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Idiot’s Guides®: Guitar Theory
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Idiot’s Guides®: Guitar Theory
by David Hodge
Guitar Theory
Cover
Title Page
Copyright Page
Dedication
Introduction
Part 1: Turning Tones into Notes
1 Defining Guitar Theory
What Guitar Theory Is … and Is Not
Guitar Theory Isn’t Separate from Music Theory
Guitar Theory Isn’t the Antithesis of Creativity
Guitar Theory Isn’t Magic
Guitar Theory Isn’t Just for Lead Guitar Players
Guitar Theory Isn’t Just for Guitars
Guitar Theory Isn’t Hard
Putting Theory to Practice
2 Naming Notes
Starting with a Point of Reference
Making a Map
Marking the Map
Adding Accidentals
Finding Your Reference Points
Finding Notes on the First Five Frets
Choosing Other Reference Points
Putting Theory to Practice
3 Reading Directions
Chord Charts
Xing Strings Out
Setting a Barre
Moving Up the Fretboard
A Very Brief Guide to Music Notation
Lines and Spaces
The Notes of the Open Strings
Checking Out Guitar Tablature
Marking Time
Tips on Reading Any Kind of Music
Part 2: Turning Notes into Scales, Intervals, and Chords
4 The Major Scale
What Is a Scale?
Constructing the Major Scale
Creating Specific Major Scales
Understanding Key Signatures
Key Signatures and the Guitar
Playing the 12 Major Scales in Open Position
5 Sizing Up Intervals
Giving Degrees to the Major Scale
Turning Degrees into Intervals
Finding Intervals on Your Fretboard
Beware the B String
Major and Minor Seconds
Major and Minor Thirds
Fourths
Fifths: Perfect, Augmented, and Diminished
Sixths and Minor Sixths
Major Sevenths and Minor Sevenths
Octaves
Playing Octaves on the Guitar
Octave Exercise
Putting Theory to Practice
6 Two Kinds of Thirds Equals Four Basic Chords
From Notes to Intervals to Chords
Constructing Chords from the Major Scale
Basic Open-Position Major Chords
Basic Open-Position Minor, Augmented, and Diminished Chords
Constructing Chords from Thirds
Playing Triads
Putting Theory to Practice
7 Filling In All the Other Chords
Chords Without Thirds
Power Chords
Suspended Chords
Sixths
Seven Types of Sevenths
Dominant
Major Sevenths
Minor Sevenths
Minor Major Sevenths
Augmented Sevenths
Diminished Sevenths and Half-Diminished Sevenths
Extending Chords Beyond the Octave
Adding On
Piling On
Putting Theory to Practice
8 The Keys to Diatonic Chords
Turning the Major Scale into Seven Diatonic Triads
Charting Out Diatonic Chords in Any Key
The Pattern of Diatonic Chords
Making the Guesswork Easier
A Diatonic Chart for Every Key
Transposing
Putting Theory to Practice
Part 3: Turning Chords into Chord Shapes
9 Converting Open Chord Shapes into Barre Chords
“Open” and “Closed” Chords
The Guitar Theory Behind Barre Chords
E-Shaped Barre Chords
Sevenths, Minors, and Minor Sevenths in the E-Shape
More E-Shaped Barre Chords
A-Shaped Barre Chords
Sevenths, Minors, and Minor Sevenths in the A Shape
More A-Shaped Barre Chords
C-Shaped Barre Chords
More C-Shaped Barre Chords
“Cheating” on the C-Shaped Barre
Putting Theory to Practice
10 Unlocking the CAGED System
Visualizing Chords as Shapes
The Missing Pieces
Turning Chord Shapes into “CAGED”
The Five CAGED Patterns
C
A
G
E
D
Shifting Through All Five CAGED Patterns
Pairing “CAGED” Patterns
C and D
A and G
G and E
Putting Theory to Practice
11 The Logic of Chord Progressions
Finding the Key of a Song
A Sense of “Home”
Keys vs. Key Signatures
Getting Home
From Specific to Generic
Five to One
Four to One
Common Diatonic Chord Progressions
“Borrowing” Chords from Other Keys
The Circle of Fifths
Common Progressions Involving Nondiatonic Chords
Modulation
Putting Theory to Practice
12 The Challenge of Minor Chord Progressions
The Sound of Minor Keys
A Minor for Every Major
A Relative Minor for Every Major
The Three Possible Minor Scales
The Natural Minor Scale
The Harmonic Minor Scale
The Melodic Minor Scale
Creating Diatonic Chords with Minor Scales
Diatonic Chords for the Natural Minor Scale
Diatonic Chords for the Harmonic Minor Scale
Diatonic Chords for the Melodic Minor Scale
Common Chord Progressions in Minor Keys
Modulating Between Major and Minor Keys
Pivot Chords
Thinking in More Than One Key
Putting Theory to Practice
13 Making Fretboard Theory Practical
Returning to Basics
Rethinking Chords from the Top Down
The E Shape
The D Shape
The A Shape
Connecting All Three Shapes
Visualizing “I – IV – V” on the Fretboard
Using the E Shape as the Root
Using the D Shape as the Root
Using the A Shape as the Root
Adding the Diatonic Chords to Your Map
Diatonic Chords with E Shapes
Diatonic Chords with D Shapes
Diatonic Chords with A Shapes
Putting Theory to Practice
Part 4: Turning the Major Scale into Many Different Scales
14 The Guitarist’s Favorite Scale
Closing the Major Scale
Introducing the Pentatonic Scale
One Advantage of the Pentatonic Scale
Major and Relative Minor
Playing in Positions
Second Position
Laying Out the Five Pentatonic Positions
Placement of Positions
Connecting the Pentatonic Positions
Putting Theory to Practice
15 Demystifying Modes
Remembering Home
Building Modes Step by Step
Modes by Name
Finding Each Mode on the Fretboard
The Ionian Mode
The Dorian Mode
The Phrygian Mode
The Lydian Mode
The Mixolydian Mode
The Aeolian Mode
The Locrian Mode
Separating Modes into Major from Minor
Remembering Modes
Putting Theory to Practice
16 Getting the Blues with Minor Scales
Bringing the Three Minor Scales to Your Fretboard
The Harmonic Minor
The Melodic Minor
The Role of Dissonance
Finding the Blues in Blue Notes
Blue Notes for Three Chords from One Scale
All Three Blue Notes in One Scale
Pentatonic Plus
Putting Theory to Practice
17 Putting Scales and Chords Together
Filling in Space
Visualizing Scales and Chords Together
Creating Fills
From Fills to Solos
Finding Scales in Chord Progressions
Looking for Clues
Remember Your Modes
Flipping Switches
Choices of Moods
Backing Tracks for Soloing Practice
Putting Theory to Practice
Part 5: Turning Guitar Theory into Guitar Magic
18 The Philosophies of Guitar Accompaniment
Listen to the Music
Mixing and Matching in Group Play
Turning Your Single Guitar into a Trio
Assigning Parts
Assigning Placement
Putting Theory to Practice
19 Making Passes and Substitutions
Passing Notes Between Chords
Passing via Suspended Chords
Finding Passing Notes
Understanding Slash Chords
Using Slash Chords to Create Passing Bass Lines
How Slash Chords and Bass Lines Create Chord Progressions
Using Slash Chords to Stay in Place
Chromatic Passing Chords
Overshooting a Half-Step
Augmented and Diminished Chords in Passing
Very Jazzy Passing Chords
Making Substitutions
Adding On Sevenths and Ninths
When in Doubt
Putting Theory to Practice
20 Putting Open Strings into Play
Ringing Strings
Refiguring Chords with Open Strings
Instant Substitutions
Banjo Rolls
Moving Scales in a Hurry
Drones
Unison Slide
Creating Cascades
Putting Theory to Practice
21 Exploring Harmony in Pairs
Double Stops
Harmony Pairs on the B and G Strings
Harmony Pairs on the High E and B Strings
Harmony Pairs on Nonadjacent Strings
Inverted Thirds
Harmony Pairs on the High E and G Strings
Harmony Pairs on the B and D Strings
Harmony Pairs on the B and A Strings
Harmony Pairs on the G and Low E Strings
Practicing Harmony Pairs in Specific Keys
Putting Theory to Practice
22 Beyond Basic E and A Shapes
Guitarcentric Chords
Moving E Around
Playing All the E Major Diatonic Chords
Adding the Root
Concentrating Around the Fifth Fret
Exploring A Shapes
Additional Chord Ideas for E and A
Putting Theory to Practice
23 Beyond Basic C, G, and D Chord Shapes
Combining C Shapes with Open Strings
Combining G Shapes with Open Strings
Combining D Shapes with Open Strings
Putting Theory to Practice
24 Creating More with Less
Starting Small
Setting Up a Backing Track
Two-Note Soloing
Four-Note Soloing
Soloing Based on Harmony Pairs
Distinguishing Dissonance and Embellishment
Sample Soloing with Harmony Pairs
Putting Theory to Practice
25 Exploring Further Beyond
Further Exploring the “Guitar” Aspect of Guitar Theory
Capos
Alternate Tuning
Further Exploring the “Theory” Aspect of Guitar Theory
Bass Guitar
Ukulele
Mandolin
Banjo
Other Fretted Instruments
Putting Theory to Practice
Appendixes
A Chord Charts
B Scale Charts
C For Further Study
D Glossary
Index
About the Author
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