Guitar lessons
On this page you will find various Lessons and resources i have written - and all for FREE!
Scale table(using CAGED system)
| Ionian (Major) | Dorian#7 (Melodic Minor) | Aoelian#7 (Harmonic Minor) |
| Dorian | Phrygian#6 | Locrian#6 |
| Phrygian | Lydian#5 (Lydian Augmented) | Ionian#5 |
| Lydian | Mixolydian#4(Lydian Dominant) | Dorian#4 |
| Mixolydian | Aoelian#3 | Phrygian#3 (Phrygian Dominant) |
| Aoelian(Natural Minor) | Locrian#2 | Lydian#2 |
| Locrian | Ionian#1 (Superlocrian) | Mixolydian#1 (Diminished) |
Brief Theory Lesson
hey guys. in this short topic i will briefly explain concepts you can all use in your own music, whether it rock, jazz or classical.
Ionian (Major)
Dorian#7 (Melodic Minor)
Aoelian#7 (Harmonic Minor)
Dorian
Phrygian#6
Locrian#6
Phrygian
Lydian#5 (Lydian Augmented)
Ionian#5
Lydian
Mixolydian#4 (Lydian Dominant)
Dorian#4
Mixolydian
Aoelian#3
Phrygian#3 (Phrygian Dominant)
Aoelian (Natural Minor)
Locrian#2
Lydian#2
Locrian
Ionian#1(Superlocrian)
Mixolydian#1(Diminished)
Modes
taking as an example, the C major scale contains 7 notes containing no sharps or flats.
C D E F G A B
counting each note in its alphabetical order you can learn the interval relationship to its key note(C).
harmonising this scale in stacked thirds gives us the following chords in a major key.
C major
D Minor
E minor
F major
G major
A minor
B diminished
knowing the order of these chords will benefit you greatly.
to get the relative minor of a major scale you simply reorder the notes from its 6th degree(being A in C major). this gives you the following order of notes
A B C D E F G
this carries the same chords as from the C major scale. but to create its sound you would want to emphasise the A minor in any chord progressions.
now heres where the concept of modal harmony comes into effect.
to create a scale from C majors 2nd degree(D) would give you
D E F G A B C
still having the same order of notes gives us the same chords as C major.
to create a chord progression using this you would want to emphasise the Dminor. a chord progression using D minor, A minor, G major would fit ideally.
playing this way creates whats called a Dorian Mode. Dorian modes are always built from the 2nd degree of the relative major scale.
try doing the same on all chords from C major such as G major, E minor or even B diminished, always emphasising chord tones in your soloing.
Modal Interchange
carrying on with the study of C Major, the following chords listed are as follows.
C major D minor E minor F major G major A minor B diminished
to borrow a chord from C MINOR (Eb Major) in any progression would use whats calledmodal interchange
C minors chords are as follows
C minor D diminished Eb major F minor G minor Ab major Bb major
if we were to create a 4 chord progression in C we could take 3 chords from C major and 1 chord from C minor. example
C major, F major, D minor, Eb Major
the first 3 chords used were taken from the key of C major, last from C minor. this creates a great sense of tension just before the start of the next bar.
to solo over this, ideally C major scale for the first 3 bars/chords and a switch to C minor scale for the last bar, or maybe even an Ebmajor arpeggio.
Secondary Dominants
the 5th chord in a scale gives us whats called the Dominant chord. in the key of C major this chord would be G Dominant. to play G Dominant to C major at the end of a progression or piece would be called a perfect cadence. if we were to find the Dominant chord of G major we would find D Dominant. however being in the key of C major our D is a minor chord. using chord substitution and changing it to a Dominant chord will give us a secondary dominant in C major.
this can also lead to changing key. if we were to then create all following chords from the G major scale we would have now used whats called Modulation as we have changed from being in the key of C major to G major.
it can however strengthen a progression, if we were to stay in the key of C as at the beginning we would have created whats called a 2 5 1 progression. the 2(D) chord being the secondary dominant to the 5(G) and the 5 being the true dominant to the 1(C). the 2 5 1 progression being crucial to jazz harmony.
hey guys. in this short topic i will briefly explain concepts you can all use in your own music, whether it rock, jazz or classical.
Ionian (Major)
Dorian#7 (Melodic Minor)
Aoelian#7 (Harmonic Minor)
Dorian
Phrygian#6
Locrian#6
Phrygian
Lydian#5 (Lydian Augmented)
Ionian#5
Lydian
Mixolydian#4 (Lydian Dominant)
Dorian#4
Mixolydian
Aoelian#3
Phrygian#3 (Phrygian Dominant)
Aoelian (Natural Minor)
Locrian#2
Lydian#2
Locrian
Ionian#1(Superlocrian)
Mixolydian#1(Diminished)
Modes
taking as an example, the C major scale contains 7 notes containing no sharps or flats.
C D E F G A B
counting each note in its alphabetical order you can learn the interval relationship to its key note(C).
harmonising this scale in stacked thirds gives us the following chords in a major key.
C major
D Minor
E minor
F major
G major
A minor
B diminished
knowing the order of these chords will benefit you greatly.
to get the relative minor of a major scale you simply reorder the notes from its 6th degree(being A in C major). this gives you the following order of notes
A B C D E F G
this carries the same chords as from the C major scale. but to create its sound you would want to emphasise the A minor in any chord progressions.
now heres where the concept of modal harmony comes into effect.
to create a scale from C majors 2nd degree(D) would give you
D E F G A B C
still having the same order of notes gives us the same chords as C major.
to create a chord progression using this you would want to emphasise the Dminor. a chord progression using D minor, A minor, G major would fit ideally.
playing this way creates whats called a Dorian Mode. Dorian modes are always built from the 2nd degree of the relative major scale.
try doing the same on all chords from C major such as G major, E minor or even B diminished, always emphasising chord tones in your soloing.
Modal Interchange
carrying on with the study of C Major, the following chords listed are as follows.
C major D minor E minor F major G major A minor B diminished
to borrow a chord from C MINOR (Eb Major) in any progression would use whats calledmodal interchange
C minors chords are as follows
C minor D diminished Eb major F minor G minor Ab major Bb major
if we were to create a 4 chord progression in C we could take 3 chords from C major and 1 chord from C minor. example
C major, F major, D minor, Eb Major
the first 3 chords used were taken from the key of C major, last from C minor. this creates a great sense of tension just before the start of the next bar.
to solo over this, ideally C major scale for the first 3 bars/chords and a switch to C minor scale for the last bar, or maybe even an Ebmajor arpeggio.
Secondary Dominants
the 5th chord in a scale gives us whats called the Dominant chord. in the key of C major this chord would be G Dominant. to play G Dominant to C major at the end of a progression or piece would be called a perfect cadence. if we were to find the Dominant chord of G major we would find D Dominant. however being in the key of C major our D is a minor chord. using chord substitution and changing it to a Dominant chord will give us a secondary dominant in C major.
this can also lead to changing key. if we were to then create all following chords from the G major scale we would have now used whats called Modulation as we have changed from being in the key of C major to G major.
it can however strengthen a progression, if we were to stay in the key of C as at the beginning we would have created whats called a 2 5 1 progression. the 2(D) chord being the secondary dominant to the 5(G) and the 5 being the true dominant to the 1(C). the 2 5 1 progression being crucial to jazz harmony.
Subscribe to:
Posts (Atom)