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Posted: Fri Feb 12, 2010 10:34 pm
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I third the motion to make this a sticky!! :P



Thank you SO much for making this, dude! Almost all of my friends who play guitar don't even know what goes into making a simple major chord. It irks me to no end. :shock:

I'll be waiting eagerly for the next lesson! :D

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Posted: Sat Feb 13, 2010 12:20 am
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Al 87 wrote:
Thanks Goranm interesting reading, like most on here i have some books etc but its cool when a forum member posts this stuff.

Copied to a word doc so i can read it over later.

Thanks again 8)


I was thinking of doing the same!

I'm pretty much self taught and skipped alot of this.

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Posted: Sat Feb 13, 2010 2:48 am
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Alright C major lovers out there! Here I go again! BUT, first!!!
DON’T LOSE YOUR NERVES OVER THIS!!! Don’t let this irritate you! You can’t understand it all immediately! That’s why I posted this here, so that you can read it again if you want to or need to. It takes practice (and quite a bit of it too) to understand all this! But, we’re getting there! Take the time you need! Don’t hurry yourself and DON’T FORCE YOURSELF TO UNDERSTAND all of it right now! Step by step! There’s no one looking over your shoulder and there are absolutely no time restrictions!
Never mind how long it will take you to learn and incorporate this in your playing, as long as you get to understand it eventually! And you will! Take the tempo that suits you! And please, don’t hesitate to ask questions! I don’t want you to misunderstand anything! And misunderstanding this can cause a bit of disturbance and can delay your understanding of future knowledge of this!


Ok! Now that we know how to play C major from starting from the third fret, A string, you can actually play ALL major scales using the same fingering pattern! Only by moving all of that up or down the neck. If you move only one fret up, to the fourth fret A string that is, you got yourself a C# (or enharmonic Db; enharmonic once again – same notes played, different writing (C# - Db)) major scale! Move it down one fret, to the second fret A string, keep your fingering pattern, and it’s a B major scale! Do that freely please! Keep the fingering and just move up or down the frets. And play the way you want to play it. The tempo you want.
Now, that’s all true when you’re starting your MAJOR scale on the A string. When you learn all the notes on the fretboard, all you need to do is play the notes that make C major scale: C D E F G A B C, all over the fretboard. Wherever you find a C note on your guitar, try to find all other notes of the scale and play it together, and eventually, I guarantee you, you’ll start mixing the notes the way you want to. Of any scale!
I forgot to tell you, although it’s pure logic, when you move up or down the frets and play scales or practice them, of course you’ll play in a different key. Other than C, I mean. If you play the same pattern as the C scale on the fifth fret A string, it’s of course a D major scale. You moved up two frets, and that’s a whole note right?! So, it’s a D. And so on, and so on.

Now, I want to share a secret with you!
No more lonely nights…Oh, wait, it’s a song! We don’t need that! Yet!
No more note-for-note learning songs!!!!! Why you ask?!

Because of this:
In 90% of the cases, the melody (solos included!) you want to learn is derived from the scale that’s played over the chord structure of the song! And if you know what chord is being played, you know what scale to play over it. And all the chords in a music piece, composition, or song is called harmony. Harmony is the most essential, the most needed and beautiful thing in music! Because it effects the atmosphere of the song, it contains melodies in itself, bass lines, rhythm…! You’ll see that! Patience!
So, when you are asked what’s the harmony of a certain song, it’s actually “what are the chords of the song”!
An example! If you play a C chord, the solo or a melody that’s played over that chord is in 90% derived from the notes of the C major scale you now know! Or if it’s in D, you play D major scale! In E minor, the melody is derived from the notes of the E minor (Em) scale! There are exceptions, but by the time we get to them, you won’t need to know them, because you’ll know much more about this than now.


INTERVALS


And now my friends, something I promised!
The easiest way of making “complicated” chords!!!!

You know the basic chords (those without intervals) need to have the root, the third and the fifth!!!! Knowing this, and keeping this in mind, you can make this:

Major 7 chords! How is it built?! Simple! Play the basic chord, and JUST ADD half a note below the note that’s the root of the chord!

Example: you play C major chord. You want C major 7, what note will you add to get the major 7?! The one that’s half a note (one fret down the neck from the C note) below C note, and it’s a B!!! B note is half a note below the C note!
If you want a D major 7, you’ll add half a note below the D note. Which is C# (or Db).
You just add notes when you play major 7 chords! So, instead of three notes that make basic chords, you now have four notes.

And it’ built this way:

MAJOR 7 CHORDS

Root of the chord (C), the third (E), the fifth (G), the major seventh (half a note below the root, B))

Cmaj7= notes C E G B

If you want to play E major for example, and you don’t know how to play it, you don’t know what notes are in E major chord, no sweat! You know there is an E, it’s called E major, so there must be an E, right?! One down, two to go! You need a third, but don’t know what the note is, just move up the frets until you get to E note (7th fret), and play the same pattern as the C scale. And the third note from the E note you play (in this case G#) is the one you need and is the third in E major chord. Now, the fifth. The fifth note you play from the E note is the one (in this case a B note). Now wherever you find those notes on the fretboard it’s E major chord! You now want a major 7 chord?! Just see what note is half a note below the root, which is an E here. And half a note below E is, in this case, D# (or Eb). And you have E major 7. Or EMAJ7, or EM7… Lot of different ways of writing.
And it's applied to all, I mean ALL chords!

Just one more thing for today. If you already know basic chords on open strings, or on first two or three frets, just move along the neck and keep the same position of the fingers. But, you’ll need to put the index finder (is that what it’s called in English? The one you point at someone, and pick your nose with, and do various other things with…) across the whole next fret, and it’s called Barre chord. What it does is it actually changes the tuning of the guitar. As if you had a capo. If you tune in standard E tuning , when you put your index finger across the whole first fret, you change the tuning of the guitar to F! And then the remaining three fingers create the same pattern of the chords as on open strings. And along the neck you go!


Enjoy!

Goran

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Posted: Sat Feb 13, 2010 4:39 am
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A much deserved bump.

Thankyou sir.

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Posted: Sat Feb 13, 2010 11:17 am
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I guess I have some will and time left to write about this stuff more today. So, let’s continue where we left off.

Now that we know how to create and make major 7 chords, why not continue all the way through!

So, now we have come to minor sevenths! Which is really called simply “the sevenths”! You don’t have to use the “minor” prefix. So, if you hear or read C7, or Am7, etc. it is referred to minor sevenths.

It is built this way:
Basic chord (root, the third, the fifth) and ADDing one whole note below the root! You see the difference between the major and minor sevenths?! In major sevenths to basic chords you add half a note from the root of the chord (and scale), but in minor or simply seventh chords you add the note that is one whole note below the root.

Example: C major (notes: C E G), you want a C7. You still hold those basic notes of the chord (root, the third and the fifth) and add the note that is one whole note below C, which is Bb. So, C7 will have notes: C E G Bb. The same is with any other chord!!!
We mentioned E, so E7 will have these notes: E – the root, G# - the third, B – the fifth, and adding the 7th note of the scale which is D. One whole note below E, the root.

Sevenths are the most valuable interval, and chord in jazz music. Because as you will see in the next post, every other interval (nineths, elevenths, thirteenths) are built using sevenths.

We shall close this for today with explaining one more interval (the place of the note in the scale), the sixth.

The creating of the sixth chords uses the same principle as the creating of major 7 and minor 7 chords (distinction and prefixes here for you to be able to follow easier).

For the sixth, you again have the basic chord with its root, the third and the fifth, and of course, to make it a sixth, you need to add nothing else but – the sixth note of the scale.
It can be done in two ways from your head:
1 One and a half note below the root (C – 1 ½ note below is an A note)
2 Whole note up from the fifth of the chord (the fifth is a G, whole note up is an A of course)

Whichever way you choose, it will get you where it needs to.

So, C6 chord will have these notes: C E G A

Take any chord, any chord you like and try to make it a major 7, minor 7 and the sixth chord using these simple steps. It may not sound simple because this is all new to you, but it would if you new other, more traditional ways of building chords. This is how I do it, I kind of tricked it, and made it work for me. Now, it’s there for you to make it work!

Of course you can practice this with any chord you like. But, don’t just use your head, grab a guitar and play the chords to see the difference. Some of you may think there is too much thinking involved in this, but relax, after you’ve done with all of this, it will become a routine. To think this way I mean. Routine is a bad thing in music, or any art really, but when it comes to any form of theory, it can’t be beaten.

Next time, we’ll talk about the fifths, and the thirds (which makes the difference between basic major and minor chords), and some other fascinating things.

Oh, listen, David Gilmour’s solo on “Keep talking”! Well, if you want to play that, you better start playing the way it is meant to be. That’s why we are here anyway!

Update: when you practice and play chords or anything else really, don’t just sit (or stand) and strum! Play with notes in the chord you are playing. Try to skip or replace some notes, just to see the potential of harmony in general! Change one note, and you’ll open new horizons to your music. It doesn’t matter you don’t know what you are playing when you do that, you will! Play and change rhythm, try to play melodies through chords, and make up bass lines as you walk through the chord. And will talk about it next time.

Goran

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Last edited by Goranm on Tue May 18, 2010 4:06 am, edited 2 times in total.

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Posted: Sat Feb 13, 2010 11:30 am
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Oh, one more thing that I keep forgetting to mention!
You can have as many same notes in a chord as you like and want to (if you're able to pull it off, which depends on the instrument you play really).
In other words, in a C chord - notes C E G and any interval that we have mentioned so far, and we will mention - you can have as many C notes as you like. The same with E and G notes, and any other note that is in a chord! Any chord! There is no other instrument where it's more obvious than on guitar!

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Posted: Sat Feb 13, 2010 11:48 am
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Goranm wrote:
C major scale on guitar will be: Third fret A string (C note), fifth fret A string (D note), second fret D string (E note), third fret D string (F note), seventh fret D string (G note),
second fret G string (A note), fourth fret G string (B note) and fifth fret G sting (C note).

Hi Goranm, thank you these posts, they're very useful. :) Should the G note in the above scale be on the 5th fret of the D string?

Sorry to be picky and thank you again for taking the time and effort to post these lessons. Please keep them coming.


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Posted: Sat Feb 13, 2010 1:03 pm
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fenderstrat1963 wrote:
Hi Goranm, thank you these posts, they're very useful. :) Should the G note in the above scale be on the 5th fret of the D string?

Sorry to be picky and thank you again for taking the time and effort to post these lessons. Please keep them coming.


You're not being picky! You're right! I missed that! Obviously my mistake! I apologize to everyone! I' ll edit that immediately! I let that go through where it never shouldn't have gone through! I must be more careful!



A BIG THANK YOU!!!!

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Posted: Mon Feb 15, 2010 8:17 am
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Hey!!! What the hell happened to my thread???!!! Just kidding!
Had a couple of things to attend to, but now I'm back, and ready to continue! Just give me some time to write and check that stuff, and we're ready to rock!
Hey, I'm not ready to go to page 2 yet!

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Posted: Mon Feb 15, 2010 10:09 am
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This is an great thread Goranm Thanx


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Posted: Mon Feb 15, 2010 12:12 pm
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Ok! We now understand the major sevenths, the sevenths and the sixths! Yes, you are right! We have come to the fifths!

And here is the story of the fifths:

They can be augmented and they can be diminished!

C major: C E G! What is the fifth here? You got that right it’s a G! So, if you want to make it Cb5, for example, what it means is that you have a basic C chord, with only one slightly change. HALF A NOTE diminished fifth of the chord! So, instead of a G, the fifth now becomes F# (or Gb). Because, yes, the F# note is half a step below G note! So, the notes you will play in Cb5 are: C E F# !
Not that much of a trouble right?! Not if you know what the fifth is! And we do know how to get the fifth right? If not, please read previous posts. I am pretty sure I explained it already. Oh, what the hell, I’ll do it again, one more sentence won’t kill me!
When you play major scales (or any other), the fifth note you play is the fifth note of the chord too. Because, as we know, basic chords consist of the root (the first note of the scale too, by which both the scale and the chord are named after), the third (note of the scale), and the fifth note. And that’s it. You can play with any note you like, and make various combinations.
To sum it all up, as far as diminished fifths are concerned, all you have to do is diminish the fifth for half a note. On any chord!

And now, augmented fifths! Everything the same, the only difference is you raise the fifth by half a note. So, in C#5, the root (C) and the third (E) remain the same, but you will make the fifth half a step/note up, and in C major chord it will be (G#). Augmented fifths can also be written this way: Caug.

Knowing other intervals that we have mentioned so far, you now know how to make, say,
C7b5 – classic C chord with diminished fifth and added minor 7.
C7b5 will have these notes: C (the root), E (the third), F# (diminished fifth from G), and Bb (the seventh, minor seventh, which is, as you remember, one whole note below the root). (Major seven is half a note from the root)
And that’s all about the fifths. You can play with different chords now and with intervals within the chords. Just make up chords using what you have learned so far. And change keys!

BUT!!! IF YOU CHANGE ANYTHING IN A CHORD, ANYTHING AT ALL, YOU MUST MAKE THE SAME CHANGE IN THE SCALE FROM WHICH THE CHORD IS DERIVED! Or otherwise it won’t sound good, and it will not be the same chord, or the same scale anymore. So, THE SCALES AND THE CHORDS WITH THE SAME NAME MUST BE THE SAME!!!

Example: If you play A#5 (also called Aaug) for example, with notes (A the root, C# - the third, F (augmented fifth from E, which is the fifth in A major scale), you must also, when you play the A major scale over that chord, raise the fifth half a step, because you have already raised the fifth in the chord. And you must no longer play the normal fifth of the scale, because it will not match and it will probably sound bad. And once you have raised or diminished the fifth (or changed any other note), you must let go and not play the normal fifths of the given scale and chord!!! Beware of that on guitar, because as I said the notes in chords can be multiple, more than one. More than one C, or E , or G, depends on what chord it is. And that’s a mode right there! A mode of the scale. But, you don’t need to know the names of the modes as long as you know how to play them, do you. And you’ll know how to play them if you make the chord and the scale played over the chord the same! And, welcome to jazz, my friends! We’re at the very beginning but we’re getting there!

This is where the fun begins, so next time we’ll talk about SUS chords, and the thirds.

Enjoy!

Goran

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"All that is impossible remains to be achieved."
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Posted: Mon Feb 15, 2010 2:44 pm
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Thanks for posting that Goranm - I'm looking forward to getting home and playing around with it :)


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Posted: Mon Feb 15, 2010 6:49 pm
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Please, take your time-no need to rush. Keep it slow and simple, so that we may all follow.
Love your stuff!


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Posted: Mon Feb 15, 2010 7:14 pm
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Here's an article I wrote a few years ago regarding ear training for guitar and linking your ear to the fretboard, hope it helps. I believe that ear training is essential and should be studied in conjunction with theory. Learning theory in a vacuum is pretty much useless imho. Any questions just ask;

http://www.jsguitarforum.com/forum/show ... hp?t=56336


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Posted: Mon Feb 15, 2010 8:16 pm
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After having read the first post I immediately bookmarked the thread. I look forward to hearing things from another's perspective :o

Feed my brain, people :P


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