guitabulary BLUES EDITION

> Overview & Reference

GIMME AN F
PENGUIN BOOGIE
SEE THIS
BEER BAYOU
SUNCOAST SHUFFLE
 Guitabulary - Special Blues Edition
Play Killer Blues Guitar In Just 30 Days!

The Language of Blues Guitar

Learning how to play blues guitar is not rocket science. It's actually pretty easy
to nail the basics. Think of it like you would a language made up of words,
phrases and sentences. Every blues player (yes, everyone) learns and plays the
same blues phrases, or "licks", but it's each player's individual personal
expression, sound and style that makes that phrase their own. And here's the
best part -- there's endless variations on the theme. Once you've learned a new
phrase, you can tweak it by adding or removing notes, or adjusting the timing a
bit and you'll wind up with ten more new blues licks to add to your vocabulary.
Guitabulary teaches this language of blues guitar by equipping the student with
over 350 blues phrases to choose from and learn.

Hey, Show Me That!

Very few of us have the time to learn how to read, master music theory, take
lessons or even practice new material regularly. On the other hand, we'll take
advantage of any opportunity to plug in for a few moments and jam to our
heart's delight until sleep or the significant other calls. Most of us learn best
when we're able to sit down with a teacher or bud and have them show us
something that they just played that sparked our interest. That's what
Guitabulary is all about -- a spontaneous and cognitive learning system for
strummers like us.

New "Cognitive" Learning System

Guitabulary is the first quick-learning system for guitar to employ a "cognitive"

format, which adapts itself as well to beginners as it does for advanced players.
This study program is unlike anything you've ever seen. There's no beginning or
end -- students cherry-pick their starting point. You do not need to read music.
You do not need to learn theory. You don't even need to practice that hard. You
do have to spend an hour a day, for 30 days, working on the elements that
you've selected. It's even OK to skip a few days here and there as long as you
retain the previous practice session's learning.

How It Works

Picture this: four world-class blues players and instructors come over to the
house for a jam session. They bring a killer band along to lay down a diverse
range of blues jam tracks. The guitar players then take turns soloing over the
tracks, each with their own style and "voice". Now here's the trick -- you get to
stop them anytime that you hear something that you'd like to learn and they'll
break it down for you note for note, slow then at tempo, and so on until you can
claim that phrase or rhythm part as your very own. Guitabulary features ten
killer blues solos broken down phrase-by-phrase (350 of 'em!), chord-by-chord,
and technique-by-technique.

Have It Your Way

You select only the phrases and parts that most interest you and then work with
the corresponding MP3 audio examples and instruction manual. There's full
notation for those who want it and tablature for the rest of us. We illustrate
every fingering and demonstrate every technique. The Guitabulary manual
features 192 pages of chord sheets, charts, notation, tablature, fingering and
improvisational theory in PDF format and can easily be printed out. Naturally,
beginners would focus on the simpler phrases while the advanced players would
tackle the more acrobatic parts. Fear not, there's plenty of material for players of
all levels. And there's lots more to do after the first 30 days -- this Guitabulary
edition provides over 100 hours worth of blues guitar instruction.

Lets Get Rigged!

If you’re reading this PDF manual then you’ve already got Adobe’s Acrobat
Reader, which allows you to navigate Guitabulary’s manuals interactively. To
get the latest version simply click here: Adobe Acrobat Reader

You’ll also need an MP3 player to play the audio files. Any player will work fine.
Got one? Great, skip ahead. Need one? No problem – simply click on either of
the following links to download one of our favorite free players: RealPlayer or
Window Media Player

Guitabulary Elements

This volume of Guitabulary is packaged into 7 modules – each module contains a

single PDF manual and a large selection of MP3 files. The first module is titled
“Overview & Reference” (you’re in it now) and includes a notation guide, theory
manual an improvisational primer (Improv Theory). We highly recommend that
you listen to all of the audio components of this section at least once, especially
the six-step presentation. The next 5 modules each feature a blues track,
corresponding rhythm guitar lesson, and two killer blues solos (by different
artists), first played as whole solos and then broken down phrase-by-phrase,
note-by-note. Each phrase is demonstrated slow and then again at tempo. All
material is transcribed in both standard notation and tablature with special
notation showing fingering, scale positions and specific improvisational theory.
The manuals and audio files are organized into individual folders for quick
access and easy storage. The 7th module features a selection of bonus lessons that
will round out your understanding and mastery of blues guitar.

Working With The Manuals

The electronic PDF Guitabulary manuals contains all of the features you’ll need
to get the most out of Guitabulary. At the very least, you’ll refer to the manual
for tablature and chord charts. But if you’re really into the details then you’ll find
instructor commentary, notation, fingering, theory, rhythm charts, tonal charts
and just about anything you could ask for that relates to the material being
covered.

The best way to work with the manuals is electronically. Simply open the manual
with Acrobat Reader and flip through the pages right on your computer screen
using Reader’s easy viewing and linking features. We’ve linked all of the audio
files to their corresponding sections in the manual so that you can instantly start
playing the audio files without having to search through the file folders. Of
course, you can also print the manuals out and then open the audio files
manually if you prefer.

The following examples illustrate how the audio links work:

If you see text enclosed in a red rectangle, simply click within the rectangle and
the audio player will boot up and then play the corresponding audio file. Go
ahead and try it below (make sure you have your MP3 player installed and ready
to go).

Bending Techniques

Whenever you see a Track ID icon, click on it and then the corresponding audio
file will play. Go ahead and give that a try as well by clicking on the icon below:
 Where To Start?

First explore to your hearts delight -- open up each individual module’s folders
and get a feel for the manual and audio files contained within. Open up the
manual and click on a few Track IDs and have a listen to some of the material.
Flip through the theory section just for kicks and sample some of the six-step
improvisational presentation. Play a few of the bonus lessons. In short, take
inventory of what you’ve got available to you. Then pick one of the tracks to start
working with and get busy. Play the rhythm track and jam over it. Browse
through the commentary and theory section. Learn the rhythm guitar part. Listen
to both solos and then pick out the licks that you’d like to make your own. Move
on to the phrase-by-phrase section and then nail those licks. Go back to the
rhythm track and try your licks over the track. Try your new licks over one of the
other blues tracks. Mix and match. Tweak. Have fun.

Play Killer Blues Guitar In Just 30 Days!

The key to playing killer blues guitar in 30 days is simply organizing the time you
spend with Guitabulary and sticking to a daily practice regimen. Spend a third of
each practice session learning at least one new lick or trick. Spend another third
reviewing your previous practice session’s new material. Then spend the final
third having a little fun by jamming over the various tracks with your new
arsenal of chops. Spend no more than 20 minutes a session on new material and
then dedicate the rest of your time on review and jamming. It’s really that easy!

What to do on the 31st day? Dig in again. The intermediate player will find over
100 hours worth of blues guitar instruction contained within Guitabulary – that’s
good for a year’s worth of woodshedding! Enjoy Guitabulary and please let us
know how you’re doing and what you think of the system by emailing us at
info@truefire.com - ignited we stand!
Contents NOTATION GUIDE 4

THEORY LESSON 10

Major Scales 8

Diatonic Chords and 8

Scale Degree Equivalents

The Formula Method 8

for Chords and Scales

Scale Formulas 9

Tonal Colors 9

Parent Scale Concept 9

Scale Formula Fretboard Diagrams 10

Complete Harmony 12

Scale Possibilities 12

The Blues Composite Scale 12

Subsets of the Blues Composite 12

Scale

How to Apply Scales and 14

Arpeggios

Scales and Arpeggios Applied to 14

Scales and Arpeggios Syllabus 16

for “Gimme an F”
HOW TO APPLY MASTER THEORY Q&A 17

SIX-STEP APPROACH TO IMPROVISATION 19

NOTATION GUIDE: ANDY FRAZIER

TUNING
Notation Guide
These two pages show in detail the tablature notation used in Guitabulary. You will encounter
these techniques and articulations throughout. A printed transcription of the corresponding
audio is on pages 6–9. Audio demonstrations of the various techniques are indicated by a x.

Bending Techniques
Compound Bend &
Bend Grace Note Bend Bend and Release Pre-Bend Slight Bend
j
Unison Bend Release

œ œ œœ œœ œœœœœ
&œ œ œ œ œ
(Pick 1st note only)
œ
J œ œ

—
full —
full — ‡
full —
PB
full
— or...
1/4 —
full
— —2 ‡full ‡
full
\ \ 3
6
7 7 5 (5) 5 5 5 5 (5) (5) (5) (5)

Compound Pre-Bend Double Stop Bends: Wide Vibrato

œœ œ œ œ œ œ œœ œœ
Vibrato

œ œ œ # œœ œ œ~~~~~ œmmmm
(Pick all notes)

&œœ œ œ œ
hold bend or...

let ring

— —
1/2
— — — — ~~~~~ mmmm
PB PB PB
full 2 full full full hold bend full
\ \ \
7 8 8
5 5 5 5 5 7 7 7 5 5

let ring

Vibrato Bar Techniques

Dive to Nonspecific Bent Harmonics
Scoop Dip Melodic Bar Bar Vibrato Bar Flutter Pitch Bar Prebend
·
NH

œ œ œ œ œ œ œ ~~~ œ ~~~~ œ · w/bar

w/bar
œ œ œ œ
w/bar w/bar w/bar w/bar
œ œ
w/bar

&

~~~
PB NH
w/bar -1/2-1-1/2
~~~~
w/bar w/bar +1
w/bar w/bar w/bar -1-1/2 w/bar
5 8 5
5 7 5 5 (5 ) 5 5 5 5 12

Finger Slide/Glissando Techniques

Descending Slide to Ascending Slide from
Legato Slide Picked Slide Nonspecific Pitch Nonspecific Pitch

œ œ œ œ œ œ
&

7 9 7 9 5 4

2 G U I TA B U L A R Y, V O L U M E 1
Legato Techniques
Hammer On Hammer On with Bend and Tap
Tap and Slide
Ÿ~~~~~
Hammer On Pull Off Trill Legato Phrasing "From Nowhere" Pick Hand Tap

œ œ œ
hold bend

œ œ œ œœ œœœœœ œ œ T
œ
œ œ œ
T T

&œ œ ( )

Ÿ~~~~~ —
hold bend
full
T T T

5 7 7 5 7 (9 7) 7 9 7 5 7 7 5 7 12 7 12 12 7

Right Hand Techniques

Alternate Picking
Sweep Picking Rake
≥ = Downstroke)
Rasgueado Tremolo Picking Pick Scrape Palm Muting

œœ œœœœ
(
≤ = Upstroke)œ ≥ œ —œ
œ œ gg œœœ œ œ æœ ¿¿
(

&œ œ œ ¿ ¿ gg æ æ œ œ œ œ
≥ ≤ ≥ ≤ ≥ ≤ ≥ —3
ggg
PM
3 5 3
5 8 3 5 X 3

æ æ æ
5 7 4 5 X 4 5 7 9
5 7 5 X
X 5 5 5 5

Harmonics
Natural Harmonics Artificial Harmonics Pinch Harmonic Tapped or Touch Harmonic
NH
‚ ‚ #‚ · ‚ ‚
AH
‚
j‚ ‚ ‚ ‚ ‚ ‚ AH T

‚ J J œ œ œ
PH
œ œ
& J
AH
NH AH PH T
12
12 7
12 7 5 7 (19) 5 (17) 5 7 19
12 7
12 7
7

Miscellaneous
Ghost Note Staccato Marcato Accented Note Fret Hand Muting Analysis Timing Variance
>œ
C
œ. œ. œ. œ. œ^ œ^ œ^ œ^
Chord analysis

œ ¿ ¿ œ
I
œ œ œ œ
relative to key:

& ( )

Scale degree -‰
+‰
relative to chord: 1
Play ahead Play behind
of the beat the beat

(5) 5 5 5 5 5 5 5 5 5 X X 5 5 4 2 4

Suggested LH 3
fi i

G U I TA B U L A R Y, V O L U M E 1 3
NOTATION GUIDE: ANDY FRAZIER
Bending Techniques
The guide starts off with Bending Techniques. Bending
is one of the expression techniques that guitar players
use to give our playing a more vocal quality. When
bending, it’s important to make sure that you’re not
just pushing up the string arbitrarily . . . usually there’s
a target note that you want to reach. Here it’s indicated
in the notation by the second note E, which is connect-
ed to that fretted D by that sort of angular slur. In the
tab we use an arrow and an indication of the interval,
or distance, between the bent and fretted notes. Here,
it’s a full, or whole step, which means you're producing
a note that sounds like the note 2 frets higher. If it said
1/2, it would mean 1/2 step, like 1 fret higher. 1-1/2
would be like 3 frets higher . . . you get the idea. Most
players like to hedge their bet a little in making sure
they nail the note they’re after by using more than one
finger to produce the bend. Doing this bend, from D to
E, I use my 3rd finger for the D, and put my second
finger down behind it on the 6th fret to help with the
push. If I were using heavier strings, I might want to
use three fingers . . . but with a bend less than maybe a
step and a half, I like to keep my first finger free for
whatever might come after the bend.
Note that while the two notes are connected in pitch by
that kind of sliding, or slippery sound, they’re still dis-
tinct in terms of timing. If it had said “even” between the
two notes, I would have made a slower, more gradual
bend, still taking the timing into consideration.
The second example is a grace note bend. The differ-
ence here is one of timing. In the first example, the fret-
ted note had a definite time value, here the fretted note
is used as more of a decoration for the bent note. The
difference in the notation is pretty clear, it looks like a
regular grace note . . . in the tab, it’s distinguished by
the fact that the arrow goes straight up, rather than
curved to the right.
The third example takes it one step further . . . once
you’ve bent the note, now you want to hear the fretted
note afterward. With this technique, you still only pick
the first note . . . hang onto the string while you release
the bend and let the sustain articulate the 3rd note.
The next example is a pre-bend. This one’s a little tricki-
er than the others, because you have to make sure
you’ve nailed the pitch of the bent note before you
strike it. Here I’d like to mention a practice tip that will
not only help you with this, but with all of the bending
techniques where you’ll have to make sure the pitch is
dead on. Choose a note you want to use as the fretted
note, then one you’d like to bend to. Since the example
here shows a C and a D on the G string, we’ll use those.
Now, play the two notes normally, fretting both of them,
4 G U I TA B U L A R Y, V O L U M E 1
here on the 5th and 7th frets.
Now try it only fretting the first one, and bending up to
the second.
Now alternate between the two, and try to get it so if
someone weren’t looking, they couldn’t tell how you
were getting that second note.
This is a great way to get used to how far, in terms of
distance, you need to bend with your guitar, your fin-
gers, and your strings, to nail particular intervals.
The next example is something Brad likes to call a
“smear.” It’s almost more of a tug than a bend . . . the
idea is to bring the pitch up about a quarter tone, but
not necessarily exactly a quarter tone. It’s used most
often in blues on the third degree of the scale or prevail-
ing chord, to accentuate that ambiguity where the chord
is major, but the scale is minor.
Next up is the unison bend. Here you fret two notes, on
two adjacent strings, usually the notes are a whole step
or half step apart, and you bend the lower note up so
its pitch matches that of the higher note.
Now we’ve got the compound bend and release. Here
you’ve got to make sure your pitch accuracy is really
on. This is when you’re picking only the first note,
bending it to at least two more, then releasing it, either
straight down to the fretted note, or stopping on the
way to sound a few of the notes in between the highest
bent note and the fretted one.
The compound pre-bend is another tricky one. This is a
lot like the previous example, only now you’re picking
all of the notes. Again, pitch accuracy is crucial.
The next few examples involve double stop bends. You
can create some really cool effects with these, from
sweet pedal-steel type sounds to really raunchy growls.
I play the first one by laying my 3rd finger across the B
and G strings at the 7th fret, then bending up. What’s
interesting about this is that you end up with something
that should be impossible: a bend that starts off with a
major 3rd interval between the notes, and ends up with
a minor third . . . meaning you’re bending the G string
up a whole step, and the B string up a half. There’s no
really tough technique involved with this; it’s the
physics of the guitar that allows that to happen. Just
concentrate on getting that G string up a whole step,
and the B string will do its job.
Next is a technique where you bend one note, and
while it’s ringing, strike another note to form a double
stop (or diad . . . how’s that for a word?). I use my 2nd
and 3rd fingers to make the bend, and my 4th finger to
grab that G on the B string.
This one’s similar to the last one, and also to the unison
bend . . . only here they’re not unison. Play the G and
D together, then bend the D up to an E.
Vibrato is included under bending techniques because
technically you are bending the string, though with
vibrato you’re not necessarily bending to a specific
pitch. Here it’s helpful to be aware of timing. The most
effective vibrato moves in time to the music . . . don’t
just shake the string.
Wide vibrato, as you might have guessed, is just a more
extreme version of regular vibrato, although, if you were
at a party full of guitar players, you may find yourself in
a heated argument over whether you’re supposed to
make this vibrato wide enough to actually produce new
notes a half or whole step higher. Let your ears be your
guide on this one.
Vibrato Techniques
The vibrato bar is another tool we can use to add
expressive power to our lines . . . from subtle shimmers
to in-your-face growls and dive bombs. The first tech-
nique presented here is the scoop, where you strike the
string with the bar down, and quickly release the bar
back up.
The dip is different from the scoop in that you first
strike the string, then quickly bring the bar down and
back up.
When you use the bar melodically, you’re doing some-
thing similar to what a trombone player does . . . and it
sounds a lot like the compound bend and release tech-
nique we’ve already covered. In this example, you strike
the fretted C, bring the bar down a half step to change
the pitch to B, then a whole step to A, then back up. To
get a feel for how your bar responds, you might want to
try practicing this in the same way that was described
along with pre-bends, where you alternate between fret-
ting the target note and using the bar, until you can’t
tell the difference.
Vibrato with the bar produces an effect similar to finger
vibrato, except that it can be more pronounced. Again,
keep timing in mind.
The bar flutter is a cool way to add a bit of insanity to a
note. Strike the note, then flick the bar so it vibrates
quickly on its own.
Diving to a non-specific pitch is a great way to end a
solo, or to either accent the note you're diving on, or
really bring out the next note. Just strike the note and
bring the bar down.
The bar pre-bend is another tricky one you may want
to practice before committing it to your major-label
debut. Here you bring the bar down to a specific pitch,
in this case down a step and a half from C to A, then
strike the note.
The combination of harmonics and the bar can produce
some great effects that can’t be produced any other way.
As with bending and the melodic bar technique, you’ll
need to make sure your pitch is dead on. For an incred-
ible example of this technique in action, check out
“Where Were You” on Jeff Beck’s “Guitar Shop.”
Finger Slides and Glissandos
Next up is finger slides and glissandos. The first example
shows a legato slide, where you only pick the first note,
and then slide up to the second with the same finger.
The picked slide is similar, except that you pick both
notes, still making sure you can hear the slide
between them.
The descending slide to a nonspecific pitch is pretty
straightforward . . . pick the note, and then glide your
finger down a ways so you get a kind of “falling off”
effect. Many times, the tempo of the tune, and possibly
the relative length of the diagonal line in the notation
and tab will indicate how far down you should go.
An ascending slide from a nonspecific pitch is a great
way to bring out a note. Again, tempo and the length of
the line can indicate how long the slide should be, but
it’s really a feel thing.
Legato Techniques
Now we’ve got some legato techniques. The first is the
venerable hammer-on, where you pick the first note,
then “hammer” down with your left-hand finger to
sound the second note without picking it. Try to ham-
mer hard enough to get that second note as clean and
clear as the first. It also helps to make sure that you’re
using your fingerTIP, and not the side or the front.
The pull off is indicated on paper the same way as the
hammer on . . . using that curved line we call a “slur.”
The difference is that with a pull-off, the first note is
higher than the second. To get a feel for the technique,
you may want to consider its name . . . go for a pull-off,
rather than a lift-off. That way, you're actually picking
the string with your left hand finger. As you get into
some more involved legato lines, though, you’ll want to
get used to sounding the notes using more of a lift-off
technique.
G U I TA B U L A R Y, V O L U M E 1 5
NOTATION GUIDE: ANDY FRAZIER
A trill is basically a rapid combination of the hammer
on and pull off techniques. Pick the lower note, then
hammer on and pull off quickly. Although this can be
subjective, many of the most effective applications of
the trill technique have some relationship to the timing
of the tune.
Legato phrasing is simply applying the hammer on and
pull off techniques to the melody you’re playing, rather
than picking each note. Pick the first note, then ham-
mer the higher ones and pull off to the lower ones.
Fingering can be a critical consideration here. In this
example, I’m using my 1st finger for the C’s, 2nd finger
for the D’s, and 4th finger for the E.
A hammer on from nowhere basically involves produc-
ing a note without picking it, but just bringing your left
hand finger down on it hard enough to sound it clearly.
This technique is most useful during extended legato
lines that cross strings, where using the pick would
interrupt the fluid sound of the line.
Now we'll bring the picking hand into the action for the
tapping technique . . . here you’ll pick the C, hammer
on the D, then bring either the index or middle finger
of your picking hand over to hammer on the G. There
have been arguments for centuries over which finger is
better, and what to do with the pick while you’re tap-
ping. Eddie Van Halen, one of the best known propo-
nents of this technique, will roll the pick into his mid-
dle finger, anchor his hand on the neck with his thumb
and little fingers, and tap with his index finger when
he’s doing an extended passage. For a one-note tap like
this, many players (including Eddie), will keep the pick
in its normal position and use the middle finger to pro-
duce the note. This is kind of a comfort thing . . . do
what feels best to you. A lot of times, for an extended
passage, I’ll hold the pick between my teeth and use my
index finger for the tapping. Whatever works for you,
go for it.
The bend and tap technique pretty much explains
itself by its name . . . pick a note, bend it up, and
while it’s bent, tap a higher note. Since the string is
bent while you’re doing the tap, it’s important to be
aware that the note you tap will sound higher than it
normally would if it were just a fretted note. In this
example, we're holding a whole step bend while tap-
ping, so even though we're tapping on a G, it’ll sound
like an A.
The tap and slide technique could also be called the
tap, slide and pull off technique. Here you start with a
tapped note, then slide up and pull off . . . how far you
slide depends on how radical you want it to sound.
6 G U I TA B U L A R Y, V O L U M E 1
Right-Hand Techniques
Now we’ve got some right-hand techniques. The first is
standard up and down picking. This is the best way to
get the most out of your picking technique . . . if you
only picked one way, you’d still have to go the other
way to get ready for the next stroke. With alternate
picking, you’re using that motion to its best advantage.
Sweep picking is most often used for arpeggios...that is
playing the individual notes of a chord successively
rather than all together. If you talked to 10 different
guitarists, you’d get 10 different answers as to whether
you should finger the notes ahead of time like a chord,
or fret them individually just before the pick hits the
string. The basic idea is that you pick several notes on
adjacent strings in rapid succession, using a single
downstroke or upstroke to glide from one string to the
next.
A rake is similar to a sweep in that you glide the pick
across the strings, only in this case, you're focusing on
producing a single note, and muting the other strings
with either your fretting hand, your picking hand, or a
combination. I most often use a combination. This is a
great way to bring out an important note.
Rasgueado is kind of like a slow strum . . . but not too
slow. Here you want to add a little drama to the sound-
ing of a chord by making the attack with your picking
hand a little more deliberate, quickly sounding each
individual string.
Tremolo picking is another one that may cause a brawl
at that party full of guitar players. The technique
involves rapidly picking a single note. Some say you
should use your normal picking technique and just go
really fast, others say it’s more effective to use your arm
for the picking motion and let it fly. The symbol most
often seen in contemporary guitar music involves three
diagonal lines under the note, meaning a “free” or
“untimed” tremolo. What’s less often seen in today’s gui-
tar notation, but may be useful (especially in trivia
games), is that if there’s only one line, you divide the
note value in half (so if you saw a quarter note with one
line, you'd play 2 eighths) . . . if there’s two lines, you
divide it in quarters (so, there you’d play sixteenths).
Next is the pick scrape. An easy, but effective technique,
where you scrape the strings with the side of your pick,
either down (from the bridge area to the nut area) or up
(from the nut area to the bridge area). This is another
one where the exact length of the scrape is a feel thing.
Palm muting involves placing the side of your palm, the
fleshy part between your pinky and your wrist, right on
the bridge. You’ll need to experiment with this one,
because if it’s too far behind the bridge, it’ll have no
effect . . . and if it’s too far in front, it’ll mute everything.
Harmonics
Next up on the guide is the topic of harmonics. First,
we’ll look at natural harmonics . . . which involve plac-
ing your fretting finger LIGHTLY at certain points along
the string and then striking the note. When I say lightly,
I mean really lightly . . . don’t press down at all, just
touch the string. The strongest harmonics are produced
directly over the 12th, 7th, and 5th frets. You’ll also
occasionally see fret indications like “2-2/3,” or “3-1/3.”
When it’s just a fret indication, place your finger right
over the fret wire, not just behind it as you would when
playing a normal note. When the indication involves a
fraction, many times it's subjective . . . you may need to
experiment, depending on your guitar, with the exact
placement of your finger to get the desired note. The
example uses a cool application of the E minor penta-
tonic scale with the 9th degree (F#) added . . . all with
natural harmonics.
The reason harmonics work has to do with the distance
between the nut and the bridge . . . if you divide that
distance by certain amounts, you get “node” points
where other notes can be sounded. Luckily, the way the
guitar is designed, you can kind of cheat that system by
creating a moveable nut . . . namely your fretting finger.
Just like you can produce a harmonic 12 frets above the
open string, you can do the same thing 12 frets above
any fretted note. In this case, we’re fretting at the 7th,
then 5th frets of the G string, (without picking them),
then tapping quickly with the picking hand right on the
fret wire 12 frets higher (at the 19th and 17th frets
respectively). Don’t leave your picking hand finger
down too long . . . just tap and move away. You might
also want to try the other techniques that fall under this
category . . . try placing the index finger of your picking
hand at the harmonic location, and plucking the string
with your thumb . . . there’s also the “harp harmonic”
technique, where you put the heel of your hand at the
harmonic location, and use the pick to strike the string.
Pinch harmonics are another great way to bring a note
out in a phrase. Hold your pick normally, and note the
little corner between the pick and your thumb on the
outside edge (opposite your wrist) of the pick. If you
get the string in that corner, and slightly angle your
hand so that when you're striking the string you catch
not only the pick but a bit of the flesh of your thumb,
you can produce a pinch harmonic. Move along the
string between the neck and the bridge to find the best
harmonics . . . there are a bunch of them.
A tapped or touch harmonic is similar to the first varia-
tion of the artificial harmonic technique, except that
this time, you’ll pick the regular fretted note first, and
then tap at the harmonic location.
Miscellaneous Techniques
The last of the techniques we’ll be looking at don’t fall
easily under any particular category, so we’ve called
them “Miscellaneous.” First is the ghost note. This is a
note almost felt more than heard . . . it’s produced by
using both the palm mute technique, and the fretting
hand mute, which I’ll describe momentarily.
Staccato, technically, divides the written rhythmic value
in half . . . if you see an eighth note with a staccato
mark, the idea is to play a sixteenth note followed by a
sixteenth note rest. You probably won’t need to be quite
that picky about it, though . . . in contemporary guitar
usage, generally it means to play with choppy phrasing.
Marcato is like an extreme accent . . . dig into the note.
Often it’s also helpful in getting the effect to cut the note
just shy of its written value.
The accent is pretty straightforward . . . dig in a little hard-
er on the note, but not quite as much as with marcato.
Fret hand muting involves lifting your fingers up
enough to mute the string, but not so much that you
produce a harmonic.
The analysis is there basically to give you a technical
and theoretical understanding of what you’re playing.
The roman numeral tells you what the chord is relative
to the key, and the arabic numerals give you both a sug-
gested left hand fingering, and they tell you what the
note is relative to the chord.
Timing variance is a subjective and stylistic device
where you can make the tune feel a little rushed by
playing ahead of the beat, that is, playing a little quicker
than the tempo, or you can make it feel a little more
relaxed by playing a little slower than the tempo . . .
that’s playing behind the beat.
G U I TA B U L A R Y, V O L U M E 1 7
THEORY LESSON: BRAD CARLTON IMPROV THEORY

W W 1
/2 W W W 1
/2
Major Scales
The chart at right lays out for you all the I II III IV V VI VII VIII [I]
notes in all major keys. The “Ws” and “ 1/2 s” C D E F G A B C
across the top represent the intervals between G A B C D E F# G
each of the notes—whole steps and half steps. D E F# G A B C# D
C# F# G#
The Roman numerals represent the degrees
A B D E A
F# G# C# D#
of the scales. For example, the third degree of
E A B E
C major is E. The Greek words across the
bottom are the names of the modes that begin B C# D# E F# G# A# B
on each degree. That is, if you wanted to play F# G# A# B C# D# E# F#
in the F Lydian mode, you’d use the notes of C# D# E# F# G# A# B# C#
the C major scale, but treat F as the root. F G A Bb C D E F
Bb C D Eb F G A Bb
Eb F G Ab Bb C D Eb
Ab Bb C Db Eb F G Ab
Db Eb F Gb Ab Bb C Db
Diatonic Chords and
Scale Degree Equivalents Gb Ab Bb Cb Db Eb F Gb
The next two charts show the chord qualities Cb Db Eb Fb Gb Ab Bb Cb
(major, minor, etc.) that result from building Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Ionian
chords on each of the scale degrees. The
third shows scale degree equivalents.

Diatonic Triads Diatonic 7th Chords Scale Degree Equivalents

• Major: I, IV, V • Major 7: I, IV Extensions: • 9 = 2 Altered Extensions: • b 9 = b 2
• Minor: II, III, VI • (Dominant) 7: V • 11 = 4 • # 9 = # 2 (enharmonic with b 3)
• Diminished: VII • Minor 7: II, III, VI • 13 = 6 • # 11 = # 4 (enharmonic with b 5)
• Minor 7 ( b 5): VII • b 13 = b 6 (enharmonic with # 5)

The Formula Method for

Chords and Scales Major Family of Chords Dominant Family of Chords
When using these formulas, always start with (Maj) 1 3 5 (Dom) 7 1 3 5 b7
the major scale of the prevailing chord or (Maj) add 9 1 3 5 9 (Dom) 7/6 1 3 5 6 b7
scale. Say you’re trying to figure out the notes (Maj) 6 1 3 5 6 (Dom) 9 1 3 5 b7 9
in a D minor 9th chord. The chart at right
(Maj) 6/9 1 3 5 6 9 (Dom) 13 1 3 5 b7 9 13
specifies 1 (the root, “D” in this case), b 3, 5,
b 7, and 9. The next note after the root we Maj 7 1 3 5 7 (Dom) 7 sus 4 1 4 5 b7
need is a flatted third. Find the D major scale Maj 9 1 3 5 7 9 (Dom) 7/6 sus 4 1 4 5 6 b7
in the Major Scales chart above. Under the Maj 13 (Maj 7/6/9) 1 3 5 7 9 13 (Dom) 9 sus 4 or 11 1 4 5 b7 9
Roman numeral III on the chart you’ll find Maj 7/6 3 5 6 7 (Dom) 13 sus 4 4 5 b7 9 13
the third of the D major scale—F #. Since the
chord calls for a flatted third, we need to
Minor Family of Chords Other Chord Types
lower this note a half step, to F. You can find
the rest of the notes the same way—for the Minor 1 b3 5 “5” (power chord) 1 5
fifth and flatted seventh, look under “V” to get Minor add 9 1 b3 5 9 sus 2 1 2 5
“A”, and under “VII” to get “C #”—remember Minor 6 1 b3 5 6 sus 4 1 4 5
to flat this to “C”. For the ninth, you need to Minor 6/9 1 b3 5 6 9 add 9 sus 4 1 4 5 9
1 b 3 5 b7
go beyond the first octave—since “VIII” is the b 3 b 5 b7
Minor 7 Minor 7 ( b5 ) 1
same note as “I,” “IX” (if it was there) would
be the same as “II”. The ninth we need, then, Minor 9 1 b 3 5 b7 9 Diminished 7th 1 b 3 b 5 bb7*
is “E.” You can build scales the same way— Minor 11 1 b 3 5 b7 9 11 Augmented 1 3 #5
find the major scale with the root you need, * bb 7 = 6 (enharmonic equivalent)
and fill in other notes according to the chart
in appendix III, flatting and sharping where
necessary.

8 G U I TA B U L A R Y, V O L U M E 1
Scale Formulas Scale Formulas
Apply the scale formulas to the major scale Ionian (Major Scale) 1 2 3 4 5 6 7
whose root (1) is the same as the root of the
Dorian 1 2 b3 4 5 6 b7
scale you wish to spell. For example, to spell
a G Mixolydian mode, apply the formula Phrygian 1 b2 b3 4 5 b6 b7
1 2 3 4 5 6 b 7 from the Major Scales Lydian 1 2 3 #4 5 6 7
formula chart to the G major scale, which Mixolydian 1 2 3 4 5 6 b7
yields: G A B C D E F. Aeolian 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7
Major Pentatonic 1 2 3 5 6
Tonal Colors
Strive to hear each of these tones against all Minor Pentatonic 1 b3 4 5 b7
harmonic situations: Blues 1 b3 4 #4 5 b7
1 Strongest tone (root) Blues Composite 1 2 b3 3 4 #4 5 6 b7
3 Very strong (e.g. Power chords are Harmonic Minor 1 2 b3 4 5 b6 7
root-fifth) Phrygian Dominant 1 b2 3 4 5 b6 b7
5 Strong Major sound Melodic Minor 1 2 b3 4 5 6 7
b 7 Brings out the blues sound Lydian Augmented 1 2 3 #4 #5 6 7
(dominant sound) #4
Overtone (Lydian b7) b7
b 3 ( # 9) Brings out minor sound. Also acts as a 1 2 3 5 6
blue note against dominant 7 harmony. The * Mixolydian b6 (Aeolian Major) 1 2 3 4 5 b6 b7
b 3 wants to resolve to the 3 Super Locrian (Altered Dominant) 1 b2 b3 b4 b5 b6 b7
6 (13) Not as strong as previous tones Half Step/Whole Step Diminished 1 b2 b3 3 #4 5 6 b7
2 (9) Jazzy, not as strong as previous tones Whole Step/Half Step Diminished 1 2 b3 4 #4 #5 6 7
4 (11) Sus4 sound Whole Tone 1 2 3 #4 #5 b7
# 4 ( b 5) Blue note, sinister sound, wants to Mixolydian b6 is not illustrated in the Scale Formula Diagrams. To form this scale, take the
resolve up to 5 or down to 4 for blues * Mixolydian mode and flat the sixth.
sound
7 Pretty, major 7 sound, tends to
resolve upward to 1
b 6 ( # 5) Weak tone, resolves down to 5 or up to b 7
b 2 ( b 9) Tension tone, resolves down to 1

Parent Scale Concept Mode Colors

Modes are “offspring” of the major scale,
which is the “parent”.
Each mode has a color. Learn to hear these colors:
Ex. 1: D Dorian contains the same notes as
the C major scale. It can be thought of as a C Ionian Pretty, Major sound—”Do, Re, Mi“ etc.
major scale played from D to D.
Dorian Jazzy Minor sound

Ex. 2: Ab Lydian is an Eb major scale played Phrygian Spanish Flamenco sound

from Ab to Ab .
Lydian Bright Major sound

Ex. 3: The parent of B Mixolydian is E major. Mixolydian Bluesy Major sound

Aeolian Darker Minor sound

In many situations, you can mix modes for
more colors. For example, over dominant 7 Locrian Very Dark Minor 7 b 5 sound
chords in blues, you can use both Dorian
Overtone Bright Dominant 7 sound
and Mixolydian, or Blues Composite, which
contains the Dorian and Mixolydian notes. Phrygian Dominant Spanish Flamenco sound
Finally, remember that whatever exists in the
parent scale (chords, clusters, pentatonic
sub-scales, etc.) also exists in offspring modes.
Examine these and try all of the possibilities.

G U I TA B U L A R Y, V O L U M E 1 9
THEORY LESSON: BRAD CARLTON

Scale Formula Fretboard Diagrams Ionian (Major Scale) Lydian

These diagrams are all in G. You can transpose them
to other keys by moving the root (the “1”) to the note 6 2 5 1 3 6 6 2 5 1 3 6
you need, and moving everything else relative to that. 4
#4 7
For example, If you wanted to play B b, you’d move 7 3 6 2 7 7 3 6 2
everything up three frets. The notes on the E and A 1 4 5 1 1 5 1
strings are shown at the bottom of page 11 to help 7 3 #4 7 3
you find the roots you need. 2 5 1 4 6 2 2 5 1 6 2
#4
3 6 2 5 7 3 3 6 2 5 7 3
4 1 4 1
7 3 6 #4 7 3 6 #4
5 1 4 2 5 5 1 2 5
7 #4 7
6 2 5 1 3 6 6 2 5 1 3 6

Major Pentatonic Minor Pentatonic Blues Dorian

6 2 5 1 3 6 5 1 5 1 6 2 5 1 6
b7 b3 4 b7 b7 b3 4 b7 b7 b3 4 b7
3 6 2 #4 6 2
1 5 1 1 4 b7 b3 5 1 1 4 b7 b3 5 1 1 4 b7 b3 5 1
3 #4
2 5 1 6 2 5 1 4 5 1 4 2 5 1 4 6 2
b3 b7 b3 b3 #4 b7 b3 b3 b7 b3
3 6 2 5 3 5 5 6 2 5
1 4 b7 b3 1 4 4 b7 b3 1 4 4 b7 b3 1 4
3 6 #4 #4 6
5 1 2 5 5 1 4 b7 5 5 1 4 b7 5 5 1 4 b7 2 5
b3 #4 b3 b3
6 2 5 1 3 6 5 1 5 1 6 2 5 1 6

Aeolian (Natural Minor) Phrygian Locrian Mixolydian

2 5 1 5 1 1 6 2 5 1 3 6
b7 b3 b6 4 b7 b7 b3 b6 b2 4 b7 b7 b3 b6 b2 4 b7 b7 4 b7
2 b5 3 6 2
1 4 b7 b3 5 1 1 4 b7 b3 5 1 1 4 b7 b3 1 1 4 b7 5 1
b6 b2 b6 b2 b2 b5 b6 b2 3
2 5 1 4 2 5 1 4 1 4 2 5 1 4 6 2
b3 b6 b7 b3 b3 b6 b2 b7 b3 b3 b6 b2 b5 b7 b3 b7
2 5 5 3 6 2 5 3
4 b7 b3 b6 1 4 4 b7 b3 b6 1 4 4 b7 b3 b6 1 4 4 b7 1 4
b2 b5 b2 b5 3 6
5 1 4 b7 2 5 5 1 4 b7 5 1 4 b7 5 1 4 b7 2 5
b6 b3 b6 b6 b2 b3 b6 b6 b2 b5 b3 b6
2 5 1 5 1 1 6 2 5 1 3 6

10 G U I TA B U L A R Y, V O L U M E 1
Overtone Blues Composite Phrygian Dominant Melodic Minor
6 2 5 1 3 6 6 2 5 1 3 6 5 1 3 6 2 5 1 6
b7 b7 b7 b3 4 b7 b7 b6 b2 4 b7 b3 4
3 6 2 #4 3 6 2 #4 3 7 6 2 7
1 b7 5 1 1 4 b7 b3 5 1 1 4 b7 5 1 1 4 b3 5 1
#4 3 #4 3 b2 3 b6 b2 7
2 5 1 6 2 2 5 1 4 6 2 5 1 4 2 5 1 4 6 2
#4 b7 b3 #4 b7 b3 b6 b2 b7 b3 b3
3 6 2 5 3 3 6 2 5 3 3 5 3 6 2 5 7
b7 1 4 b7 b3 1 4 4 b7 b6 1 4 4 b3 1 4
#4 3 6 #4 #4 3 6 #4 3 b2 7 6
5 1 b7 2 5 5 1 4 b7 2 5 5 1 4 b7 5 5 1 4 2 5
#4 #4 b3 b6 b2 b6 7 b3
6 2 5 1 3 6 6 2 5 1 3 6 5 1 3 6 2 5 1 6

Super Locrian Half/Whole Diminished Whole/Half Diminished Whole Tone

1 b4 6 5 1 3 6 6 2 1 6 2 1 3
b7 b3 b6 b2 b7 b7 b3 b2 b7 b3 #5 4 b7 #5 b7
b4 b5 3 6 #4 7 6 2 #4 7 3 2 #4
1 b7 b3 1 1 b7 b3 5 1 1 4 b3 1 1 b7 1
b2 b5 b4 b6 b2 b2 #4 3 b2 #4 7 #5 #4 3 #5
1 5 1 6 2 1 4 6 2 2 1 2
b3 b6 b2 b5 b7 b3 b3 b2 #4 b7 b3 b3 #5 #4 b3 #5 #4 b7
b4 b4 3 6 5 3 6 2 7 3 2 3
b7 b3 b6 1 b7 b3 1 4 b3 #5 1 4 b7 #5 1
b5 b4 b2 b5 #4 3 6 b2 #4 #4 7 6 #4 #4 3 #4
1 b7 5 1 b7 5 1 4 2 1 b7 2
b6 b2 b5 b3 b6 b2 #4 b3 #5 #4 7 b3 #5 #5 #4 #5
1 b4 6 5 1 3 6 6 2 1 6 2 1 3

Lydian Augmented Harmonic Minor Notes on the E and A Strings

6 2 1 3 6 2 5 1
#5 b3 b6 4
7 3 6 2 #4 7 7 2 7
1 1 1 4 b3 5 1 0 1 2 3 4 5 6 7 8 9 10 11 12
#4 7 3 #5 7 b6 E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E
2 1 6 2 2 5 1 4 2
#5 #4 b3 b6 b3
3 6 2 7 3 2 5 7
#5 1 4 b3 b6 1 4
#4 7 3 6 #4 7
0 1 2 3 4 5 6 7 8 9 10 11 12
1 2 5 1 4 2 5
#5 #4 7 #5 b6 b3 b6 A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A
7
6 2 1 3 6 2 5 1

G U I TA B U L A R Y, V O L U M E 1 11
THEORY LESSON: BRAD CARLTON

Complete Harmony
To readily see the harmonic possibilities for any scale, view the scale in thirds instead of
seconds. The name for a scale in thirds is an heptatonic arpeggio. For example:
C Major (Ionian) in Seconds C Major in Thirds (C Major Heptatonic Arpeggio)
C D E F G A B C E G B D F A
1 2 3 4 5 6 7 1 3 5 7 9 11 13

By looking at the major family of chords on page 8, you can readily see that all of the chords in
this family can be built from a C major scale.

Scale Possibilities
Any of the chords in the minor family would be contained in the dorian mode. It’s all a matter
of viewing chords as subsets of the larger set, which is the scale (mode). This would mean,
then, that the dominant family chords containing a 4th would accept the dorian mode. Likewise,
the power chord, sus2, sus4, and add9 sus4 chords would also accept the dorian mode.

A Dorian Mode in Seconds A Dorian Mode in Thirds (A Dorian Heptatonic Arpeggio)

A B C D E F G A C E G B D F#
1 2 b3 4 5 6 b7 1 b3 5 b7 9 11 13

By comparing the chord formulas on page 8 with the scale formulas on page 9, scale
possibilities for any chord will be revealed. Blues and certain tension situations in jazz require a
different approach than just “matching up the numbers.” An understanding of tonal colors of
different notes is necessary to develop a tonal palette for these styles. A brief overview of the
blues composite scale will reveal some possibilities.

Blues Composite Scale Sub-Scales of the Blues Composite Scale

The blues composite scale may b9 9 #9 10 11 # 11 12 b 13 13
be viewed as the sum of the
b2 b3 b5 b6
major pentatonic scale
( 1 2 3 5 6 ) and the blues Chromatic 1 # 1 2 #2 3 4 #4 5 #5 6 b7 7
scale ( 1 b 3 4 # 4 5 b 7 ): Blues Composite 1 2 b3 3 4 #4 5 6 b7
Blues 1 b3 4 #4 5 b7
1 2 b3 3 4 #4 5 6 b7 Minor Pentatonic 1 b3 4 5 b7
Major Pentatonic 1 2 3 5 6
As a scale by itself, it isn’t very
effective, due largely to the Mixolydian 1 2 3 4 5 6 b7
chromaticism between the 2 Dorian 1 2 b3 4 5 6 b7
and the 5. The real secret is Major Pentatonic add 4 1 2 3 4 5 6
what this scale contains. Major Pentatonic add b 3 1 2 b3 3 5 6
Minor Pentatonic add 3 1 b3 3 4 5 b7
Blues add 3 1 b3 3 4 #4 5 b7
Subsets of the
Blues Composite Scale Mixolydian add b 3 1 2 b3 3 4 5 6 b7
You might think these are just Mixolydian add b 5 1 2 3 4 #4 5 6 b7
various groups of numbers, Dorian add b 5 1 2 b3 4 #4 5 6 b7
but each subset of the blues Minor 6 add 4 1 b3 4 5 6
composite scale has its own
Minor Pentatonic add 2 1 2 b3 4 5 b7
tonal color. Knowing these will
Overtone 1 2 3 #4 5 6 b7
enable you to weave a blues
solo from sweet to gritty. In all Half-Whole Diminished 1 b2 b3 3 #4 5 6 b7
formulas, # 4 and b 5 are used Whole-Tone 1 2 3 #4 #5 b7
interchangeably. Half-whole diminished and whole-tone scales each contain one note which is not in the blues composite scale. These two scales are
used for “outside” jazz/blues playing.

12 G U I TA B U L A R Y, V O L U M E 1
 All arpeggios are written in Arpeggios and Modified Arpeggios Contained within the Blues Composite Scale
a condensed formula (i.e. b 9 9 # 9 10 11 # 11 12 b 13 13
9=2, 11=4, 13=6, etc.).
b2 b3 b5 b6
This allows for an easier
comparison to scales. Chromatic 1 # 1 2 # 2 3 4 # 4 5 # 5 6 b7 7
7 1 3 5 b7
Remember . . . 7/6 1 3 5 6 b7
9 1 2 3 5 b7
9 is the octave of 2 13 1 2 3 5 6 b7
11 is the octave of 4 7 add b3 (7# 9) 1 b3 3 5 b7
13 is the octave of 6 7/6 add b3 (13# 9) 1 b3 3 5 6 b7
b9 is the octave of b 2 9 add b3 1 2 b3 3 5 b7
#9 is the octave of # 2 (b 3) 13 add b3 1 2 b3 3 5 6 b7
# 11 is the octave of # 4 (b 5) 7 add b5 1 3 #4 5 b7
b 13 is the octave of b 6 (# 5) 7/6 add b5 1 3 #4 5 6 b7
9 add b5 (9# 11) 1 2 3 #4 5 b7
13 add b5 (13# 11) 1 2 3 #4 5 6 b7
7 add b3 add b5 1 b3 3 #4 5 b7
7/6 add b3 add b5 1 b3 3 #4 5 6 b7
9 add b3 add b5 1 2 b3 3 #4 5 b7
13 add b3 add b5 1 2 b3 3 #4 5 6 b7
Minor 1 b3 5
Minor add 9 1 2 b3 5
Minor 6 1 b3 5 6
Minor 6/9 1 2 b3 5 6
Minor 7 1 b3 5 b7
Minor 7/6 1 b3 5 6 b7
Minor 9 1 2 b3 5 b7
Minor 11 1 2 b3 4 5 b7
Diminished Triad 1 b3 b5
Minor 7b5 1 b3 b5 b7
Minor 7b5/11 1 b3 4 b5 b7

A Tonal Spectrum of Scales Commonly Used when Soloing over Dominant Blues A Tonal Spectrum of Dominant Arpeggios
Contained in Major Pentatonic 1 2 3 5 6 Bluesy Jazzy
Mxolydian color or sound
1 2 3 4 5 6 b7 Major Pentatonic add 4 1 2 3 4 5 6
“Soft” Blues
Mixolydian 1 2 3 4 5 6 b7 More Major,
Sweeter 7 7/6 9 13
Major Pentatonic add b 3 1 2 b3 3 5 6 Country
1
Mixolydian add b 3 1 2 b3 3 4 5 6 b7 1 3 5 b7 1 3 5 6 b7 1 3 5 b7 9 1 3 5 6 b7 9 13
Mixolydian add b 5 1 2 3 4 #4 5 6 b7
Each of the dominant family arpeggios above may have the b 3 and/or the b 5 added to
Minor Pentatonic add 3 1 b3 3 4 5 b7 form scale possibilities.

Blues add 3 1 b3 3 4 #4 5 b7
Contained in 2
Minor Pentatonic add 2 1 2 b3 4 5 b7
Dorian
1 2 b3 4 5 6 b7
3
Minor 6 add 4 Arpeggio 1 b3 4 5 6
Dorian 1 2 b3 4 5 6 b7
4
Minor Pentatonic 1 b3 4 5 b7 “Hard” Blues
More Minor,
Dorian add b 5 1 2 b3 4 #4 5 6 b 7 Bluesier
b
1 b3 4 #4 5 b7
1–Mixolydian add 3 same as Dorian add 3.
Blues 2–Minor Pentatonic add 2 same as Minor 11 Arpeggio.
3–Minor 6 add 4 Arpeggio same as Dominant 9 Arpeggio a perfect fourth higher.
Each of the scales above is contained within the Blues Composite Scale. 4–Minor Pentatonic same as Minor 7/11 Arpeggio.

G U I TA B U L A R Y, V O L U M E 1 13
THEORY LESSON: BRAD CARLTON

How to Apply Scales and Arpeggios

The following diagrams are examples of various scales (this
page) and arpeggios (opposite) that could be applied to the
chords in “Gimme an F” (F, Bb, C). They are plotted out in
one general area of the guitar neck. Try using this approach
when you are preparing for soloing over a tune. Other
approaches are: Playing up and down just one string, play-
ing diagonally across the fingerboard, playing on non-adja-
cent strings, etc. On page 16 are some optional arpeggios
for use over the C7 in “Gimme an F.” The more varied your
visualization of information on the neck, the more options
you’ll have and the more freedom you’ll have to be creative
(and the less likely you’ll fall into ruts!). Now you’ll be able
to apply these concepts to the other tunes in Guitabulary
using the Guitabulary guide.

Scales applicable to “Gimme an F” in one general area of the guitar neck:

F Major Pentatonic B b Major Pentatonic C Major Pentatonic F Blues

10fr 6 2 5 1 3 6 10fr 3 6 2 5 3 9fr 3 9fr

b5

1 2 5 1 6 2 5 1
3 6 2 3 6 b7 b3 4 b7

1 5 1 5 1 2 5 3 6 2 5 3 #4

1 1 4 b7 b3 5 1
#4

F Blues Composite B b Blues Composite C Blues Composite C Blues

#4
10fr 6 2 5 1 3 6 9fr
b3 b5 b7 b3 8fr
b7 b3 9fr
b5
b7 b3 4 b7 3 6 2 5 3 b5 3 5 1 4
3 6 2 #4 4 b7 b3 1 4 2 5 1 4 6 2 b3 # 4 b7 b3

1 4 b7 b3 5 1 #4 3 6 #4 b3 # 4 b7 b3 5
#4 5 1 4 b7 2 5 3 6 2 5 3 4 b7 b3 1 4
#4 b7 b3 1 #4 #4

6 3 5

14 G U I TA B U L A R Y, V O L U M E 1
 Arpeggios applicable to “Gimme an F” in one general area of the guitar neck:

F7 B b7 C7 F7/6

10fr 5 1 3 10fr 3 5 3 9fr 3 10fr 6 5 1 3 6

b7 b7 b7 1 5 1 b7 b7

3 3 b7 3 6
1 b7 5 1 5 1 b7 5 3 5 3 1 b7 5 1
b7 1
3

B b 7/6 C7/6 F9 B b9

10fr 3 6 5 3 9fr 3 10fr 2 5 1 3 10fr 3 2 5 3

b7 1 5 1 6 b7 b7 b7 1
3 6 b7 3 2 3
5 1 b7 5 3 6 5 3 1 b7 5 1 5 1 b7 2 5
b7 1
3

C9 F13 B b 13 C13

9fr 3 10fr 6 2 5 1 3 6 10fr 3 6 2 5 3 9fr 3

2 5 1 2 b7 b7 b7 1 2 5 1 6 2
b7 3 6 2 3 6 b7

3 2 5 3 1 b7 5 1 5 1 b7 2 5 3 6 2 5 3
b7 1 b7 1
3 3

G U I TA B U L A R Y, V O L U M E 1 15
THEORY LESSON: BRAD CARLTON

Optional Arpeggios for use over the C7 in “Gimme an F”:

C aug C 7# 5 C 7# 9# 5

3
8fr 1 1 8fr 1 b7 8fr 1 b7 #9

3 #5 3
1 1 1
#5 #5 b7 #9 #5 b7 #9

3 3 3 3 3 3
#5 1 b7 #5 1 b7 #9 #5 1

3 3 3

Scale and Arpeggio Syllabus IV. Over C7 use Use Mode V of the F Blues Scale
for “Gimme an F”
The outline below is a brief overview of some options V. Over C7 use Use C Blues Composite, which
for soloing over “Gimme an F.” contains these sub-scales and arpeggios:
A) C Blues
I. Over F7 use F Blues Composite, which contains these B) C Blues add 3
sub-scales and arpeggios: C) C Mixolydian
SUB-SCALES

A) F Minor Pentatonic D) C Minor Pentatonic

B) F Blues E) C Minor Pentatonic add 3
C) F Major Pentatonic F) C Dorian
SUB-SCALES

D) F Major Pentatonic add b 3 G) C Dorian add 3 (C Mixolydian add b 3)

E) F Minor Pentatonic add 3 H) C Major Pentatonic
F) F Blues add 3 I) C Major Pentatonic add b 3
ARPEGGIOS*

G) F Dorian J) C7
H) F Mixolydian K) C7/6
I) F Dorian add 3 (F Mixolydian add b 3) L) C9
ARPEGGIOS*

J) F 7 M) C13
K) F 7/6
L) F 9 VI. Over C7 you may also use these arpeggios:
M) F 13 A) Bb Blues add 3
B) Bb Mixolydian
II. Over Bb 7 use mode III of the F Blues Scale C) Bb Minor Pentatonic add 3

III. Over Bb7 use Bb Blues Composite, which contains VII. When applying a scale or mode such as Dorian
these sub-scales and arpeggios: or Mixolydian over any of the three chords in “Gimme
A) Bb Blues add 3 an F”, try intervals, triads, 7th chords and pentatonic
B) Bb Mixolydian sub-scales that reside within these scales or modes.
SUB-SCALES

C) Bb Minor Pentatonic add 3

D) Bb Dorian add 3 (Bb Mixolydian add b 3) *b 3 and/or b 5 added to these arpeggios will form
E) Bb Major Pentatonic modified arpeggios.
F) Bb Major Pentatonic add 3
G) Bb 7
ARPEGGIOS*

H) Bb 7/6
I) Bb 9
J) Bb 13

16 G U I TA B U L A R Y, V O L U M E 1
How To Apply Master Theory
Q: What are the notes in the key of A?
A: In the Major Scales chart on page 8, find “A” in the
far left column and read from left to right:
A B C# D E F# G# A appropriate scale degrees. See the Parent Scale Concept
Q: What is the 7th in the key of F?
A: In the Major Scales chart on page 8, find “F” in the
far left column. Scan across to the VII column, where
you’ll find “E”.
Q: What is the II chord in the key of G and what notes
are contained in it?
A: In the Major Scales chart on page 8, find “G” in the
far left column. Scan across to the II column, where
you’ll find “A.” This is the root note of the II chord in
the key of G. To find the other two notes in this triad,
read every second column. The spelling of the II chord
in the key of G is: A C E. The Diatonic Triads box on
page 8 indicates that the II chord is minor. Therefore,
the II chord in the key of G is Am.
Q: What is a VI-V-IV progression in the key of C?
A: In the Major Scales chart on page 8, go to the key
of C in the far left column. Scan across to find the notes
in the VI, V, and IV columns. This will yield the notes
A G F. Go to the Diatonic Triads box on page 8 and
locate VI, V, IV and their respective chord qualities. A
VI-V-IV progression in the key of C would be: Am G F.
Q: What is the b 5 in the key of Bb ?
A: In the Major Scales chart on page 8, go to the key
of Bb in the far left column. Scan across to the V column
and flat that note. The b 5 in the key of Bb is Fb .
Q: What is the 11th in the key of E?
A: On page 8, find the chart labeled Scale Degree
Equivalents For Extensions Beyond One Octave. Notice
that 11=4. This means that 11 is one octave higher than
4; They are the same letter name. In the Major Scales
Chart, go to the key of E in the far left column and scan
across to the IV column. The 11th in the key of E is A.
Q: What are the mode names listed across the bottom of
the Major Scales chart?
A: They are names given to scales that are the same
series of notes as the major scale but that differ in their
starting and ending points. For example, the notes in
the key of C are:
C D E F G A B C
This is called a C major scale of the C Ionian mode. By
taking this same scale and starting and ending on D, the
D Dorian mode is formed:
D E F G A B C D
This process can be applied to each of the seven differ-
ent scale degrees of the major scale, thus creating the
modes. If you know how to play a major scale, you
know how to play modes. Just start and end on the
section on page 9 for more information on the modes.
Also, be aware that the concept of modes can be
applied to any scale.
Q: How do I know what mode or scale to use over a
given chord?
A: The sound of each mode corresponds to the harmo-
ny built off each scale degree of the major scale. Thus
the ionian, lydian and mixolydian modes are major in
tonality, and the dorian, phrygian and aeolian modes
are minor. Consult the tonal color chart next to the
Parent Scale Concept on page 9 for clarification on this
subject. The most thorough way to know your options
is to determine the spelling of the chord you wish to
solo over and then view the arpeggio as a subset of the
applicable scales. Here’s an example: Let’s say you want
to solo over an F Major 9 chord. First go to page 8
and locate the formula for a major 9 chord. This would
be 1 3 5 7 9. Apply this formula to the key of F on
page 8. The spelling for an F major 9 would be: F
A C E G. Take the formula 1 3 5 7 9 and compare it to
the scale formulas on page 9. The only scales that
have the numbers 1 3 5 7 9(2) as a subset are ionian
and lydian. Applying the formulas for these scales to the
key of F on page 8 spells the following:
F Ionian F G A Bb C D E F
F Lydian F G A B C D E F
Since the major pentatonic scale on page 9 is a
subset of both the ionian and lydian modes, it would
also be applicable in this soloing situation by examining
all of the chords that could be built off of each degree of
both the F Ionian and F Lydian models a complete
overview of your options would exist.
Q: Will the numbers always match up when I’m com-
paring chord formulas to scale formulas?
A: Not always, because of Blue notes and altered ten-
sions over dominant family chords. Also, the issue of
implied extensions and/or tensions is a consideration.
For example, if you were going to solo over a G7 chord
in a blues situation you would apply the G blues com-
posite scale. Page 8 lists the formula for a Dom 7
chord as 1 3 5 7. On page 9 you can see that 1 3 5
b 7 is a subset of the blues composite 1 2 b 3 3 7 # 7 5 6
b 7. The next issue at hand would be to examine all of
the subsets contained within the blues composite scale.
This is listed on pages 12 and 13. Page 13 presents
tonal color evaluations for the blues composite
scale and dominant arpeggios, respectively. If the G7
G U I TA B U L A R Y, V O L U M E 1 17
THEORY LESSON: BRAD CARLTON
chord you were going to solo over was part of a pro-
gression where it was resolving to another chord as
opposed to being the "home base" for a blues you would
need to consider any possibletensions or altered tones
that might be occurring inother instrument part (real)
or that may be implied bythe progression. This is an
“ear thing” and it comes with experience.
Q: Do subjects in music theory ever have more than one
label?
A: Yes. Some examples of this can be seen by comparing
formulas:
Maj 6/9 arpeggio= maj pent scale
Min 7/11 arpeggio= min pent scale
Aeolian mode= pure minor scale = minor scale = rela-
tive minor scale
7 add b 3 arpeggio = 7# 9 arpeggio
D = c/d = Am 7/d
Em 7b 5 = Gm 6 = B b6 b 5 = C9 (without root)
Q: What are Blues notes and how do I treat them?
A: As described on page 9 under tonal colors, blue
notes are the # 4(b 5), the b 3 when played over a domi-
nant chord that contains the 3 and the b 7 which rein-
forces the Dom sound. When playing over a Dom 7
chord in which the 3 is present or implied, a very effec-
tive vocal inflection can be applied by playing the b 3
and then bending up slightly. This bend does not have
to be a complete half-step, thus it is frequently labeled a
¼ step bend. A great deal of the expressive nature of the
blues lies in these pitches between the b3 and 3. This
same principle applies to the pitches between the 4 and
the 5. Here is a more theoretical analysis: The Dom 7
chord has a 3 in it; Tension is produced when the b 3 is
played against it. This tension is resolved when you fol-
low the b 3 with the 3 (or bend part way to the 3).
Complete resolution in not necessary, but if you do
bend up, stop the string so that you don’t revert back to
a tension situation (the b 3). If you are playing over a
minor chord, the 3 would be a wrong note. I don’t rec-
ommend bending the b 3 at all in this case.
Q: I can jam over one chord or chords that stay in one
key all day, but I hit a wall when the key changes. How
can I conquer this?
A: Many times when the tonal center or key of the
moment changes, there are many common tones. These
can be used to bridge the chord changes. Ultimately,
though, you should learn which notes change and use
them as targets; depending upon whether they are
strong chord tones. Example: C maj 7 to B6 13 sus 4
C7 is spelled C E G B
Scale choices are C Ionian: C D E F G A B
18 G U I TA B U L A R Y, V O L U M E 1
and/or C Lydian: C D E F# G A B
Bb 13 sus 4 is spelled: Bb Eb F Ab C G
Scale choice is Bb Mixolydian: Bb C D Eb F G Ab
Common tones: C D G and possible F if C Ionian is
used.
Notes that change: B moves to Bb
A moves to Ab
E moves to Eb
Q: If I’m improvising over chords that are all built from
the same major scale, can I just visualize the major scale
on my instrument and solo?
A: Yes, you can do this as long as you have your ears on
and it’s a great way to get started improvising. The
problem with this approach is that it doesn’t provide for
the definition of the harmony in your solo. The prevail-
ing chord defines the mode, so you need to be aware of
the changes. For example, let’s say you were playing
over the following changes:
Am F C G
key of C VI IV I V
Aeolian Lydian Ionian Mixolydian
(C Major )
You can see how the modes change with each chord
change, even though you’re theoretically in C major
throughout. If you were to practice playing the C scale
from A to A for A Aeolian; F to F for F Lydian; C to C
for C Ionian; and G to G for G Mixolydian, then you
could change modes quite easily. The best approach
would be to learn the arpeggios for each of the chords,
and use them as a melodic framework upon which you
could then build using the remaining notes in each
mode. Remember, you should be able to hear the chord
changes in your single note solo.
Q: I find it easier to think in a particular mode
(like Dorian) even when I’m not soloing over a minor
chord. Is this OK?
A: This approach has its place and can produce some
interesting sounds, as you’re not targeting the root of
the prevailing chord. This should be used as an addi-
tional technique to the principle of thinking off the
prevailing chord’s root; not in place of it.
Six-Step Approach to Improvisation
1. Identify the chords you wish to solo over. The har-
mony will determine what scales are available for
improvisation.
2. Determine the spelling of the chord by applying the
chord formula to the major scale that has the same root
as the chord. The resulting group of notes will be the
arpeggio of the chord. Use the arpeggio as a skeletal
framework for your solo.
3. Determine which scales contain the chord by com-
paring formulas. In dominant blues situations this
would include the use of the b3 over the 3.
NOTES:
4. Be aware of all subsets which reside within the scales.
These would include arpeggios, pentatonic scales and
clusters.
5. Apply chromaticism through the use of passing
tones, upper and lower neighbors, suspension, anticipa-
tion, and various ornamentation. Chromaticism may
also be applied to produce outside playing through the
use of scales not rooted against the prevailing chord.
6. Hear the tonal colors produced in all situations.
G U I TA B U L A R Y, V O L U M E 1 19
guitabulary Volume 1

GUITABULARY CREDITS

Producers: George Harris, Brad Carlton Guitar: Barry Greene, Steve Petrey, Brad
Executive Producer: Brad Wendkos Carlton, George Harris
Engineers: Chris Duffecy, George Harris Bass: Tim George
Transcriptions: Andy Frazier, Brad Carlton Drums: Dave Reinhardt
Engraving: Andy Frazier Keyboards: Ron Reinhardt