Se aa wa TTL) DL Lae ae ke TaD es Us ‘ Dem LOPE a a iE APT AU a ¢ eee sy ea Ee, So ee ee Pe css Un a aa E DL Eeeii Chords & Scales for Guitar hy Blake Neely and Jeff Schroed! yA HAL*LEONARD® N ral Coprigh ScurAlights Peceved No pat fis pubcation may shout prior writen permission ofthe PulnerINTRODUCTION Why you bought this book... Hello again. We eay “again” because we're assuming that you've already been through FastTrack Guitar 1 and 2. (At the very least, Book 1.) If so—terrificl You've decided to keep learning your instrument and you're ready for this supplemental book. This book provides five important things: \ A Basic guitar chord theory \ F( Easy-find index of over 1,400 different guitar chords and voicings 2 Basic scale and mode theory UA ( Patterns for 8 scales and 7 modes 22 Special “Jam Session” using the chords and scales introduced IMPORTANT: This book is a reference book (much like a dictionary) and should not take the place of a guitar instruction book. That belng eaid, please go through FaetTrack Gultar 1 and 2 (or at least act like it, 20 we'll stop nagging). Remember, if your fingers hurt, take a break. Some of these chords and scales required some serious stretching. With practice and patience, you can learn them all (and avoid cramping). So, when you're ready, tune up, crack your knuckles, and let’s learn some chords and scales. ABOUT THE CD Glad you noticed the added bonus—a CDI Each of the tracks in the special “Jam Session” is included on the CD, 60 you can hear how it sounds and play along. Take a listen whenever you see this symbol: >PRIMER WHERE TO FIND THINGS What's a chord? Table of chord suffixes Building chorde Table of intervals Everything's relative Building to scale Choosing the best voicing Fingerboard diagrams CHORDS no suffix m, min, — +, aug, (#5) eus4, ous (add9) m(add2) 5, (no3) 6 m6, -6 e/g mo/o 7, dom7 °7, dim7, dim Tous4, 7ous maj7. M7 m7, min, -7 m(maj7) maj7(b5) m7¢5) +7, 7085) 705) 79) 7(¢9) +769) 9 maj2, M9 m9, mind "1 mitt, mintt 13 major minor augmented suspended fourth added ninth minor added ninth fifth sixth minor sixth sixth, added ninth minor sixth, added ninth seventh diminished seventh seventh, suspended fourth major seventh minor seventh minor, major seventh major seventh, flat fifth minor seventh, flat fifth augmented seventh seventh, flat fifth seventh, flat ninth seventh, sharp ninth augmented seventh, flat ninth ninth major ninth minor ninth eleventh minor eleventh thirteenth O©PNTHMHARR B® SaaS 17 18 19 20 ai 22 2B 24 25 26 27 28 29 30 32 33 34 35 36 37 38 39 40 at SCALES. Explanation of patterns Caged system Three-Notes-Fer-String system Horizontal system Moveable Patterns Guitar Fretboard Chart Major scale Minor scale Harmonic minor scale Melodic minor scale Minor pentatonic scale Major pentatonic scale Blues scale Diminished scale MODES JAM SESSION Heavenly Ballad Medium Rock Wall of Fame Wild and Crazy Full Deck Shuffie Generic Pop Funky Feeling Don't Stop Smooth Jazz Overtime Nashville Dreamin’ Heavy Rook Alley Cat Fusion South of the Border Scare Us Swing It! Metal Mix Rock 'n’ Roll Outta Here 56,57 59 60 60 60 60 6 6 6 a 6 6 62 62 62 62 62 63 63 63 63 63LET’S DIVE RIGHT IN What's a chord? A chord is defined as three or more notes played at the same time. Chords provide the harmony that supports the melody of a song. Sometimes chords are indicated by chord symbols, written (usually) above the musical staff. A chord symbol is simply an abbreviation for the name of that chord. For example, the symbol for an F-sharp minor seven chord would be FAm7. Get organized... A chord eymbol tells us two things about the chord—root and type: 1. The root gives the chord ite name. For example, the root of a C chord is the note C. (Simple Simon!) Unlike trees, however, the root note is not always at the bottom of the chord. Notice the difference in these two types of C chords: epi $84 C major with C on bottom C minor with G on bottom 2. The chord’s type Is Indicated by a euffix (m, 7, sue, maj9). There are lots of chord types and suffixes, but there's no need to panic—with a little practice, they're easy to recognize. This book groups all the chords by their type, 60 keep this list handy: Suffix Chord Type Suffix Chord Type no suffix major 7, min7, -7 minor seventh m, min, = minor | ma(maj7), m+7) minor, major seventh +, aug, (#5) augmented maj7(b5), maj7(-5) major seventh, flat fifth sus4, sus suspended fourth m7(5), m7(-5) minor seventh, flat fifth (add) added einth +7, 7(48) seventh, sharp fifth m(add2) minor added ninth 765), 1-5) seventh, flat fifth 5, (noB) ‘fifth (ak.a. “power chord”) | 7(69), 7(-9) seventh, flat ninth 6 sixth 789), 49 seventh, sharp ninth m6, 6 minor sixth | +709) seventh, sharp fifth, Rat nach org sixth, added ninth 9 ninth mo/o minor sixth, added ninth | maj, M9 major ninth 7,dom? seventh | 9, ming rinor ninth *7, dim7, dim diminished seventh 1 eleventh Tous4, Tous seventh, suspended fourth | mil, minit maj7,M7 major seveetth 13 thirteenth Of course, you may run across other types of chords from time to time, but the ones listed above are the most common.BUILDING CHORDS (...and you don’t need a hammer!) Chords are built from simple “building blocks” called intervals. An interval is the distance between any two notes. Here's a look at the basic intervals, using C as a root: Perfect: [ealeetteD) PB (octave) Pit Major: M2 MS M6 M7 Mo Mi Notice that these intervals are divided into two groups—major (M) and perfect (P) EASY TO REMEMBER: 4ths, Sths, octaves and tthe are perfect; all other intervals are major Everything's relative... Intervals come in many shapes and sizes, but in only five categories: major, minor, perfect, augmented and diminished. Here's how the categories are related ‘A major interval lowered ‘one half step equals a minor interval, “3 tg. = ‘A major or perfect interval raised one half step equals an augmented interval A perfect interval lowered one haif etep equals a diminished interval. An intervals type is determined by the number of steps between the two notes. pe HELPFUL REMINDER: On your guitar (or anyone else's), from one fret to the next ‘equals one half step; two frete apart equale one whole step.Review the following chart and get to know all of the interval types... Interval Abbreviation Steps Pitches Interval ‘Abbreviation Steps Pitches unison unis none major sixth Me ae | minor second m2 halt {| augmentedsich aug 5 SS major second m2 whole minor severtth” m7 5 a augmented second” aug? 102 $= | major seventh M7 2 == minorthird” m1 ES} | perectoctme PEE major third Ma 2 &, = | minor ninth mo eve é perfect fourth P4 202 $a | major ninth Mo 7 & augmented fourth" aug 3 BS | augmented ninth — augd 2 = diminished fifth" dim 3 SI | pertect eleventh ptt on =] perfect fifth P5 312 $=] | augmented eleventh augit 9 eS) augmented Htcnt™ aug 4 EBSA | minor thirteenth — mid 4 minor eicth* me 4 $=] | major thirteenth — MIB = * NOTE: As with sharps and flate, some intervals may sound the same but be written two ways (for example, aug4 and dim5). Notes or intervals that sound the same but are written differently are called enharmonic equivalente. One etep further Building chords is easy—simply add intervals to the root. The type of intervals used determines the resulting chord type. Let's start by learning some basic three-note chords built: on a C root: Major chords contain a —— M3 and a P5 on the root. =| Bos m3 and a P5 on the root. P6683 o Once you're familiar with basic chord types, tons of other chords can be built simply by adding, subtracting, augmenting, or diminishing intervals.BUILDING TO SCALE The notes of a chord can also be determined by assigning a numeric formula, indicating the ‘tones used from the major scale. For example, based on the C major scale, 1-3-5 would mean play the root (C), a flatted third (Eb), and the fifth (G)—a C minor chordl The chart below is a construction summary of the chord types in thie book (based on the key of C only): C MAJOR SCALE = C-D-E-F-G-A-B-C (12345671) Chord type Formula Chord names major 13-5 c minor 143-5 cm augmented 1345 ce suspended fourth 14-5 Cous4 added ninth 13-5-9 Caddo minor added ninth 143-5-9 Cm(addg) ‘fifth 15 o sixth 13-5-6 ce minor sixth 43-5-6 como sixth, added ninth 13-5-6-9 cero minor sixth, added ninth 143-5-6-9 cmela seventh 15-547 7 diminished seventh 1453-45-07 C-Eb-Gh-Bbb o7 seventh, suspended fourth 14-547 F-G-Bb CTous4 major seventh 13-57 CECB Cmaj7 minor seventh 143-547 C-Eb-G-Bb m7 minor, major seventh Eb-G-B Cm(maj7) major seventh, flat fifth CECB Cmaj7(o5) minor seventh, flat fifth 143-4547 C-Eb-Gb-Bb cm7(5) augmented seventh BAST C47 seventh, flat fifth 134547 C75) seventh, flat ninth 13-54749 C-E-G-Bb-Db c7b9) seventh, sharp ninth 1-3-54749 c7d9) augmented seventh, fat ninth —1-3-#5-47-49 +769) ninth 15-547-9 fo) major ninth 13-5-7-9 CE-G-B-D majo minor ninth 143-547-9 C-Eb-G-Bb-D cma eleventh 13-547-9-41 C-E-G-B-D-F cn minor eleventh 143-547-9-1 C-Eb-G-B-D-F cmt thirteenth 13-57-9413 C-E-G-Bb-D-F-A as NOTE: Since the guitar hae only eix strings, certain notes must sometimes be left out, And Ug sometimes certain other notes are “doubled” (played twice). In general, the fifth and root are the first two pitches omitted when necessary.