VAIDEOLOGY by Steve Vai VA taL+Leonarn: vaenemnesnasen ae yscie) ett een Migs hea Etnararcon ‘Ena hoghaferadewoye com nat nnghewowcconaVAIDEOLOGY by Steve Vai VA taL+Leonarn: vaenemnesnasen ae yscie) ett een Migs hea Etnararcon ‘Ena hoghaferadewoye com nat nnghewowcconaCONTENTS ACKNOWLEDGMENTS INTRODUCTION ncellectal Understnding Experiential Keowing NOTES ON THE NECK (ACADEMIC STUDY) Accidental Enharmonic Tones (Gata Fretboard Notes NOTES ON THE NECK (EXPERIENTIALSTUDY) Listen Intensely Note Recognition Exercise ‘NOTES (ADVANCED) Microtones Comprehensive Accidental List Advanced Note Recognitin SCALES (ACADEMIC STUDY) G Major Seale Lncervals (Compound Intervals Interal Table SCALES (EXPERIENTIAL STUDY) Listening GB Maine Cho ADVANCED INTERVALS (EXPERIENTIAL STUDY) SCALES CONTINUED (ACADEMIC STUDY) The Minor Scale § Progressions @ Misot Seale G Minor Chord Tragresions Pentatonic Scale G Major Pentatonic Seale Bucs Seale Blues Sal Practicing Seales Exploring the Neck G Blues Scale + By Major Pentatonic Scale n n " 2 B 1 B 4 5 16 16 16 18 18 18 » 20 Pd a a 2 2 Whole Neck Awareness in G Bluse G Ber Sele «Bl Major Peniatonic Scale Expand Male Every Note Werk, Somehow KEY SIGNATURES AND ‘THE CIRCLE OF STHS Sharp Keys Flac Kens Relive Major Circe ot see NOTES ON MANUSCRIPT (ACADEMIC STUDY) Stat Grand Stat (CLEFS |ADVANCED) Percusion Clet Minor Keys Various Percussion Staves “TRANSPOSING INSTRUMENTS Gatas Teanopeiton [Non-Transposing lntruments “Transposing lnstrurments MUSICAL NOTES (CHORDS (ACADEMIC STUDY) (CHORDS (EXPERIENTIAL STUDY) (CHORD SPELLING (ACADEMIC STUDY) (Cher Spelling Lbeary Choed Symbo CHORD SPELLING. (ADVANCED STUDY) Close Voiang (Open Voicing (Cher Inversions (CHORDS (EXPERIENTIAL STUDY CONTINUED) WRITING MUSIC (ACADEMIC STUDY) [Note Vales POLYRHYTHMS 3 B “4 Py 4 3 16 tb 18 28 » x0 x0 u au 2 B 6 8 7 8 8 “8 8 6 46 % aPOLYRHYTHMS (ADVANCED) Tuplt Terminclogy POLYRHYTHMS (EXPERIENTIALSTUDY) ‘TIME SIGNATURES (ACADEMIC) Common Time: 4/4 Meter Wale Time 3/4 Meter March Time: 2/4 Metsr Duple, Triple, Quadruple, Simpl, and Compound Meer Meter Chart Complex (Oud) Time Signatures ‘TIME SIGNATURES (ADVANCED) Composite Meter uly Mote (or Pal Metric) (GUITAR TABLATURE (Gutar Tat GUITAR TAB ARTICULATION AND ORNAMENTATION COMPOSING MUSIC Tempo Tempo Alterations Tempo and Metric Modulations Repetition Sins Artcaltions Note Ariciletioos Dymamice ‘Dymice Chat Drymame Accents COMPOSING MUSIC CONTINUED Crescendo Decressendea Detave Sign GUITAR HARMONICS Natural Harmonise Atigcial Harmonice [READING GUITAR RHYTHM RHYTHM (EXPERIENTIAL STUDY) ‘THE GROOVE CHORD SCALES (ACADEMIC STUDY) (CHORD SUBSTITUTIONS MODES (ACADEMIC STUDY) “Modes Table with Chord Scales ‘MODAL PROGRESSIONS Tenian Mode (Majoe Scale First Mode ofthe Major Sale Dorian Mode Secunil Mode ofthe Majoe Scale Dorian Mode (Eighth Position) Phrygian Mode hind Mode ofthe Major Scale EDheygian Mode (10th Position) Isdian Mode Fourth Med ofthe Major Scale F Lylian Mod (Open Position) Mixoldian Mode: FFith Mode of the Major Sele G Misoljdian Mode Fis Tosition) Acoli Mode: Sah Mode ofthe Major Seale A Acolint Made (Thind Bastion) Loctian Mode: Seventh Mace ofthe Major Sale 1B Loctian Made (Fifth Poston) Aitional Chord Tessions (OTHER SCALES Harmonic Minor Sale Harmonic Minor Moses Meladhe Minor Melodke Minor Move Diminished Seale Altered Scale Bren Mae Scar Hexatonic Salen Pematomi Seales IN CLOSING 7 9 ” 81 a a1 8 8 3 Ba58 Bae 49 or a a o 2ACKNOWLEDGMENTS Big shanks toll she phenomenal musicand life mentor: Tve had throughout my carers Bill West, Joe Sara ‘We: Hens Joe Bell, Mike Metheny; Frank Zappa, and Davi Le Roth. ‘And sncete hanks oall the “campers” thet have joined the Vai Academy reas lear so much fom allofyu, and this document vas erigivallyweiten fr ou. “Than sow Jaco Henke for his ding, Jay Gayl fr fis nigh ad opel hanks ws Cory McCown or Fak all ayers NTRODUCTION Testor. ‘This dea ide te hi iid GF nc asp ch eepiving pi lap In long. Do os need tokaow music theory tobe good musician? Tha’ one ofthe common asked questions Pheat when syeskingtoaipting guitars. eems to be a source of confusion and concern foe many, Het’ something to ponder ‘whatever you ate interestedin, you wil naturally sek outo understand becuse you are tee in i fou Sind ‘yours asinared with undestunding the language of music, nothing wil step you ftom seeking it outand making it Pato! your musical wesbulary Br, fyou are ror interested in understanding mesic theoe, chances ar, youl stugale thrmgh dhe redious process ‘ofenployingdscipline and memerisng things that may evenly ke only nominally helpful atest. The gba news isthavies nor the academies of music chat wil make yeu an efette musicians ef via importance is our creative imagination and your enshusiasm fora good ia. Perhaps the most powerful connective toa 0 your struments the quality of your inner musical ea, This is what mans the invisible ino the physical “There are many who coulda careless abour knowing anything regatdingthe academies ef musi, bur are power seusiccreaom sonehelen (ler to mic teoryand eckaiue athe “acer” fi ‘Then thereae those who have» song dese to master he laneuae of music, hur the whole proces seems ‘ovenshelming and intimidsting And some mayeven fel emtarasl shut they are virally ust literate and ‘hve aque bit insidious bb i their head hac they justarent sare encugh ro-compehend , Whatever you believe willbe ru you. une you change your mind abou i ‘Some peoplecan be very cticl and may ll ju dat ou understand sie doy, sl compromise yur sity vw play fcenthe hear." I woul weoramead not buying int tat premise. This may or may not be dhe ase The wick isin ning the balance. ‘And some people may start to sual thelauage of music and weal is vast hidden potenil is unlocking deep ‘wat in their musical imafinaion; they discover thai nox that complicate ara, it makes sense, and fess very natural to them wih ile study. They sare se the infinite cea it allows, in ways tha no undentanding rusicwould never ke able to ualcek. In hi case, i not uncoranion to develop a voracious appetie for the sual of rusictheory. sal sou, ‘The quetion ix What de you want?Everybody has a difvent set of desiesand abi in understanding things ar various levels. Some people are more invlleewual thinkers than artic thinkers, and that’s fine You can alvays choose ro developyour sills in various ass thacare noe natural woycu, but a good ule thumb ist flax your entbusiasas exci “Fellow Your Bliss” ~ Joseph Campbell Ifa veryimellecualy sifted person absorbs the depts of music hoor, thes may find thenseles creating complex ‘thovretial musi for the sake of ascnating themselves with thei own inelect. The music they cree may inevitably Scud lite... wel, meandering intellectuals exercises And thas ne, oo thats what ches want to de. There's ve atc value in that fr seme tener, ard i Ws ullling Gr the composer, isa wii ‘Since a far ck os Tea remember remembering, Labeys hal + deep fascination with the wreenansage of mnie (On paper, it locked ie beau nyserious language thar nsintvely knew could unlac my musical expressions. Tp keableco writes composition ‘to me Ie flike x warm safe pace (a biare analy, now). ea his far Lge group of people by starting with a Hank pew ofscore per, wth es infite postilics fr inventiveness, ‘was absolutely spllhindingso me. 1 alvays had an incense desire to understand fully and master comple Although fm sila work in progres-because che olution of music theory infin 40 mach eny being ale ro ue what do know and stil continue w stu it Basile ting up the sccondion arin yur fag st eal goad Tain boy frm Long Mand my seriou sudee in music rheorystrid in event grace, when rook a music theory cls hat wis eaphe hy gy who 1 consens| Dalane Bll Wesceet. This is whee I lesred the fundamentals and mach more. vast unt I mc Joe Satan when [was 1? years oli and started taking guitar lessons wih him chat bean to undestand how t pol this music ‘theory othe guitar 0 unlecksome of ts mysteries, 2s compared to composing fr various pyers. Je teok the same ‘theory clases wit Bills did, perhaps fur yeas o ao before me, Although Joe posses a igh dee of inelctand musical derstanding, his inter melodious heat uses music theory wo do his ined bidding ‘When ater Berlee College of Manic afer high shoul, waa to dele more int dhe seay of muni sey pericalnty inthe jut idiom, and clewcswith Wes Heael and Mike Metheny were very belpil: My action to the ‘si of Fran Zappa we suprre bocaze inhi saw allbing done dhe way always wanead odo ie but pape wth diferent aes Frank nod eenthing ancl arthingto get his poine acto, pel he reached ne che depehmand Deyond-ofany ofthe avalible elements aris disposal, be aompesition. uta lasing technalog, humor, ec Intellectual Understanding vs. Exoeriential Knowing “awl rein the earpern isbn, [ex atne wha you an ers patel an th inlet undestnding oft By going dcp, Lam teeing raking experiential. Threat diet teween menofing soning and undendinding tind an koaving someting “peel An analgy ofthis might found in boner, You an eam what honey son an iniellectua eel. You can bea syecalston she properties card even be the words eangauthonty ont. Yeu can wrte vlumes of wformation about heng} expluning tsonign, mokeulr seructure how ts made, llth diferent yates, et, and you can even ivccahaustive aa napnutveexplanutions on what testes like. Buta pen wll sever actually keow what oncy relly unl chy pur ien their mouth and focus the Mawr of because ats of honey expesictil ara has sieeully nothing wo dowith the itllctal undertanding ot In the learning ard utliaton of dhe adem of musi, che inelestual undertaning of has it lace. n any eld, ‘theres period thara person goes dough when chey need t bone thet vessel, sot speak. You need 0 appy your focts tothe leaning of the modal for «while hurthe most fective method of owning” what you are learning sw cvolvepast the king by making it second nature, wth no teal need so think about east becomes a “noninthat doesnot require thinking. And in onder tart happen, one need ohave evolved the kaming into the cexperiznial knowing age. Gee, [hope this makes sese..1'm tying. ‘One ofthe eres to achieving this isin your ability to iten with great inensty to wharever its you ae leaning ot paying, When ou pay whit ou ate earaing irbecomestangble ma diferent way than us a6 2 chought. When Tcening unten, you ate no: chunking; you are instead boing presen. Being Fesen higher sate hun thnk. “The importance f listening t whatyou are laying cannorbe ses enough, and there ate varias xencies for Titeningon a deepe lve houshout his book So, to know music theory or ao [huts the question, ay answer might be: eos matey, but wht matters mone are your intetess and desires. Having said thar, alvays eeommend arlessta basic undentanding of te fundamentals ‘of must heer, and since 'm pramanly agar ply, decided ro crea his book, which I belive covers those spe fundamenval and bow apply them wo the uea, Ielave dese academies ate elas) spl w undescand ‘ba can prea a your undewtaing of che baie ung: oF mic, Ths wil ineratly make yourrongerng, communication with thor musicians, apd navigation onthe inerument easier and moreaffecie can so inpive sur rete are erro soil len yout znay racine neces ti re comply rsclly ier ‘This bock is noc meant» bea guitar lesson, pers, bur mereof a decument on bic music eheoy. The Enes blur at times, ura guar lesortype hook would indude much more of foeuson technique. In his book nese ove the basics as hey may apply ar player, but T ls touch en some advanced ‘concepts thet you cam eeplore if inered. I might recommen tating the done wo completa read cheoagh this ‘document ica a utes what pines tthe pula troecnthy cae ipthar But thea learning and rmemoriaiton aspecs ofthis book, Light suesst going one subject at atime unt you have mastered it chen mone ‘on w the rent subject-even iit takes a week oF more fr each subject. This book is eonstruta inchrenolegcal onder, se nce cach seeion is mastered, the nx daculd make seve you find youself tscnatd with music theory, here are mysiad opportunities to deepen your undesandings. And thes days, wth the Lemme, cheat at your igertps “The en eo tke the pth of Ia resistance that i nok int yourself and with whatever i that fen and instncrualt yu, rears of what anybodysas you should do Iyouare rot interes in having basic understanding of the acalemics of musi, then throw this tookavay and rmove on. Bu, you do desire havea handle on music theory, then rea or. In closing 1 would ay hacit’s important so undontund tha whorever you's ot ight nowin your undemtanding of ‘ine thoy ov fchnial dlajior ana pleut ha aed when rp decide on Se tsps wal Et Everythings just fine. Asa mater of fc, e's innit better han us fine it's invensely phenomenal. Hey, youte playing the ite! Ene Seve Vai Decomber 10,2017, 304m Pane, IndiaNOTES ON THE NECK (ACADEMIC STUDY) Mate the est of your be with the guia ie easter by memontzng every nee onthe neck, col! Ben the ones yu seay tle wing, Take theme atl just memorize dhe al perc ‘There are some excellent apn an dagrams nline tar canbelp and thar you may want w check eu Just seach alin for “Guar Fesboanl Noes” or anything lice that Here ne some base points to undentans + Incumentonal Western musi; hete are 12 nots inthe equal temperamen sistem, These nores crete the clyomatic scale an pest theres, ow thigh (or ie vena) 1+ Inthe chtomatic ras he 12 acto area half top apart fom each athe. A hal.tap i leo Lnown sea jritone. On the pia, half ep isthe dntence from ane ft the next ether lower or higher. Awholo cop the disance of two fie. +The natural nies in msi ate C, D,E,F,G, Aan Accidental ‘An acide asymbol at nda fe ee pla in nr sateor al or owed in vais depen 4 havi sharp publ Isis these oe al pfs CH. b This isthe dar sol. Irlowers the noeeone half top (e2., BD). This eh roa pmb ii tei ees lp ii mira (2. CB. Th smbol ners ny sharp ort hat wes applied vote sane noe ene in he bar of te Iolo tienes tray f he mente ase would be poe nex aur penn. en alae peng iter wast fy teal A otto Borie rae aed no dire etn % This isthe doublesharp symbol Ieraies the ncee one whole top evo fet. bb Thisisthe double far symtol rowers the note one whole step (ew fie).harmonic Tones Enharmonic ones are notes hat can have several names but at actually the svete, sch Fx, GR. and Abb are artalyllshe same note; tha they are enharmonic tones, Balw is diagram of the neck ofthe guitar with ll the notes color-coded, with enharmonic rons ina red cde You wil notice that BE is eakarmonic to C2, and Et is enharmonic to FE. They ate rot included as enharmonic tenes in this char. The datle fet marker on the L2sh fe represent the octave, ana rom there, the noses repeat themsees Be sire t9 memorize the nots on the neck past the {2th te. GUFTAR FRETBOARD NOTES NOTES ON THE NECK (EXPERIENTIAL STUDY) Usten Intensely les good dea to memoriae hese notes so they ate nscantaneosl recognized on the neck wichou having think whar hey are ur there move powerful wy to crate a tetionshipwith these nces than wo ust memorize their positions onthe neck, andtha’ tliten intensely othe note Feyond its name. Eeyy acres somewhat of sliferen coor, dimension, pasomlity,emerional equlitium, and sory to it. These differences can seem very sub, and mos: peuple donot consciously distinguish the dterencs, but may el the derences suncosciouly. Each Peon experencs the qualities of notes erent, What do they mean to yu? “Take the time to sve the note your fall aeention by us listening as deeply as you can and ecognising, on those subtle level, how tharnote makes you fed. Merge your being with the name ef the noe, alone withthe personality, emotion, and celoe ofthe rote. See how the nots dfr in hue from one to anoshr. In doing ths, you ae esenviallycesing an intimate relationship with each naidual note “This ean aid you temendously when 1 comes te to deve tno your imagination co find melodies and chon that cn Dest expres your create intendons. Chances ae yuu auy have never katned to do this bene. But yeas Jos, Jousting the note fom she inellecrilan! ste, which ithe meatorition ofits potion on the neck or any cher information you can apply 0 the expesontl sas, which the inner, intmare contin of the ol of the eel ibaton are homie rsnunde wth yn.This isa meditation of sorts, and the mere you foes oa the esonance of exch noe the deper your personal relationship with cha note wl be. By the way, the notes love it wher you do this with dhem They wil tart singing eyo ‘When youlaetstening deepy and memorsng the quality ofthe noce sel try using te pat of your brain that you 0 to when you ate memorzing something. Sort of as somcone vis ellng you thelr phone numbet, an! you were frying tno’ Vso faba bps oie in our nf ee Bar make aie you have instant recognition oftheir names on the fees. Hew & a wea exercise that you can de forthe invllectual leaning ofthe net’ postion onthe neck, Road youre saying the phrvs belay, and when yo sten back, pay those notes on the guitar neckinstany. Go dhe twice ence forthe nets Hew the 12th fet, and ‘once fr the noes above it. Once you havea wltvel god anil an ths, reeecordthom, bur cnly give yourself half second o esto find the note When ak ogi nthe ange ie the note cn bech Eating and abo ind che nce ia both octaves cathe gion sting. NOTE RECOGNITION EXERCISE Eon ating Fon Asring Con Doering BonGoeing GonGeving Box Gsring Fos Esuing BenDswing Aon Astrng Fon Batine Hon Eoin Phen Doming ——GhonAswing | Ghon Bowing | Boon Haine Gon sing Boon Estrng Bos Dring Thon Cseing | Fon Batring Fon E ing FronDaring ——GoomAsting Bon Gaming Aon Bing Thon Asting DeeaDseing Eon Gsring Gon Baring Boon Ewing Chon uring Fron Acting Co Baring Chon Datving | ConGaring GFon bering EF on Aweiny Bon E ering onDseing Bon G ating Bon Boing (Gon Esting GonAsting | GkonGswing GF on Eriag Ghon Geenng Avon Ering Bon Asting Eon Dating Chon Bring ThonAurng Aon Earing Fon Ganing Thon Being Fon Dating Mon Esring —— EFon Bering GoonDoting | Fon A wring on Guring Bon E wring Gon Dating GonAswing Aun Geting Fon B ring Bon Bating Bon Esring AbonAswing Gow Datring Don G srng DenBeaira EoeNere Th on Eoming Abo Daving han G tring NronAssing Chen Dvaing Ao Baring Bon Dowing Don @sving Gon Eine Fon Bang Dowd wring WonDewing Chon G ary Con sing ‘Con A sing ‘Aon Dating AbonGstring Abou Bsting DéonAsring Dos Diag Bon G rine Con Bane Don Estrinw AonDarng (Chon Earng Bon Bing BlonAniag __ |ApouGurn Don Esving Eon Datong Fon G sing By onA sting Dh oa B sigNOTES (ADVANCED) Micretones Microcones are notes dar exe in beren hal zep (aller shana semitone). There ncter eal alla aor Inger Convontionlly, eswwon shall tp chew ae 100 micro izanals which aw called coms So, there are LOO cents within the span of semitone, ot half stp. Bur on the eta, ot woul have fn hem by bending the oe slaty boctse these notes exist “in brween” coe frst (hall stp) ‘We wl oniyconcern ounces herewith quarter tony, which the note that exes dct in berweenafulaep ine Aqua fone 5D cats sharp o fl, Yu may Gnd virus symbols sed in mcrtnal music ht epeseat the same note aeston, lowe he lathe common ons and heat the anes Le. f= Servo sharp Hyer sharp FB -pve ta b= s610ne tr fyou venrars ins micrtcnd mune you may id show of microtonal ymbol that are ute invari curso by oro comporen, COMPREHENSIVE ACCIDENTALS LIST‘Advanced Note Recognition (of reseimporance for any musian the development of tex musa et, TMs at he core of the conectn tcretn you ete musta eas rd our ges Being wih ahh developed mane eae quite ie sfx but i ao ponte devlop our ea [ew natuy dev in edo otning eo as, ining ‘ong cd curate eon foe ‘Theresa pethor of exercises and sie a person can doo develop hiv/be ear, and I would highly recommend cengoingin any youcan find or maine. Here ace some 1 Sing wharyeu play 2, Singawharyou payin harmeny (ll sale dees) 3, Ligon @ your norte songs and ery to gure them out 4 Memorze inenals by ext 5. Lesen co sithesing 6, Taner all sof muse saving api bai prin Hee Redsios Bue (ohioey emi sessing ois tue of ie nein oder es readpce the lu etme fee ply the rte loet fo eco ‘orless aa thon name the netewith our voise, Whe litening back, sei yu can nam the noes jst y hearing te qalitof i. Noming the sting on which the nee isbeine payed unnecessary, Just iste deeply othe nose and see Ifyou can deni its pitch. You may discover thar you have perc ich!SCALES (ACADEMIC STUDY) “There are many ways to appreach scales, but Tm gogo outline the way earned them on the gutar when I vis youngster. Fre; thete were four main scales. tn pascla,the blues scale was moe mpertang and [expan vty when ‘we pete mes. 1. Me 2. Minor 3, Renctonie 4, Blues This i the G major cali second position, Its modal mane is Tonia. G MAJOR SCALE m>pogem Fingers Ist nd Sed th Aunt formato om sales. intervals +The aumbe of the nate ss appests nest in scale can be conscrad sacle degree +The major sale has seven notes, cr sale depres, in it + An interac che dizance (top vl) bene 240 pitcher “Ta define an inven, shy te called unison, 2d, Se 4th, th, sh, Ton Br, The eishth not the oxtve, nl althoueh note degrees alone the octave repeat themsoles, the numbering can increase Based cn ehe distance fom the root (original key nete; for sample, eh, 1D, Leh, 12th, Heh, 14h, and 15th (wo actves higher than rot, oF 15a). Interals thar are beyond the range of a octave ate called compound intwvalCompound Intervals When 2nd wan cove hha ical 3 5th 1 When » Sed ivan octave higher it called a Wek + When sf ian cctv higha, it called an 1c When 25th san octve higher it's ealed a Lh 1+ When 6th ivan cctve higher it called a Leh + When Th nan cotve higher, it called a Mek + When an 8ih isan octace higher tis sometimes called Sth ‘Themames of intewal ae diingushed by using these ers + Rese (P) + Major Minor ind + Auuiented + Diminished) Ereryimeval has pata sound, ior, and efor baed on ce way dhe noes exonate together. Some itera ae tefeted to 25 prfeerbecause ofthe way they esonate together. The eu oftheir fequendes re simple whole ruber. You cn serve their resonant wholeness yo len to them careful. Here ate the min intervals ad thet qualies. 1 The perfect interval PLA PS, and 18 The major intervals are 2, M3, Me, and M7 + Ifyou lovera major itera bya hal step, i comes mizox. The minor inten are nn2,m3,m6,and a7 + Ifyou lowera minor or perc interval by half tp, itbacomes diminished. The diminished intervals ae: 42.48, d4, 5d, and dT + you aie + mar or pose terval y bal tp besonnes agente. The augmented incervab ate 42,A3,M,A5,A6,and AT A diminshed or augmented Istor Sth is teoreicl, a san stgmente Teh, They techncllyenst uae never refered w because the Ist rcod ce Bub (ocave/toot cf a scales the cater pine cht allotherineral revolve atound within sale or chord + Avother symbol for diminished smal ci next 101 now or chonle + Another symbol for aujmensed is small ples sgn nee a note or chor C+ete i alt ofall inten in tation tothe [2cone chromatic sce. They are lineal ou in alfstepinera ‘Ap augmented 7c and augmented Istare theoretical bu ar inched here INTERVAL TABLE woe | ¢ cmb] > mes! & | F [mcd] G [otiay) A 8 ChiomaieSele rei ] Dees 12ep tJalala}s|ela|s|s}uolu Pl 2 wy | 5 MI guetlluvals AT AL ale la 6 46 In regard tothe precious daypams ofthe G mujer sale coal reptesnts one parila yt play the Cmajorsile Hyouare interested in scale exercises, here are afew tps hap you ger aul of the msjo ale around the neck I sugies: singing every ne you pla 1. Prawee the previous majo see patra, bo foal snd bachwatd, string fm eeny ele the dow Ein. 2. Practice the major scien every postion on the nec, up and down, bu chang the fingering so you start with our fine finger. 3. Prazce the major scle fom the lowest noc ss highestnote en the neck, starting from every note on the sua, upand down, 4. Makeup your oun veer GSESCALES (EXPERIENTIAL STUDY) Listening ‘Now thao knew the “adem” the mire ero wk on he enol enmecon With As we ges new plea er of ale, Underage wenden falc bp tf mach trom sal mporene sche nal quay of the ale Th ener pet of he wae As wth veghing {lel dicrauirs mainte lnning eo stmorhor dae unig of ee rene Len crv major fale and epermant with olongeninaly wihinitand fing he uly fhe only of. bse anda tals inde aes thar ean the mort yo Inthe kay of mer a Sew chord peogessons that yu can pethaps record and jam over at sted below. Keepin ‘mind that there are countless progress shit can be writen with a mayor tonality These ate very simple G Major Chord Progressions — (SS ‘Write down a livof qulties you fed within she harmonic atmosphere ofthe major cle, Some waysiths been described ae "upg," happy” “brig,” deer," “sunshine,” ex. ‘Memorisng the “ol” ofa sale of much gear importance shan undemtanding che academic of bur dy wale Than in hand, o Finger in ge:ADVANCED INTERVALS (EXPERIENTIAL STUDY) ‘Whar weve covered so farm reyad coscale degrees and ner ll there realy 0 know sour Of greater ienporanee being ale wo dent inenal just by heating them ara, of course, eadyng dee personaly you ‘ould identify nina jar bi bering yous wl nd youn way ahead ofthe game when it comes toimpoviing, wreing musi, communicating with other musicians ‘There area host f very good aps you can lok ino that wll hep rin your ear to memorize the sounds of inten Hee ne fw a of ealy 2018 +My Bor Tatner + teal Ear Tang + Perec Ear Taine + Raltv Tich Fic loterval Ear Teining + Compete Ear Finer + Ear Trine Lite + Funceonal Ear Tan + Compt Ear Taine + Chord Traner Fee [And here area few exercses ou can do help develop your connection with incervas 1. Sittora period and pay the ites ied Bel around the neck. As you do lien very deeply the quality ‘ofthe itenal, Whar does sound ike to you! What des irmake you fel lke’ Ete Then do his with ll che ther steals ig oufciene done wear all opr dhe nec, inthe follving onder * Ocenes + Mace deh «© Augmented ets + Pe Sih + Minor Te (Diminished 5s + Re st + Minor Sis + Mare ‘Augmemed 2nd) jotta! 3 + Nojor 3s . + Major Inds Minor 2nds + Mar Ths 2. und histo include compound intemal auch us Sth, Lhe, Behe ot 3. Resor 10 mimutesof each interval at random plices onthe neck Is important use the kaestand highest register ofthe guitar when doing chisLisen back caeflly and medias on the personality of cach vera 44. Record an hour ofcandbm interval using them all, fm min 2nd t4 15d ube cetae. Ske them cence and let them rng ou fr 3-8 second, laung igh empty gap inthe cording fllowel by yourveice amingthe inten. When you Tato hack to his, ory to name he inter in the gp Ifyou can name the actual row name when doing this, then congrstulatins, you ave peste ichSCALES CONTINUED (ACADEMIC STUDY} The Minor Scale ‘Wee reviewed the msjor stale. Now we wil esew she minor sale. Theminoe sale, orits oval mame, Acolian isa trajorscale witha lowered Sn 6th and Teh Pishupy beter way of puting is 2 minor scale a majorscle with 2 13, m6, are m? for 93nd, >6¢h,anlp7eh). Its scale depees ate asfllows 1, P23, P,P, m8, 7,8 1,253,4,5,b6,67,8 Here isthe minor scale inst position G MINOR SCALE Fingors: Ist Applyallof the same sademic and expsintal practie techniques o che mince sale as are outlined forthe anajorscleHere re some simple miner choal prgtesions to fol around wit, rene, and jam oer G Minor Chord Progressions Gn Bb Di Se SSS SS =] {ESS Se" Pentatonic Scale scale ia sale that contains only ve notes wahin an ceive (or mone)-hencethe name ve, tne * tone). Theteae, ofecune, a mulutude of peaatone sales yu can create al play on the neck, Lut we will Gcus on the major penta scale, The mest ccmnestonal majr peaaten: le coms ofthe llwing seal degses 1235.6 1,40, X65, Bs, Ms2 Here's an example ofthe maorpentasnicscle inthe key of G majo. Inthis diagram, che second oct scale depees silly othe frst ccte, instead of showing compaundinterals. So, arhough the A on the D sting can beconsdered a M9 when thinking of compound intervals (based on the wet being on she ehtd Fe ofthe lw E string) Ivenotated it 1 M2, fs god to make the ccnestion that 2nd isalso a Sth ands Sthisako a [2th, The best time to ase compound intervals is when spelling chon! (mone on hat ae) G MAJOR PENTATONIC SCALE Fingers: Numbers in blue blacks on neck Although dus sce can be substtucal forthe G mayor scale, does noe cortamall the “tension” noes. It could be considered mane "county" oF "ok sounding dan the all majors ‘As withthe cther scales, memorize the sound ofthis sae and enterits atmosphere. Major chord progressions, ike the ‘ones given in the previous sections, will wrk wit this scale, This pentatonic scele also useful or Wenting more inthe key of G mujer. Try experimenting with slcing and usingall the G major notes arcund the eck. Fool srcund with string bends, wea, ris, dmamis, et “rea exit” on the ns Blues Scale “The bhi sles the metheroud in rock and blues muss [+ mote ofa customeype scale in that there's no real rule asco what the Hues sae i (atest net that know of). The fit Hues seae Hearned, which was within the ist few ‘week of playing the gitar, ithe cle chacmy plying reves arcu to this day in may chordchange situations. Ks cothned below. “This scale atthe foundation of ey finger aareneat cathe neck but takes a wayback testo my cnt, Meaning et ious gla ri hen Ton Eprviing more han |e te sexier of valet bit al can work together nical. ‘Mont Blues scales ate pereatonichased, butthis bles scale has sone “rensivn”notesin esomsd the upper end of the sae that cn work. Theyare i pik. Ths blues sal, with the writen tensions can alo be seen as avariaton of the Dorian mode. somtimes refer to this sce asthe “Dorian bs.” The Dorian mode the sesonu scale degree (node) cfthe majorscale, bur moreon that lt‘Aso, when considering sale degrees foes 4 FL coa PIS chat coer the range of « pw-octave sale, tae tha certain intervals, sich a6 23, would ke called a 10th, ora 5th would he called 2 12h, ora Teh ealed a th. So inthe sale illstation below, and in fueue ones that hve freeboard, the most commonly wed scale depres are writen in their lower interval number, and the only campound inzenal that are writenas the higher ozave aumbersare these that are usually used i eheed voicing. Intervals from mt of wale PL, M2,M3, Ps, PS, Me, MZ, PS 19, Mio, PLL, P12, MS, D4, PLS Common ame scale degre PL, M2, MG, PS, PS, M6, MT, PS, M9, MG, PIL, Ps, M3, MG, PL G BLUES SCALE Finger: Numbers in blue blecks on neck ‘You may have noticed dhatche A onthe high E sering is indicted asa M®, Although this nete could be considered the MI eh fiom the G rt on the kw’ E sing it would only be dheotetcal cali chi. Ir would be mote appeoprasly called the major nd (M2) or major 9h (9). Ast heather scales, stad dheseon toh he academe and expen eve, yo wiech viral any rack guar player, youll nie tha they ae sully maneuvering in cis cele format. The moment] earned it [ft as though a huge veil was ified and an opening formed in ny perscnal relationship the neck and manewering atu Practicing Scales "ever practiced the Nues scl; [jut played around in There was atime when Iwas young and lenming the site thal would prctice eey sie every mode, in every key, uparl down fe neck, avarcusspeeds very dey, ang ram other things. This was a porey acalemi,echnigue practice routine shat Lused to help develop my chs. There ‘was some experiential vale in ir cause Iwas focusing cn che hamaonic quality ofthe seals, bur most oft was ete pei. ‘Theediys [might nce commend this kind of practice i tery ourdaved, Intend, Toul commend undorranding he aca 1), bur ieadofrtoeype practice us play. pay pa: ay, py usic.-and net so much scales, Communcsting with other musicians (no mares how goed orb yu think you or they ste, exploring your emotions in ao form, an consandly creating, exlering, and investing a connected way ial of much grater rae inthe lng run than endless practicing sales up and down, mie of thw tales and hang hem under your fingers (and the modes hat we wil be gorting2 “iy walvaysmake vhar out doin sound Uke music, een if ou are jus playinga sale There isa diferent ypeof aneation you wl giveto something you ae playing when you ate listening end expressing with your focuson making a rusia sazement, ner than by creating something tat is aers-base, fngermemey meandering 1m onde fo anything you play» sound like music; you have tear 42 musical statement your head. Then your Fingers wl slowly masage she rote whar ou ae intending it sound lke, bese on how you ee Exploiing the Neck Ee ins gsc OTH a per RO mpm whoa dno senna pecs ek ptr yu myn. Deng be yo te on viviatly ooking for isan wanes in any bey, The best way to do this ja experiment with nots thar work in a key ‘Che thing hats pil in che egg ener anes at wk ge: For instanco—and thie wad me when Iwas 13-fyou ar jamming out on, ley "C blue," and you play he previous major pentatnic cle but starting + minor Sed Creo fet higher han she rot, G(ahich eB), the notes wil work sully rae. This wl expand your awatenes of hat key onthe neck ‘The reason these 1wo scales work tpethe so wel is Recuse the key ef Hp major the wate maje of G minor. Or, another wy of saying eG minor the relative minor of BS aor (more ox tative minor and tj keys te), Heres ahaa that shiows the G Hes sale and Dh naj peataceni ale in bth the Tower and upper ete All ‘ithe acts are mile s6 you. The big diacovery Sx wie 3 nt whee T connected G Mie, maj pene andthe noe hat aren heracen cher hae work he ate noe par ofthe cle pater, Esperimene with connecting these scales with noes hat work hutare not par ofthe conventional cae patems (i. {Glues or Bb major penstonia In this diagram, | nduded some othe “tension” rots in certain postions and did notinclude sale deees onthe entre diygam. GBLUES SCALE + Bb MAJOR PENTATONIC SCALE Chartde — DihierRenanictde @ tonne @Whole-Nee! ‘Theneck lusracon belo showsall the noes mG Awareness in G Blues les, of G Dorian bes, llshe notes fom the G Doran blues ave ouinel in lighe yellow des Allahe ete fa he edive Bb major penetonicxaleate mn grees do, aa all ‘ther note that work on the neckbar fall ute ofthe conventional ngring for G Dosian bles or Bp major ‘enttonicare in red. You may sccthe sane tenon nets in difrerscolbny Or instance, Fon the feet ft of the E strings in real Fon the sath fer ofthe B string in igh yellow and Fon the eighth feta the A sting in eeen. This isbecas some of the Facts ate outlined inthe bls sak, sme in the major pentatnicscle, and sme outside of ‘the normal patems fo those sales, ‘The CE or the augmented 41th ef scale) is only represented in a ew positions but can be soughrout around the neck, fut its more ofa “favor pasing fone G BLUES SCALE + B> MAJOR PENTATONIC SCALE EXPANDED Casa H—Biapetenanc Sie nents @ events @ ‘iy siping oer Husseypechanges inthe hey of G and experimen: with ll the noes outside ofthe convensionl scale work to your eat. Aint, you may use your eas mo contect ala punters, but eventual he ates themsehestakea backseatto your inner musical inencicn; in ether word, you wont ke thinking in tems of patrns ‘or finger memo, butrather ina muskal sarement. Make Every Note Work, Somehow (0K, s thee arses tat soem te have rameter, Thi’ le and you can work within thr, bu hey at really Jute rap. Tiy experimenting with noe thar at ube ofthe key and sce how they make yu fo. These toes ae smetimesclled paring topes, You cn we the oneranact musi, Ale ty experimen wth chromatic. ‘Thething she makes many of theoutside note wore the range neteat the en ofa phase Yu can stot ine ‘or ely tha has some pry obmice nots fi ue, if ye ladon theight nots the endl af phan, has the uncanayabilyto pean artic ditincioa to che oui nots Experimene with ployng phrase that have “wrong” aves in them, butcadenee them: to (ena ihe phe vith)a stony target noresuch as the tenie (oot, cr Jef the key) ora PS, Pec believe Miles Davis was onetime queted ain, "ou have to stay away from the burer notes: “Thepealia tobe completly rome vi the not sa bacon the nate-mesning your attention ia buon it fly “There are infin creative, intense eau quik. pomerflly racy. remendously enchanting. unique meds wichin sour inne being and dhe sejust waiting to come out. They vant come cut dough you. Bur you will norhave acces to them ifyou dort create an opening fr chem, an the cy way to cteste an opening isto be complet presen, el, relied, and open toalowing then when you ate playing, Yeu nes to allow them to conte ox by rusting inthe presere rmomentofthem. Gees, know this must sound od some, brits the Fes ean dl 2KEY SIGNATURES AND THE CIRCLE OF S5THS 1m musi theory, the eee of Sths sa sequence of ptehes, oF key onal, representel sare in which the next, ppc found seven semitones oF 5h, higher thus the Lag: Musici and compute we the ede of es 89 lndertnd and derbe the musical rbatonshipsamongthove pitches. The il’ design is help in composing and harmonising melo, billing chord, and modulating to dient kay within componiton, ‘Theword diatonic basically means “within the scale you are woking in” For instance, CH snot diconic tothe hey fC mapr, whereas B asus ‘Thedaonic hey signe isthe sndeatr ofthe he data parcuas composition sn Each ey has various sharps and ft that init hat key. Atthe wp ofthe cc of Si inthe Bay of C major Thus key has no sharps or Has. On plans, all she whe ays, sang from C. you progress the sgh through the cde of Shs, the next key isa pexfect Sth away fom the pecsding one So, in the key cf C mao, the Sth is. A St avay fom Gis the key of D, ete Ever ime you move wo the right toa new key, there ean addon shop added othe key until you gt ts enharmonic equivalen, which i where ietunrs its the flakes Fr instance, the key of B major as ve sharp in i but is enharmonic tthe bey of Cb mujor which has seen asin it ands on, ‘Theshagps, s they appear ae sls Sth away fro each othe, ic 0 o t D 2 E + B 5 io ‘ ct 7 ‘Conscrsy, yo follow the cre of Set the lf progress in ta and che das appear a 4th away fen such ther, F v » & 2 &B & 3 15,6, Ab Ab 4 35, Ab, Db Ds 5 15, Bs, Ab, Db, Gh G ‘ By, B, Ab, Db. o i 1B, Ab Do... FbRelative Major and Minor Ke ele minor kf wre biely merrioned exter when dicing the major se Relive minor andrea ma are two wes hat shave dhe sae utes ad ue ay ime bu ane ference wale. The wo reasive mine acle a aor 6th akon the ror of a corresponding rive mjc cle. And che root ofa relative ‘wajuescele isa minor Se higher hon the root of ts lave minor sale. So, © minor sae cf G mar, an G mei the reaive maior sale of E mince. They both have the sme notes n hems but have diferent woes. This isoutined nicely in the cil of Shs. jane, Ebina ith re ‘Thee of Shs can give you an instant vil of rated element, ach as: + The sharps ordain a hey 1 Wha those sharps or fats are + The whee minorand major kes the outse keys ate the major keys the tse manor Rese dhe contespondig 1 this dagram ofthe ctl of 5 trae ic kp, al he rato othe inde showe sharp me flrs vious heya they appease th soft CIRCLE OF STHS cyte of atts cycle of Sths ‘There are other hiddon mystnies othe cede of Sth hat will evel hereon sme yur combine tee ernmend memorang the ene cede of ths and knowing it cold witheut having t9 cour o dink, This can be helpful in many suntions% NOTES ON MANUSCRIPT (ACADEMIC STUDY} ‘You may or may note lateested in Knowing how to ead or wre rss, buts pethaps arn de ro ease sander the baie mapping of witten note. his in seretines intimidating people but aly wih ke focused atonion, fs quite ey and prac Staff 1 move contemporary tsi cltres, the aff or stve, plu isis of ve horizon ines sdf paces hat ‘exch pret ferent move pic Below ie epic fvetine nal ara G-Clet ‘Thestaffdoesnt mean anything unt has alt. Thecle isthe fist symbal onthe ok side of sta char indicates \whar he atual notes sen the taf The mest cemmon cs the weble Get, also elle the Gale because "ude" a G on he sa. “The Gel has an odd way of always geting me excited when I see. Notsure what thas, bur whenever Leven ok at ‘ones seers represent an ancient peace and como. Eh. go FgUre “The tee lin the example helow indices chat the ate hat is writen iC. eves om the edger line sgh ble the staf Ledge lines are shoet ins writen shove or bel the stafffoe notes pitched oursfe the saff. This parce (Cisao known a middle Candis basil the middle ofthe piane. I's abo conventionally known as°C4” Some roprammes of samples cll middle C, “C3.” And must peces of Yamba gea weer to mide C as C3, E's not ‘conventional to callie); a's adtionaly known as C4 aBass Clef ‘Thenoxt most commen df the bas cf. or Feel (hcatse the aoe" w the bea ofthe cl ison an faa he we lors surund the F. <= Phaps ts notas ex as the Gale but the noes cha accompany itare her Here’sthe bas clef with ile C. Grand Siaff ‘When yeu pur the teble clef and she tas clef togtter ut on separate states, ou cee a grand staft-This b what Ayko players, harp pliers, and some other insruments ie. rable cet trol nl a tei als cl ane pane ‘tee mic writer Wem A= RY SENN"CLEFS (ADVANCED) “There are other clef that are used by various anspsing instruments dimes These clef indicate idle C ppeating a dieene places onthe sa. The reason for then is ascally so the people writing and reading nase slo not hive to write excessive lagerline to fhe range ofa particular instrument, Unless you decide to study ppt Br Be ‘ant po ip? 6 6, 16 4 i Visacet Tele ci Tre Clete Tle ae Percussion Clef af ‘The perausion ces wo veal shes‘Various Percussion Staves 2= 108 (soderatoy20 NSTRUMENTS TRANSPOSING Guitar Transposition ‘The guinea transpesing instrument, What that bastally ens whenever you read msc on the gua, he Rowe sh nctunl ome ou of he guitar oon an ocans bes chin whee bing pea ities ou wets rood mllls Con the putar, you woald play the eighth ton the low E string or he thin Fc on the A tang (ey are the sme nee. Hower, the note hat sounds isan cove ler than mil C. Ty actually hear mille Con the seit, ys wuld have go play she note an acres higher han where as writen such aon she ft tf the ting (er the féth fet ofthe G swing ot the L0th fet ofthe Dern. Yup, thar cam be confusing Bur just Keep in mind that guitar musics writen an octave bigher than where it ounding: thats, guitar musi, when played onthe gut, scunds an ocave lower than where i's writen, [Fe wasn this vas, and the guitar wis a non-ansposing instrument, guitar player would bave to ead and write usc in bh has and rele clet Thank goodness for tunsposing fee si fa sm “Thesume holds tue for the deste bas and contra bass fr double bass) in the ches, ccteninm dor ban as: = ee Many other instruments are ransposng instruments, bur orally an octave Someare two cetvesa perfect 5th, 2 Sd, are In clasical musi, musicians that ply tanspesing nseruments new treceve their pats already rarsposed, I's been longstanding prictice that, when composers write thr scones, they write ‘transposed scores” which basally means ‘thacany instruments that are transposing instruments are utes tansposed inthe sor. Inthe beginning ofthe 20th ‘anauy, some composer stared tp wnite their sores in concer pitch, meaning thacall motesin che written score sun the actual notes that ate written, Ally scores ae concetitch sores, with the exception of insrumenes that ate an ogre or doublecctve transposition (jlophone sounds 1Sna),Ijustscems io make much mote sense to meHere is lit ofa how ofinstrumentsand their wanspeston: Vilin Concer Pic Tit Vis Concer Pitch ‘Ale’ Tble cao Comoe Pic st Hap [Concer Pic Gand Sat Hue ‘Concer ich Tehle Oboe Cones Pich Trkle Easoan Concer Pich se Tumbone Concert Pech Bass Ties Trombone Concert ch Ras/Tenor “abe Concert Pech ase Marine Concer Dich Title Vileaphone —— Concere Pc Tratle “Tmpsns ‘Concer ich ss ano Cones Pich Gand Saf Onan Coneare Pic Gaind Sia Harpsichond —— Coneere Puch Gand Sa Dou le Bas Guar vols Alco Fae Engh Hore Clarizetin Bb Clarinetin A (Carnet in Es ax Cloris BS Contatanoen Soprano Sexin Bb ‘Alco Sain Eb Tenor Sin By Bantcne Sixin Eb French Horn Trumpet in Bb Gleckerpel Sulophane Coban ‘Sound one actave lave dan weiter Sounds one oetve avr han ween ‘Sounds une getae hfe than wien Sounch one purfect 4th lve han writen ‘Sounds une peied th aur han ween Sound one Major 2a laer han wetten ‘Sound one ino ldo han win Sound one Majo th ner thaw weiten Sounds one Major Sh er han writen, Seu ne scsi Can we ‘Sounds we Mor 2nd aur chan west, Sound une Major 6 oer hae ween ‘Sounds one Moor Sih lover thas ween Sounds one etave one Major th lr then writen ‘Sound one Pfc Sh lar han wren Sounds one Major 2ad aver chan west Sound wo octaves biter tHan ween Sous one artes Nhe than wri Sounds one stan Agha shan we, Bast Table “ble ‘Table Tele Table Table “Tbe Base Base Trtle Tele Table ‘Tbe ‘Table Tele Tuble Crmd SaftMUSICAL NOTES Balw isan outine ofthe musial nots on the pond staff nd how they rete wo the pio (piazos usualy have nes ‘thar go above and below the indiested nets). Whena noteis writer abeweor below the staf is writen on ledger wv abort making music their saree wo mee the very Good Boy Does Fine” which helps to menorie have lap fe was a ‘on the sof withoue using mnemenic devices suchas ‘on the lines of the rble lt et. This can crete a run, I august memorizing all the mots. And here's good way todo i while taining your eat atthe same tne de rom C4 ms C5, Then ea back ther names. Ger some mamscrpe paper anal write ie pes of note 1 6, then C6 C7, then C7 to CB. yeu pln on reading ite music Dothe same, but thistime with C5 to inthe highest eystes, knowing the ledger Ine above the sal is very weal othe name with there nota heb the elle df Since the uit includes acco ca ho lowly line, ‘ ) Ce RE RE of cry atonal manic de spon he your nto ea raining, thon mya foe page yenvve boned cnvte and staff Then, while readingthem hack, singevery note wo wrote whe naming it yuscan do this accurately, 1 wil is your ais in Starbucks window! 2CHORDS (ACADEMIC STUDY) Much can be said about chonds, but e's sterewith the academics. Two ormore pitches play together x chord + Twoncre chorlsaeeaed double stops + Theconote chore at cle tide + Chords ester than hie notes ae elle extended chords ‘When writing suitar chords in digg form (sometimes cll tablature, ot “a | pier to write them a flows but use the abbreviated versions more often: mee DA xXO "3 2 rem | T pest Pshaps der’ more information in the ways written cbuve than necessary, bu just ike doing this way Because itexphirs everthing and, when you star writing your own chords, which maybe more complexthan conventional chon might be ce w inchade al of he ave information, OF course, ou can simply this andl n you ut rnivels you wl se various ways hu people notte chon! tab. Mast cominon & t show the ngerng nubets on the acl Beane sage cal nema.enthe sick Grate kt More we vr Tole e {c OD TT é A DADA xx0132 Before we dicuss chord cles and how various chords work within a sels it may hea goodidea to fis am a whole Dbanch of cera, et them under your Fingers, and star summing avzy on then. Leanand memonze every open cheed on the guar and then fom ther, venture ino arte chonds and chords that Te elder fingering and esion nots, ‘Theresa plethor of good books that you can purchase tat include tons and tons ef chonds in a form. “iy searchingonline for “open chords on gutg” or anything ike shat, and you will ind many stander chow forthe guine 2CHORDS (EXPERIENTIAL STUDY) In the previous chord diggam for aD chord there was alto academic information abou the chord, bur you wil reve ell knew D chord ui yeu play i and Ester tit careful Every chord has astory ei» petsonaliny olny psychological weight vib, es: Whenever ou arn anew chon beit simple open chord or a comploc "a chord,’ weal to maditats on the experiential appct of che chord Ty lve Inside the emotional ameuphow of he choral queue whae mea, become the chord hy ge your Fl atoning mention a bathe in it miner, You nse t0 be verysel mena rod this Askyours how thi chond makes you fol. What does it remind you of? What color or emotion would you asoxite ‘with his chord! Wha isthe sry ofthe chord? Ao memtrise the name ofthe chon! bate on is sound stead of [st memonting singer ostons and sae, You wil develop a peronal elarienshp with she chor. ‘There area few gat exercises you can de that used toda with Joe Satriani when [tock lewons from him bere the ages of I and 15, (Gra fie tha plays guna and atc eri fom ac er a dimly Ue room Have one pero ply any cond ‘by strumening ones ani den iady picking cur all the notes Have dhe aur perc inten internet dae cr and make upa tory about what that chord acund keto inher. Tis cul be anyhing-colers won tbat lescribng 4 manta sone wil hud your penal elaonsp with hu chord. Thos tryto name the chord The wie isalwaysinTitening to i deep in presence “This teallyworked wondets for mea a younger, and | sill do Anether exercise do the same examyleasabovehut by youre. Recon an hour oso of random chon, nayine ‘eich for 20 seconds and hen naming the chord at che end. When you licen back, investing youself in ach cond rt rt ed td 1, & —= hr td a a ee ee ee ee 2When exploring poltiythms i's net uncommon fr them to fel unnatural at ft, The academic sud of then includes practicing various eyes ef polrhychms unt they el even and naturalto you. One eeresein particular shat can be very holpful sas folows: 1. Practice upping our or singing the following fer 2 fw minutes each or longer. Do eich example unt els ‘only ven and natural Try these examples a 3-4 diferent repos, fiom very low toa ists yu can sing them every Cee ee . B. Quinrupkes: hd td sd ON ee © Sexuplens é 8h 5 ed ot D. Sepruplets E. Neprupless — a a Eich beamad group ofthe previous pelyythms is perfonmed over one alle. belpfl thing tw do is subi che counting of them. Foresampl, divide the quinuplets ino groups o 2 and 3, setuples into 3 and 3, seruplts into 4and 3, and neprples no 3,3,and 3 53ot Aer working cn singlbst polthychm unel they fe! natural to you, ry beating out the falling example Remember to make each beat even, an the pothytiic subdivisions within ther should beever, to. Ty this varius temposarid ry wring evel pages of a more ofthese types of rhythms, working them are tey feel nae SSS After you hae these basis poy feng manuel, work fel them over two beats 1 QuunerNo Tepe ——— en! ——3—— Ee 2. Bigheh Note intuples: 3. ight NoreSepruplets:4 5 6, W6thNote 13s, 0 “ridecaruplets"s les ampraccal ro coune these higher tuplets with subsiding Experiment with the subisbons tha el bes you. Forunstance, the goupsof 13 canbe sutdwided ta 5,5, and 3-as lang as they at ‘Once yo get he fine of ply oerrwo Bees, ery writing ise pes ofall she polshythms you know ard then read them back you ind this challenge interesting and renarding-and i's wry rewneding when ial syncs up-try variations of Pohthythms over three quater ates, doing the same reso exercises Then me anto pols over fur bests, then freer, ee POLYRHYTHMS (EXPERIENTIAL STUDY) ‘Theta eres to breakthrough conversionlrhythmiccenditioning and into the cast an liquid world of polthythns. Ifyou stick wt it, thee come a time when they fl very aaural to you. This wll esen up che ines of your inner loc, an tis wil fw into you paying making it more rubato” and engaging. Buc they have w fel natural w»you jus ike quarter noses ex eighth notes might fel now nthe beginning, when you star Teclang ine these quik rhythms, there may bea righty nthe way you fel them. But after awl, cis wl loosen up, an you wil notice itn che Muiity of your plying56 TIME SIGNATURES (ACADEMIC) ‘When reading + time satu, che bortom number ells you the note value thar the top numbers Fas on, whi the top mantels yeu how any ofthe botrmnamber notevalue rein vbr Sy in-4/4 tie her the cequtoloneof four quarer note t the ba Ancther way of puting isthe cop numberof time signature lls youhew many beats ate in ore measur, aa che ‘orto number tls you har kind ofnteis counted sone beat, ‘Thebocom note wil mestcammonly bear even number that potato thychmiecoureeppart. The most commen, ‘orton numbers une satureate 2,4 8, L6,and 32 Ie extennely ae se any eer ube, wh the -aception of patculeconterporiry muicthat wally needs an explanasion inthe pez’ perforce notes ‘Thetap aumber could be practically anthing. In something bee 5/8 time, she time signarure i eling jou that tere isthe equholere f fe eighth rows to one hur. Wich aime syaanuteofsomething ike 13/16, your'e being told ‘thacesch br contains the equhsalen of 13 Léth notes OF course, each bar canbe divided by any combination of note dations as Teng as they donot add upto les than ce more chan the equivalent of wha the time sigrature i deering Common Time: 4/4 Met ‘Themostcomimice ster in mnie 4/4 Wess cutmnon thei ther rare ic common tims sd she ra mumbo inthe tinesiganute areofen eplaced by she lter°C."In 4/4, the stacked numbers rll youthateach messure ‘contains the equivalent of four quarter noe boas So, to count 4/4 mere, cach ime yeu ap He beat, youre upping the equivalert of one quarter note Waltz Time: 3/4 Meier Phaps de secon mest comnon meter is 3/4. Each messurehas the equivalentof dice quancrnes beat wii March Time: 2/4 Meter ‘This meter, 2/4 has the equivalent of wo quarter nots per Fae i= (Of cours, yu can have ny practical sumer nthe numsetatorta cee varius ime snatutes such a 5/4, 6/4, 7/4 15/4,9/4, ete Ita wien time sgnarure seems impractical, there's probably beter nay of wingDuple, Triple, Quadruple, Simple, and Compound Meter “Thee cifcatonereul fom the raonsipberween the snes and he actu puke faba of msc 01 Inmet Maer rs ore pate and arent dae ge apee of mink ts ple, The ravone meter (mp, compound ple me, quadrpl) anv combioson of hee terme ane drat bythe way he moe re trouped thal wth str, bandon laine seus Simple Meter “Time sysacures can be casted nto a cerain mice. Simple meter means she note ale Hat aes up the pase of bar of musi can be divided by 2 without eeuking ina detted notes the pulse. The dime siarute a snp meer voll always havea 2,3, 4st a1 che rp aumbe. Compound Mewr (Compound meter means the note value tht makes up the pute cfs bar of music has a dota wale tot Duple, Triple, and Quadruple Meter These to the number of pulses ina meas. Dupe mtr woul have wo pes, rp mer would hae Hee pales, and quacnuple meter would have four pues. Duleep, andl quadruple acter can ech be considera compound or simple Jependng cathe ue iste aad the pole of the bu. Following are eamplor oFvanoae combinations Simple Dupe Simple Dune ‘Sip Triple Shape ripe Sipe Quadruple Compound Dupe BO me me De Aw NN Compound Dupe Compound Dupe ee eee ee Compound BO ma ae Compound Tape ues ooCompound Tale Q2 4d 2 ddldisgss ey £2) 2). mmm em gli. iiMmmm ‘Many other ce signautes fll within the meter consideratonsof the previous chat and ave ether a simple un, Some mye theoreti bu (Giveibe by 2) o compound divi by 3) al essex dine, oer tins ouble quadrupls), double ccrple in, quintuple time, peuple me, double quintuple rie, double peuple me, aepruple pl me, quintuple plac euple tion triple qinraple ie, quineuple rile te, ripe sim, sexuplerlus quintuple ime, quintuple pis ostuple time, and octuple plus quintuple time Complex (Oda) Tine Signatures Comrie. or time nator do ore wal dal inl, gunners, Cnr names fora time sranres might be‘ aeynmetri “gl” cr “ununl” Below ae some camps foal te, An swith all cher meters any combination of moe values can exist within the burs loagas they add upto no less than or no ‘wore than what the time signature dicate.TIME SIGNATURES (ADVANCED) Compesite Meter “an grrr cree with ine sgatares and syns When an old mater her kins the pai, Itcan be ntalan compas muterThe ine gate f temple 7/5 Anceber and perhaps more prackcal, way of writing compnicemeter time sgratre i dis comple 688 SFT ITS ‘rious composite time signaures cn be subdivided in many way. These compaste meters are act ony valuable for he puke eave erat ‘rearing urasual time sgnatues, bur ae fr creating an accurate beaming arter inthe writen music. This ain the exe ofrending and weringhs type of ie. Heres an example mn 13/8 Poly-Meter (ar Poly-Matric) Mtymee isthe os have wor moe tne sgn goingagsnst each ther atthe ame tne. They wll ciel olin W epesondn pects iar of ne, Wha wig polyenes Thr mali ci Space Heras nee DuoMetir 2 Neptoewie . SemiecaMeric 16 TripoMetric: 3 DeceMetrics 0 Septadece Meir; 17 (Quadee Metrics 4 UndeceMotie IL OctadecaMetris 18 QuinteMerrier 5 DuodeceMetrie 12 NepudecrMetics 19 SexteMetrs: 6 ‘riptodeceMetss 13 0 Septe Mester 7 QuidradeceMettic; 14 u OctoMetres 8 QuindeceMetics 15 2GUITAR TABLATURE ‘Mos tablanute hooks contin an explanation of che panicuar rab choy ae using as there are many ferent ways to represen chesame thing, Wha’ present hete ae some ofthe more common ways tha makesens o me (oe that Tse tab (Guitar tablaeare or “aia way ef wrkiagmsic pecially Sor guia. es perfect fr dhe wh co eer mea = information chet writen nomtion could have trontle with Bu, in vome wep i inferior wo witen muvie Union the gut is ene ofthe hardest insrumentsto sigheveal music notion on foe 2 musi passage, Mest seit pliyersnced ty lear” the music, bur daereare a bardful of excellent sight readers one there Steve Lakither Iecase ofthe way the strings ate ail ot and how thar reste to nadine hes fing ‘one thatcomes to mind). Tabofes solution fo ding the best fet positions where pies of musi cull be payed fon the guitar. Ths iene of b's pluses. There ate also quitea few arculaions thar are specicto guar tab chacan be uel “Tb hs sc hore ines tha repre: these srngs on the guitar. The wp line the vhinest (Fis srg, nd the kes line represents the thicex ish) ang, The ager mumaber thar ae placeom he lines ll you what fst te play anoteon. Insome cave you will ze 4 amuller number nut to the lager numbers thee india mhich fe brand finger se: You will ony play the strings with mumbow on thea if wring har no umber, dort play it. A" means thatastring ic lave open, wih no fingers presing down on the sting Tes worth» mention that evesting guitar ab has seven nes in tsb, and eightsting has eight. Thisis obvious bt..r jus sayin GUITAR TAB fing Nenber [panes [RIT Asus2 adc) 6: 4-9. Set get é LE @olA @A 0 $21 q j (ieee [Senedd] iting. 6h Fat 9] a[As you ead ub fom lefeto rath, the linear aspect represents time but thee is no real indication forthe ener time values ofeach noc. To remedy this, you may see tab written with the rhythmic notation underneath the ab as fallow @t 7-6 4—___________0. @2 T——_7-54 0-4. eon 6-43 2 @> p49 Be oB @ 0 Jsus? Eade) Wt accompanied by written music in astff above her's real need to include the note rhythms within the ‘ab, as they willbe indicate on the se @GUITAR TAB ARTICULATION AND ORNAMENTATION Many ofthe sameamiculmions and ormaments shat sre wed sn music manusenge weting can be apple 1 tar ah. Bur tab abo fers sete unique arabinose 1. HammerOn: When a we:nurberfierprecads a hishes-number fe and they ae connected By ut, indicates tha the note fsck (pied on the lower fet and tae next note i hammered. snot uncommon twice small h ver the slur, which means “hammi.” Sometimes the "h” ryresented withour the si, ‘but means the same thing: haumer the nee. = 2, PullLOf Converse, whens higher number fer precedes owernumbe it, and hey are connected by a sly, it indiates «pull. Ie nor uncommen w see asa "p” ever he slur, which sand fer “pull” 2 i, GUN merce a ‘hc econd, chen thee line wal isher than the econ, hen the sie ie wil be slanted dona be wo indicat se ib ie Gn ind singin ide. ie law clined uponnda big indcaingi slide wp toa note Ifthe ie a i oun toa nce 4 Bondi A cornmber diction & sn achadline nth an area tho ond tara pining post The wend “all” means to hend.a whole ep, andl “1/2” indicates endonly a half step, cr ene fet a PreBend: An arched arow poinsing dwvnwand indicates prebend. The bend line points to he tage nce To A 8Het resume obvious ocraments: 6, Vibrator 2. Bend Hats 8. Release Ben 9. Palo» Matos 10. Let Rings 1H Meld the Bends12. Up Pickings 13, Dawn Picking: 14. Trl Till can bended in worions ws, a shen hk The parenthetical *5° new to dhe "3 in the Fis comple indicates what fit wo til on, The second example indicates to til shal step (ne fe fat and che third eramplea half ep (one fe) sharp raceme enanet pmm ae 2 2 & ‘rious manasriprarsclstions canbe wed, athough they arenet commen in tab. Te rel word inicate the names ofthe markings tere net wen me ey ee ae ca = ° : ho io | wt, ——=====—— f 6COMPOSING MUSIC (Composing music isa wid creative process, and thet area host of task that acompeser can wseto decorate thei rls (ging icler, phrasing, dynamic, et) shat a music reader wll understand. Hereat few mac writing tools that can lp ify take writing to another le, Tempo “Taetempoct apiece of mss sully writen in he cop ef cf ep or or chr dey ne che defor alsin thei of th et The emp nally seprented bya netevae cing arialir meron raring such dene Inchis oul, she quarter note bat ogude 120 base: por nuts (bp dei bh the nox cumple x doted quarter note equals 127.bpm. You would usualy ee something lke this in 6/8 compound dupl ie) 9/8 compound riplesine, ee. Indhs example, the eighth poe equal 73 bpm Swing! Jd=4 2 Nes is "swine" indian. Ir Fasicslly means thar the eigheh notes in che music shoul he ‘ayo as they were an eighhsnote wile with the fst noe having 2 quareeraore value of ‘the rple ani the second havingan eighth vale. Instead of weitingan acl bora tempo marking, nany composers decide couse the relative equaalent Tian words that ive an idea of «bas tempo, Thee are various ieaionsin between these markings, a: well. + Graves verystow (25-45 bpm) + Largo: bral (40-69 bpm) + Lento sly (45-80 bpe) + Adagos domly with grearexpresion (66-76 bpm) + Andanesat a walking pace [76-108 bom) + Moderator a3 mere speed (108-120 nd + Alleges fs, quickly and high (120-156 bpm) + Vinaces ively an fist (158-176 hom + Prestos ver, er ist (168-209 bpm) Tempo Alterations “Thre are was onder erp alerts in our ns. Hete arte wo you may ete max: + Ritndanden sew doom + Accelerandos speed up 66Tempo and Metric Modulations Atempe modulation sn indo in the muse Ha ves 4 Hew speccrne aero. ving pasage aed wn the tne vale dha cre bie AAtempo ister thats ull used afer a tempo aeration ad indicates to rerun t the prescus tempo (he one before the tempo madubtion occurred. “Metic modulations define an instant change inthe rempoof the piece hase on note vals shat wet in place prior to the metic modabtion, De. This examleindicvesa metic madulition in which cheval ofthe eighth noe fom an ighehnote tripletinthe previous bar snow equal othe value of "regula (or “sruight) eighth nein the subsequent bat. Te tempo would be 50% ser inthe subsequent br. Jad ta his cumple the 1 we oto quintapet in peau bar Square 16th mato the scbeequen bar tothe nbequeht manic wri be 20% fete han the prvions temp ‘As you can imayine,one can use any kind of notevae proportion to ceate a temp modulation, Repetilion Signs “There ate ious wayto none repens mu ‘Whena single Bea s repeated, rend ifthe beathas + ched, ene note or mule nots ofthe same value within vr teisindcared with sgl, chick, shang ssh placed berween the second and fourth stuf lins hee flee the beais made up of even 16th notes two sbshes are required, and 32nd noees equie sheeshshes,