The Pentatonic Scale, pt.I

For many guitarists learning how to solo is a benchmark of their playing level and for others a scary proposition! When most guitarists begin learning to solo they utilize a pentatonic scale. A pentatonic scale is a five (penta) tone (tonic) scale of which there are two types - major and minor. I would venture to say the vast majority of guitarists use a minor pentatonic scale as it often employed by blues and rock guitarists to great extent. 

A minor pentatonic scale can be extracted from it's parallel major scale using a simple number scheme: 1 b3 4 5 b7. For our current purposes we'll relate it back to an A major scale.

               A Major:      A   B  C# D  E  F# G# A

                                    1    2   3   4   5  6    7   8

A Minor Pentatonic    A        C   D  E       G   A

                                    1        b3   4  5       b7   8

So in order to "create" an A minor pentatonic scale (A C D E G A) the number scheme is applied. The 1st, 4th and 5th notes remain the same (as well as the 8th/octave) - while the 3rd and 7th notes are flatted (b3, b7) from the original sharps - C# becomes C natural and G# becomes G natural. 

Next month we'll talk about common fingering patterns that are used for these scales!

Transcribe!

A number of years ago I was fortunate enough to attend a music workshop hosted by the renowned guitarist Jennifer Batten called "Self-Empowerment for the Modern Musician." It was a wonderful workshop where Jennifer discussed everything from building a personal brand to practical information on domestic and foreign touring.

It was during the workshop that Jennifer talked about the music software Transcribe! - the software that she herself uses to transcribe music. Transcribe! is an amazing powerful tool that can help you with your teaching; not only for transcribing songs but even slowing them down without changing pitch so that students can play along with faster songs or passages. If you are interested in Transcribe! check out Jennifer Batten's tutorial.

You can purchase Transcribe! at a cost of $39 for either Windows, Mac or Linux. Happy transcribing!

Moveable Power Chords, pt. VII – Examples in Music

In last month’s post I a shuffle rhythm to closed power on the 6th string. This technique is easily found in blues music, but can be readily found in rock music and is a must for students to master; whether actual shuffle feel or the straighter version that can be found in rock. 

For teachers wanting students to apply this technique, one must look no further than simply plugging the rhythm into basic 12 Bar Blues. There is no harm in having students work through a 12 Bar Blues using only chords on the sixth string; in fact it is extremely helpful for students to learn to the move vertically on a single string. Additionally, it will help students memorize notes on that particular string. Furthermore, with slow and consistent practice students will develop smooth shifting technique between small and large fret movements.

For practice using a straight shuffle rhythm, there are plenty of rock songs that incorporate the technique/rhythm into either whole or parts of the song. Plus, for more focused practice teachers should not be afraid to take “liberties” with the song and change all the chords to a single string (in this case all chords are on the 6th string). Below are some examples of rock songs by the Chuck Berry who some say “invented” the straight shuffle rhythm.

· Johnny B. Goode

· Deep Feeling

· Rock ‘n’ Roll Music

· No Particular Place to Go

Movable Power Chords, pt. VI – Shuffle Rhythm

 In a post many moons ago I discussed applying a shuffle rhythm to open power chords. A shuffle rhythm is a “feel” specific to the blues in which the written eighth note rhythm is played more like that of a triplet.

For the purpose of this post we will be apply the shuffle rhythm to closed power chords on the 6^th string. Power chords (as we know from a prior post) make use of the Root and 5^th of the key and are neither major nor minor as they have no 3^rd.

When applying a shuffle rhythm to closed power chords the pinky expand up two frets to reach the “shuffle note” or 6^th note in the key. The example below uses a B5 power chord (B – root, F# - 5^th), however the shuffle note played by the pinky will be a G# or the 6^th note in the key of B.

 Next month we’ll get into applying this new skill. 

Movable Power Chords, pt. V - Familiarity

For the last several posts I have discussed "Movable Power Chords". These are two note chords made from the root and 5th which are neither major nor minor (a result of the absence of the 3rd). Specifically, I have covered power chords which are rooted on the 6th string. 

There are several ways that students can get familiar with power chords on the guitar neck.

1. Exercises - specified exercises designed by the teacher to help students learn power chord positions. For example, shifting between "natural" chords only (A, G, F, etc...) or accidentals (F#, G#, A#, etc...).
2. Chord Progressions - applying I IV V progressions (such as a 12 Bar Blues) will not only help develop the ear to certain chord progressions, students will learn to navigate the neck vertically on a single string.
3. Riffs/Songs - The teacher can make a list of riffs and/or songs which utilize specific power chords. For example, a riff that uses power chords only on the 6th string (or later 5th or 4th string).

If you know of any other ways to get students knowing their way around power chords, let me know and I'll add them to the list!

Moveable Power Chords, pt. IV – How they work

In the previous post I covered how to properly finger moveable power chords – two note chords comprising the root and 5th played on the bass strings. Remember power chords are neither major nor minor as they contain only the Root and 5th of the chord (omitting the 3rd) and are generally referred to as “5” chord because of it. As I posted in the first installment of this series I first introduce moveable power chords which are played on the 6th string. This month I’ll discuss one of the most wonderful aspects about the power chord which is the ability to take this single shape and move it to a different location to create a new chord!

The root (or main note) of the chord can be found in the 1st finger. For example, in an F5 chord the 1st finger plays the note “F” which is on the 1st fret of the 6th string (indicated by the white circle) – hence, an “F5” power chord. Likewise, in a “G5” the 1st finger plays the note “G” which is on the 3rd fret of the 6th string. Keep in mind as the chord pattern moves up the neck the root of the chord will remain in the 1st finger as in the “A5” chord – 1st finger plays the note “A” which is on the 5th fret of the 6th string.

 

Furthermore, make sure to note when looking at chord diagrams which are placed on higher frets, the diagram will indicate what fret the chord is played at.

Movable Power Chords, pt. III - Get Moving!

In the previous post I covered how to properly finger movable power chords – two note chords comprising the root and 5th played on the bass strings. Remember power chords are neither major nor minor as they contain only the Root and 5th of the chord (omitting the 3rd) and are generally referred to as “5” chord because of it. 

As I posted in the first installment of this series I introduce movable power chords to students which are played on the 6th string. This month I’ll discuss one of the most wonderful aspects about the power chord which is the ability to take this single shape and move it to a different location to create a new chord!

The root (or main note) of the chord can be found in the 1st finger. For example, in an F5 chord the 1st finger plays the note “F” which is on the 1st fret of the 6th string (indicated by the white circle) – hence, an “F5” power chord. Likewise, in a “G5” the 1st finger plays the note “G” which is on the 3rd fret of the 6th string. Keep in mind as the chord pattern moves up the neck the root of the chord will remain in the 1st finger as in the “A5” chord – 1st finger plays the note “A” which is on the 5th fret of the 6th string. Furthermore, make sure to note when looking at chord diagrams which are placed on higher frets, the diagram will indicate what fret the chord is played at.

Next time I'll discuss how to practice these chords!

Movable Power Chords, pt. II - Fingering

Last month I began a short series of posts about power chords; two note chords comprising the root and 5th which are a staple in every guitarists arsenal. One of the most important aspects of playing any chord is how to finger it.

Power chords are fingered with the 1st and 3rd finger of the left hand; keep in mind properly using these fingers is quite important. Generally speaking when playing most chords the approach is to arch fingers and play on the fingertip so that the “pad” or backside of the does not lean into other strings and mute them. However, power chords require the fingers to “reach” in order to be placed on the strings (they are play on the lowest strings) so there will be a minimal arch in the second finger joint. Whereas, the 1st finger will almost be “straight” with a slight arch and the 3rd finger will have more so of one, but less arch than normal; the point of contact with the string for both fingers will be done mostly with the pad. 

1st finger straighter, 3rd finger more arch

An additional benefit of a lessened arch in the 1st and 3rd finger is that they will lean onto other strings and mute any sympathetic string noise or fundamental/harmonic frequencies which sound when other strings are played. Furthermore, a lessen arch in the fingers will require less bend in the wrist and therefore less strain on it. 

Less bend in the wrist

Think of how easily water runs through a garden hose when the hose is straight, but when you bend the hose the water has a more difficulty time passing through the hose. The more of a bend in your wrist you more difficult it is for your body to work efficiently. 

Too much bend in the wrist

Next month we’ll get into playing with power chords.

Movable Power Chords, pt. I

One of the most wonderful things about playing the guitar is being able to take a single shape for a chord or scale and move that shape to a different location create a new chord or scale. A single shape can instantaneously turn into 12 different chords or scales!

A feeling of excitement is almost unanimously felt when students learn how to start playing moveable closed power chords. Power chords are neither major nor minor as they contain only the Root and 5th of the chord (omitting the 3rd) and are generally referred to as “5” chord because of it. The root (or main note) of the chord is generally played with the 1st finger. As a normal course of study I introduce students to the two finger form of the power chord which is played on the 6th string.

Next month I’ll get into how to properly finger these chords so students can adapt their “super power’!

12 Bar Blues Revisited, pt. VI – The Turnaround and Quick Change

Since I began this series of posts on the 12 bar blues the musical examples I've have used applied it’s most basic form. This month I’ll close out the topic by covering two other of its forms: the turnaround and quick change.

A 12 bar blues which uses a “turnaround” is one where the last bar or twelfth bar of the progression is a “V” instead of “I” chord. It is so named a “turnaround” because it turns around to the beginning of the progression. Using a “V” chord at the end of the progression will either lead the song back to the start (so it can be repeated) or act as a cadence - the “I” chord will be played after the “V” to complete the progression. Here is and turnaround example to practice with.

A “quick change” is a commonly used variation of the 12 bar blues and it is one in which the second bar “I” chord is replaced by “IV”. It is aptly named as it quickly changes from a “I” to “IV” chord instead of staying on the one for four bars. This quick change example also has a turnaround at the end.

Try having students use basic blues progressions in as many different keys as possible to gain familiarity with not only the progression, but chords and keys as well!

12 Bar Blues Revisited, pt. V – Applying Dominant 7th Chords

In last months post I covered playing a 12 bar blues in different keys, but this we'll turn all three chords in the key to dominant 7th chords. Usually you will only find a dominant 7th chord in a major chord and that is on the V chord.

A dominant 7th chord is one that is made using a 1 3 5 b7. For example, in the key of C the V chord is a G and making it a dominant 7th would yield the following notes: G B D F. When we see it written as a chord symbol it would be G7; hence, if we say play "G seven" we really mean G dominant 7th.

Of course a 12 bar blues does not always contain all dominant 7th chords, but applying them in this manner helps give our blues a bit more flavor and it will also help our students to expand their chord vocabulary. 

I have attached a sample 12 bar blues in the of A - the choice of this key is purposeful as it will help students utilize open position dominant 7th chords which only use two and three finger chords. Try having your students try other keys that use all open position dominant 7th chords such as G, D and E. 

12 Bar Blues Revisited, pt. IV – Playing in Different Keys

In last month’s post I discussed harmonizing major scales and where the I, IV and V chords are located in each key. This month we’ll continue the discussion and begin to have students apply their new found knowledge.

I have outlined a basic 12 bar blues using I, IV and V and chords. Using this formula students can then “plug-in” the chords from the corresponding key they wish to practice - I have given an example in the key of G.

In order to increase a student’s chord vocabulary they should practice all the open chords (I, IV, V’s) they know in each key and apply them to the 12 bar blues formula. This way students are developing their ear to hear the I, IV, V progression, expanding their knowledge of chords and cementing the 12 bar blues pattern in their mind.