Guitar Music Theory Lessons - Desi Serna

If you want to improve your timing, sharpen your technique, or get inspired by new ideas, then my new book, Guitar Rhythm and Technique For Dummies, is just want you need! This book, which I authored for the famous For Dummies brand by Wiley, gets into the details of time signatures, note values, slash notation, strum patterns, articulations, picking mechanics, finger picking, harmonics, slide guitar, whammy bars, alternate tunings, and more. There are lessons suitable for guitar players of all levels including beginner, intermediate, and advanced. Customers also get access to online audio tracks and video clips. This podcast episode is the first audio track. To learn more about the book and see where it can be purchased, go to: http://www.guitar-music-theory.com/guitar-rhythm-and-technique-for-dummies/

If you want to improve your timing, sharpen your technique, or get inspired by new ideas, then my new book, Guitar Rhythm and Technique For Dummies, is just want you need! This book, which I authored for the famous For Dummies brand by Wiley, gets into the details of time signatures, note values, slash notation, strum patterns, articulations, picking mechanics, finger picking, harmonics, slide guitar, whammy bars, alternate tunings, and more. There are lessons suitable for guitar players of all levels including beginner, intermediate, and advanced. Customers also get access to online audio tracks and video clips. This podcast episode is the first audio track. To learn more about the book and see where it can be purchased, go to: http://www.guitar-music-theory.com/guitar-rhythm-and-technique-for-dummies/

Blues music doesnâ??t always follow the rules of traditional music theory and harmony. Specifically, you find minor 3rds applied to major chords, and progressions that switch keys on each chord instead of staying in one parent major scale. For example, letâ??s say that youâ??re playing over a G major chord, which in blues-based music would likely be played as G7 or G9, maybe even a G13. Because the chord is major, you play the G major pentatonic over it. But another option is to play G minor pentatonic. The minor 3rd in the minor pentatonic scale clashes with the major 3rd in the chord, but this is what we know and love as the blues sound. You can even mix both the major and minor pentatonic scales, getting a series of notes that are use in many blues and rock and roll songs such as Chuck Berryâ??s â??Johnny B. Goodeâ?? and Jimi Hendrixâ??s â??Red House.â?? Adding in a b5th from the so-called blues scale increases your note choices even more and allows for chromatic lines that are common in country and jazz. Blues songs are typically based on what appears to be a 1 4 5 chord progression, but since each chord is some form of dominant 7th, each chord is actually a V chord from a different major scale. Blues players usually opt for a minor pentatonic scale played over the whole progression, but other options include incorporating the major pentatonic or switching scales on each chord. The influence of blues music on popular music is widespread. You hear blues elements in music styles such as rock, alternative, heavy metal, country, folk, and jazz. This free guitar lesson is based on Guitar Theory For Dummies Chapter 15. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

The majority of popular music is based on pentatonic and major scale patterns; however, the harmonic minor scale is one more type of scale that you need to be familiar with. Understanding it can help you better understand chord progressions, melody and harmony. An important concept in music is something called dominant function. Dominant function is the tendency of the V7 chord in a key, to pull to the tonic, chord I. The natural minor scale doesn't have a V7 chord. Instead it has a minor 7th chord on its 5th degree. For example, Am and Em7 are I and V7 in the key of A minor. But if you raise the minor 3rd, G, in Em7 to a major 3rd, G#, you get an E7 chord. The dominant sound of the E7 creates a stronger push to Am. When you raise the same note in the A minor scale, you get the A harmonic minor scale: A B C D E F G#. If you're a soloist, keep in mind that you only need to use the harmonic minor scale temporarily. Typically, you use the natural minor scale until the dominant chord sounds, at which point you need the raised 7th of the harmonic minor. For all other chords, use the natural minor. Like any scale, the notes of the harmonic minor are located all over the guitar fretboard. You break up the notes into individual patterns and learn how to cover the whole neck one position at a time. This free guitar lesson is based on Guitar Theory For Dummies Chapter 14. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

The major scale has seven degrees, and technically any one of them can function as the tonal center, or primary pitch, of the scale. The sound and feel of the scale changes depending on which scale degree is heard as the starting point. When you play the major scale over music that centers on the first scale degree and chord, you create the sound of Ionian mode, which is better known as the plain major scale. Think any song based on a standard I-IV-V type chord progression, like "Wonderful Tonight" by Eric Clapton, which uses the notes and chords of the G major scale, centering on the first scale degree and chord, G. When you play the very same notes and patterns over music that centers on the 2nd degree and chord of the major scale, you produce Dorian mode, a type of jazzy minor scale. Think "Oye Como Va" by Santana, which uses notes and chords drawn from the G major scale, but centering on the second degree, A, and chord, Am. And so it is that each scale degree produces a different sound when itâ??s used as the tonal center of a piece of music. Each mode has its own Greek name. In all the seven modes in the major scale are called Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Playing modal scales doesnâ??t require you to learn new patterns, only that you know how to properly apply major scale patterns. And guitar players usually prefer to apply modes right inside of familiar pentatonic boxes. This free guitar lesson is based on Guitar Theory For Dummies Chapter 13, Playing in Modes and Using Modal Scale Patterns. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

The major scale is a seven-step scale. When played ascending, it sounds like "Do, Re, Me..." Descending, it sounds like "Joy to the World..." It is perhaps the most important tonal element in all of music. You use it for building chords, measuring intervals, charting chord progressions, and playing melodies and harmony. The same patterns that are used to play the major scale are also used for the minor scale and all the modes. Many songs feature melodies, riffs, lead guitar solos, and bass lines that are based in major scale patterns. For example, "Friend of the Devil" by Grateful Dead features the G major scale played backward. The chorus to "Wild World" by Cat Stevens features the C major scale played backward. "La Bamba" by Los Lobos runs up and down the C major scale. The opening riff to "Crazy Train" by Ozzy Osbourne uses the notes from the A major scale, but focuses on the 6th degree, F#, making the F# minor scale. "Smells Like Teen Spirit" by Nirvana has a melody and guitar solo based in the F minor scale, which draws its notes from the Ab major scale. The notes of the major scale are located all over the fretboard. A good way to get started with using the scale is to learn it as five patterns in five different positions. You then connect these five patterns to cover the whole neck. This free guitar lesson is based on Guitar Theory For Dummies Chapter 12. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Guitar players use pentatonic scale patterns to play riffs, solos, melodies, and bass lines. You hear this scale and its variations used on acoustic guitar songs like "Wish You Were Here" by Pink Floyd, electric guitar songs like "My Girl" by The Temptations, and even bass guitar songs like "Money" by Pink Floyd. The pentatonic is used as both a major and minor scale. You get to know the pentatonic scale by mapping out its notes on the fretboard. The pentatonic notes make five box-shaped patterns that you play one position at a time. Aside from being useful for playing musical parts, the pentatonic scale patterns can help you improve finger strength, coordination and dexterity as well as help you develop alternate picking technique. The pentatonic scale is one of the most widely used scales among guitar players. If you're serious about honing your chops and playing popular music, then you want to start working with pentatonic patterns. This free guitar lesson is based on Guitar Theory For Dummies Chapter 11. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Passing Chords To connect chords that are a whole step apart or more, composers often use passing chords, which use some of the pitches in between a key's chords. One example is a chromatic passing chord, which simply moves in half step motion between two chords as heard in "I'm a Man" by The Spencer Davis Group (G-F#-F-E). Diminished Chords Another type of passing chord is a diminished chord. Diminished chords sound very dissonant and unstable by themselves, almost unusable. But when placed between the right chords, they make complete sense. Just listen to "Friends in Low Places" by Garth Brooks for a good example. The verse uses the chords A-A#dim-Bm-E. Augmented Chords Sometimes an augmented chord functions as a passing chord, bridging the gap between chords with chromatic half-step movement as heard in "Crying" by Roy Orbison. This song features the chord changes D-Daug-G-Gm-D-A7. Guitar Theory In music, it's important to not only learn the chords that belong to a key, but the different types of passing chords that can be played in between them. This free guitar lesson is based on Guitar Theory For Dummies Chapter 10. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

The dominant chord (or the chord built on the 5th degree of a scale, V) is a fairly important chord in music. Its structure and push toward the tonic chord really help define the tonal center of a progression. The V chord in a key has what's called a dominant function. In a chord progression like I-V, the dominant chord has a sense of movement, or instability, that makes the progression want to continue leading back to the tonic, chord I. For example, in the key of C, the V chord, G, wants to resolve on the I chord, C. You can intensify this leading quality of V by adding a 7th to the chord, making V7, or a dominant 7th chord. That would be G7 leading to C. Every major scale has a naturally occurring V7 chord: G7 in C major, D7 in G major, A7 in D major, and so on. The relationship between the tonic and dominant chords in music is so strong that composers sometimes use a dominant function on chords other than the tonic, like on the ii chord or perhaps even the V chord itself. This is where you get chord progressions like C-A7-D7-G7. The A7 is V of D, the D7 is V of G and the G7 is V of C. Dominant chords used this way are called secondary dominants. Dominant chords can also be played as a result of voice leading, or used simply for their color as a static dominant chord, which has no leading quality. This free guitar lesson is based on Guitar Theory For Dummies Chapter 9. To learn more about the book and view a free video trailer, go to: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

When you play songs, sometimes seeing how a chord progression fits into a key is really easy. Other times the chords used in a piece of music seem to be completely unrelated. The main reason for this variation is that a song doesnâ??t have to stay in one key or one type of scale. In fact, composers often switch from one key to another within the same song or combine chords from different keys to form one chord progression. In this free guitar lesson, you hear examples of modulations, modal interchange, borrowed chords, and the circle of fifths. This information is based on Guitar Theory For Dummies Chapter 8. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Every piece of music has a tonal center called a tonic. The tonic is the primary pitch or chord that everything else revolves around. Itâ??s where a piece of music sounds resolved or complete and usually where the music begins and ends. Generally speaking, the tonic also determines a songâ??s key. When music centers on a major chord, itâ??s said to be in a major key. When music centers on a minor chord, itâ??s said to be in a minor key. Traditionally, music has been taught as being in either the major or minor scale. The major scale is based on the first degree, and the minor scale, the 6th. But in fact, any degree (or any chord) in the major scale can function as the starting point and serve as the tonic. Because the major scale has seven degrees and chords, it also has seven possible starting points, or modes. Each mode has a unique sound and special Greek name. You may have heard of Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian modes. Listen to this podcast episode to hear examples of their sounds. This free guitar lesson is based on Guitar Theory For Dummies Chapter 7. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

In music, different songs often use the same types of chord changes. On the fretboard, these chord changes make patterns that guitarists visualize and follow by number. The chords and numbers are based on the degrees and triads of the major scale. This sequence of major and minor chords is one of the most important concepts in music. Knowing chord progressions and how to play by numbers is essential to knowing music theory, understanding song construction, improvising, and composing. This free guitar lesson is based on Guitar Theory For Dummies, Chapter 6. Learn more about the book at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Chords are constructed from roots, 3rds, and 5ths. These intervals come from the major scale where the scale degrees produce different triads, some major and some minor (and one diminished). Guitar players add chord tones and extensions to triads by incorporating other degrees from the major scale. These added scale degrees include 2nds, 4ths, 6ths, 7ths, 9ths, 11ths, and 13ths. Get to know more, including how to use pedal point or pedal tones, and listen to acoustic and electric guitar playing examples in this free lesson taken from Guitar Theory For Dummies Chapter 5. To learn more about the book, go to: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Guitar players use five basic major chord shapes. In the open position, they are C, A, G, E, and D. That spells CAGED. You can play each CAGED form as a barre chord and move it around the guitar neck. Also, each chord is taken from a larger arpeggio pattern, which can be split into various fragmented chord shapes and inversions. This free guitar lesson is based on my book Guitar Theory For Dummies Chapter 4. Learn more at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Chord building starts with triads. A triad is a set of three notes stacked in 3rds. Following a 1-3-5 formula, you build triads for each of the seven major scale degrees. When it's all said and done, you get a sequence of major and minor chords that is one of the most important patterns in music. Knowing this pattern helps you play chord progressions, identify keys, produce modes and more. This free guitar lesson comes from the book Guitar Theory For Dummies Chapter 3. Get complete details at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

Mastering the guitar fretboard doesn't require you to memorize every single note on it. Guitar players may play notes all over the neck, but they usually navigate by using shapes and patterns and mainly the notes on strings 6 and 5. See the book, Guitar Theory For Dummies, Chapter 2 for complete details. http://www.guitar-music-theory.com/guitar-theory-for-dummies/

In addition to my own self-published guitar series, Fretboard Theory, I have authored a book for the world-renowned For Dummies series (a Wiley brand) titled Guitar Theory For Dummies. This podcast episode features one of the bonus audio tracks from the book, details about the book, and a play-along backing track in A Dorian mode. You can learn more about Guitar Theory For Dummies by visiting: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

A pedal point in music is a sustained or repeated note sounded against chord progressions and melodies. Pedal points are also called pedal tones and simply, pedals. The term originates from organ music where the player sustains a low tonic or dominant pitch with the foot pedals allowing them to easily play chords and melodies above this note on the keyboards. Pedal points can add new chord tones to basic chord changes. This technique can help make a harmonically richer sound and musical texture. It can also create harmonic tension that increases a chord progression's push back to the tonic, lending a sense of excitement to the music. Sometimes the pedalled notes are added to a chord's shape; sometimes the pedals are played by other instruments. Bass players will often pedal the tonic or dominant pitch, or play a melodic figuration that supports a set of chord changes. The pedal point technique is a signature feature of both U2 and Blink 182. Learn about some of their songs plus others in my guitar theory podcast episode 21. This information comes from the book Fretboard Theory Volume II Chapter 10. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

I introduced the harmonic minor scale to you in a previous podcast episode where we looked at dominant function and minor chord progressions with a V7 chord. In this, the 20th episode of my guitar theory podcast, you work with harmonic minor scale patterns used in improvisation. This includes a review of building the harmonic minor scale, plus using pentatonic lead patterns in harmonic minor and outlining V7 chords with arpeggios. This information comes from the book Fretboard Theory Volume II Chapter 9. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

In this free guitar lesson you learn how to use CAGED arpeggio patterns to target chord tones while using pentatonic lead patterns. Specifically, you will target the root, third and fifth of each chord as you work through a progression. Targeting chord tones helps you to connect scales more closely to their related chords, as well as outline a particular chord progression. You will intentionally be emphasizing each note of the chord, creating a lead line that relates to the music. This approach is sometimes better than just randomly playing scales through a set of changes. You can apply this outlining technique to improvising, as well as to composing guitar solos, riffs, melodies and bass lines. This information comes from the book Fretboard Theory Volume II Chapter 8. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/