| Lesson |
Topics Covered |
Date Posted |
|
FREE:
Lesson 1:
The Twelve Notes of Music
|
- the chromatic scale
- the chromatic scale on the A string of the guitar
- note names
- accidentals
- introducing intervals
- enharmonic spellings for note names
|
16-MAR-2002
(Revised: 7-JUN-2003)
|
|
FREE:
Lesson 2:
The Major Scale - Part 1
|
- tableture diagrams
- the open position
- the C major scale
- whole steps vs. half steps
-
position playing (playing vertically) vs. playing up and down on
one string (playing horizontally)
- the major scale formula
|
17-MAR-2002
|
|
FREE:
Lesson 3:
The Major Scale - Part 2
|
- further discussions on playing vertically vs. playing horizontally
- the major scale on one string
- how to figure out notes on the guitar
- the natural notes on the guitar
- an Intro to the Major (Ionian) mode
|
24-MAR-2002
(Revised: 9-AUG-2002)
|
|
FREE:
Lesson 4:
The Major Scale - Part 3
|
-
2 patterns for the major scale:
- root on the 6th string
- root on the 5th string
- a way to approach (use) these 2 patterns to play any major scale
|
25-MAR-2002
|
|
FREE:
Lesson 5:
Intervals - Part 1
|
- definition of an interval
- the staff
- diatonic intervals
-
how to tune your guitar using unisons
-
2 components of an interval:
- the name or quality part
- the number or quantity part
- the "rules" of intervals
- how intervals relate to half steps
-
some exercises and examples to help put it all together
|
12-AUG-2002
(Revised: 7-FEB-2003)
|
|
FREE:
Lesson 6:
The Major Scale - Part 4
|
- how to construct any major scale
- key signatures
- the circle of 5ths
- the notes in the 15 major keys
|
14-AUG-2002
(Revised: 2-DEC-2002)
|
|
FREE:
Lesson 7:
Intervals - Part 2
|
- how to play intervals on the guitar
- 21 diagrams (100 fingerings) for intervals less than or equal to an octave
|
15-AUG-2002
|
|
FREE:
Lesson 8:
Intervals - Part 3
|
- nondiatonic intervals
- weird intervals and some tricks to help you memorize interval names
-
another way to express the major scale formula:
- the major scale as a frame of reference
- enharmonic spellings for intervals
|
16-AUG-2002
|
|
FREE:
Lesson 9:
Pentatonic Scales - Part 1
|
-
the chemical composition of the minor pentatonic
scale (R, b3, 4, 5, b7, R)
-
the quintessential pattern for the minor pentatonic
scale (root on the 6th string)
|
9-JUL-2002
(Revised: 20-AUG-2002)
|
|
FREE:
Lesson 10:
Pentatonic Scales - Part 2
|
- all 5 patterns for the minor pentatonic scale
- some interesting observations and things worth mentioning
|
14-AUG-2002
|
| Lesson |
Topics Covered |
Date Posted |
|
Lesson 11:
Diatonic Harmony - Part 1
|
- harmonizing a major scale
- triads in A major
-
triadic formulas:
- major (r, 3, 5)
- minor (r, b3, 5)
- augmented (r, 3, #5)
- diminished (r, b3, b5)
- essential guitar chord forms - part 1
- there are only 4 augmented chords
- putting it all together - triads in all major keys
|
2-DEC-2002
|
|
Lesson 12:
Triads - Part 1
|
- figured bass notation (5-3, 6-3, 6-4 chord forms)
-
inversions of triads:
- root position (r, 3, 5)
- 1st inversion (3, 5, r)
- 2nd inversion (5, r, 3)
- close voicings - "tightly packed" triads
- all close triadic chord forms on the guitar
|
26-MAR-2003
|
|
Lesson 13: Position Playing and Major Scale Modes
|
- the rules of position playing
-
7 patterns for a C major scale
- 2 octave patterns
- fingerings: 1s, 1, 2, 3, 4, 4s
-
an explanation of the major scale modes using the derivative approach:
- ionian
- dorian
- phrygian
- lydian
- mixolydian
- aeolian
- locrian
- the relativity of music
- establishing a tonal center:
- pedal tones
- altering the tuning of the low strings on the guitar
- essential playing exercises
- putting it all together:
- examples of how to think "derivatively"
- a table of all the major scale modes
|
7-FEB-2003
(Revised: 27-MAR-2003)
|
|
Lesson 14: Diatonic Harmony - Part 2
|
- harmonizing a major scale again - further explorations of diatonic harmony
- 7th chords in A major
- 7th chord formulas:
- maj. 7 (r, 3, 5, 7)
- min. 7 (r, b3, 5, b7)
- dom. 7 (r, 3, 5, b7)
- min. 7 (b5) (r, b3, b5, b7)
- essential chord forms - part 2
- putting it all together - 7th chords in all major keys
|
6-APR-2003
|
|
Lesson 15: Minor Scales - Part 1
|
-
the 3 standard minor scales:
- natural minor (a detailed explanation)
- harmonic minor
- melodic minor
- relative major/minor keys and scales
- diatonic harmony for a natural minor key
- harmonic analysis of pink floyd's comfortably numb
-
modal interchange - borrowing chords from a parallel key or mode
- pivot chords
- avoid notes
- dominant 7 sus 4 chords (R, 4, 5, b7)
- the "blue" note (flat 5)
|
24-MAY-2003
(Revised: 12-DEC-2003)
|
|
Lesson 16: Pentatonic Scales - Part 3
|
- the major pentatonic scale
- the major pent. scale formula: r, 2, 3, 5, 6, r
- major/minor pent. patterns are the same, just use them differently
|
26-MAY-2003
|
|
Lesson 17: Modes - The Parallel Approach
|
-
the 3 main parent scales:
- the major scale
- the melodic minor scale
- the harmonic minor scale
- major sounding and minor sounding modes
- modes using the parallel approach
- 12 pedal tones: a playing exercise
|
7-JUN-2003
|
|
Lesson 18: Diatonic Reharmonization
|
-
this lesson explains how to create 3 general sound classifications
for diatonic chords for a major key:
- tonic (I, iii- vi-)
- subdominant (ii-, IV)
- dominant (V, vii°)
-
this technique provides you with a basis for chord substitution
(or reharmonization).
-
this lesson is a must read for songwriters and those interested
in arranging music as it is a very useful compositional technique which
can help you to be more creative.
|
15-AUG-2002
|
|
Lesson 19: Modal Harmony - Dorian Mode
|
-
most people know how to play a modal scale, but most don't
know how to write modal progessions. this lesson will
teach you how and more.
-
everything you need to know about modal harmony is covered.
topics include:
-
how to create modal vamps (chord progressions).
-
characteristic notes - what are they and what is the rationale
behind them.
- the characteristic note for dorian: the "raised sixth"
- tonic chords vs. non-tonic chords
- characteristic chords
-
modal cadences: characteristic chords resolving to tonic chords
-
triads and 7th chords diatonic to the key of dorian -
yes, modes are keys too!
-
avoid chords and avoid chord progressions: what are they, where do they
come from, how not to use them, etc.
-
also covered in this lesson: an overview of the "less familiar" modes
viewed from a "traditional" perspective. this viewpoint provides the
foundation for understanding each mode's characteristic note.
-
the "less familiar" modes:
- dorian (covered in detail in this lesson)
- phrygian
- lydian
- mixolydian
the "more familiar" modes being:
- ionian (the major scale)
- aeolian (the natural minor scale)
-
after reading this lesson, you'll understand modal harmony,
and dorian mode specifically, inside and out.
|
9-JUN-2003
|
|
Lesson 20: Modal Harmony Concluded
|
-
a continuation of the same approach presented in the previous lesson
- the other 4 modes are presented in detail:
- phrygian
- lydian
- mixolydian
- aeolian
-
again, characteristic chords and chord progressions are discussed thoroughly.
-
as are modal recipes (vamps), avoid chords and the avoid chord
progressions for each mode.
-
we then wrap things up with a nice little vamp in A aeolian
which is analagous to the c major vamp which was presented in lesson 3.
|
9-JUN-2003
|
| Lesson |
Topics Covered |
Date Posted |
|
Lesson 21: Palette - Three Note Motifs
|
-
this lesson alone is worth the price of admission. the ideas come from
jon damian, a virtuoso jazz guitarist who teaches at the
berklee college of music in boston.
-
famous cat (guitarist) who studied with jon: bill frisell.
this is most likely where bill learned how to develop his unique
intervalic approach towards music.
-
non-famous cat (guitarist) who studied with jon: gabriel perry.
i had the good fortune and pleasure of studying with jon for a semester
while attending berklee in the early 90s. (later, after school, i
studied with jon privately for a summer before moving to boulder.)
-
years later i'm still working on and learning from the concepts and materials jon
presented to me in our lessons together - the sign of a
truly inspired and gifted teacher. i believe, the palette,
is his best lesson.
-
so what's the big deal? in short, the palette systematically catagorizes
the guitar's intervalic capabilities. one learns how to develop
an intervalic vocabulary on the guitar.
-
where does the palette come from? jon damian's whacky imagination.
oh yeah, and from... motifs.
-
motifs? what the frell are they? why... little musical ideas or themes.
in this lesson we explore:
- motifs as musical building blocks
-
3-note motifs: the palette's foundation and your
key to unlocking the intervalic potential of the
guitar.
- inversions of motifs - motific cycles
-
2 main motific catagories:
- tightly-packed (close) voicings
- spread-out (open) voicings
-
the palette reveals 6 types of motific families:
- clusters
- triads
- quartals (forths)
- 7th chords with no 3rd
- 7th chords with no 5th
- structures an octave in height
-
in short... this lesson will keep you busy for the next 50 years.
|
23-JUN-2003
|
|
Lesson 22: Drop-2 Chord Voicings
|
- learn how to play any jazz chord you could ever want.
- drop-2 theory is explained in detail.
-
drop-2 voicings are presented and a method is shown how to
create these voicings.
-
drop-2's yield 12 patterns on 3 sets of 4 adjacent strings:
- (6, 5, 4, 3) - the bottom 4 strings
- (5, 4, 3, 2) - the 4 middle strings
- (4, 3, 2, 1) - the top 4 strings
-
this lesson also covers the 15 types of chords found in music:
- maj.7
- min.7
- dom.7
- min.7 (b5)
- min. maj.7
- min.7 (#5)
- maj.7 (b5)
- maj.7 (#5)
- dom.7 (b5)
- dom.7 (#5)
- dom.7 (sus 4)
- maj.6
- min.6
- dim.7
- tonic dim.
-
12 drop-2 patterns for each chord type above gives us a total of
180 patterns.
|
17-NOV-2003
|
|
Lesson 23: Drop-3 Chord Voicings
|
-
and just when you thought you were finished with chords...
we do the whole thing again but with drop-3 voicings.
-
drop-3's yeild 8 patterns on 2 sets of strings:
- (6, 4, 3, 2) - bass notes on the 6th string
- (5, 3, 2, 1) - bass notes on the 5th string
-
8 drop-3 patterns for each chord type in the previous lesson
yields 120 patterns.
|
26-NOV-2003
|
|
Lesson 24: Tensions (Color Tones)
|
-
ever wonder how to "color" or embellish your chords? well,
this is the lesson for you. i cover everything you need to
know about these color-tones which are also
called tensions.
-
first, we start with a brief review of triads and 7th chords, then we
get into tensions. topics include:
- compound intervals - intervals beyond an octave
- 9ths above chord tones
- major 9ths vs. minor 9ths
- avoid notes
- available vs. non-available tensions
- a simple method for cool voicings with 6 examples
- some of my favorite chords with 16 examples
-
drop-2 and drop-3 tension substitution rules: now you learn how to
embellish all those chords you learned in lessons 22 and 23.
-
then we explore charlie parker's blues for alice. this is
a great vehicle to explore even more topics:
- tension substitution examples for drop-2's
- tritone substitutions
- guide-tones
-
another cool voicing for an E7 alt chord,
you can never have enough
-
berklee college of music - chord lab 3 examples
(more than you could ever want)
- berklee chord lab 3 midterm exam, oh my!
-
again, another lesson which will keep you busy for the next
century.
|
16-AUG-2004
|
|
Lesson 25: Secondary Dominants
|
- the lesson for songwriters
-
the definition of a secondary dominant chord
- the 6 secondary dominant chords in the key of C major
- the 4 common characteristics of all secondary dominants
- secondary dominants as a way to spice up your tunes
- harmonic analysis of the beatles' hey jude
|
16-DEC-2003
|
|
Lesson 26: Minor Scales (Part 2) - Melodic Minor
|
-
this lesson opens pandora's box... you really start down
the dark side of the force with these ideas and concepts.
warning: this lesson is not for the weak-minded
masses.
-
the lesson extensively explores the use of the melodic minor scale, topics
include:
- diatonic harmony for a melodic minor scale
- the melodic minor scale formula
- triads and 7th chords
- altered dominant harmonies
- line clichés - minor and major
- the "james bond" chord
- drop-3 examples
- "thumbed" voicings
-
the melodic minor modes:
- melodic minor (jazz minor)
- dorian b2 (phrygian w/a raised 6th)
- lydian augmented
- lydian b7 (overtone scale)
- aeolian major (mixolydian b6)
- locrian w/a raised 2nd
- altered dominant (super locrian)
- 7 scale patterns, 7 recordings
-
practical applications:
- cool altered dominant 7th voicings in E
- putting it all together - jam over E7
- a minor pentatonic scale in place of super locrian? too cool.
|
26-SEP-2004
|
|
Lesson 27: Pentatonic Tricks
|
-
a pivotal lesson which really puts things into perspective and
ties almost all previous concepts together enabling one to truly
develop a philosophy and approach towards improvisation.
-
this lesson thoroughly re-examines diatonic harmony uniting it
with pentatonic theory in an insightful and inspiring way.
-
also, some fun with 7th chords and triads which create a new
approach towards playing chords, working with harmony, and of course,
soloing.
-
more work with tensions and avoid tones, as well as
more sound advice on soloing and striving to think in terms of a
"bigger picture".
-
and finally, a "12-tone" approach is presented which
basically blows the doors off all of the rules and really opens one
up to new ways to approach and synthesize music. these concepts
will guide you on the rest of your musical journey for years to come.
- my holy grail of lessons has finally been actualized!
|
24-DEC-2004
|
Lesson 28: Extended Pentatonic Structures
(A Handful of Blues)
|
-
this lesson explores how to move horizonally between the
5 basic pentatonic patterns presented in lesson 10.
-
along the way we discover the magic of the pentatonic "boxes" -
little power-packed note bundles.
-
these "boxes" are powerful because they're simple structures
(easy to play) yet they contain a ton of guitar licks.
more poetically speaking, each box contains "a handful of blues."
-
connecting the "boxes" to the larger pentatonic shapes
yields extended pentatonic structures. this simple technique
unlocks a whole "fretboard of blues."
-
then we explore how to switch between parallel major
and minor pentatonic scales using the root as a pivot - a
simple yet powerful idea indeed.
-
and finally, i provide a brief introduction into the "12-bar blues".
(i would be remiss if i did not.)
|
25-MAY-2005
|
|
Lesson 29: Triads (Part 2) - The CAGED Method
|
-
in this lesson we explore the CAGED method - a simple way
to play major and minor chords using only 5 voicings (more
or less).
-
not really an advanced lesson, but something i want to
present as it's a nice way to get around the neck when
playing major and/or minor chords.
-
some of the voicings can be a little awkward, so i show
you some ways to transform these trickier voicings into
more practical ones.
|
6-AUG-2005
|
