Guitar Lesson

Free Guitar Lessons -Tab and Cords

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About learning to play the guitar

Once you know a few basic guitar skills, you can play a great variety of tunes. When you first try a new technique it may seem quite difficult. you will need plenty of practice and it is worth mastering one technique thoroughly before moving on to the next. If something sounds odd when you first try it, keep practicing slowly until it sounds right. Build up speed as you become more confident and your fingers get stronger and nimbler. Once familiar with the basics, you will find it easier to progress to the more advanced stages.

Chords for songs in the key of C

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Chords for songs in the key of Am

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Chords for songs in the key of G

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Chords for songs in the key of Em

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Chords for songs in the key of D

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Chords for songs in the key of Bm

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Chords for songs in the key of A

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Chords for songs in the key of Gb and Ebm

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Chords for songs in the key of Db and Bbm

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Chords for songs in the key of Ab and Fm

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Chords for songs in the key of Eb and Cm

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Chords for songs in the key of Bb and Gm

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Chords for songs in the key of F and Dm

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Enharmonic Equivalents

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A# = Bb

B = Cb

B# = C

C# = Db

D# = Eb

E = Fb

E# = F

F# = Gb

G# = Ab

Moveable Chords 1

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Moveable Chrds 2

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Maveable chords 3

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Maveable Chords 4

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Maveable Chords 5

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Maveable chords 6

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Moveable Chord

Power Chords Step 1

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Basic Chords Step 1

The coming up power chords are moveable. You can move them from fret to fret, with every new position the power chord gets a new name. The note with a circle around is the root note, the note that manifests the name of the chord. If you play example 1 at the seventh fret it is a B major chord because the note on the sixth string on the seventh fret is a B note. If you play the same chord at the third fret it turns into a G major chord, just like the note on the sixth string third fret is a G note. All of these moveable chords work this way.

If you get more used learning the names of the different chords as they are moved around the neck should aid you learning all of these notes on the fretboard. I really recommend that you take the time to learn the neck. The easies way is learning the notes on each string starting at the first fret then gradually work your way up.

All of those chords are displayed using standard chord charts. The vertical lines represent the guitar's six strings, and the horizontal lines represent the frets.

An "x" placed above a string indicates that the string is not to be played at all. Black dots indicate the placement of fingers, and numbers show proper fingerings. Two or more dots joined by a straight line indicate the notes are held down, or "barred" with the same finger.

Example 1 is normally the first barre chord that a guitar player learns. It seems to be a standard among most teachers and instruction books that this chord is the "Master" of all other chords. With any type of "barre" chord the first finger forms a bar to hold down all six strings. This chord is voiced root, fifth, root, third, fifth, root. Lift up your second finger, which holds down the chord's third degree, and your first finger will now hold down the flatted third. The chord now becomes minor, which brings us to example 2.

The first two chords are normally known as hard rock chords, but they are used more often in the smaller form of Ex 3. With the third, second, and first strings not played, the result is a power chord voiced root, fifth, root. Many players hold down the full barre chord, but actually only play the sixth, fifth, and fourth strings only. The root note on the fourth string is one octave higher than the root note on the sixth string. This means that the note on the fourth string is really the same but is higher in the pitch. One complete major scale resides between those two notes. If two major scales fit in the middle of them, then the higher pitch note would be two octaves higher.

Sometimes Ex 3 is used as a two note chord, consisting of the sixth and fifth strings only. Not playing the higher octave note won't change the sound of the chord that much, it will just eliminate some treble. After learning Ex 1, most guitar players go on to learn the second barre chord form, Ex 4. This major chord is voiced root, fifth, root, third, fifth. Ex 5, is the minor version of this chord, it has the same voicing, only it contains the flatted third.

You should now be able to play Examples 4 and 5, but these chords are more common to hard rock, metal, in the smaller form of Example 6. Just like Example 3, this power chord is voiced root, fifth, root. Also just like Example 3, the root note on the third string is one octave higher than the root note on the fifth string. Example 6 may also be played as a two note chord, with the higher octave root note not played.

Ex 7 is actually a smaller version of Ex 3. It has the same notes , only the sixth string is not played. You can just grab this one with only one finger! The right finger used to hold down this chord depends on the position of your left hand. This power chord is voiced fifth, root.

Just like Example 7 is a smaller version of Example 3, Example 8 is a smaller version of Example 6. Use one finger for this one as well. This chord is voiced fifth, root.

Example 9 is not used as much as the other chords we had so far, but is used quiet often in the hard rock and metal genre. The voicing is root, fifth.

Example 10 is almost the same to Example 9, with the addition of one other note. The note on the second string is also the root, one octave higher than the note on the fourth string.

When you look at Example 11, you are starting to see the connection between all of the examples. Basically, they are all extensions or pieces of one another. It's up to you, to choose the one that comes closest to the sound that you want.

You can use Examples 11 for more of a treble effect, instead of using Examples 10, but this is all up to you. Two note chords located on the higher strings, like this one, can also be put into guitar solos. When you use them this way, they are called "double-stops".

Power chords step 2

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Power Chords Step 2

Example 12 is a total major triad. The voicing is fifth, root, third. Now is the perfect time to get to know the suspended fourth, because all you have to do is add your pinky finger. All of the major and minor chords can be turned into a suspended fourths by taking the third (or flatted third), and replacing it with the fourth degree of the major scale. Going back to the C major chord , the third, E, would be replaced with a F note, the fourth degree of a C major scale.

When sus 4 chord's are used in rock, metal, they are usually put in between two major chord's of the exact same letter name. (For example: C major, C sus 4, C major.) Example 12 can be turned into a sus 4 chord by putting your fourth finger in front of your second finger, like in Example 13. Now lift the fourth finger back up and you are back to that major triad. This move is used in rock and metal rhythms quiet a lot.

Example 4 can be changed into a sus 4 chord by just a simple modification, as shown in Example 14. (Notice that the first string is not played, but instead we add the the suspended fourth note.) Just like before any major or minor chord can be turned into a sus 4 chord, but Examples 13 and 14 are more common in rock and metal. Sus 4 chord's are not used quiet as much as power chords.

Example 12 comes sometimes in a larger form of Example 15. This is not very common in rock and metal music but will be used on occasions. The fifth string is the root and the fourth string is the third. Form a bar with the first finger to hold down the first and third string. This shape can also be used as a major triad, by playing the fifth, fourth, and third strings only.

Example 16 is not very much used as well, but you can hear it sometimes in rock and metal music. This shape is voiced fifth, root and is normally held down with just one finger, but depending on the chords that come before and after, it is sometimes easier to hold it down with two fingers. (This is the case for all one finger shapes.) Depends on what feels better for you.

Examples 17 and 18 have almost the same sound. Both of them are voiced root, fifth.

You can always add open strings to some of the moveable chords. Open strings can really add a full, spacious quality. Example 8, played as an A power chord at the second fret, is often played with the fifth string (A) open. Just try it out and you can hear for yourself what sounds good to you.

Examples 19 through 21 are played at the second fret. You can't move those shapes. The open string is the root and the fretted note is the fifth for all three. What we got here is an E power chord followed by an A shape and D shape. The open string in each shape is represented by an "0" above the string.

Example 22 has the same voicing as Example 11, only the root note on the third string is now to be played open. You can not move this C Power chord. Open strings can always be added to chords that are played higher up the neck. Example 6, played as an E power chord at the seventh fret, is sometimes played with the sixth string (E) open. Example 9 and Example 10 played as A power chords at the seventh fret, can be played with the fifth string (A) open. Also Example 8, played all the way up at the 14th fret as an A power chord (one octave higher than the same chord played at the second fret), can be played with the open fifth string.

Examples 23 through 25 are what we call octaves( two notes of the same letter name). Not even the fifth degree is present in these. For each of them, the open string is the lower octave and the fretted note , usually held with the third finger, is one octave higher. The fretted note is to be held down at the seventh fret in all three.

Power Chords Step 3

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Power Chords Step 3

These Examples (26-29) are called open chords. They are the first chords you learn when you start learning to play guitar. These chords are not movable.

Example 26, the C major chord, is voiced root, third, fifth, root, third. In it's biggest form, this chord is normally used with rock and metal, without the first string. In smaller forms, this chord can be broken up in several ways. Strings 3 - 5, 2 -4, and strings 1 - 3 are all C major triads.

The G Major chord is shown in most beginner Books in the form of Example 27, a lot of rock and metal guitarists use it in the form of Example 28. Example 27 is voiced root, 3rd, 5th, root, 5th, root. Example 28 is voiced root, 3rd, 5th, root, 5th, root. The only difference between these two is that Example 27 repeats the chord's 3rd degree played on the 2nd string, as opposed to Example 28 which repeats the chord's 5th. Remember a chord's 5th degree is a more used in rock and metal.

Example 28 can be broken up in a few ways as well. Holding down the 1st and 2nd strings with one finger, played together with the 3rd and 4th string open, is one way. Example 8 played open, as we discussed earlier, and Example 16 are both smaller forms of Example 28.

Example 29, E major, is voiced root, 5th, root, 3rd, 5th, root. This chord is used a lot in rock and metal music in the smaller form of Example 7 with the 6th string open, or in the smaller form of Example 19. Example 16 played open, got the 1st two strings of this E major chord.

Another type of two note chord that is used quiet a lot in rock is the combo of the root and 3rd, or flatted 3rd for minor chords. They are not as common as the root + 5th.

Examples 30 to 39 are all voiced root, 3rd (or flatted 3rd). It is written under each example if the chord is major or minor.

All the minor chords are to be played with the 1st and 3rd finger, with the exception of Example 36 where you can just use the 1st and 2nd finger. For the major examples use the 1st and 2nd finger, with the exception of Example 37 which is just a one finger chord. Just use what's comfortable for you, those fingerings are just suggestions.

Chord Formulas

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Chord Formulas

If you have the major scale down, you can work on these very useful chord formula charts below to learn chords in any key. You can use the C major scale to make other chord types in the key of C. Go ahead, and find all the notes in any type of C chord by adding the chord formula to the C major scale, then use the fretboard chart to help you find the chord on your guitar. Remember, there are several different voicing for all the given chords.

When you read these chord formulas, remember that any number higher than 7 means a higher octave. The 9th degree is one octave higher than the 2nd degree, the 11th degree is one octave higher than the 4th degree, and the 13th degree is one octave higher than the 6th degree.

Major Chords

Chord	Formula	Symbol
Major Triad	1, 3, 5	major
Major 6	1, 3, 5, 6	6
Major 7	1, 3, 5, 7	major 7
Major 9	1, 3, 5, 7, 9	major 9
Major 11	1, 3, 5, 7, 9, 11	major 11
Major 13	1, 3, 5, 7, 9, 13	major 13
Major add 9	1, 3, 5, 9	add 9
Major 6 add 9	1, 3, 5, 6, 9	6/9
Major 7 b5	1, 3, b5, 7	major 7 b5
Suspended 2	1, 2, 5	sus 2
Suspended 4	1, 4, 5	sus 4

Minor Chords

Chord	Formula	Symbol
Minor Triad	1, b3, 5	m
Minor 6	1, b3, 5, 6	m6
Minor 7	1, b3, 5, b7	m7
Minor 9	1, b3, 5, b7, 9	m9
Minor 11	1, b3, 5, b7, 9, 11	m11
Minor 13	1, b3, 5, b7, 9, 13	m13
Minor add 9	1, b3, 5, 9	m add 9
Minor 6 add 9	1, b3, 5, 6, 9	m 6/9
Minor 7 b5	1, b3, b5, b7	m 7 b5
Minor major 7	1, b3, 5, 7	m/major 7

Dominant Chords

Chord	Formula	Symbol
Dominant 7	1, 3, 5, b7	7
Dominant 9	1, 3, 5, b7, 9	9
Dominant 11	1, 3, 5, b7, 11	11
Dominant 13	1, 3, 5, b7, 9, 13	13
Dominant 7 b5	1, 3, b5, b7	7 b5
Dominant 7 #5	1, 3, #5, b7	7 #5
Dominant 7 b9	1, 3, 5, b7, b9	7 b9
Dominant 7 #9	1, 3, 5, b7, #9	7 #9
Dominant 7 suspended 4	1, 4, 5, b7	7 sus 4
Diminished triad	1, b3, b5	dim or o
Diminished 7	1, b3, b5, bb7	dim 7 or o7
Augmented triad	1, 3, #5	augmented or +

Fretboard Chart

Fret	E	A	D	G	B	E
1	F	A# Bb	D# Eb	G# Ab	C	F
2	F# Gb	B	E	A	C# Db	F# Gb
3	G	C	F	A# Bb	D	G
4	G# Ab	C# Db	F# Gb	B	D# Eb	G# Ab
5	A	D	G	C	E	A
6	A# Bb	D# Eb	G# Ab	C# Db	F	A# Bb
7	B	E	A	D	F# Gb	B
8	C	F	A# Bb	D# Eb	G	C
9	C# Db	F# Gb	B	E	G# Ab	C# Db
10	D	G	C	F	A	D
11	D# Eb	G# Ab	C# Db	F# Gb	A# Bb	D# Eb
12	E	A	D	G	B	E
13	F	A# Bb	D# Eb	G# Ab	C	F

All the notes reproduce one octave higher in pitch starting at the 12th fret. For example all the notes at the 12th fret are exactly the same as all the strings open, and all the notes at the 13th fret are exactly the same as the notes on each string at the first fret, just one octave higher in pitch.

Chord Triads Step 1

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Chord Triads Step 1

Alright, now that you have this down lets move on to triads. The Majority of guitar players learn barre chords and power chords in the very beginning, but after a while it can be very limiting and boring. You will always use the power chords, because of their sound with a distorted electric guitar (sounds really awesome), but you should be able to expand your horizon.

These chords are all moveable chords and are used by many great guitarists. We will start with shapes on the first three strings. All root notes are circled.

1st, 2nd, 3rd String Shapes

2nd, 3rd, 4th String Shapes

3rd, 4th, 5th String Shapes

Chord Triads Step 2

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Chord Triads Step 2

OK, now you know the major and minor triads, it's time to get to know the diminished and augmented shapes. These will sound a bit strange to you at first, but the more you know the better it gets. The more you know about the guitar the better off you will be because you'll never get stuck for anything. These diminished shapes are used a lot in the "Neo Classical" genre. Those shapes are all moveable, you can play them anywhere on the neck.

Trills

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Trills

A Trill is a two notes repeated rapidly. You can play a trill by combining the hammer-on and pull-off. This technique is used a lot in heavy metal music. Try playing a trill, pluck the string once only.

Play string 1 downstroke, pressing with finger 1 in the fifth fret.

Hammer-on to string 1 with finger 3, on the seventh fret.

Pull-off finger 3. Repeat the hammer-on and pull-off several times rapidly.

Parts Of The Electric Guitar

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Parts of Electric Guitar

Arpeggios-Guitar Tab

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Arpeggios Guitar Tab - Theory and Technique

Arpeggios means, that the chord in which the notes are, is going to be played one at a time. Now there are different ways you can use these. We could play a chord progression like this were we pick each note of the chord one by one, or we could use them to compose a melody, or we could use them in a guitar solo as another form of improvisation.

But this is all up to you.

The patterns and shapes are all so arranged that they all start on their root note, all root notes will be circled. As is the case with all of the scales on this site, all of these patterns are three octaves, and moveable.

F Major

F Minor

F Diminished

F Augmented

Fsus4

Guitar Scales Step 1

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Guitar Scales Step 1

Tab - Learn Guitar Scales

A lot of the big rock and metal guitar players are very scale oriented. In the past all that was being played was the major and minor pentatonic scales. Scales are used to create a mood or atmosphere, and to give you the opportunity to be able to play up and down the neck as fast as possible.

Scale construction is a lot like chord construction. All scale types are made from the major scale of the same letter name. Any type of C scale, whether it's C blues, C harmonic minor, etc., will be constructed from the C major scale. Any type of B scales (B blues, B diminished, etc.) is made from the B major scale, etc..etc.. The major scale is the "Master" of all scales. That is easy to remember. And it is called the "Major" scale!

The major scale has it's own formula for construction. The major scale is made up of whole step and half step "intervals". An interval is the amount of distance between two notes. A half step is equal to the distance of one fret on the guitar. B to C, C# to D#, D# to F, etc. are all half step intervals. A whole step is equal to the distance of two frets. B to C#, C# to D#, D# to F, etc. are all whole step intervals.

The major scale is made up with the interval formula: whole step, whole step, half step, whole step, whole step, whole step, half step. Two whole steps and a half step, three whole steps and a half step. Every single major scale is going to have the same formula. The major scale contains seven different notes, starting and ending on the root note or tonic. (The tonic is also known as the key center or root-the letter name of the scale.) The 8th degree of the major scale is one octave higher than the 1st degree.

You can see below the major scale in all keys. Each of the keys contains a different amount of sharps and flats. Because each key must be changed in a different way to fit the major scale interval pattern. There are 7 keys containing sharps and 7 keys containing flats. The key of C is the only key that contains all natural notes ( natural = no sharps or flats.)

Key Of C	C	D	E	F	G	A	B	C
Key Of G	G	A	B	C	D	E	F#	G
Key Of D	D	E	F#	G	A	B	C#	D
Key Of A	A	B	C#	D	E	F#	G#	A
Key Of E	E	F#	G#	A	B	C#	D#	E
Key Of B	B	C#	D#	E	F#	G#	A#	B
Key Of F#	F#	G#	A#	B	C#	D#	E#	F#
Key Of C#	C#	D#	E#	F#	G#	A#	B#	C#
Key Of F	F	G	A	Bb	C	D	E	F
Key Of Bb	Bb	C	D	Eb	F	G	A	Bb
Key Of Eb	Eb	F	G	Ab	Bb	C	D	Eb
Key Of Ab	Ab	Bb	C	Db	Eb	F	G	Ab
Key Of Db	Db	Eb	F	Gb	Ab	Bb	C	Db
Key Of Gb	Gb	Ab	Bb	Cb	Db	Eb	F	Gb
Key Of Cb	Cb	Db	Eb	Fb	Gb	Ab	Bb	Cb

You can also use this scale to construct other scale types. Scale construction is no different than chord construction, every chord has it's own formula, all scales have their own formula, as well. The formula for the blues scale is 1, b3, 4, b5, 5, b7. That means that the blues scale contains the 1st degree (or root), flatted 3rd degree, 4th degree, flatted 5th degree, 5th degree, and flatted 7th degree of it's major scale. To construct a blues scale in any key, all you do is use the blues scale formula to the major scale of the key you like to use.

Blues Scale Construction - Key Of C

Blues scale construction - Key Of C - C Major Scale - C, D, E, F, G, A, B, C Blues Scale Formula - 1, b3, 4, b5, 5, b7 - C Blues Scale - C, Eb, F, Gb, G, Bb

Diminished Scale Construction - Key Of A

A Major Scale - A B C# D E F# G# A - Diminished Scale Formula - 1, 2, b3, 4, b5, b6, 6, 7 - A Diminished Scale - A, B, C, D, Eb, F, F#, G#

Harmonic Minor Scale Construction - Key Of G

G Major Scale - G A B C D E F# G - Harmonic Minor Scale Formula - 1, 2, b3, 4, 5, b6, 7 - G Harmonic Minor Scale - G, A, Bb, C, D, Eb, F#

All scales types are made the exact same. You just need to learn all the formulas.

It is also not bad to know the chords that go with each scale when you want to improvise. In order to understand how chords and scales work together, your going to have to learn diatonic chord harmony. (Diatonic means to come from or relate to a particular key.)

If you want to harmonize the C major scale, you have to stack two more notes on top of each note in the C major scale to form triads. Just the notes within the key of C major may be stacked. (No sharps or flats.)

When you are done harmonizing the the C major scale using three notes, you get the following triads:

C major (C, E, G)- D Minor (D, F, A)- E Minor (E, G, B)- F Major (F, A, C)- G Major (G, B, D)- A Minor (A, C, E)- B Diminished (B, D, F)- C Major (C, E, G)

The chords above are diatonic to the key of C major. If any major scale is harmonized with 3 notes, these chord types will be the end result.

We now know the following information about the triads in any given key:

The I chord is a major triad. The II chord is a minor triad. The III chord is a minor triad. The IV chord is a major triad. The V chord is a major triad. The VI chord is a minor triad. The VII chord is a dim triad. The VIII chord is major triad.

Note: It is common to use Arabic numerals when describing the note degrees of a scale, and to use roman numerals when describing chords.

To find the triads in any key, it is not necessary to go through the whole process of harmonizing the major scale. All you really have to do is apply what we just covered about the chords diatonic to any key. Let's say you wanted to know the triads contained in the key of C major. Below is the C major scale. All the scale degrees have been numbered.

C D E F G A B C

1 2 3 4 5 6 7 8

Since the 1st degree of the C major scale is "C", the I chord in the key of C is C major. Since the 2nd degree of the C major scale is "D" the II chord in the key of C is D minor. The III chord is E minor, the IV chord is F major, the V chord is G major, the VI chord is A minor, the VII chord is B diminished, and the VIII chord is C major. You can use this method to find the triads in any key.

Guitar Scales Step 2

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Guitar Scales Step 2

When we stack one more note on the top of every triad. Once the C major scale is harmonized using 4 notes, we get the following chords:

C major 7 (C, E, G, B) - D minor 7 (D, F, A, C) - E minor 7 (E, G, B, D) - F major 7 (F, A, C, E) - G dominant 7 (G, B, D, F) - A minor 7 (A, C, E, G) - B minor 7b5 (B, D, F, A) - C major 7 (C, E, G, B)

The chords above are diatonic to the key of C major. If any major scale is harmonized with four notes, these chord types will always appear.

Here is the information about the chords within any given key:

The I chord is major 7. The II chord is minor 7. The III chord is minor 7. The IV chord is major 7. The V chord is dominant 7. The VI chord is minor 7. The VII chord is minor7b5. The VIII chord is major 7.

Apply the principles of diatonic chord harmony to find the major 7, minor 7, and dominant 7 chords within any given key.

The power chord functions as a major or minor chord in a given chord progression.

A chord progression consisting of F# minor, D major, E major, C# minor is in the key of A major. If that same progression contained power chords only, it would still be in the key of A major. The F# power chord functions as the F# minor chord, the D power chord functions as a D major chord, the E power chord functions as the E major chord, and the C# power chord will function as the C# minor chord. It doesn't matter whether the progression consists of "7th" chords , triads , or power chords, it is so important to which key the progression is associated with for you to know which scales to use when the time comes to play them out.

Every major scale has what is called it's "relative minor" scale. The relative minor scale has the same notes as it's major scale, except with the relative minor scale you start and end on the major scale's 6th degree.

Let's look at the C major scale again. The 6th degree of the C major scale is A. If we take the exact notes of the C major scale, and arranged them starting and ending on the scale's 6th degree, this would be the end result:

A B C D E F G A

The scale aove is called A relative minor (also known as pure minor, natural minor, and the Aeolian mode). The A relative minor scale contains the same notes as the C major scale. A minor is relative to C major.

The E major scale has the 6th degree in C#. If all notes within the E major scale are arranged starting and ending on the scale's 6th degree, this would be the result:

C# D# E F# G# A B C#

The scale above is called C# relative minor. It has the same notes as the E major scale. C# minor is relative to E major.

The chords within the relative minor key are the same as the chords within it's major key. The only difference is that the relative minor key starts on the VI chord.

Chords in the key of C major:

C major, D minor, E minor, F major, G major, A minor, B diminished, C major.

Chords in the key of A minor:

A minor, B diminished, C major, D minor, E minor, F major, G major, A minor.

Chords in the key of E major:

E major, F# minor, G# minor, A major, B major, C# minor, D# diminished, E major.

Chords in the key of C# minor:

C# minor, D# diminished, E major, F# minor, G# minor, A major, B major, C# minor.

Unless somebody is speaking of the order in which the notes or chords are, a chord progression can be named by it's major or minor key. Because most rock and metal songs and progressions center around power chords that function as minor chords, are usually named by the minor key.

Now we are ready to explore the different scale types as you can find them on the guitar fretboard. For every scale, at least 5 different fingering patterns will be shown. If you learn all the fingering patterns for any scale type you will get the ability to use that scale all over the entire fretboard.

All scale patterns are moveable. This means that you can move them from fret to fret, with every position giving the scale a new letter name. All circled notes will show the scale's root - the note that determines the letter name of the scale. The method is the same as with moveable chords. If pattern 1 for the minor pentatonic scale is played at the fifth fret, it is in the key of A, since the sixth string , fifth fret is an A note. (The root notes on the fourth and first strings are also A notes.) play the same pattern at the third fret and is is in the key of G, as the sixth string , third fret is a G note.

Once you really know the scale patterns and see how easy it is to change keys by moving them to different positions on the neck, you probably won't feel tempted to create scales using the formulas. The scale patterns that you are about to learn are better served to the actual playing of the instrument. The method of constructing scales using formulas was demonstrated to show you the theory side of things. As each different scale type is shown, it's formula for construction will also be shown.

Harmonic Minor Scales

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Harmonic Minor Scales

Use this scale over a minor triad or power chord of the key you're in. Use A harmonic minor over an A minor triad or an A power chord. It can also be used over D minor, E major, or F major, when these chords are used in a progression that centers around an A minor triad or an A power chord. You can hear this one all over the place in metal and neo-classical. It is very similar to the Aeolian mode, actually only one note makes the difference between them and that note is the raised 7th degree.

Formula 1, 2, b3, 4, 5, b6, 7

Extended Scales

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Extended Scales

These scales are all 3 notes/string and you have to learn those if you are interested in becoming a shred style player. Together with the 5 patterns that you already know, this makes a total of 12 different fingering patterns for any major scale mode. If you have any trouble executing the stretches necessary to perform these scales, You should try some of these exercises in the below links. 3 note per string patterns really open up the neck, that's why they are so popular with most of the great metal and rock guitarists.

Ionian Mode

Diminished Scale

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Diminished Scale

This scale has 4 roots. In the key of A it is also in the key of C, Eb, and Gb.

Formula 1, 2, b3, 4, b5, b6, 6, 7

A lot of the scale patterns on this website may be played at two positions on the fretboard for the same key. If each note from a scale pattern is played one octave higher or lower, then the entire pattern can also be played one octave higher or lower. Twelve frets span the distance of one octave for any note on a single string. So any scale pattern may be played 12 frets above or below its position, as long as the guitar doesn't run out of frets.

If we look back at pattern #1 for the minor pentatonic scale. In the key of A, this pattern can be played at the fifth fret and one octave higher (twelve frets higher) at the seventeenth fret. Now look at pattern #2 for the minor pentatonic scale. In the key of A , this scale pattern can be played starting at the eighth fret and one octave higher starting at the twentieth fret. Pattern #3 for the minor pentatonic scale cannot be played at lower and higher octaves in the key of A. Due to it's location on the fretboard, the neck does not have twelve frets above or below it's position. But don't fret (pun intended) lol, this is not true for a number of other keys. For example, in the key of E, pattern #3 may be played starting at the fifth fret and one octave higher starting at the seventeenth fret.

Always keep in mind the possibility of playing scales at lower and higher octaves, so you can use them to fly up and down the fretboard!

Melodic Minor Scales

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Melodic Minor Scales

This scale actually contains a lot of different notes when it is played ascending (from lower octave to higher octave) than when played descending (from higher octave to lower octave). The descending version has the same notes as the relative minor scale (Aeolian mode). When this scale is referred to from an improvising standpoint, the ascending version (sometimes called the "jazz minor scale") is normally used.

You can use this one over the minor triad or power chord of your chosen key. Use A melodic minor over an A minor triad or an A power chord. This scale can also be used over D major and E major, when these chords are used in a progression that centers around an A minor triad or an A power chord.

Formula 1, 2, b3, 4, 5, 6, 7

Melodic Minor Scales

Formula 1, 2, b3, 4, 5, 6, 7

Blues scale

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Blues Scale

The blues scale has all the same notes as the minor pentatonic, plus one note, the flatted fifth. Sometimes referred to as the "blue note" , the flatted 5th is usually used as a passing tone. The flatted 5th is used in this way because it clashes with the natural 5th of the key, a note that is in most chords that the blues scale corresponds with when improvising.

You can avoid shaky territory by using the flatted fifth in a situation where it won't clash with background chords or bass lines. You don't have to limit the flatted fifth to just a solo. This note can be put into a verse, chorus, or any other part of a song where it creates a good effect.

This scale works over the same chords as the minor pentatonic. Just be sure to use the flatted 5th very carefully.

Formula 1, b3, 4, b5, 5, b7

Blues Scale

This scale works over the same chords as the minor pentatonic. Just be sure to use the flatted 5th very carefully.

Formula 1, b3, 4, b5, 5, b7

The Modes

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All the different Modes

The Ionic Mode

You can use the Ionian mode over the major 7 chord , major triad, power chord, or chords within the same key. Use A Ionian over an A major 7 chord, A major triad, A power chord, or chords in the key of A major.

Formula 1, 2, 3, 4, 5, 6, 7

Dorian Mode

Use the Dorian mode over the minor 7 chord, minor triad, or power chord of the key that you choose. This scale will also work over chords in the major key two frets lower. Use A Dorian over an A minor 7 chord, A minor triad, A power chord, or chords in the key of G major. This scale blends in nice with the minor pentatonic scale. A lot of the great guitarists out there do just that with all these scales, they combine them with other scale types. So let's say you have a nice minor pentatonic lick, you could throw in some Dorian in there or any other minor scale type.

Formula 1, 2, b3, 4, 5, 6, b7

Phrygian Mode

Use the Phrygian mode over the minor 7 chord, minor triad, or power chord from the key of your choice. This scale will also work over chords in the major key 4 frets lower. Use A Phrygian over an A minor 7 chord, A minor triad, A power chord, or chords in the key of F major. This scale is used quiet often in metal music. Just like with the Dorian, you can also mix this one in with the pentatonic minor.

Formula 1, b2, b3, 4, 5, b6, b7

Lydian Mode

Use the Lydian mode over the major 7 chord, major triad, or power chord of the key you are gonna be in. This scale will also work over chords in the major key 5 frets lower. Use A Lydian over an A major 7 chord, A major triad, A power chord, or chords in the key of E major. Joe Satriani and Steve Vai use this mode a whole lot. Those "guitar gods" really know how to use it, and you will too with practice, practice, practice. What you should do with all of these scales, is record yourself playing any type of chord or chords that go with the scale, and improvise over them with the mode or scale of your choice.

Formula 1, 2, 3, #4, 5, 6, 7

Mixolydian Mode

Use the Mixolydian mode over the dominant 7 chord, major triad, or power chord of the key you are in. This scale will also work over chords in the major key 5 frets higher. Use A Mixolydian over an A7 chord, A major triad, A power chord, or chords in the key of D major.

Formula 1, 2, 3, 4, 5, 6, b7

Aeolian Mode

You can use the Aeolian mode over the minor 7 chord, minor triad, or power chord of your key of choice. This scale will also work over chords in the major key 3 frets higher. Use Aeolian over an A minor 7 chord, A minor triad, A power chord, or chords in the key of C major. This scale is also known as the relative minor scale, natural minor scale, pure minor scale.

Formula 1, 2, b3, 4, 5, b6, b7

Locrian Mode

Use the Locrian mode over a minor 7b5 chord or diminished triad of your chosen key. This scale will also work over chords in the major key 1 fret higher. Use A Locrian over an A minor 7b5 chord, A diminished triad, or chords in the key of Bb major.

Formula 1, b2, b3, 4, b5, b6, b7

Minor Pentatonics

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Minor Pentatonics

The minor pentatonic scale is often thought of as a blues scale, the blues scale is another, but very similar scale. This scale is actually a smaller, 5 note version of the 7 note relative minor scale. ("Penta" is derived from "pente", which means 5 in Greek. Don't get confused because you see more than five notes in each pattern, the notes are just repeating themselves.

You can use this scale over the minor triad or power chord of the key that you want. You can also use the scale below over chords in the key of A minor, when these chords are used in a progression that centers around an A minor triad or an A power chord. It will also work over chords in the major key two frets lower. Use this scale over chords in the key of G major, again, only if these chords center around an A minor triad or power chord. The scale below is in the key of A minor.

Formula 1, b3, 4, 5, b7

Major Pentatonics

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Major Pentatonic

The major pentatonic scale relates to the major scale in the same way the minor version of this scale relates to the relative minor scale. This scale is a smaller, 5 note version of the major scale. The scale is usually used over a major triad or power chord for a country or country rock type of sound. Use the scale below over an A major triad, A power chord,, or a progression in the key of A major that centers around an A major triad or an A power chord.

This type of scale is used sometimes in rock and metal. Not so much, though.

Formula 1, 2, 3, 5, 6

Picking Exercises

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Picking Exercises

The cause of a lot of picking problems lies in the switching of strings - moving the pick from one string to another. The following pairs of numbers represent every possible string switching combo between two strings. Every number indicates a guitar string (1=first string, 2=second string, 3=third string, etc.)

Right Hand Exercise #1

1-2
1-3
1-4
1-5
1-6

2-3
2-4
2-5
2-6

3-4
3-5
3-6

4-5
4-6

5-6

Learn all of the above combinations. Practice every one repeatedly using both a downstroke and an upstroke. Each string is played open, the left hand is not used.

The exercises that follow are also designed to improve your string switching technique. Since most of the string is performed between adjacent strings, these exercises concentrate on that area. Once again, the left hand is not used. You can do these while watching television, as they don't take too much concentration, but trust me, these exercises will improve your picking I promise.

Right Hand Exercise #2

Practice continuous alternate picking between four adjacent strings. Practice on both a downstroke and an upstroke.

Example: Continuously pick strings 1, 2, 3, 4, 2, 3, 4, 5, etc.

Right Hand Exercise #3

Practice continuous alternate picking between all 6 strings. (Continuously pick strings 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 6, etc.) Practice using both an upstroke and a downstroke.

Right Hand Exercise #4

Practice the following sequence of strings, striking each string 4-5 times:

6, 5, 4, 3 5, 4, 3, 2 4, 3, 2, 1

Go through the same sequence of strings striking each string 3-4 times, then 2 times, and finally 1 time each string. Then go back to four times every string and keep repeating. There should be no pauses, this is all one exercise. Use strict alternate picking. Always start using both an upstroke and a downstroke.

Right Hand Exercise #5

Use the same directions from right hand exercise #4 to the following sequence of strings: 6, 1, 5, 4, 3, 2

Right Hand Exercise #6

This exercise uses a picking technique known as tremolo. Tremolo is a rather fast, continuous picking style, usually performed on a single string. Practice continuous alternate picking using any open string. When practicing this technique, don't go for speed right away, concentrate on playing evenly. Try not to speed up or slow down. The goal with this one should be to build up to a fast, even tremolo.

Right Hand Exercise #7

Exercise #7 uses the A major scale (Ionian mode), fingering pattern #1. Notice that every other note in this exercise is played at the sixth string, fifth fret - the scale's root. Keep your left hand middle finger planted on this note and do not lift it during the entire exercise. As usual, practice with a downstroke and an upstroke.

Right Hand Exercise #8

Exercise #8 uses the A minor pentatonic scale, fingering pattern #1. You can use this sequence in your guitar solos. Randy Rhoads used this picking sequence during a portion of the "Mr. Crowley" solo.

We need some kind of system that will chart your progress. The first thing to do is practice with a metronome. For those of you who may not know, a metronome is a device that maintains an audible beat to a steady tempo. The beat of the metronome can be adjusted to many different speeds, indicated by numbers labeled on the metronome. You need to start out at a speed that is comfortable for you and then work your way up to a faster tempo, while steadily building technique. The metronome will really help improve your sense of time.

The highest setting on most metronomes is 208. When we play one note per beat on the metronome, we are playing what we call quarter notes. Once you have reached 208 playing quarter notes, you can go on to faster tempos by playing two notes per beat, which are referred to as eighth notes. Three notes per beat are called triplets and four notes per beat are called sixteenth notes. Aside from speed, it is a good idea to practice the exercises using all of the note values we just covered, since each note value has a different feel.

After you practice each exercise, write down the metronome setting that was used. If you can perform that exercise perfectly, then it's time to move up the tempo. You may find that some of the string switching combinations from Exercise #1 are harder to perform than others. What you should do in this case is write down the setting used for each individual combination. Practice the combinations that you find more difficult at a slower tempo. Increase the speed only when you are ready. If you can't play the exercise perfectly. then you are playing it too fast, slow it down!

Each time you practice Exercise #2, write down the four strings that were used. Then the next time you practice that exercise, use a different set of four strings.

For Exercise #6, use a different string each time you perform the tremolo. Start with the first string and work your way down to the sixth string, then start with the first string again. Tremolo is usually played using triplets or sixteenth notes. Even though you'll be playing on one string, you should still practice starting with a downstroke and an upstroke, just to get used to coming in on the beat using either picking motion.

Exercise #7 is written in the key of A, but it can be played in any key. Once you get it down, practice it in the key of Bb, then B, then C, and so on. Go through all keys working your way back to the key of A again, using a different key each time the exercise is performed.

After you have played Exercise #8 a few times, you should start to get an idea of the picking sequence being used. Each time you practice this one, apply the same sequence to a different one of the five minor pentatonic scale fingering patterns that you have learned. Go through all five using the same key, then begin with pattern #1 again using a different key. Go through all keys working your way back to the key of A again, as described above. Make sure you keep a written record of this and all information to insure organized, progressive practice.

I cannot stress enough the importance of practicing only at a speed in which you can perform the exercises perfectly. Speed will only come with accuracy.

Left Hand Exercises

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Left Hand Exercises

Exercise #1

The following combinations include every fingering possibility between four frets on a single string. Each letter indicates a left hand finger (i=index finger, m=middle, r=ring, p=pinky). Start at the first fret and move combination #1 chromatically up the fretboard (chromatically meaning one fret at a time). Once you reach the fifteenth fret , go back down the fretboard using combination #1. When you reach the first fret again, go on to combination #2 and do the same thing. Keep doing this until you've gone through all twenty-four combinations. Choose a different string each time you perform this exercise.

(1) i-m-r-p

(2) i-m-p-r

(3) i-r-m-p

(4) i-r-p-m

(5) i-p-m-r

(6) i-p-r-m

(7) m-i-r-p

(8) m-i-p-r

(9) m-r-i-p

(10) m-r-p-i

(11) m-p-i-r

(12) m-p-r-i

(13) r-i-m-p

(14) r-i-p-m

(15) r-m-i-p

(16) r-m-p-i

(17) r-p-i-m

(18) r-p-m-i

(19) p-i-m-r

(20) p-i-r-m

(21) p-m-i-r

(22) p-m-r-i

(23) p-r-i-m

(24) p-r-m-i

Exercise #2

The key to this exercise is to only move one finger at a time, while keeping all the other fingers planted on the fretboard. When the index finger moves , the middle finger, ring finger, and pinky remain on the fretboard and so fourth. You must be able to sound all notes clearly without having to lift any of your left hand fingers. This will teach proper left hand curvature, while also training the left hand fingers to move independently of one another.

Exercise #3

Keep the left hand in first position and execute a long, continuous trill using the following sets of fingers:

i-m
i-r
i-p
m-r
m-p

r-p

Choose a different string each time the exercise is performed.

Exercise #4

For those of you who don't have the greatest stretching abilities on the guitar, this exercise is sure to improve that problem area. The biggest stretch used when playing any extended major scale spans a distance of five frets, with one fret separating each finger. This stretch should not be a problem to you once you start using this exercise on a daily basis. You need to have a good stretch not only for extended scales, but for a variety of licks and runs used by today's rock and metal players. The guitar's frets span the widest distance from one another at the beginning of the neck. If you can master this stretch starting at the first fret, you should have no problem performing it anywhere else on the neck.

This exercise uses the same fingers that would normally be used to execute a five-fret stretch when playing any extended scale - the index finger, middle finger, and pinky. To really get those fingers stretching, keep each finger planted until it must be lifted.

As an alternative, practice exercise #4 using the index finger, ring finger, and pinky. This will get a good stretch going between the the ring finger and the pinky. Once you master that one, try using the index, middle, and ring finger combination, that one is a killer, and should keep you busy for a while.

Exercise #5 Hammer-On Scales

As examples for Exercises 5 through 7, pattern #1 for the minor pentatonic scale and pattern #1 for the extended major scale (Ionian mode) will be used. Both scales are played in the key of A. When you practice these exercises be sure that you use all patterns that you have learned, and also be sure to play them in all keys for both scale types.

Pick the first note on each string and hammer-on to all other notes located on the same string (h=hammer-on).

Music Keys

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Key	Sharps	Major	minor	minor	Major	Major	minor	dim
		1st	2nd	3rd	4th	5th	6th	7th
Key of C	none	C	d min	e min	F	G	a min	B dim

Key of G	(F#)	G	a min	b min	C	D	e min	F # dim

Key of D	(F#,C#)	D	e min	f # min	G	A	b min	C# dim

Key of A	(F#,C#,G#)	A	b min	c # min	D	E	f # min	G# dim

Key of E	(F,C,G,D)#	E	f # min	g # min	A	B	c # min	D# dim

Key of F	(B flat)	F	g min	a min	B flat	C	d min	E dim

The relative minor is the 6th (blues minor scales for solos)

Some common patterns:

1st, 4th, 5th, 1st

1st, 6th, 4th, 5th

Advanced Guitar Lesson

2009-11-20T16:22:00.000+05:30

Basic Gitar Chords

Major Chords
G        C      D    A      F     E

e :-3--------0------2----------- 1----- 0------------------
B :-0--------1------3----2------1-----0------------------
G :-0--------0------2----2------2-----1------------------
D :-0--------2------0----2------3-----2------------------
A :-2--------3----------- 0------------  2------------------
E :-3---------------------------------    0------------------


Minor Chords
G       C      D    A       F      E

e :-3-------8------1----0-------1------0-----------------
B :-3-------8------3----1-------1------0-----------------
G :-3-------8------2----2-------1------0-----------------
D :-5------10------0----2-------3------2-----------------
A :---------------------     0-------------- 2-----------------

E :------------------------------------       0-----------------

Gitar Solo Lesson

E Minor Natural or Pure Scale

E  F#  G          A  B  C            D   E
e :-----------------|-----------------|-----------------|
B :-----------------|-----------------|-----------------|
G :-----------------|-----------------|---7--9----------|
D :-----------------|-7--9--10--------|-----------------|
A :-7--9--10--------|-----------------|-----------------|
E :-----------------|-----------------|-----------------|


            E Harmonic Minor Scale

E  F#  G          A  B  C            D#  E
e :-----------------|-----------------|-----------------|
B :-----------------|-----------------|-----------------|
G :-----------------|-----------------|---8--9----------|
D :-----------------|-7--9--10--------|-----------------|
A :-7--9--10--------|-----------------|-----------------|
E :-----------------|-----------------|-----------------|


               E Hungarian Minor

E  F#  G           A# B  C            D# E
e :-----------------|-----------------|-----------------|
B :-----------------|-----------------|-----------------|
G :-----------------|-----------------|---8--9----------|
D :-----------------|--8--9--10-------|-----------------|
A :-7--9--10--------|-----------------|-----------------|
E :-----------------|-----------------|-----------------|



              E Spanish Phrygian

E  F  G           A  B   C            D  E
e :-----------------|-----------------|-----------------|
B :-----------------|-----------------|-----------------|
G :-----------------|-----------------|---7--9----------|
D :-----------------|-7--9--10--------|-----------------|
A :-7--8--10-----|-----------------|-----------------|
E :-----------------|-----------------|-----------------|


               E Diminsihed Run

E   G  A# C#  E   G   A# C# E  G A#  C#  E
e :-----------------|-----------------|-9--12-----------|
B :-----------------|-------------8-11|-----------------|
G :-----------------|-------6--9------|-----------------|
D :-----------------|-5--8------------|-----------------|
A :----------4--7---|-----------------|-----------------|
E :-0--3--6---------|-----------------|-----------------|


               E Minor Arpeggio

E  G   B  E  G     B    E
e :-----------------|--7----12--------|-----------------|
B :--------------8--|-----------------|-----------------|
G :-----------9-----|-----------------|-----------------|
D :--------9--------|-----------------|-----------------|
A :-7--10-----------|-----------------|-----------------|
E :-----------------|-----------------|-----------------|

Blues guitar Lesson

Play 4 times   Play 4 times      Play 4 times
e :------------------------------------------------------
B :------------------------------------------------------
G :------------------------------------------------------
D :----------------7-7-9-9-------------------------------
A :-7-7-9-9--------5-5-5-5----------7-7-9-9--------------
E :-5-5-5-5-------------------------5-5-5-5--------------


Play 2 times    Play 2 times    Play 2 times
e :------------------------------------------------------
B :------------------------------------------------------
G :------------------------------------------------------
D :-9-9-11-11------7-7-9-9-------------------------------
A :-7-7-7--7-------5-5-5-5---------7-7-9-9---------------
E :--------------------------------5-5-5-5---------------

Ending or turnaround

e :------------------------------------------------------
B :------------------------------------------------------
G :------------------------------------------------------
D :--------7-8-9-----9-----------------------------------
A :-7------5-6-7-----7-----------------------------------
E :-5----------------------------------------------------




blues solo

e :----------------5-8-5---------------------------------
B :-------------5-8-----8-5------------------------------
G :----------5-7-----------7-5---------------------------
D :-------5-7-----------------7-5------------------------
A :----5-7-----------------------7-5---------------------
E :-5-8------------------------------8-5-----------------

Robert Johnson Blues Lesson

I Believe I'll Dust My Broom


e :---12-12---12--12--12----12-12--12---9----------------
B :-----------------------9--------------------------8---
G :-----------------------------------------------6------
D :-7---------10------9---------8---8---7---0------------
A :---------------------------------------------7--------
E :---------------------------------------------7--------

                                  s
e :--9------9---10--10--10---10--10--10-10---------------
B :--8---8----------10--10--------------10---------------
G :------------------------------------------------------
D :--------------0------------0----------0---------------
A :--7------7--------------------------------------------
E :--7------7--------------------------------------------


Shown below is the blues rhythm that can be played using this
odd tuning.


e :------------------------------------------------------
B :------------------------------------------------------
G :------------------------------------------------------
D :------------------------------------------------------
A :-0-0--2-2----0-0--2-2----0-0-2-2---0-0--2-2-----------
E :-0-0--0-0----0-0--0-0----0-0-0-0---0-0--0-0-----------

Stevie Ray Vaughan Lesson



As you're playing these double stops
              on the b string and small e string
              a slight 1/4 bend occurs on the 8th
              fret b string
                              
s                                         s
e :-0-----0-0-0-0------7-7-7-7-7----------------7--------
B :-3--5--5-5-5-5------8-8-8-8-8----------------8--------
G :------------------------------------------------------
D :----------------0-------------------------------------
A :----------------0---------------------------------0---
E :----------------0---------------------------------0---


s                          b 1/2(grad.release)
e :----0--0-0-0-0-0-0-0---0------------------------------
B :-3--5--5-5-5-5-5-5-5---5------------------------------
G :--------------------------0---2----------------(2)----
D :--------------------------0---------------------------
A :--------------------------0---------------------------
E :------------------------------------------------------


e :-----------0------------------------------------------
B :-----------0------------------------------------------
G :--0--------0------------------------------------------
D :-------2----------------------------------------------
A :------------------------------------------------------
E :------------------------------------------------------

Note Tuning
This song is tuned down a half step
1) =Eb
2) =Bb
3) =Gb
4) =Db
5) =Ab
6) =Eb