) V(7) vi(m7) viim7b5 from SCALE TONES
bVII: b7 III(7): #5 II: #4 VI: #1 iv: b6 from ALTERED SCALE TONES

7 3 6 2 2 rings > 2 middles > 1 oddball (reverse to ascend)


5 1 4 | | 2nd <> 3rd string: shift 1 fret, 2nd string closer
| | | 7 3 oddball <> middles: shift 1 fret, oddball closer to you
6 2 5 1 4 on every string add 2 frets above pinky, 2 below pointer

start on I 1 3 5 IONIAN acoustic, ballad, folk, country


start on ii/II 2 4 6 DORIAN blues, rock, funk, jazz I IV V
start on iii/III 3 5 7 PHRYGIAN metal, dark music
start on IV 4 6 1 LYDIAN mystical, movie soundtracks
start on V 5 7 2 MIXOLYDIAN blues, funk, country I IV V
start on vi/VI 6 1 3 AEOLIAN minor blues, rock, sad songs
start on viim7b5 7 2 4 LOCRIAN very dark, jazz

pentatonic: 1 2 3 5 6 minor pentatonic: 6 1 2 3 5 harmonic minor: b3


major "triad": 1 3 5 minor: 1 b3 5 dim: 1 b3 b5 aug: 1 3 #5
7: 1 3 5 b7 (9 13) maj7: 1 3 5 7 m7: 1 b3 5 b7 dim7: 1 b3 b5 b7

chord tone -> other note -> chord tone, motives, sequences, bends

I ii iii IV V vi = I ii iii IV V vi Ionian


ii iii IV V vi I = i ii bIII IV v bVII Dorian
iii IV V vi I ii = i bII bIII iv bVI bVII Phrygian
IV V vi I ii iii = I II iii V vi vii Lydian
V vi I ii iii IV = I ii IV v vi bVII Mixolydian
vi I ii iii IV V = i bIII IV V bVI bVII Aeolian

0 0 0 | | | 0 0 0 0 0 0 0 0 0 0 0 0 0
| | | 0 0 0 0 | | 0 0 | | | | 0 | | 0 | |
0 0 0 0 0 | | 0 0 | | 0 0 0 0 | 0 0 0 0 0
| | | | | 0 0 0 0 0 0 | | 0 | 0 0 | | | |
0 0 0 0 0 0 0 0 0 | 0 0 0 0 0
Twelve Bar Blues: I I I I IV IV I I V IV I V

A: (I in "A") D: (IV in "A") E: (V in "A")

-5-----9---12-(12)-15-|-10------14---5-(5)-8-|-12-----16---7-(7)-10
(7)-5--8---14--12--14-|(12)-10--13---7--5--7-|(14)-12-15---9--7--9-
-6--4--9---12--12--14-|-11--9---14---5--5--7-|-13--11-16---7--7--9-
-5--5--7---14--11--14-|-10--10--12---7--4--7-|-12--12-14---9--6--9-
-7--4------12--12-----|-12--9--------5--5----|-14--11------7--7----
-5--------------------|-10-------------------|-12------------------

I IV I I IV #IVdim7 I I V IV I V
(I) (IV) turnaround-------| trnrnd-|

OOOOOO
|o||||
||O|O|
oooooo |||O|O|
||O||| -> ||O|o| |||O|| -> ||||O|O 3 frets <-->
|o|OOO |||O|O |o||||

iii7 VI9 ii7 V9 walk up: walk down:

-9(11)9---7(9)7--------5--7--9--8--7----7-----5--4--3--2--7----7-
-9----9(8)7---7(6)-----5--7--9--8--7----7-----5--4--3--2--7----7-
-9----9---7---7--------6--7--9--8--7----7-----6--5--4--3--7----7-
-9----8---7---6--------5--7--9--8--7----6-----5--4--3--2--7----6-
-11---9---9---7--------7--9--11-10-9----7-----7--6--5--4--9----7-
-9--------7------------5--7--9--8--7----------5--4--3--2--7------

(4 beats) (2 beats) (4 beats) (2 beats) (4 beats)

iii7 tt ii7 tt tt VI tt V m7b5 - 7b9#5:

-9(11)8---7(9)-6-------10--9--8--7-----------------------
-9----8---7----6-------10--9--8--7-------8---7---6---8---
-9----9---7----7-------10--9--8--7-------9---9---7---7---
-9----8---7----6-------9---8--7--6-------9---8---7---6---
-11---10--9----8-------10--9--8--7-----------9-------7---
-9----8---7----6-------------------------9-------7-------

These are the familiar C A G E D open chords:

C A G E D

O||O|O OO|||O ||OOO| O|||OO |OO|||


||||O| |||||| |||||| |||O|| ||||||
||O||| ||OOO| |O|||| |OO||| |||O|O
|O|||| |||||| O||||O |||||| ||||O|

Here are the intervals of each chord defined, with intervals


added where needed, to form complete arpeggios (sequential
1 3 5 1 3 5 1 3 5 ...):

C A G E D

3||5|3 51|||5 ||513| 1|||51 |51|||


||||1| |||||| |||||| |||3|| ||||||
||3||| ||513| |3|||| |51||| 3||5|3
51|||5 |||||| 1|||51 |||||| ||||1|
|||||| |3|||| |||||| 3||||3 ||3|||
1
6 | 3
| 2 4
7 | | All other intervals are ALWAYS
1 3 5 <-- found around 1 3 5, in these
| 4 | fingering patterns, on any string.
2 | 6
| 5 |
3 7

So, by adding 2 4 6 7 notes to each of the arpeggio diagrams


above, major scales can be played in any position. No other
knowledge or memorization is required:

C A G E D

362573 514|25 625136 14||51 251462


4|||14 |||7|| ||||4| ||73|| ||||||
|736|| 625136 7362|7 251462 362573
514|25 ||||4| 14||51 |||||| 4|||14
|||7|| 7362|7 ||73|| 362573 |736||

Notice that each scale diagram above connects END to END,


to provide a complete, repeating, movable fingering pattern
which can be used to find EVERY POSSIBLE interval fingering
around any given root note, on any string, anywhere on the
fretboard:

362573 C
4|||14
|736||
514|25 A
|||7||
625136 G
||||4|
7362|7
14||51 E
||73||
251462 D
||||||
362573 C
4|||14
|736||
514|25 A

Major 7th Chords:

C A G E D

|||573 |1|||5 ||513| 1|||51 ||1|||


|||||| |||7|| |||||| ||73|| ||||||
||3||| ||5|3| |3|||7 |5|||| |||573
|1|||| |||||| 1||||| |||||| ||||||

Major 7th Chords (full arpeggios):

C A G E D

3||573 51|||5 ||513| 1|||51 |51|||


||||1| |||7|| |||||| ||73|| ||||||
|73||| ||513| 73|||7 |51||| 3||573
51|||5 |||||| 1|||51 |||||| ||||1|
|||||| 73|||7 ||73|| 3|||73 |73|||
Dominant 7th Chords:

C A G E D

|||||| |1|7|5 ||513| 1|7||1 ||1|||


||||1| |||||| |||||7 |||3|| ||||7|
||3||| ||5|3| |3|||| |5|||| |||5|3
|1|7|| |||||| 1||||| ||||7| ||||||

Dominant 7th Chords (full arpeggios):

C A G E D

3||5|3 51|7|5 ||513| 1|7|51 |51|||


|7||1| |||||| 7||||7 |||3|| ||||7|
||3||| ||513| |3|||| |51||| 3||5|3
51|7|5 7||||7 1|7|51 ||||7| |7||1|
|||||| |3|||| |||3|| 3||||3 ||3|||

Minor 7th Chords:

C A G E D

|||||| |1|7|5 |||1|| 1|73|1 ||1|||


||3|1| ||||3| |3|||| |||||| ||||73
|||||| ||5||| |||||| |5|||| |||5||
|1|7|5 |||||| 1|7||| ||||7| ||||||

Minor 7th Chords (full arpeggios):

C A G E D

3 3
|||5|| 51|7|5 ||51|| 1|7351 |51|||
|73|1| ||||3| 73|||7 |||||| 3|||73
|||||| ||51|| |||||| |51||| |||5||
51|7|5 73|||7 1|7351 3|||73 |73|1|

Half Diminished 7th Chords:

C A G E D

|||||| |1|7|| |||||| 1|73|| ||1|||


|||||| ||5|3| |||||| |5|||| |||573
|||||5 |||||| ||||5| |||||| ||||||
|1|7|| ||73|1 ||||||
3

Half Diminished 7th Chords (full arpeggios):

C A G E D

3 5 3 5 5 5 5 5
|||||| |1|7|| |||1|| 1|73|1 ||1|||
|73|1| ||5|3| 73|||7 |5|||| 3||573
5||||| |||1|| ||||5| ||1||| ||||||
|1|7|5 73|||7 1|73|1 3|||73 |73|1|
Fully Diminished 7th Chords:

C A G E D

7 7
|||||| |1|||| |||||| 1||3|| ||1|7|
|||||| ||5|3| |||||| |5|||| |||5|3
|||7|5 |||||| ||7|5| |||||| ||||||
|1|||| |||3|1 ||||||
3

Fully Diminished 7th Chords (full arpeggios):

C A G E D

3 5 3 5 7 5 5 7 5 5
|7|||| |1|||| 7||1|7 1||3|1 ||1|7|
||3|1| ||5|3| |3|||| |5|||| 3||5|3
5||7|| 7||1|7 ||7|5| ||1|7| |7||||
|1|||5 |3|||| 1||3|1 3||||3 ||3|1|

Major Pentatonic Scales (1 2 3 5 6):

C A G E D

36 362 3
3625|3 51||25 625136 1|||51 251|62
||||1| |||||| |||||| |||3|| ||||||
||36|| 625136 |362|| 251|62 3625|3
51||25 |||||| 1|||51 |||||| ||||1|
|||||| |||||| |||||| |||||| ||||||

Minor Pentatonic Scales (1 b3 4 5 b7):

C A G E D

|||5|| 5147|5 ||51|| 147351 |514||


473|14 ||||3| 73||47 |||||| 3|||73
|||||| ||51|| |||||| |514|| |||5||
5147|5 73||47 147351 3|||73 473|14
||||3| |||||| |||||| |||||| ||||||

Blues Scales (1 b3 4 b5 5 b7):

C A G E D

|||5|| 5147|5 ||51|| 147351 |514||


473|14 ||b|3| 73||47 |b|||| 3||b73
b||||| ||51|| ||||b| |514|| |||5||
5147|5 73||47 147351 3||b73 473|14
||b|3| ||||b| |b|||| |||||| b||||b
The relationship between chords and scales becomes clear
when seen in this context. For example, a Mixolydian scale
(1 2 3 4 5 6 b7) is just a Dominant 7th chord (1 3 5 b7) with
2 4 6 intervals added. The shared notes are obvious, when
viewed using these fingerings:

C A G E D

3||5|3 51|7|5 ||513| 1|7|51 |51||| Dominant 7th


|7||1| |||||| 7||||7 |||3|| ||||7|
||3||| ||513| |3|||| |51||| 3||5|3
51|7|5 7||||7 1|7|51 ||||7| |7||1|
|||||| |3|||| |||3|| 3||||3 ||3|||

6
3|25|3 514725 625136 147|51 2514|2 Mixolydian
47||14 |||||| 7|||47 |||3|| ||||7|
||36|| 625136 |362|| 251462 3625|3
514725 7||||7 1|7|51 ||||7| 47||14
|||||| |36||| |4|3|| 362||3 ||36||
CAPO G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb
0 1 2 3 4 5 6 7 8 9 10 11

I (G) G IV (Cadd9) C V (D) D/F#


|||||| |||||| |||||| ||||O| |||||| ||||||
|o|||| |o|||| ||o||| ||O||| |||O|o O||O||
O|||Oo O||||O |O||Oo |O|||| ||||O| ||||O|
|||||| |||||| |||||| |||||| |||||| ||||||
R R xR xR x R x

vi (Em) Em bVII (F) F II (A) ii (Am)


|||||| |||||| |||||| o|||OO |||||| ||||O|
|Oo||| |OO||| |||O|| |||O|| ||OoO| ||Oo||
||||o| |||||| ||O|o| |oO||| |||||| ||||||
|||||| |||||| |||||| |||||| |||||| ||||||
R R xxR x xR(x) xR(x)

iii (Bm) Bm III (B7) B7 iv (Cm) bVI (Eb)


|||||| |||||| ||O||| |||||| |||||| ||o|||
|||||O OOOOOO |O|O|o OOOOOO |||||| ||||||
||||O| ||||O| |||||| |||||| |||||O |||O|O
|||O|| ||OO|| |||||| ||O|O| ||||O| ||||O|
xx R R xR xR |||O|| xxx
xxx

.
* * | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | |
m O O O O O 5 | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | |
| O O O | | | | | | | | | | | | | |
M | | | O O 8 | | | | | | | | | | | |
| | | . | | | | | | | | | | | | | |
| | | | * * * * . | | | | | | | | |
| | | | | | | | | | | | | | | | | |
| | | | | | O m O O | O 12 | | | | | |
| | | | | | | | | | O | | | | | | |
| | | | | | | | O O | | | | . | | |
| | | | | | O M | | O O 15 * * | | | |
| | | | | | | | | | | | | | | | | |
| | | | | | | | | . * * m O O O O O 17
| | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | O O O | |
| | | | | | | | | | | | M | | | O O 20
| | | | | | | | | | | | | | | . | |
| | | | | | | | | | | | | | | | * *
1st position 4th position 1st position
(root 6) (root 5) (root 6 octave)
|-8-5---------------------|
|-----8-5-----------------|
|---------7-5-------------|
|-------------7-5---------|
|-----------------7-5-----|
|---------------------8-5-|

|-10-8-------------------------|
|------10-8--------------------|
|-----------9-7----------------|
|---------------10-7-----------|
|--------------------10-7------|
|-------------------------10-8-|

|-12-10-------------------------------|
|-------13-10-------------------------|
|-------------12-9--------------------|
|------------------12-10--------------|
|------------------------12-10--------|
|------------------------------12-10--|

|-15-12-------------------------------|
|-------15-13-------------------------|
|-------------14-12-------------------|
|-------------------14-12-------------|
|-------------------------15-12-------|
|-------------------------------15-12-|

|-17-15-------------------------------|
|-------17-15-------------------------|
|-------------17-14-------------------|
|-------------------17-14-------------|
|-------------------------17-15-------|
|-------------------------------17-15-|

|-20-17--------------------------------|
|-------20-17--------------------------|
|-------------19-17--------------------|
|-------------------19-17--------------|
|-------------------------19-17--------|
|-------------------------------20-17--|

C Major, D Dorian, G Mixolydian Diagrams, A Aeolian (natural minor):


(F Lydian, E Phrygian, B Locrian)

|-8-7-5-----------------------------|
|-------8-6-5-----------------------|
|-------------7-5-4-----------------|
|-------------------7-5-------------|
|-----------------------8-7-5-------|
|-----------------------------8-7-5-|

|-10-8-7----------------------------------|
|--------10-8-----------------------------|
|-------------10-9-7----------------------|
|--------------------10-9-7---------------|
|---------------------------10-8-7--------|
|----------------------------------10-8-7-|

|-13-12-10------------------------------------------|
|----------13-12-10---------------------------------|
|-------------------12-10-9-------------------------|
|---------------------------12-10-9-----------------|
|-----------------------------------12-10-----------|
|-----------------------------------------13-12-10--|
|-15-13-12-------------------------------------------|
|----------15-12-13----------------------------------|
|-------------------14-12----------------------------|
|-------------------------15-14-12-------------------|
|----------------------------------15-14-12----------|
|-------------------------------------------15-13-12-|

|-17-15-------------------------------------------|
|-------18-17-15----------------------------------|
|----------------17-16-14-------------------------|
|-------------------------17-15-14----------------|
|----------------------------------17-15-14-------|
|-------------------------------------------17-15-|

|-20-19-17--------------------------------------------|
|----------20-18-17-----------------------------------|
|-------------------19-17-16--------------------------|
|----------------------------19-17--------------------|
|----------------------------------20-19-17-----------|
|-------------------------------------------20-19-17--|
Major Chords (1 3 5):

Shapes: C A G E D (C starts over...)

362573 ------
4|||14 ||||o|
|736|| ||o|||
514|25 |R|||| -R----
|||7|| ||||||
625136 ||ooo| ------
||||4| ||||||
7362|7 |o||||
14||51 R|||.o R-----
||73|| |||o||
251462 |oo||| x-R---
|||||| ||||||
362573 |||o|o ------
4|||14 ||||o| ||||o|
|736|| ||o|||
514|25 |R||||

Minor Chords (1 b3 5):

Shapes: C A G E D (C starts over...)

362573 x----x
4|||14 ||o|o|
|736|| ||||||
514|25 |R|||| -R----
|||7|| ||||o|
625136 ||oo|| ------
||||4| |o||||
7362|7 ||||||
14||51 R||... R-----
||73|| ||||||
251462 |oo||| x-R---
|||||| |||||o
362573 |||o|| x----x
4|||14 ||||o| ||o|o|
|736|| ||||||
514|25 |R||||

7th (Dominant) Chords (1 3 5 b7):

Shapes: C A G E D (C starts over...)

362573 ------
4|||14 ||||o|
|736|| ||o|||
514|25 |R|o|| -R----
|||7|| ||||||
625136 ||o|o| ------
||||4| |||||o
7362|7 |o||||
14||51 R||||| R-----
||73|| |||o||
251462 |o|||| x-R---
|||||| ||||.| ||||o|
362573 |||o|o ------
4|||14 ||||o|
|736|| ||o|||
514|25 |R|o||
Major Pentatonic Scales (1 2 3 5 6):

Shapes: C(4) A(5) G(1) E(2) D(3) (C starts over...)

362573 OooO|O
4|||14 ||||O|
|736|| ||Oo|| ||oo||
514|25 oR||oo OR||oO
|||7|| ||||||
625136 ooOOOo ooOOOo
||||4| ||||||
7362|7 |Ooo|| |ooo||
14||51 R|||OO R|||OO
||73|| |||O|| |||o||
251462 oOO|oo xOR|oo
|||||| ||||||
362573 oooO|O OooO|O
4|||14 ||||O| ||||O|
|736|| ||oo||
514|25 oR||oo

Minor Pentatonic Scales (1 b3 4 5 b7):

Shapes: C(3) A(4) G(5) E(1) D(2) (C starts over...)

362573 |||O||
4|||14 ooO|Oo
|736|| ||||||
514|25 oRoo|o |R||||
|||7|| ||||o| ||||O|
625136 ||OO|| ||OO||
||||4| |||||| oO||oo
7362|7 ||||||
14||51 RooOOO RooOOO
||73|| ||||||
251462 |OO||| |ORo||
|||||| o|||oo o|||oO
362573 |||O|| |||O||
4|||14 ooo|Oo ooO|Oo
|736|| ||||||
514|25 oRoo|o
||||o|
G C D
(I) (IV) (V)

G shape C shape D shape

____5_1_3__ 3_____5___3 x_5_1______ <- open position


| | | | | | | | | | 1 | | | | | | |
| 3 | | | | | | 3 | | | | | | 5 | 3
1 | | | | 5 | 1 | | | | | | | | 1 |
| | | | | | | | | | | | | | | | | |

E shape A shape C shape


x__________
___________ ___________ | | | 5 | 3
1 | | | 5 1 5 1 | | | 5 | | | | 1 | <- 3rd fret
| | | 3 | | | | | | | | | | 3 | | |
| 5 1 | | | | | 5 1 3 | | 1 | | | |
| | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | |

D shape G shape A shape


x__________ ___________ ___________
| 5 1 | | | | | 5 1 3 | 5 1 | | | 5 <- 5th fret
| | | | | | | | | | | | | | | | | |
| | | 5 | 3 | 3 | | | | | | 5 1 3 |
| | | | 1 | 1 | | | | 1 | | | | | |

C shape E shape G shape


___________ ___________ ___________
3 | | 5 | 3 | | | | | | | | 5 1 3 | <- 7th fret
| | | | 1 | 1 | | | 5 1 | | | | | |
| | 3 | | | | | | 3 | | | 3 | | | |
| 1 | | | | | 5 1 | | | 1 | | | | 1

A shape D shape E shape


___________ x__________ x__________
5 1 | | | 5 | 5 1 | | | 1 | | | 5 1 <- 10th fret
| | | | | | | | | | | | | | | 3 | |
| | 5 1 3 | | | | 5 | 3 | 5 1 | | |
| | | | | | | | | | 1 | | | | | | |

G shape C shape D shape


___________ ___________ ___________
| | 5 1 3 | 3 | | 5 | 3 x 5 1 | | | <- 12th fret
| | | | | | | | | | 1 | | | | | | |
| 3 | | | | | | 3 | | | | | | 5 | 3
1 | | | | 5 | 1 | | | | | | | | 1 |
| | | | | | | | | | | | | | | | | |
R | | | | R OCTAVES
| | | | | |
| | R | | | There are 2 diagonals, 1 on the 6th
| | | | | | string, and another on the 5th string.
| | | | | |
| | | | R | <-- They are separated by 2 frets here.
| | | | | |
| R | | | | <-- Jump from 2nd to 5th string here.
| | | | | |
| | | R | |
| | | | | |
| | | | | |
R | | | | R The pattern starts over here (6th = 1st)

Put the "R" on any octave root note, any string, any fret. Right side, string below:

5 R
| |
6 2
| |
7 3
| 4

When the "R" is on the 2nd string, shift the fingering apart 1 fret:

5
| R
6 |
| 2
7 |
3
4

All musical examples associated with this text are written using the fingering above.
Play these intervals for each type of chord:

5 R 5 R 5 R
| | | | | |
6 2 | 2 6 2
| | b7b3 b7 |
| 3 | 3

Major Triad: 1 (2) 3 5 (6)

(plus any chromatic notes in between)

Minor Triad: 1 (2) b3 (4) 5 (6 or b6) b7

(plus 2, b5/#4 -> 4 or 5

Dominant 7: 1 2 3 4 5 6 b7

(plus b2 -> 1 or 2, b3 -> 2 or 3, b5/#4 -> 4 or 5)

(9 = 2 11 = 4 13 = 6)

Minor 7 b5: 1 b2 b3 4 b5 b6 b7 (also called "half diminished")

Diminished: 1 b3 b5 6 (plus 1 fret below each of those intervals)


HOW TO PRACTICE

Here are the most common structural devices that can be practiced on any set of
notes. The musical examples accompanying this text demonstrate each of these
techniques. You can move the examples to any octave root note on any string.

Scalar "Sequence" Patterns:

4 notes descending 1 7 6 5 7 6 5 4
5 4 6 3 ...
1 7 6 5 2 1 7 6
2 1 3 7 ...
4 notes ascending 1 2 3 4 2 3 4 5
4 5 3 6 ...
1 2 3 4 7 1 2 3
7 1 6 2 ...
3 notes descending 1 7 6 7 6 56 5 ... 4
1 7 6 2 1 73 2 ... 1
3 notes ascending 1 2 3 2 3 43 4 ... 5
1 2 3 7 1 26 7 ... 1
3rds 1 3 2 4 3 5 4 6 ...
1 3 7 2 6 1 5 7 ...
skip down, ascend 3 1 2 3 4 2 3 4 5 3 4 5 ...
3 1 2 3 2 7 1 2 1 6 7 1 ...
skip up, descend 1 3 2 1 2 4 3 2 3 5 4 3 ...
1 3 2 1 7 2 1 7 6 1 7 6 ...
enclosures 1 7 2 1 2 1 3 2 3 2 4 3 ...
1 7 2 1 7 6 1 7 6 5 7 6 ...

Bends:

Slow: bend-2 2 1 bend-3 3 2 bend-4 4 2 ...


fast: bend-release-2 pulloff-1 7 1 bend-release-3 pulloff-2 1 2

Pedal Tones:

1 7 1 6 1 5 1 4 1 3 1 2 1 1
5 4 5 3 5 2 5 1 5 7 5 6 5 5
etc...

Arpeggios:

1 3 5 7 3 5 7 1 5 7 1 3 7 1 3 5

Rolls And Double Stops:

Play TOGETHER combinations of any notes from a scale or chord


Play ALTERNATELY combinations of any notes from a scale or chord

** This is perhaps THE most important melodic and textural device.


** It encourages melodic skips, instead of straight scalar sequences.
** It also encourages textural note combinations instead of single notes.

Added Tones:

Based on the scale 1 2 3 4 5 6 7, here are added passing tones:

1 b2 2 3 2 b3 3 4 3 4 b5 5 4 5 b6 6

Practicing the above mechanical patterns will provide endless melodic and textural
material. You simply need to apply preconceived rhythms to create musical phrases.
MORE INTERVAL FINGERINGS:

You can find the same intervals on Remember that when crossing between
the other frets and strings, in the 2nd and 3rd strings, the
relation to any octave root note: fingerings need to be shifted apart
1 fret:
| 2 | 2
| | | |
3 6 | 3 3 | R 3
4 | R 4 4 6 | 4
| 7 | | | | | |
5 R | 5 5 7 | 5
| | | R | |
| 6 | 6

When finding root notes on the 3rd When finding root notes on the 4th
string, it helps to have this string, it helps to have this
little extension which covers the little extension which covers the
1st string: 6th string:

| | | r 4 |
| 2 5 | | 7
| | | 2 5 R
R 3 6 | | |
| 4 | 3 6 2
| | 7 4 | |
| 5 r

THE BIG COMPOSITE OCTAVE INTERVAL CLUSTER FINGERING DIAGRAM

Here's a composite fingering containing all of the fingerings above. The root note
in this diagram can be placed on any string, any fret. Just be sure to split apart 1
fret, any 2 strings in this fingering diagram which land in the 2nd and 3rd strings
of the guitar:

7 3 6 2 5
r 4 | | |
| | 7 3 6
2 5 R 4 |
| | | | 7
3 6 2 5 r
4 | | | |
5 7 3 6 2
| | 4 | |
|o|||| |||||| |||||| ||||||
R|o||| |||||| |||||| ||||||
|||o|| |||||| |||||| ||||||
||R|o| |||||| |||||| ||||||
||||o| |||||| |||||| ||||||
|||o|o |||||| |||||| ||||||
||||o| |||||| |||||| ||||||
||o||| |||||| |||||| ||||||
|R|o.o |||||| |||||| ||||||
|||||| |||||| |||||| ||||||
|||Ro. |||||| |||||| ||||||
|||||o |||||| |||||| ||||||
|o|||| |||||| |||||| ||||||
R|o||| |||||| |||||| ||||||

3 against 4 rhythms:
1 2 3 1 2 3 1 2 3 1 2 3
1 2 3 4 1 2 3 4 1 2 3 4 o o o
o o o o o o o
o o o o o o o
o o o o o o o

Chord Substitutions:

1) Substitute vi and/or iii for I


2) Substitute ii for IV
3) Precede any unaltered dominant chord with a minor chord on the root note a fifth
above (i.e., precede G7 with dm). This is called the "ii V" substitution.
4) Precede any chord with the dominant chord a fifth above (i.e., precede G7 with
D7). This is called "back-cycling".
5) When back cycling to a minor chord, the dominant chord should be altered with a #
5, b5, #9, or b9 (i.e., precede dm with A7b9)
6) When using a ii V substitution for an altered dominant chord, use a m7b5 chord for
the ii substitution (i.e., precede A7b9 with Em7b5).
7) Remove the root note from any 7b9 chord, and what's left is a diminished 7th
chord, which you can move up or down 3 consecutive frets (i.e., A7b9 is the same as
Bbdim7, C#dim7, Edim7, and Gdim7).
8) Use a tritone (b5) root note substitution for any dominant chord (i.e., replace G7
with Db7). These chords contain the same 3rd and b7th intervals.
9) Extensions, especially 7ths, 9ths, and 13ths can be added to just about any basic
triad or 7th chord (i.e., Cmaj9 can replace Cmaj7).
10) Alterations can most often be added to dominant chords: #5, b5, b9, #9, sus,
etc. (i.e., G7#5 can be played in many cases, instead of G7)
JAZZ:

Clean sound, Neck Pickup, less high end (roll off the tone knob)

7th and extended chords, Walking Bass Lines

Usually in these progressions

ii-V7-Imaj (iii-vi-ii-V7(V9,V13)-Imaj)

ii7b5-V7alt-i

Moved around to different keys (CHANGE KEYS)


(lots of flat keys are common: Bb, Eb, F)

Lots of 1 fret slides

Swing 8th rhythms (triplet groove)

For solos, play "jazz pentatonics" in each key


(added PASSING TONES, with ACCENTED 7ths)

Eb: ii V7 I I

Fm7 Bb7 Ebmaj7 Ebmaj7

Db: ii V7 I I

Ebm7 Ab7 Db Db

Cm: ii7b5 V7alt i7

dm7b5 G7b5 or G7b9 Cm7

Bbm: ii7b5 V7alt i7

Cm7b5 F7#5 Bbm

METAL:

Heavy Distortion Sound, Lots of High End (treble tone), bridge pickup

Power Chords:

I bII bV bVII bIII bVI IV V vi (in 1 key)

Driving fast 16th note rhythms,


heavily accented on 1st and 3rd beat

Lead: Minor pentatonic in 1 key

Fast repeating licks, tapping, sweeping, long running lines

BLUES and BLUESY ROCK:

Neck Pickup (not too much tone rolled off)

Light Overdrive

Swing eighth notes or straight for more rockin grooves

Common intro, endings, turnarounds


7th Chords in 1 Key (common patterns, shuffles)

I7 IV7 V7

Usually in a 12 bar format (I IV I I IV IV I I V IV I V)

Lead: Major or Minor Pentatonic in the root key (often mixed)

BALLADS:

Clean Backing Sound, Heavy Delayed Lead Sound

Diatonic with some Secondary Dominant 7ths:

I ii iii IV V7 vi (III7 II7 VI7 I7 VII7)

Lots of soulful hammer-ons and pull-offs in the chords

Major Scale Leads

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