CONN about the author... 4 INRODUCION... 5 Chapter etting tarted 6 he uitar Fingerboard...6 uning...7 Music Notation... Reading, cale, and Chord Diagrams... Roman Numerals... ome erms and igns... asic echnique...4 Chapter Rock heory Review 7 he Major cale...7 Key ignatures...9 Cycle of 5ths... Numbering (pelling)... he Minor Pentatonic cale... he Five Minor Pentatonic Fingerings... he ntire Minor Pentatonic ystem... he Major Pentatonic cale... he Five Major Pentatonic Fingerings... he ntire Major Pentatonic ystem... Chapter Left-and echniques 4 ammer-ons and Pull-Offs...4 lides...4 Vibrato...5 ending...5 Chapter 4 Major cales 6 Playing wo-octave Major cales...6 Melodic Patterns... Licks Using the Major cale... Improvising with the Major cale... Fingerings with hree Notes Per tring... Chapter 5 Intervals 4 Interval Names... 4 Interval hapes... 5 armonization rds, 6ths, 4ths, and 5ths... 6 Chapter 6 riads Major riads (in )...9 Minor riads (in )...4 Voice Leading...4 xamples Using riads...4 Chord mbellishments...44 Intermediate Rock uitar
Chapter 7 Diatonic armony 46 Diatonic riads... 47 Diatonic rpeggios... 4 7th Chords... 49 Diatonic 7th Chords... 5 ransposing... 5 Chapter he Composite cale 5 he Composite cale in urrounding the Root Position riad...5 he Composite cale in urrounding the st Inversion riad...54 he Composite cale in urrounding the nd Inversion riad...55 More Composite cale Licks...56 Chapter 9 New Chord Forms & Rhythm uitar 5 Functional armony... 5 Diminished 7th Chords... 59 asic xtended and ltered Dominants... 6 Rhythmic Notation... 6 Rhythm uitar xamples... 6 Chapter Minor cales 64 he Natural Minor cale...64 Natural Minor cale Fingerings...65 Melodic Patterns in Natural Minor...66 Improvising with the Natural Minor cale...67 Natural Minor Licks...6 armonic Minor cale...69 armonic Minor cale Fingerings...7 Improvising with the armonic Minor cale...7 armonic Minor Licks...7 Chapter he Modes 75 he Dorian Mode...76 Dorian Mode Fingerings...77 Melodic Patterns in Dorian...7 Improvising with the Dorian Mode...79 Dorian Licks... he Mixolydian Mode... Mixolydian Mode Fingerings... Improvising with the Mixolydian Mode...4 Mixolydian Licks...6 ppendixes ppendix cales and Modes... Modes in the Numbering ystem... Pentatonic cales in the Numbering ystem... 9 Minor cales in the Numbering ystem... 9 cales and Modes in tandard Music Notation and... 9 ppendix uggested ongs for Practice...9 ppendix C ssential Movable Chord Forms...94 Contents
Melodic Patterns Once you have the scale patterns under your fingers, you can begin to develop melodic patterns using the scale tones. Melodic patterns are groups of two or more notes in a specific shape that can be generated from every scale degree. Usually, they are motives (short distinctive musical ideas) using the scale notes in a particular pattern that are then sequenced (repeated on different pitches). For instance, in a pattern, we play the st, nd, rd, and then the st notes of the scale. hen, we proceed to sequence this pattern through the scale ( 4, 4 5, etc.). ere are some melodic patterns using the Major scale with the fingering. VIDO X M P L & # 4 4 5 5 5 4 4 4 4 4 4 4 4 5 4 5 4 4 4 4 4 4 4 & # 5 5 4 5 4 5 4 4 4 4 4 4 4 5 4 4 4 4 VIDO & # 4 4 P L X M 5 5 5 4 4 4 4 4 4 4 5 4 4 5 4 4 4 4 4 4 4 & # 5 5 5 4 4 5 4 4 4 4 4 4 4 5 4 4 4 Intermediate Rock uitar
cord emelliment the triads you have learned, and other larger chords that you know, can be embellished with scale tones and licks. imi endrix was a master of this essential guitar skill. eddie Van alen, oe atriani, eff eck, and keith richards also make great music with this technique. the following pages show some of the most common examples of chord embellishment. notice that, usually, one note of a chord will sustain as another is embellished. this diagram shows notes that can be added around a g triad on the string group of,, and as embellishments. the arrows illustrate how you can move to and from the embellishments. (VII R r e = root = embellishment = a note held in a barre but not played R 44 VIDO P L X M in the tyle of imi endrix a) &4 4 F ( ) 7 9 7 7 7 ( 7 ) 7 9 7 7 9 ( 9 ) 6 ( 6) 6 5 7 5 ( 5 ) 5 7 7 ( 7 ) ) &4 4 F b ( ) 7 9 7 7 7 ( 7 ) 7 9 ( 9 ) 6 ( 6) 6 5 7 5 ( 5 ) 5 7 ( 7 ) 45 in the tyle of ohn Frusciante # min/d # F # / # # # & # ## 4. 6 6 4 6 7 6 4 6 7 6 4 6 6 4 4 4 4 6 4 6. 44 intermediate rock guitar
natural minor Lick ere are some sample licks to help you get started using the natural minor scale. use them for inspiration and make up some of your own. 9 a) a minor in the tyle of marty Friedman & # 4 4 56 VIDO P L X M 5 5 ( ) ( ) 4 4 F) e minor in the tyle of dan donegan # 4 & notice the 5 (spelled as a 4) passing tone on the fourth beat of each measure. PM 6 intermediate rock guitar # 7 9 9 4 5 4 4 b 5 PM n # 7 9 9 4 5 4 4 b 5