Mishelle Guitar College - M.G.C

CHORD VOICING FOR THE GUITARIST, VOLUME 1
I. THE MAJOR SCALE
The best place to start in the the study of chord theory is the major scale, for it provides the
foundation for chords. Using the C major scale as an example, we find it is structured:C -D -E,F- G -A -B,C
The most important feature to note in the major scale is its stepwise construction, with whole steps
between all of the notes with the exception of the third and fourth notes and the seventh and eighth
notes, which are separated by half-steps. On the guitar, a whole step, or tone, separates notes that
are two frets apart on the same string, while a half-step, or semitone, is the distance between two
notes one fret apart on the same string.
Since all major scales conform to the stepwise formula indicated above, you can construct a major
scale starting on any note simply by applying the stepwise formula and remembering a few simple
rules:
• All of the note letter names, A, B, C, D, E, F, and G must appear in a major scale in that order
(while still allowing for starting the scale on different notes). The only lettered note that appears
twice in the major scale is the letter that begins and ends the scale, as C does in the C major scale
• Note that natural half-steps occur between E and F and B and C. On the piano, those half-steps
work out so that you have two consecutive white keys with no black key in between them.
It just happens that these two natural half-steps coincide with where the half-steps fall in the
major scale, when constructing a major scale off of C, but you will have to take those half-steps
into consideration and make adjustments to achieve the proper stepwise formula when you
construct major scales off of notes other than C. To raise a note one-half step you sharp ( #) it,
with the sharp sign following the letter of the note being raised, as in C #. To lower a note
one-half step, you flat (b) it, with the flat sign similarly following the letter of the note being
flatted, as in Bb
In the course of constucting scales, you will notice that the same pitch, for example the note one
half-step above C, may end up being named differently, depending on which scale you are
constructing. Thus the note one-half step above C ends up being called a D flat when encountered
in the A flat major scale, as opposed to C sharp when encountered in the D major scale. The two
different spellings for the same pitch are referred to as enharmonic spellings of the same pitch, or
alternate ways of naming the same pitch, depending on the context in which the pitch is found.
You now have enough information to do some exercises on major scale construction. Let’s get
started!
CDE F GABC

1. Write down the notes in a D flat major scale, in order.
2. Write down the notes in an E major scale, in order.
3. Write down the notes in an F major scale, in order.
4. The seventh note in the B major scale is ____.
5. The third note in the E flat major scale is ____.
6. The fourth note in the B flat major scale is ____.
7. Re-name the note F sharp, using an enharmonic spelling ____.
8. Re-name the note E sharp, using an enharmonic spelling ____.�

Basic 12-bar blues
The primary chords 8, 16 and 24 bar blues
This lesson focus on the chord structure of the blues. If you want to learn more about playing the blues, go
to my Blues Guitar Series, where you will also find more on the 12-bar blues progression.
You will find the 12-bar blues progression as basis for rock, jazz, folk and pop, and of course in blues. It is
also a progression that is easy to identify, making it a good start. But already at the outset, you should know
that not all blues songs follow a standard 12-bar progression, and that there are many variations within the
12-bar blues framework.
The 12-bar blues consists of three lines, each with four bars, making a total of 12. It has what is known as a
AAB structure, meaning that the theme from the first line is repeated with some alterations in the second line,
and then a concluding theme is introduced in the third line. Identifying the structure is a good start when you
figure out the chords.
Blues progression 1
If you play a 12-bar blues in E, a popular blues-key on guitar, you might play ( A / means that the same
chord is played on that beat):
E- / - / - / E - / - / - / E - / - / - / E7 - / - / - /
A7 - / - / - / A7- / - / - / E - / - / - / E - / - / - /
B7 - / - / - / A7 - / - / - / E - / - / - / E - / - / - /
If we give these chords generic musical identification, it will be spelled I, I7, IV, IV7 and V7. If you do not
know this notation, go the the explanation of notation. A 12-bar blues in this form will be:
I - / - / - / I - / - / - / I - / - / - / I7 - / - / - /
IV7 - / - / - / IV7 - / - / - / I - / - /
- / I - / - / - /
V7 - / - / - / IV7 - / - / - / I - / - /
- / I - / - / - /
Just to have a name for labeling the progression, i call this Blues progression 1
Backing Track - 12B1
These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on
bluesprogression in the chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as
backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for
practise.
65 very slow C D Eb E F G A Bb
90 Slow C D Eb E F G A Bb
120 Medium C D Eb E F G A Bb
Click here for a list of songs with Blues progression 1.
If you have listened to or played 12-bar blues songs, you might have noticed that some might be played
almost, but not exactly as it has been written here.
You will frequently hear that a verse ends on the V7 chord, which is B7 in the key of E. The last line will then
be:
V7 - / - / - / IV7 - / - / - / I - / - / - / I - V7 - / - /

fretjam Guitar Lessons Online - Be Yourself On Guitar Multimedia guitar lessons online that help to develop your unique playing style and talent. Learn guitar techniques and theory in a way you can truly understand.

HELP YOUR JAZZ INSTINCT BY LISTEN TO THE RIGHT STUFF.

George Benson: That's Right George Benson: That's Right jazz review by AAJ Staff, published on February 1, 1997. Find thousands reviews at All About Jazz!

Major chord theory - major triads

A major triad consists of a major 3rd (3) and perfect 5th (5) above the root (1). These intervals make up a major chord in its simplest form.

1 3 5

The root (1) is always the note by which the chord is referenced (letters A through to G).

For example, G major is so-called because its root note lies on G. We can abbreviate this chord as G or Gmaj. E major would be abbreviated E or Emaj. C # major would be abbreviated C # or C .
Here's how a major chord would typically be mapped out on the fretboard...
E form major chord with 1 3 5 triad intervals

As you can see, all the notes of the major triad are included in the chord form. We could play from the low E 6th string, the A string (the root doesn't have to be the lowest sounding note in the chord!), D string or G string, basically any set of strings that include the 1 3 5 triad structure.
Again, let's create a familiar R 3 5 major chord with the bass root on the A string, allowing us to play the same chord in a different position on the fretboard...
major chord form with A string root

So again, we could play from the A string, D string or G string, as each would include the major triad.
See the bigger picture

Don't limit yourself to the E and A form barre chords just because they're the most commonly used. The below video shows you how you can pull chord voicings (such as 1 3 5) right out of a scale pattern. This is your first step in connecting chords and scales...

The chromatic scale

Just like scales, chords are built from a series of intervals. As mentioned earlier, you ideally need a basic understanding of intervals before you take this course, but to recap, there are 12 intervals in total that make up what is known as the chromatic scale...
1 b2 2 b3 3 4 #4
b5 5 #5
b6 6 b7 7
A chord can be built by first selecting the 1 note. This is called the root note as it is the 1st note in the scale. You could see this as the foundations of the chord structure.
We then select two or more additional intervals from the scale (e.g. the 3 and 5) and build them on the root note to create the chord (so in our example we'd have 1 3 5).
1 b2 2 b3 3 4 #4
b5 5 #5
b6 6 b7 7

A big part of learning to play jazz guitar is learning how to play standards.

And, playing jazz guitar standards means studying the Great American Songbook.

As a jazz guitar teacher, I’m often asked which tunes beginning guitarists should learn when starting their exploration of jazz.

In this article, you learn 10 must-know easy jazz standards that every beginning guitarist should study.

https://mattwarnockguitar.com/10-must-know-tunes-for-the-beginning-jazz-guitarist/

These jazz standards cover a range of chord progressions and prepare you for your first, or next, jam session or gig.

Each of the jazz guitar standards has a video of a famous recording so that you can hear how these tunes sound before learning them on the fretboard.

There are also a few pointers under each standard on why this tune is important to add to your repertoire list.

These pointers help you study these jazz standards, as you’re able to focus on many of those important elements in your practice routine.

Lastly, there’s a chord study for each tune to get these songs under your fingers and onto the fretboard.

There are two main reasons why these jazz standards are on this list:

1. They’re commonly called at jam sessions or gigs.
2. They offer an important learning tool such as an essential chord progression.

Have fun with these 10 essential jazz tunes and with learning the accompanying chord studies.

****Easy Jazz Standards****

Major Blues
Minor Blues
Summertime
Bye Bye Blackbird
Autumn Leaves
Blue Bossa
Take the A Train
Milestones
Tune Up
Blue Seven

https://mattwarnockguitar.com/10-must-know-tunes-for-the-beginning-jazz-guitarist/

10 Must Know Beginning Jazz Standards 10 jazz guitar standards every player must know. These 10 easy jazz standards prepare you for any jam session. With chords, backing tracks and tabs. PDF download available.

https://www.freejazzlessons.com/jazz-theory-ii-v-i/

Jazz Theory Basics: The Secrets Behind The ii-V-I Learn jazz theory fundamentals in this free video tutorial. Learn the building blocks behind the #1 jazz chord progression. Free video. Practice tips.

JAZZ THEORY
Jazz is a language. You must immerse yourself in it by listening,
analyzing and studying the masters, past and present. Then the only
way to be able to play this music is through constant practice and
live playing with others.
You may want to review some basic theory before you learn the jazz
theory.
This stuff can be a little confusing so hit me up if you have any
questions or don't understand something.
Diatonic Seventh Chords -Gotta to learn this in order to understand
how chord progressions work
Chord Tensions -Chord tensions make chords more colorful by adding
the 9th, 11th, and 13th scale degree
Guide Tones -The 3rd and 7th define the chord quality, using guide
tones can be very beneficial
Dominant V7 Chords -These are the chords that you can really spice
up with natural or altered chord tensions
Secondary Dominant Chords -Another type of dom7 chord. These are
huge in music and jazz theory
More Jazz Seventh Chords -A few more types to learn
Substitute Dominant Chords -Another type of dominant 7 chord which
nearly modulate the key temporarily..