. , Yo aes Arcs ig Ah, ’ ) ud C FAN Ye ca A \ Ap Se oe Pa ots Pe Nyy me aPe, This book writen bath In English and Fronch, Follow the fags Be cot ouvrage ost recgd an Frangals et en Angas Suivez les drapoaux Jerewerd, 2-3 manl-propes thetecls p4-5 les eutils te clagrams les'senemes theintemals ps-9 les interalles the chords p10-15 les accerds the recipes « triads «tetrad» other recipes ? Jes rocoles stages «ttrades + d'autres recettes ? ‘he method * 0,17, 137 »onnchod chords iSrpemode «9, 11 129 « cords envahis chords and atypeggios leelber p 16-17 beite @ eutils peut, aucerds cba arian table» ert equivalences ei ncantuelt® toadences drtentnce ‘map "nook map Canta des Intarvates + carte du marche seales...andtheitredes p10-19 les gannes... cb lous medes nejedese! p20-21 nejedese ? hatem p22-25 hatmenic minareps « example « Let there be music fos cares |= exemple + Que la musique soit ordinary seales 26-29 garumes Coueanites snatonie p56 Rentatanicus ‘Musical modes (majorminey) 27 Mods sectssiastiques (rajeur / mineur Famone 226 Harmenique ‘Weode 2 Meoaqus retrical sales p 30-32 syne getens "25 pats elle Symmetric imiished B31 Symetnaue cimnude, Synmmetfcal augmented 32 Symatrque sugmentée pentatonic (5 netes) deales P9338 games peulaloniques (5 netes) fimo BS Kumol Locrian pentatone 35 ‘Panietonique locrien Locman pofiatone 73 38 Pentstonguslocren Ea Pees 837 olog Sclabing 88 Serabine hexatenic (6 netes) scales p30-40 gaanenes hexaten (Gneles) Fromeliece-matgcnad "pie Bomate accors mis Pengo 40 Prong heptatenic, (7 notes) scales p31-53. ganmes heplaboniques (7 mele) ‘ange None crolenata) pt Raga None (Chaanata) rates 242 Peon Mela Suryacaria 43. ‘ela Suryakanta @antia pit Rega rboka aga Canavardn) p45. aga Ganavarish) Raga Ganasamaveral 48 Rega Ganseamavarsh Hela Nevariiam 47 ‘Mala Neventem ‘Engmatc pia Erigraiique Grosy Bao Giana Neapoitan maet 80 Nepoftaine mejcure Neapottan minor 51 Napaltsive rvneure MagaPantvarel p52 Rega Pantuverah race Sentanamanjan p83 aga Santaramaniai stales. with a chremalic passing Lene pst games avee wR, chienatisme, “asbop harmonre miro’ Bebop abrnnart ites ° Bebop harmenique mireu » Bebop dominant Beloap meioate minor» Bebop maior Bebop metodius mnesr» Bebop majeur Did we forget one ? p55 Eneurions-rous oubié ure ? What scales te play ever my chord ? 56-87 Quelles gararies jour suk mon acerd? Hew appa 1 psa Bem appetit ! Thank you! psa Meri # index p60 indenJello! Let me first thank you for purchasing this ‘book, My name is Romain Marit and I have been playi'g the guitar for a bunch of years now. I've played on @ few stages and have given some leseOns, and yer, | am a self-taught guitar player. | can’t read music, and yet, | am the author of a guitar scales collection book for guitar addicts. ‘A salf-taught is someone who simply develops his own learning methocs, This book is one ofthe tools | created for mysal: thas bon efficiont to improve my sklls, and chances are it wil be as efficient to improve yours. Here is my method = Instead of leaming stubbornly chords and scales, | ‘wanted to be able to bull therm myself on the neck of my qatar, For me, t seemed easier to be able to build chords or Seales without having to learn them all by heart. I's ke being able to walk through a forest : you don't have to ow the position and size of every tea if you have a decent sense of orientation, To bo able to compose and improvise, | had, just ike anyone asa, to discover the basics of music thenty. Music, thaory saemed a complex thing, my goal was ust to know hich scale could be usad to compose a melody over fa given accompaniment, and vice versa, to understand which chords could be used to best ft a melody. ‘Ae | eouldn't read music, | created «mindmaps» to learn the rules, Don't be sfrad by this word though. A mindmap is ust a way to put a combination of ideas on paper, ike 2 raw of felling dominos, the way our brain works : one idea leading to another. You will uickly understand by reading this book. Imagine you have some music notes in mind : the dream Would be to be able to think «/ have this note and these cthers | can buld this scala, and so use this chord and, these others» This sums up al this book. Whether you have alot of, or no experience at al, you vl earn new things with this book. It containe in a few ages 2 mass of information you cannot imagine yet | am not claiming | am going to teach you all those complex notions of musi theory and tracitonnal harmony that ary tracitionnel music teacher could delver to you Way bette than I would ever do, but at me show you my litle treks that might just enlight your path as a guitar addict This book ion't a method, nether an easy path, nor some inc of a solution, This book is only a tool: open it, take A chord hare, a scale there and play as much as you lke As | ike to say, nobody is going to play your guitar and practice for you I didr’t Invant anything, | juste created myseit a ttle toolbox to continus to joan guitar alone, and be able to put harmony concepts into practice without reading sheet music Here isthe second version ofthe GutarCookBbook, which Corrects and completes theses litle imperfections that the fist varsion had. Now alow me to share't with youpane & The diagrams To create & map, we have to find a Vieual way to represent the notes anc the cutar neck. Not knowing how to read sheet musi, | based my diagrams on the way | 960 my guter neck vhen I play, Here are the notes that form the neck of your guitar, as you see them When you play, the low E string on the bottom, and the high E sting on the. top, the lower notes on the let near the head of your guitar, the higher ‘ones onthe right toward the bridge’. Every diagram in this Book will be bbased on these principles: low E at the bottom, high E on top, low notes fn the laf, high ones on the right Most of the diagrams of this book will represent only 2 small part of the neck, which is not stuated on given pitch they are not locked on @ precise position of the neck). YOU Will define the position anc the pen depending on the root note you hava chosen. ‘This will make the chords and scales ‘savior to road on these ciagrams, By letting you choose the root note, an F major chord, aC major chord (or a G# major chord wil all have the ‘same shape. We will do the same to reprasent ‘modes and scales on the neck, Let's simplity our lives, ‘As humans are lazy by nature, and skilled to invent things ft can ease their ives (chainsaws, dishwashers or cars wore not invented just to make ‘oise), las think a ita, We won't stubbornly earn by heart all the notes that form every cnord, If tell you that an € major chord Ie E+Q¥+B, thataC Maoris C+ + Gor that an AMajoris A + C#+E you may already have a headache. Fig. 1 creating the diagrams / création des schémas Fig. 2 notes of the neck / los not Bp ittay 6a 2 Ye lol one ede of 4 pei tes sur le manche B 6 mb po Asti Fine6 Fea ele4s} teal a. PoE We won't stubbornly learn by hart all the postions of every chord either 12 tonaities, around 20 types of ‘chords (f we limit ourselves to the basic four nove chords), an at loast 8 or 7 possible positions for every chord on all the guitar neck. Laetning at least 1500 chords positions by heart? No thank you. ‘But what if| told you now that all major chords are Gull the same way ? Things seem to get easier every major chord is buit the same way, may it be an A, an E, aC#, a D or a whatever-you-want, up the = neck, Gown the neck or anywhere in beturaen. To bulld, or «cook, chords and scala, well known recipes ext, ust Fke ready meats The goal is to know the recipe of a ‘chard (or of @ scale), to later know ‘where you want to put it: knowing hour to create a major chord before making it]@ © major or a F major is the secret ninnna srorerrsiemae ee bea eg Prof € yD ner STF fnt Asta, (© Para Mott ~ sw aida cam sdarnirekenow' OSo Below you wil ind an itustration ofthis system, applied So I choose to learn only this commen shape. to.some major chords. By learning only this major chord, you wil know them + See figure $ anatomy of major char all: you only have to move your hand on the neck to ‘change ts pitch, ‘This diagram \s complax, and there is no need to Recioes exist to build chords, you only have to know memorize t: # shows in datals every step that can ease them, and to use them, ‘ur learning process. Let's take three different major Chores, in F.C and Gt. Rather than learning by heart The ingredients of these recipes are called «intorvaio~ exery one of these chords on the neck, | notice thet they You will ciscover them in the next section of this book, all share the same shape, Fig. 9 anatomy af a major chord 4 Cian D oy BF i G loll 4 Pend @ | c-lom S g| Fel G lol 4 © we Boe + D g D F-{s¢e} Gh Htn B A. ce Dope te Fite s +e Q ares a. 1 Major chord i) 1.2.5 i ——_ Fe] A nae Qo. ee naar: 7 Fer cos Wun shape: canoe sare Sn dara He sera tantartsntendes Seem witatercheds Hereyos nosed We Wi une to rpreant# ad, tepayesheitsoncergutenec, that tase tvschove, hone 6? ewan wrectetswecrh be hel hes _ rare same shape? "heaton 0 oo hace lar “fuer me fi a One share shape: rey ans “fscomgoation new 217 Me faded cogram Rate than of same ppe tno nth cass) is and nN 5 sreuingtrowtels eck eveytin, can have te same shape though wo wil ony se whet aici thay we stated at ieen ces maces. Portas © ar chet ofte rece fouttteottereckarcsronth, The way wo wil Pave remember snivone shape porch ype" si ite15 Intervals wit be useful 10 bulld Seales and chords, These are our ingredients. Behind this word «intervals hides a ‘ory useful notion, let me popularize al tris, ‘An interval describes a distance between to notes. So it allows us to situate notes in comparison to a ‘given root note. Here they are, in the fight oer Ay =the coot cn-1) or tonic (scale) (1) willbe our starting note for instance C) @ - the second (2 (or major 2°9 is ful step higher then the reo Distne 2 oF) © = tho tnita (or major 34) 1s two ‘taps Mighor than the root. (Eis the 3° of ©) @ - the fourth (4) (oe pexfect 4) is two and ahal tens Figher than the root Ff the fourth of C) © - the fith (5) (or portect 5") is three and a half stops higher than the root (Gis the 5° of C) © - the sixth (6) (~r major", aka Geinishod seventh is four and 2 half steps higher han the root A's the €* of. the seventh (7) (or malor 7°) is ‘We and aha stops righor than the root (Bis the 7> of C) @ : the octave, is sx sions (12 half tones) higher than the root, 90 i's the same note fback to C, an cetave higher) Fig. 5.2 intervals / les intervalles “Those perfect and major intervals, fine the major scele. ©: the ninths, eleventns and @ Mireonths’ are respectivy es, 48° and 6° which are an © ccxave higher They have new functions and will be used to enrich chores, Al these intorvalo can bo altorod (to become diminished, minor, maior, ‘augmented, and more rely doubly ee ee eee ere as aac é agape an ea = ° nine page > Pots Me DOLLOP OOOO OOOO onnnAnnnennooooe@ irrewats equivalences ~ equivalences dintewalles —{esgeegee® 6 cathe des intewalles g "p (eon 008 | @oe0ee +& ;e . +o le. © (beeeer & 009008 HE $e TE oi A tam BY Cf%04 D BF 160, Gah A F c | © sna, & lo eS AaB Ast, copa ae Foca () What scales te play ever ry cherd ? Quelles garumes your swe men accord ? areas, Snopes Pager ne 7 Ear Nah ap “Major pentatonic p26 lanian, Ly¢ian p27 iycian # p28 + Roman ‘eppin, Risen, Major penta p26 oni, Dorian Lyn isan, Aen p27 nimi, Romanian minor pois Mcrae Mayda 9 Ti (ede sane pot Honan #2T= Hace BOE" ‘Minor pentatonic, Pypsan 26» Ph sim, Dorian, Misolydan, Aen p27 Pheyein Gordoum po Dosaat® tesa by Hiroe miner p2¥> aclu BE Toon 5 p+ Lian 9 p29, Talo ets + Cyan pa Tyan ST Ravel ack 929 Lecrian p21 Lorian 13, Romanian minor p2h evel, actin bs p29 Romanian minor Len 79, Losrgn £15, Spererian 07 p25, Fl egocentric acre lc cers cade woes pases S657 Ree verona dee le (ec accede eae areas 637page Scales are to composers what cooking recipes are to ‘gourmats: an efficient and simple way to got the result they're wating for A scale, like a chord, is only a predefined choice of notes in the twohe that make the chromatic scele ithe scele that contains all the notee). As forthe chorde, there are recipes that you will choose to learn or not. Each scale hhas its particular sound : some sound “bluesy”, "sac or "happy", “oriental, or completely enigmatic. Unlice «2 chord, we will not play all the notes ofthe scale at the ‘same time, but one after the other (regardless of their ordor to play molosios, Lets start with an example ©.D,E,£G.A.B,C, Is the C major scale. [t's made of @ root note C, fs second D, ts major third E, its fourth Fits perfect fifth G, its sixth A, its major seventh B anda C hes been added to make sure everyone Understand that it could start again and go higher on and) (on, D, &, Fand soon Fram this C major scate (and from every other scale), wa canesiract what ae called modes. Simply put, @ meade Is 2 scele from which we have changed the root note. The most famous one is A,B, C, E, F G: the A minor scale, What 2 With se same notes, we can make many scales ? Yes ma'am | And | would add that it's way easier to learn 2 whole scale all aver the neck, and then sie it (nite parts to find the modes than to learn many unique riades vnithout knowing that they're al inked and relative, For erample, as @ guitar player, you might have already heard about «church madgss or «musical moces: :/onian, phygian,lyatan, mxolydlan, aeolian ana the others. All these maces ere contained Inside the major scale * CDEFGABCis the major scale, or ionian mode (Conan). "DEF G ABCD (the seme scale, but stating on the 1D) the conan mode (ners in D, D dorian), EF GABCDE=Ephngian In short, the info to remernber here is that by learning a scale, you wll eam all of ts relative mades (even if you'ra too lazy to leamn their names yet © Remain Mite ~ wane platcsak cane But, if they are made of the same notes, don't they sound tho same ? No, because, their sound is define by their intervals in oppostion to the root note (ust ike a hamburger isa piece of meat betwaen two sices of ead, and not a slice of bread between two places of meat) The C mejor scale, juste ke others, has its own recipe root C, second D, major third E, fourth F, perfect ith G, sbeth A and major seventh 8, but the D dorian mode is made of ts oot D, second , iminor third F,fourtn G, ith A, sixth B et minor seventh C. mir: A @) 080050 @ doran physi: AO BOO Evan if relative modes can be made ofthe same notes, ‘they are not bult the came way, If you're struggling to sar the difference, try net to ‘compare them in eatives tonaites (© major, B dorian, E phrygian) but in the sare tonaity (C major, C dorian, (C phrygian) Concerning their position, ae the neck of the guitar has ‘not changad since the chapter on chords, if you know the diagram on which yeu moved your fingers to play @ sale of made, simply move this agram higher or lower ‘on the nack to change its key, So basically, it you know how to play the major scale, you also know howto ply al the churoh modes and tne minor sca, n ell ys. Inthe following pages, you wil find the most commen tand least common scales (and everything in between, their associated modes, isolated (to facilitate learring, ‘or compare the sounds) and linked to one another ito . Et comme chaque out n'a de valeur quien fonction de.ce que vous an feraz. Faltes-en un outl ds grande valeur Exprimez-vous, Composer votre musique Varuna Mlle ~ miro ‘© vilocustomgutara.com wane 25