Learn Guitar Music Theory on the Fretboard - Lessons By Desi Serna

Brown Eyed Girl Intro Tab

2009-12-16T10:43:00.000-08:00

The guitar introduction to "Brown Eyed Girl" by Van Morrison features major scale patterns played in thirds. The first phrase is played over a G major chord and uses the G major scale starting with G at the 12th fret of string 3. The second phrase is played over a C major chord and uses the C major scale starting with C at the 13th fret of string 2. The very last phrase is part of a D major barre chord and requires a bit of finger or hybrid (pick and finger) picking.

Brown Eyed Girl Intro Tab


E--------------------------12--13--15--13--12---------|
B----12--13--15--13--12----13--15--17--15--13---------|
G----12--14--16--14--12-------------------------------|
D-----------------------------------------------------|
A-----------------------------------------------------|
E-----------------------------------------------------|

E-----------------------------------------------------|
B----12--13--15--13--12----10----------10-------------|
G----12--14--16--14--12--------11--12-----------------|
D--------------------------12-------------------------|
A-----------------------------------------------------|
E-----------------------------------------------------|

Playing major scale patterns in thirds is covered in Fretboard Theory Chapter 9: Intervals.

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
YouTube: http://youtube.com/GuitarMusicTheoryTab
Twitter: http://twitter.com/MrGuitarTheory
Facebook: http://facebook.com/desi.serna
Myspace: http://www.myspace.com/guitarmusictheory
Podcast: Search Desi Serna at iTunes

Confused About Guitar Modes

2009-12-09T07:43:00.000-08:00

Why am I having a hard time understanding modes and modal guitar scales?

Guitar modes is a very misunderstood topic. The reason is because it's a music concept that stems from others. If you don't know the others, then you're not going to get it.

If you truly want to understand music modes and how they relate to popular music and guitar playing, then I suggest you first study chord progressions and playing by numbers. I cover this in Fretboard Theory Chapter 6. I also have a DVD entitled Guitar Chord Progressions and Playing by Numbers.

Also, modes are based on major scale patterns for guitar (which are taught in Fretboard Theory Chapter 5). Make sure you understand how to cover the whole guitar fretboard with major scale patterns and can play major scale songs.

After you have developed a good working knowledge of chord progressions and major scale patterns you'll be ready to explore the modal scale concept (which I have covered in the book and on DVD). I actually get you started on it in chapter 7 which is about roots, keys and applying scales (the heart of guitar modes). But I don't put it into modal terms until chapter 8.

With learning music theory for guitar, it's critical to completely master the fundamentals before venturing into more complicated and advanced subjects. Be sure to take things one step at a time as each concept prepares you for the next. Walk before you run!

Roxanne CAGED Chords and Guitar Tabs

2009-12-03T08:08:00.000-08:00

"Roxanne" by The Police is a great example of using partial major and minor shapes based on the CAGED guitar chord system. This song also includes suspended 4 chords. See the Roxanne chords and guitar tabs below.

Opening Verse Chord Progression
Gm ("Em form")
Dm ("Dm form")
Gm ("Dm form")
F ("C form")
Eb ("C form")
Fsus ("E form")
Gsus ("E form")


E----3----1----6----5----3----1----3------------------|
B----3----3----8----6----4----1----3------------------|
G----3----2----7----5----3----3----5------------------|
D-------------------7----5----3----5------------------|
A-----------------------------------------------------|
E-----------------------------------------------------|

To learn more about the guitar CAGED system see Fretboard Theory Chapter 3 or the CAGED Template Chord System DVD. Chord extensions such as sus4, maj7, and add9 are covered in Fretboard Theory Chapter 10.

Guitar 7sus4 Chords

2009-12-01T10:05:00.000-08:00

"Hard Day's Night" by The Beatles and "Is She Really Going Out with Him?" by Joe Jackson are currently the only songs I know of where the guitar uses this fingering to play a 7sus4 chord. In "Hard Day's Night" it's a G7sus4 and the very first chord you hear before the verse begins. "Is She Really Going Out with Him?" uses the same chord along with an F7sus4 two frets lower during the bridge.


E----3------------------------------------------------|
B----3------------------------------------------------|
G----5------------------------------------------------|
D----3------------------------------------------------|
A----5------------------------------------------------|
E----3------------------------------------------------|

The most common type of 7sus4 chord is A7sus4 played in the open position. You can hear this exact fingering used in "Wish You Were Here" by Pink Floyd, "Tom Sawyer" by Rush, and "Closer I Am to Fine" by the Indigo Girls (capo 2).


E----3------------------------------------------------|
B----3------------------------------------------------|
G----0------------------------------------------------|
D----2------------------------------------------------|
A----0------------------------------------------------|
E-----------------------------------------------------|

To learn more about chord construction, intervals, and chord extensions see Fretboard Theory chapters 6 and 9.

The Difference Between Guitar Thirds and Sixths

2009-11-30T11:13:00.000-08:00

Playing a major scale in thirds is often confused with sixths on guitar. This is because thirds are often inverted on the fretboard with the third in the lower, or bass, position and the root on top. When this occurs the interval appears to be a sixth because you're looking at it backward.

The guitar tab below illustrates a G major scale played along the string 2 (B) with third intervals following over on string 1 (E). Shapes like this are used in songs such as "Heaven" (intro) by Los Lonely Boys, "Wanted Dead or Alive" (intro) by Bon Jovi, and "Tequila Sunrise" (solo) by The Eagles.


E----7---8-----10-----12-----14-----15-----17-----19--|
B----8---10----12-----13-----15-----17-----19-----20--|
G-----------------------------------------------------|
D-----------------------------------------------------|
A-----------------------------------------------------|
E-----------------------------------------------------|

In the tabs below, the thirds from string 1 (E) have been transposed down an octave and placed on string 3 (G). But if you mistakenly view the notes along string 3 as the roots, then the notes along string 2 appear to be a sixth away. In actuality, these notes are still thirds. The shapes have just been inverted. Shapes like these are used in songs such as "Your Body is a Wonderland" (solo) by John Mayer, "Peace Train" (intro) by Cat Stevens and "Have You Ever Really Loved a Woman?" (verse) by Bryan Adams.


E-----------------------------------------------------|
B----8---10----12-----13-----15-----17-----19-----20--|
G-----------------------------------------------------|
D----9---10----12-----14-----16-----17-----19-----21--|
A-----------------------------------------------------|
E-----------------------------------------------------|

In this final guitar tab example you can see the same notes with the roots on string 1 (E) and the thirds on string 3 (G). Shapes like this are used in songs such as "Brown Eyed Girl" (verse) by Van Morrison, "Patience" (intro) by Guns and Roses and "Finish What You Started" (solo) by Van Halen.


E----3----5-----7-----8-----10-----12-----14-----15---|
B-----------------------------------------------------|
G----4----5-----7-----9-----11-----12-----14-----16---|
D-----------------------------------------------------|
A-----------------------------------------------------|
E-----------------------------------------------------|

So you can see that 3rds on the guitar can take on many different forms. Some of the inverted shapes above are mistakenly referred to as 6ths because guitar players are looking at the wrong note and calling it the root. Using interval shapes for guitar is covered in Fretboard Theory Chapter 9: Intervals.

The Choicest Bounties of Heaven

2009-11-26T09:02:00.000-08:00

"We have been the recipients of the choicest bounties of Heaven. We have been preserved, these many years, in peace and prosperity. We have grown in numbers, wealth and power, as no other nation has ever grown. But we have forgotten God. We have forgotten the gracious hand which preserved us in peace, and multiplied and enriched and strengthened us; and we have vainly imagined, in the deceitfulness of our hearts, that all these blessings were produced by some superior wisdom and virtue of our own. Intoxicated with unbroken success, we have become too self-sufficient to feel the necessity of redeeming and preserving grace, too proud to pray to the God that made us!" -ABRAHAM LINCOLN

Serenade Steve Miller Guitar Tabs G Major 7 Chord

2009-11-24T11:32:00.000-08:00

The song "Serenade" by Steve Miller Band is a great example of using a major 7 guitar chord. You can hear a G major seven played in the open position at 0:53 in the video below.

http://www.youtube.com/watch?v=vPsdlso6-X8

The chords to this section, which begins at 0:51 are G, Gmaj7 and Am. These chords are notated for guitar in the tab below.


E----3----2----0--------------------------------------|
B----0----0----1--------------------------------------|
G----0----0----2--------------------------------------|
D----0----0----2--------------------------------------|
A----2----x----0--------------------------------------|
E----3----3-------------------------------------------|

The verses to this song use the chords Am, F and G as notated in the tabs below.


E----0----1----3--------------------------------------|
B----1----1----0--------------------------------------|
G----2----2----0--------------------------------------|
D----2----3----0--------------------------------------|
A----0---------2--------------------------------------|
E--------------3--------------------------------------|

To learn more about major seven chords for guitar, including which popular songs use them, see Fretboard Theory Chapter 10: Chord Extensions.

Diminished Chord Songs and Guitar Theory

2009-11-18T10:57:00.000-08:00

A full diminished guitar chord is based on all minor third intervals. It consists of a root, minor third (b3), flat fifth (b5th) and double flat 7 (bb7th). For example, a Bdim chord includes the notes B D F and Ab. Each note is a minor third, or three frets, above the note before it. And B is a minor third above Ab to complete and repeat the formula. The notes of a Bdim guitar chord can be seen in the tabs below.


E-----------------------------------------------------|
B-----------------------------------------------------|
G-----------------------1---------1----------1--------|
D---------------------3-------0-3----------3----------|
A--2-5-8-11-14----2-5-------2------------5------------|
E--------------------------------------7--------------|

Diminished Chord Fingerings
In order to combine these notes and make a chord shape you have to transpose some intervals up an octave. Three of the most common diminished chord fingerings can be seen in the guitar tab below.


E------------10---------------------------------------|
B--3----6----9----------------------------------------|
G--1----7----10---------------------------------------|
D--3----6----9----------------------------------------|
A--2----x---------------------------------------------|
E-------7---------------------------------------------|

Diminished Chord Inversions
The neat thing about guitar diminished chords is how their inversions are formed on the fretboard. Since diminished chords are built on fixed minor third steps, you can simply slide any diminished chord fingering up 3 frets for an inversion. Move the same chord fingering up 3 frets again and you have the next inversion, and so on until you match the first position exactly one octave higher.

Diminished Chord Guitar Theory
If you know anything about guitar music theory, then you know that true diminished chords do not fully occur in the major scale. The closest you come is the seventh chord (see Fretboard Theory Chapter 6 Guitar Chord Progressions and Playing By Numbers). This scale degree has three of the four notes needed to build a full diminished chord. It has the root, minor third (b3), flat fifth (b5th), but no double flat 7 (bb7th). But many musicians refer to this as a diminished chord anyway. Other names include diminished triad and half-diminished.

Diminished chords also have many abbreviations. For example, 0, 07, dim, dim7, o, º, º(7), o7, º7. Unfortunately, some things are arbitrary. It can really get confusing to keep track of whether or not diminished means the four-note/all-minor-thirds form or the seventh degree of the major scale with its b7.

Diminished Chord Songs
The diminished chord gives us an unstable and restless chord that wants to lead to or resolve on something else. For this reason it's often thought of as a "leading chord". It acts like a stepping stone between chords. You can hear diminished chords used in popular songs like "Michelle" and "Glass Onion" by The Beatles, "Man In The Mirror" by Michael Jackson, "Crazy" by Willie Nelson/Patsy Cline, and "Don't Look Back In Anger" by Oasis.

For more diminished chord songs visit: http://chordmine.com

Jazz Guitar Chord Progression
Diminished chords are more common in jazz. Try this jazz chord progression: Bb Bdim Cm7 F7


E------------3----1-----------------------------------|
B--3----3----4----1-----------------------------------|
G--3----1----3----2-----------------------------------|
D--3----3----5----1-----------------------------------|
A--1----2----3----3-----------------------------------|
E-----------------1-----------------------------------|

Learn more about music theory for guitar including scales, chords, progressions, modes and more.

Holy Holy Holy Guitar Tabs

2009-11-09T08:41:00.000-08:00

http://blip.tv/file/2826572

"Holy Holy Holy" is a traditional Christian hymn and praise and worship song. This is a fingerstyle chord melody version for intermediate and advanced guitar players with finger picking experience. It's a great lesson on how to use shapes and inversions based on the CAGED Guitar Chord system.



   D     Bm    A  A7 D     G           Em7 D/F#
E--------2--2--5-----2-----7---7---7---7--------------|
B--3--3--3--3--5--8--3-----8---8---8---8--10--7-------|
G--2--2--4--4--6--6--2-----7---7---7---7--7---7-------|
D--0--0-----------7--0--------------------7---7-------|
A--------2--2--0--0--------10--10--10--7--9---9-------|
E-----------------------------------------------------|

   A     D A/C# Bm E7  A   D   A     E7     A   A7
E--------------10--10--9----------5--7----------------|
B--5--5--7-----7---9---10--10--5-----9--10--10--5-----|
G--6--6--7--9--7---9---9---11--6-----7------9---6-----|
D--7--7--7--7------------------7------------11--5-----|
A--0--0--5-------------0-------0------------0---0-----|
E-----------9--7---0-----------------0----------------|


   D     Bm    A  A7 D     G           Em7 D/F#
E--------2--2--5-----2-----7---7---7---7--------------|
B--3--3--3--3--5--8--3-----8---8---8---8--10--7-------|
G--2--2--4--4--6--6--2-----7---7---7---7--7---7-------|
D--0--0-----------7--0--------------------7---7-------|
A--------2--2--0--0--------10--10--10--7--9---9-------|
E-----------------------------------------------------|


   Bm  D/F#    G   D     G/B   A     D
E--10----------7--------------------------------------|
B--7---10--10--8---7-----8--5--5--3--3----------------|
G--7---7---7---7---7-----7-----6-----2----------------|
D------7---7-------7-----5-----7-----0----------------|
A------9---9---10--5-----------0----------------------|
E--7------------------8--7----------------------------|

In Christ Alone Christian Guitar Tab Lessons Pentatonic Songs

2009-11-05T08:45:00.000-08:00

http://blip.tv/play/AYGs7k4C

"In Christ Alone" was written by Stuart Townsend and made famous by Travis Cottrell and many other Christian praise and worship music performers. This song features an opening guitar riff played in the E major pentatonic scale pattern 1. It's suitable for beginner and intermediate level players who are learning how to use guitar scales and play pentatonic songs.

E-----------------------------------------------------| B---------------------9-------------------------------| G---------9--11----------11---9-----------------9-9---| D--9--11------------------------11------9--11---------| A-----------------------------------------------------| E-----------------------------------------------------| E-----------------------------------------------------| B-----------------------------------------------------| G---------9h11---11/13\11--p9-------------------------| D--9h11-----------------------11------9p11/14--14-----| A-----------------------------------------------------| E-----------------------------------------------------|

This version is played and tabbed in the key of E major, but the pentatonic riff can be shifted to other keys. Although not included in the guitar tab, the vocal melody is mostly based on the same E major pentatonic scale and even starts on the same few notes as the riff. Try it!

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
YouTube: http://youtube.com/GuitarMusicTheoryTab
Twitter: http://twitter.com/MrGuitarTheory
Facebook: http://facebook.com/desi.serna
Myspace: http://www.myspace.com/guitarmusictheory
Podcast: Search Desi Serna at iTunes

Guitar Bar Chords and Sore Hand Muscles

2009-11-02T14:00:00.000-08:00

My books and DVDs focus on music theory for guitar but I frequently get emails from guitar players complaining about sore hands, especially when fretting barre chords. If you're experiencing muscle or joint pain while playing guitar, then I suggest that you find other ways to fret and play things so that your muscles are not being stressed the same way all the time.

For example, I sometimes play barre chords by wrapping my thumb around the neck (Jimi Hendrix style).

This puts my wrist and hand in a totally different position. I find it a relief especially after playing barre chords in the traditional manner for several minutes. When my hand tires I switch back. I couldn't make it through some songs without doing this.

Little tricks like this can help give some parts of your hand a break while you use other parts. Learning how to avoid situations where your hand endures pressure for too long in one place is critical to building your endurance and playing pain free.

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
YouTube: http://youtube.com/GuitarMusicTheoryTab
Twitter: http://twitter.com/MrGuitarTheory
Facebook: http://facebook.com/desi.serna
Myspace: http://www.myspace.com/guitarmusictheory
Podcast: Search Desi Serna at iTunes

Learn How to Improvise, Play Guitar Solos & Create Your Own Style

2009-10-30T08:21:00.001-07:00

One of the most common questions guitar players ask is, "How do you learn how to improvise, pick your own licks and phrases?" The answer is to learn songs. That's why I include so many song references in my guitar theory book and videos. Each guitar riff, solo and bass line you learn will teach you something new about picking and phrasing. After you develop some common guitar technique, and a good repertoire of licks, you can begin to rearrange phrases in your own order.

Is Copying Cheating?
Some guitarists feel that this approach is simply copying and not a legitimate way to create an original style. Nothing could be further from the truth. You'll never develop lead guitar technique or understand how to use and apply scales correctly without first learning some examples by other players.

Stevie Ray Vaughan & Albert King
Why do people say you can hear Albert King in Stevie Ray Vaughan's playing? Because SRV learned how to phrase by first copying what he heard on King's records. That's how all great guitar players got started and developed their style.

Eric Clapton "Hideaway"
To help further demonstrate my point, listen to this very early recording of Eric Clapton playing the song "Hideaway" with John Mayall's Blues Breakers.
http://www.youtube.com/watch?v=25ICK4Uqv7o

Freddie King "Hideaway"
Now listen to the original version of "Hideaway" played by Freddie King.
http://www.youtube.com/watch?v=1NLoGfbcF8M

Note-For-Note
Did you notice that Eric Clapton copies many of Freddie King's phrases note-for-note? And Freddie King is just one of Clapton's many influences. Eric Clapton spent his early years listening to, learning and practicing licks and phrases by other guitar players. Is it any wonder that he has become so proficient? Do you honestly think that you can skip this step and progress to the same level? Think again!

Why Reinvent the Wheel?
If you want to develop good technique, draw from a good arsenal of licks and phrases, and become a good improvisor then you absolutely must learn songs and copy other players. There's no short cut to getting good. This process requires patience, hard work, dedication, and lots of practice. In time you'll start to rely less on copying and more on your own creativity. This will ultimately lead to you composing and improvising in your own unique style.

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
YouTube: http://youtube.com/GuitarMusicTheoryTab
Twitter: http://twitter.com/MrGuitarTheory
Facebook: http://facebook.com/desi.serna
Myspace: http://www.myspace.com/guitarmusictheory
Podcast: Search Desi Serna at iTunes

Play guitar and sing at the same time

2009-10-19T08:26:00.000-07:00

How can I learn to play guitar and sing at the same time?

Singing and playing guitar can be tricky for a beginner but it's not impossible. A sense of good timing, rhythm and ability to combine two actions at once will come with practice and dedication. My website, books and DVDs focus on music theory for guitar with very few references to technique. But there is a great article posted on WikiHow that outlines a good method for developing the ability to strum guitar and sing at the same time. I suggest you try working through their steps.

http://www.wikihow.com/Play-the-Guitar-and-Sing-at-the-Same-Time

Play Until Yer Fingers Bleed!
Mr. Desi Serna (Google me!)
http://www.Guitar-Music-Theory.com
Pentatonic/CAGED/Progressions/Modes

Guitar Chord Progressions and Secondary Dominant Major 2 Chord

2009-10-14T08:51:00.000-07:00

"Why do some guitar chord progressions have a major second chord when it should be minor? What is a secondary dominant?"

If you know anything about guitar music theory you know that building chords from the major scale produces the following chord sequence:

1. I major
2. ii minor
3. iii minor
4. IV major
5. V major
6. vi minor
7. vii minor (flat five)

But songs with major two chords are fairly common on guitar. The songs listed below are just a few examples:

"That'll Be The Day" Buddy Holly - Key of A but includes a B major 2 chord.
"Hey Good Looking" Hank Williams - Key of C but includes a D major 2 chord.
"Patience" Guns and Roses - Key of G (gtr. tuned down 1/2 step to Eb) but includes an A major 2 chord.
"Out of My Head" Fastball - Key of E but includes an F# major 2 chord.

A major 2 chord is actually a key change and stems from the music theory behind a functioning dominant seven chord. A dominant seven chord (which can be referred to as simply 7) is a major chord with a flat seven interval. This occurs naturally on the fifth scale degree in a major scale. The dominant seven 5 chord has a bit of tension that leads to and resolves on 1 (the 'tonic' in a major scale). For example, in the key of G a D7 chord leads to and resolves on G. D is said to be the 'dominant' of G major. In fact, D can lead to G whether or not the guitar chord actually has the seventh interval in it.

"Hey Good Looking" by Hank Williams is in the key of C and normally has a D minor chord, but the song uses a D major instead which creates a strong pull to G. When playing this song on guitar you're in the key of C but you're borrowing the dominant from the key of G in order to produce the dominant pull to and resolution on G. Get it? This is said to be a 'secondary dominant' chord and is a composition technique that can be used in any key. So the song examples I used can be explained like this:

"That'll Be The Day" B major is the dominant of and leads to E.
"Hey Good Looking" D major is the dominant of and leads to G.
"Patience" A major is the dominant of and leads to D.
"Out of My Head" F# major is the dominant of and leads to B.

You can create secondary dominant movement for any chord in a key. Just remember that it's a type of key change so the scale you play over it with should follow. This is important when learning music theory for guitar.

Blues Chord Progression

2009-10-01T08:40:00.000-07:00

"Is an E, A and B blues chord progression 1 4 5 in the key of E?"

These three chords are indeed 1 4 and 5 in the key of E, but when used in blues there is more guitar theory to understand.

The blues concept is based on dominant seven chords (which unlike major seven chords can simply be called "seven" or "7"). This means that blues vocal melodies, bass lines and guitar solos use intervals and scales that correspond to dominant 7th chords whether or not one of the instruments is physically playing them. So a progression with the chords E, A and B is treated as if the chords were E7, A7 and B7.

If you know anything about music theory, then you know that only the fifth major scale degree has a major third and flat seventh interval necessary to build a dominant seven chord. So 7th chords only occur once per key. A progression with three different dominant 7th chords is actually three different keys. E7 stems from the key of A (or A major scale). A7 stems from the key of D (or D major scale). B7 stems from the of E (or E major scale). E7, A7 and B7 is actually a 5 5 5 chord progression with each chord produce a key change. But musicians and guitar players refer to this type of blues chord progression as 1 4 5 anyway.

There are a few different ways guitar players can play over this type of blues chord progression.

The first is to ignore the whole progression and simply follow the root chord (where everything begins and resolves). In this case it's E. Since the E chord is base on an E major triad you can play the E major pentatonic scale over it. But blues players also break the rules a bit and play the E minor pentatonic instead. The tension and dissonance that results contributes to the much loved and edgy blues sound. In fact, this minor-over-major approach has become the standard in this style of music and many blues players rely on it alone. But most blues music incorporates the major pentatonic too usually by mixing it together with minor pentatonic patterns.

Another option is to use full major scale patterns. Since the E chord is treated as if it were an E7, and since E7 stems from the A major scale, then A major scales patterns are the correct ones to play. Since the fifth note E is functioning as the root this produces the fifth mode, Mixolydian (a.k.a. "Dominant scale" because it goes together with dominant chords). Full major scale patterns can also be mixed with both major and minor pentatonic patterns. Throw in some chromatic passing tones and you have quite a palette of notes to choose from!

Another option when playing over dominant seventh blues chord progressions is to follow the key changes with the scales you play. So when the progression goes to A, play A major and minor pentatonic and A mixolydian mode (D major scale patterns). When the progression is on B7 play B major and minor pentatonic and B mixolydian mode (E major scale patterns). Switching scales like this can be tricky and many blues players prefer a simpler approach. But country and jazz players, who are usually more trained in music theory for guitar, love this challenging method of playing.

Circle of Fifths Guitar Theory Lesson

2009-09-23T08:44:00.000-07:00

The circle of fifths is a geometrical representation of key signatures used in writing traditional musical notation. For modern guitar players interested in developing a working knowledge of music theory that can be applied specifically to the fretboard the circle of fifths is less useful. But if you insist on exploring the idea you can easily map out the fifth cycle on the guitar neck with patterns.

Guitar players can play the circle of fifths by using the patterns taught in Fretboard Theory Chapter 6 Chord Progressions and Playing By Numbers (and also in the DVD program entitled Chord Progressions and Playing By Numbers). You can start in any key but I'll begin with the key of F using chord pattern 1 beginning at the 1st fret of string 6.

The 5 chord in the key of F is C.
Now switch keys to C and use chord pattern 2 beginning with C at the 3rd fret of string 5.
The 5 chord in the key of C is G.
Now switch to the key of G.

The 5 chord in the key of G is D. Switch to D.

The 5 chord in the key of D is A. Switch to A.

The 5 chord in the key of A is E. Switch to E.

Continue this process until you've cycled through all keys. Reverse it to produce the circle of fourths.

You can hear a chord progression based on this type of movement in the song "Hey Joe" by Jimi Hendrix. The verse progression is all fifths starting on C.

C G D A E

I should point out here that rather than try to follow each key change with a new parent major scale, Hendrix simply played the E minor pentatonic scale over the whole progression for the lead guitar solo. This works because the E minor pentatonic notes are all found in the same keys that also have the chords. The exception is the E major chord. In its case the minor pentatonic gives the major chord a blues flavor.

So the circle of 5ths and the circle of 4ths have limited use in music theory for guitar which is why I left them out of my guitar theory book and DVDs. And if you map out scale patterns and chord progressions properly on the fret board then you already have the concept down.

Natural Talent and Guitar Playing

2009-09-16T10:38:00.000-07:00

Many people who are learning to play guitar are intimidated by the learning process, frustrated with their progress and believe that they lack the natural talent necessary to make music. Is it possible that some people just can't learn how to play guitar? Or do some aspiring players set unrealistic expectations? How can a person know if they're wasting their time or not?

How to Learn Guitar
Getting good at playing guitar requires study, practice and a little creativity. You have to know how something is properly done so that you don't waste your time doing things incorrectly or developing bad habits. You must spend a lot of time with your guitar in hand practicing and playing. You need to find what it is that you can do well and learn how to compensate for your weaknesses. Finally, you need to accept your limitations and embrace what abilities you have been given.

Natural Talent
If you're unable to make progress with certain guitar styles or techniques, then move onto something else that comes more naturally to you. Take advantage of your strengths and accept your limitations. Have you ever seen B.B. King play chords? Not one of his strengths! And Dave Matthews couldn't take a lead guitar solo if his life depended on it. Yet they are both accomplished guitar players in their own right because they have something they can do uniquely well. Don't expect to be able to play everything you want to play. And don't get hung up on things that seem impossible. Instead, make the process a journey to discover what you CAN play.

Armless Guitar Player
There is perhaps no better example of how to succeed at making music when faced with limitations than armless guitarists Tony Melendez. Born without arms, Tony never let his handicap get in his way. Instead he developed proficiency in using his feet. "I was pretty secure in what I could do," he says. What a great attitude. The video below shows just what he can do.

You Can Do It
When there's a will there's a way. Maybe you won't be able to copy licks and phrases by famous guitar players like some other guys can, but that's no reason to give up on the special ability you may have. If you're struggling, perhaps you need to reconsider your expectations and change your approach. A good guitar instructor can make a big difference. And there are plenty of books, DVDs and online guitar lessons that can help too.

Music Theory for Guitar

How to Transcribe Songs

2009-09-08T07:20:00.000-07:00

"Will your Fretboard Theory book help me transcribe songs?"

My guitar theory book and DVDs may not focus on the skill of transcribing specifically, but do teach guitar players how to understand keys, scales, chord progressions and other important musical elements that transcribers use to figure out songs by ear. So if your goal is to better understand the music you play and better anticipate what's happening in the songs you're listening to, then yes Fretboard Theory will help.

How Guitar Players Can Develop Rhythm and Timing

2009-09-04T09:26:00.000-07:00

Guitar players who jump right into reading tab and playing songs often struggle with rhythm and timing. Learning how to read music is great for improving your rhythm and timing skills. This is because you must assign a value (or length) to the notes you play, count everything out and tap your foot. Consider getting a Mel Bay or Hal Leonard beginner series and working your way up to and through whole notes, quarter notes, eighth notes and syncopation (which is about book 2 or 3 in the Mel Bay series). Just learning the beginning levels of standard music notation will often times help guitarists develop enough skill to feel their way through more complicated rhythms. Try it!

Play Until Yer Fingers Bleed!
Mr. Desi Serna (Google me!)
http://www.Guitar-Music-Theory.com
Pentatonic/CAGED/Progressions/Modes

Devil Went Down to Georgia Tab Pentatonic Patterns Blues Scale Songs

2009-08-27T08:23:00.001-07:00

“The Devil Went Down to Georgia” by Charlie Daniels Band has a great minor pentatonic blues scale riff at 1:34. It has been adapted for guitar in three different pentatonic positions in the tabs below. Suitable for beginner to intermediate level guitar players who want to use the scale patterns taught in Fretboard Theory and Getting Started with the Pentatonic Scale DVD.

D minor pentatonic pattern 2

E----------------------------------|

B------------3---------------------|

G------0-1-2---2-1-0---0-1-2---0---|

D--0-3---------------3-------3---3-|

A----------------------------------|

E----------------------------------|



D minor pentatonic pattern 4

E----------------------------------|

B----------------------------------|

G------------7---------------------|

D------5-6-7---7-6-5---5-6-7---5---|

A--5-8---------------8-------8---8-|

E----------------------------------|





D minor pentatonic pattern 1

E--------------------------------------------------|

B--------------------------------------------------|

G--------------------------------------------------|

D-----------------12-------------------------------|

A--------10-11-12----12-11-10----10-11-12----10----|

E--10-13----------------------13----------13----13-|

CAN'T READ THIS TAB? You can also view it here: http://guitar-music-theory.com/forum/viewtopic.php?f=2&t=439

Dueling Pianos International (2008 Short Demo)

2009-08-25T05:42:00.001-07:00

For those of you who are gigging, remember that all the knowledge in the world about Guitar Theory can not necessarily compensate for being a great entertainer! I'd recommend going to a Dueling Piano show to steal some tricks of the trade to incorporate into your own show.

When to Use Pentatonic Verse Major Scale Patterns

2009-08-08T09:20:00.000-07:00

"When guitar soloing, how do I know when to use a pentatonic scale or major scale?"

As taught in Fretboard Theory, each chord, progression or song has a corresponding pentatonic and major scale that can be played over it. It's your choice whether you use one over the other or combine them. If you're trying to copy a song, then follow what the song does. Minor scales use the same patterns as major scales.

I Will Possess Your Heart D Minor Pentatonic Bass Tab

2009-07-31T07:37:00.001-07:00

"I Will Possess Your Heart" by Death Cab For Cutie is a good example of an easy pentatonic scale song for guitar. The bass line is based on the D minor pentatonic scale patterns 3 and 4.

G|-------------------------------------------------|
D|-----------------------3------3---3-5-7--------------|
A|-3/5-5-5-3-3-5-5-3--5-5-5---5--------------------|
E|-------------------------------------------------|

To learn more about pentatonic scale patterns and guitar theory visit: http:Guitar-Music-Theory.com

Pentatonic Guitar Picking Techniques

2009-06-10T08:52:00.001-07:00

This guitar lesson demonstrates right hand alternate picking technique consisting of sequences of four notes. These four note groups are more difficult that the three note groups taught in the DVD Getting Started with the Pentatonic Scale.

Heavy Metal Guitar Tab Bang Your Head Verse Chord Inversions

2009-06-08T10:27:00.001-07:00

This guitar lesson is a great example of using chord inversions and shapes derived from the CAGED guitar system and played in the style of "Bang Your Head (Metal Health)" by Quiot Riot. This is the verse chord progression which uses partial "A form" barre chords and a pedal tone. Suitable for beginner level players and up. Get free tab for this song excerpt when you sign up for a preview of the book Fretboard Theory at: http://guitar-music-theory.com