Drop 2 Type Voicings

It is no doubt that Voicing could be the most popular technique to instantly create a "weird but nice" chord. By only "change position" of a note from chord, we could enter new dimension of sound. So, let's talk about Voicing, specially the champion... Drop 2 voicing

By dropping the second note from the top of a four-way close voicing down an octave, a larger sounding voicing (referred to as “drop 2”) is produced. These drop 2 voicings in turn produce a chord physically more accesibble on the guitar than some of the orginal four-way close voicings.
Lets explore all four inversions of the drop 2 type voicings and their pplacement on the middle four strings of the guitar (2, 3, 4, 5).

C Maj = C E G B ( R 3 5 7)



The Following maj7th chord forms are produced by the above voicings on the middle four strings of the guitar: ( strings vertically/ frets horizontal)


The above form ca be trasposed or moved to different keys

THE MIXOLYDIAN MODE (D/E, E7sus, G/A....)

The Mixolydian mode is built on the 5th note of a major scale. E Mixolydian would have the same notes as the A major scale (A B C D E F G) because E is the 5th scale degree of A. Therefore, E mixolydian is the notes of A major beginning on the note E: E F# G# A B C# D. An understanding of an intervallic relationship between each of these notes is necessary in order to understand the character of the mixolydian scale. To do that we must compare these notes to the standard sclae from which all music theory is derived: THE MAJOR SCALE. If we compare E mixolydian to the notes of E major we have:

E Major:



E Mixolydian

Now you can see that the only difference is that the 7^th degree is flet (lowered ½ step) in the mixolydian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every mixolydian scale in every key.

Mixolydian:

You can see by this scale’s interval content that the chords possible from mixolydian are dominant 7th chord characters: E7 (1 3 5 b7), E11 or D/E (1 7 9 11), and E13 (1 3 b7 13). These are just a few of the possibilities for chords available using the mixolydian interval structure: 1 2(9) 3 4(11) 5 6(12)b7.

The most popular mixolydian chordis indoubtedly the 11th chord, which is one-whole-step higher. For E11, that would be the same as D/E (verbalized: “D over E”). Here, the D major triad is borrowing three notes from E mixolydian (Db7), F#(9) and A(11)) with the E below it functioning as the bass noteor root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the guitar. Now its time to start putting all this information for mixolydian together.

THE IONIAN MODE (Emaj7, E(9)

E major would obviously have the same notes as the major scale. Therefore, the notes of E major are: E F# G# A B C# D# . The intervallic realtionship between each of these notes reveals the character of the major scale.

E Major:

By numbering the degrees we get a scale formula we can use which will be consistant with every major scale in every key.

Ionian:

You can see by this scale’s interval content that the chords possible from major are major chord characters: Emaj7 (1 3 5 7). E(add9) (1 3 5 9), Emaj9 ( 1 3 5 7 9) . These are just a few of the possibilities for chords available using the major interval structure: 1 2(9) 3 4(11) 5 6(13) 7. The most popular major chords are undoubtedly the major 7 chord and the major (add9).

THE DORIAN MODE (Emin7, Emin9, Emin11)

The dorian mode is built on the 2^nd note of the major scale. E dorian would have the same notes as the D major scale (D E F# G A B C#) because E is the 2^nd scale degree of D. Therefore, E dorian is the notes of D major beginning on the note E = E F3 G A B C# F (E dorian). An understanding of the intervallic relationship between these notes is necessary in order to understand the character of the dorian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. If we compare E dorian to the notes of E major we have:

E Major:


E Dorian:

Now you can see that the only difference is that the 3rd and 7th degrees are flat (lowered ½ step) in the dorian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every dorian scale in every key.

Dorian:

You can see by this scale’s interval content that the chords possible from dorian are minor chord characters: Emin7 (1 b3 5 b7), Emin9 (1 b3 5 b7 9) and Emin11 (1 b3 b7 11 ). These are just a few of the possibilities for chords available using the dorian interval structure:1 2(9) b3 5 6(13) b7 . The most popular dorian chord is undoubtedly the minor 7 chord.

Lydian Mode (F#/E, EMaj7#11, B/E

The Lydian mode is built on the 4th note of a major scale. E lydian has the same notes as the B major scale (B, C#, D#, E, F#, G#, A#) because E is the 4th scale degree of B. Therefore, E lydian is the notes of B major beginning on the note E: F, F#, G#, A#, B, C#, D#). An understanding of the intervallic relationship between each of these notes is necessary in order to understand the character of the lydian scale. To do that we must compare these notes to the standard scale which all mucis theory is derived: THE MAJOR SCALE. If we compare E lydian to the notes of E major we have.

E Major:

E Lydian:

Now you can see that the only difference is that the 4^th degree is sharp (raised ½ step) in the lydian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every lydian scale in every key.

Lydian:

You can see by this scale’s interval content that the chords that are possible from lydian are major chord characters: Emaj7 (1 3 5 7), Emaj9 (1 3 5 7 9), Emaj7#11 (1 3 7 #11), and F#/E (1 #4 6 9). These are just a few of the possibilities for chords available using the lydian interval structure: 1 – 2 (9) – 3 – 84(#11) – 5 – 6 (13) – 7. The most popular lydian chord is undoubtedly the 811 chord, which is more commonly reffared to as a major tried over a bass note which is one-whole-step lower. For E 11), that would be the same as F/E (verbalized: “F8 over E”). Here, the F8 major triad is borrowing three notes from E lydian (F#=9, A#=#11, C#=6) with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the guitar. Now it’s time to start putting all this information for lydian together.

Locrian Mode (Emin7b5, Bb Maj7b5/E)

The Locrian mode is built in the 7^th note of a major scale. E Locrian would have the same notes as F major scale ( F G A Bb C D E) because E is the &th scale degree of F. Therefore, E Locrian is the notes of major beginning on the note E : E F G A Bb C D. An understanding of an intervallic relationship between these notes is necessary in order to understand the character of the locrian scale. To do that we must compare these notes to the major scale. If we compare E Locrian to the notes of Emajor, we have

E Major

E Locrian

Now you can see that the differences are that the 2^nd, 3^rd, 5^th, 6^th and 7^th degrees are flat (lowered ½ step) in the locrian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every locrian scale in every key.

Locrian

You can see by this scale’s interval content that the chords possible from locrian are minor chord characters : Emin7b5 ( 1 b3 b5 b7) and Emin11 (1 b3 b7 11). These are just few possibilities that we can create from the interval. The champion for locrian chord is no doubt minor 7(b5) chord.

To me, I simply know that whenever I play E Locrian, I actually play F Major start from E note.

Open Chord Technique for Major, Minor and dominant Chord

Sometimes guitarist to focus on Playing solo. The result is that the Rhythm (Comping) become a second grade technique.

We can also "show off" when doing Comping and one of the best way is to learn many shape of scale (Chord Inversion).

Below I give you some very useful idea. Learn and feel the different. I use A Chord with open string. We call this Open Chord.

Major Shape


Minor Shape


Dominant Chord


More Chord to come, just stay tune :)

Circle of Fifth/Fourth

This is absolutely one of the most important foundation in music theory. By knowing Circle of fifth (some also call it with circle of fourth), we will understand few things.....


1. Clock wise...

We know that That G Has 1 Sharp(#) on its Scale... D has 2 sharps on its scale.
It is easy to find out actually. The Formula is this

Count 5 steps from C, and we will get G, and the notes are G A B C D E F G. Add # to the last note before G. The notes become G A B C D E F# G. So that's the G Major Scale.

Next Scale would be 5 Steps from G, and we get D Notes. The notes are D E F# G A B C# D.
F# we get from the previous Scale and C# is the formula.

5 steps from D would be A, and the notes are A B C# D E F# G# A.

C D E F G A B C Neutral
G A B C D E F# G 1 Sharp
D E F# G A B C# D 2 Sharp
A B C# D E F# G# A 3 Sharp
E F# G# A B C# D# E 4 Sharp
B C# D# E F# G# A# B 5 Sharp
F# G# A# B C# D# E# F# 6 Sharp
C# D# E# F# G# A# B# C# 7 Sharp

In case you confuse about E# and F. They are the same notes, and 1 notes with more than one name called enharmonic. Why it call E# instead of F? becuase in music theory, we call name according to formula.

2. Counter Clock Wise ( Circle of Fourth)
By looking the circle Counter Clock Wise, we could see another scale, and start with F. Why F, because it is 4 steps after C.

F G A B C D E F, and put b(flat) symbol and the fourth note, in this case would be Bb.

Next note are 4 notes after F, the Bb, and dont forget to alse put b(flat) symbol ont the fourt note Bb C D Eb F G A Bb

The whole would be....

F G A Bb C D E F
Bb C D Eb F G A Bb
Eb F G Ab Bb C D Eb
Ab Bb C Db Eb F G Ab
Db Eb F Gb Ab Bb C Db
Gb Ab Bb Cb Db Eb F Gb


Fyi, Gb actually same with F# scale, but in music theory, it is Wrong if you write Gb Scale by using notes on F# scale, even though they are same in sound.

3. Relative minor
From the circle wi know that efery major scale has it's own minor relative. such G major scale is has E minor as relative minor. etc etc

4. On Staff
We know how to writed 1 sharp Scale untill 7# scale on our Staff.

Major Scale Formula

Major Scale is the most common scale (besides minor scale of course) in any music composition, from Brit to jaz, from ethnic to country. Here I give the formula of major Scale.

I give C Major as example, because there are no sharp(#) and Flat(b) on this scale. It's a natural major scale.

So, thats the formula for major Scale.

As we see, the interval is W - W - H - W - W - W - H

Harmonic Minor

Harmonic minor could be one of the most dramatic scale on earth :). Since this scale is not "common" scale, so it also need special case to use it for your improvisation.

But, trust me, this is a very nice scale... you can easily feel the exotic and dramatic taste.

Ok, this is the Scale for Harmonic Minor

1 2 3b 4 5 6b 7 1

For A Harmonic minor, the notes become

A B C D E F G# A

Here the scale.

Harmonic Minor Scale Harmony with 7ths

Modes and Creation Chord are below
1) Aeolian #7 - A B C D E F G# - AmMaj7(b6)
2) Locrian #6 - B C D E F G# A - Bm7b5/Bdim7
3) Ionian #5 - C D E F G# A B - Cmaj7#5
4) Dorian #4 - D E F G# A B C - Dm7(#11)
5) Phrygian #3 - E F G# A B C D - E7(b9,b13)
6) Lydian #2 - F G# A B C D E - Fmaj7(#9)
7) Mixolydian #1 - G# A B C D E F - G#dim7


Ok Here we go... we are goin to master all notes in our fretboard... the only way is to learn and practice... but I stongly recommend you to learn this way....

1st Modes - Aeolian #7

If we put fill to fretboard in all strings, it's like this

2nd Modes - Locrian #6

3rd Modes - Ionian #5

4th Modes - Dorian #4

5th Modes - Phrygian #3

6th Modes - Lydian #2


If we put fill to fretboard in all strings, it's like this

7th Modes - Mixolydian #1

If we see all chart for the fretboard, we got all notes all arround the neck.

For my Own Approach, no matter what they call the modes, to me it just a A harmonic minor... but in my head, I also know the name. Let Say Lydian #2, to me it just A Harmonic Minor with with F as the Root :)

To me, it far easier to remember. So... happy practice

Whole Tone Scale

From the name, I believe we all know that the meaning of this scale is scale that has Major second interval to the next note, so the formula is:

1 2 3 4# 5# 6# 1(Octave)

For A Whole Tone scale, the notes are: A B C# D# E# G A
E# has enharmonic name, F :) . Here below I give the notes ...

A Whole Tone Scale


C Whole Tone Scale


E Whole Tone Scale

For the example, we will learn A whole Tone Scale. There are few shape in guitar that we may apply according to our style. Let see....

In Figure .01 we see a nice shape in guitar fretboard. It ease us on remembering the shape. Many guitar book recommend this shape. But, of course, still we have option, like figure .02 below.

On figure .02, I believe this shape suitable for guitarist who use economic picking. You also may reduce the last not the first string to create an up stroke picking. The good of this shape also is that you will feel a wider range in. The last note is G, Major second below the A Third octave.

Figure .03 also suitable for economic pickers :) , Just be careful with the 1 not only in D String.

For the lick, please go to this page>>

PENTATONICS SCALE, FORMULA & MY PERSONAL APPROACH

Pentatonic scale are five note scale. There are many different pentatonic scale scales and we will start with the major pentatonic scale.

The Formula for Major Pentatonic is 1 2 3 5 6, in C it will be C D E G A note. the notes are below.

Since I use G Major pentatonic, I also give the G major Pentatonic, the notes are G A B D and E.

In C Major Pentatonic, the name also A minor Pentatonic, came from the relative minor name. In G Major Pentatonic, the relative would be E Minor Pentatonic. Now we know that by knowing the Major Pentatonic, we automatically learn also Minor Pentatonic.

Below I Give the common shape of Pentatonic.

I believe many of us know that shape but sometimes the way we play pentatonic looks and sound similar to other, because we play according to the shape above. Here I give other perspective to the Pentatatonic Approach.

The idea is to learn the shape horizontally, not vertically. So we I show the shape in 2 strings. Here they are.

The sequence in string 6 (E) and 5(A)



The sequence in string 5(A) and 4(D)



The sequence in string 4(D) and 3(G)



The sequence in string 3(D) and 2(B)


The sequence in string 2(B) and 1(E)

I hope by learning that sequence above, we will have "another road" to express our pentatonic scale.