guitar iii and iv class 3 spring 13 rev a

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    Class 3

    First time work on My Girl and Major

    Pentatonics.

    Whole Class on My Girl and Sleepwalk.

    Advanced on harmony for My Girl and onsolo for Sleepwalk.

    All start the melody of Sleepwalk.

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    My Girl

    Using the Major Pentatonic Scale

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    Pentatonic Scales

    5 basic forms for these.

    By: F. Markovich

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    What is a Pentatonic Scale? Penta means five. A pentatonic scale is a 5 note

    scale as its simplest definition. Unlike 7 tone scales which are called diatonicscales (step wise). Major scales are diatonicscales. Also the modes are diatonic scales.

    The black keys on a piano are a pentatonicscale. It is hard to play a bad note using theblack keys only on a piano.

    Pentatonic scales used properly will produce aconsonant line but if over used can be boring.You must go beyond just the scale. Rememberto use chord tones also.

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    Uses Pentatonic scales are used in all forms of music. Even

    complex music such as jazz will use pentatonic scales. Blues uses mainly the minor pentatonic but depending

    upon the player and tune major pentatonic scales arealso used.

    Major pentatonic scales are used extensively in country

    music. Just listen to the sound and identify the scale in songs

    that you like. There are really 5 pentatonic scale forms. This makes it

    easy to use. They are even used in classical music by composers

    such as Ravel and Debussy

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    Major Pentatonic Scales The formula is the 1,2,3,5 and 6 of the

    major scale. Notice no 4th or 7th degreefrom the major scale.

    For those who have learned the CAGEDsystem these are all based off of theCAGED major scale forms.

    There is some suggested fingering but itcan vary.

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    Here is the D Major Pentatonic based upon the C Major Form of CAGED.Note in Green is the root.

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    See relationship between D major scale and D major Pentatonic.

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    Here is the C Major Pentatonic scale in the A form.

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    You could also use 1 and 3 asfingering on the 1st 2 strings.

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    This is the G Major Pentatonic scale (E form of the CAGED). Notice howsimilar to the A form (C Major pentatonic on the last page.

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    Most players use a modified fingering for the

    Major pentatonic scale as shown below buta fingering of 2 and 4 on the 2nd string and 2 on the1st string is also common.

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    Compare these 2 the E form and the A form.

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    A Major Pentatonic G form of the CAGED

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    Notice the G and C forms of the pentatonic scale are very similar. Key is the

    tuning of the guitar with the 2nd

    to 3rd

    strings being a 3rd

    rather than a 4th

    appart.

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    One note on this. I find it easier to do the fingering shown on the

    E Major Pentatonic and it is different than on the E Major Scale. Itaffords the player to just move one finger out of the position.

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    Go through these until perfect Practice these every day.

    Next we will see the relationships to theminor pentatonic scales.

    The 6th

    degree of a major scale is therelative minor. For example: C major has

    the relative minor of A minor. C D E F GA

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    What is so cool about this song?

    The introduction contains a few things that

    are more global than just playing the song. The first part is playing the 1 and 5 notes

    of the chord. The most used notes forbass.

    Then the main riff is a C major pentatonic

    to an F major pentatonic scale. You learnthe scale while learning the hook.

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    Count 1 2 3 4 & 1 (&2) & 3 (& 4) & etc.

    First position not the bestplace but good for beg.

    This is in 2nd position. A better place to play the riff. But this shows that it can

    be played in different positions.2nd position = index on 2nd fret, middle on 3rd fret, ring on 4th fretpinky on 5th fret.

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    Here are the 2 ways to play the main hook in C for this song. In either casethe notes make up a C major pentatonic scale. Both should be learned!!!

    C D E G A C

    C D E G A C

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    2nd position

    C D E G A C A G E D C

    Memorize this scale!! Also do it in 1st position!!

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    Note this scale works with a C

    Major or a C7 chord

    With a partner, one person play the C

    chord and the other the scale. Reverse roles.

    Now one person plays the chords theother notes in the scale.

    Reverse roles.

    See how you almost cant hit a bad note.

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    Same scale in 1st position!!

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    Now for the riff in F

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    Now the whole introduction First in 1st position then in 2nd position.

    Take it slowly.

    Say the names of the notes if you can.

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    M Gi l

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    My Girl

    Introduction

    C F C F4/4 | | | | | | | | | I've

    C F C F Cgot || sunshine | on a cloudy | day | When it's | cold outside |

    F C F C Dm F G C DmI've got the month of | May | | I guess | you say | What can make me

    F G C F Gfeel this way? | My girl | Talkin' bout | My Girl | I've got ||

    I've got so much honey the bees envy me. I've got a sweeter song. than the birds in the tree. Well, I guessyou say What can make me feel this way?My girl, talkin' bout my girl.

    I don't need no money, fortune or fame, I've got all the riches baby, one man can claim. Well, I guess yousay What can make me feel this way?My girl, talkin' bout my girl.

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    (Last Time transpose up to D. Change goes Dm G Em A7 then to top of song but now D G D G etc.)Dm | G7 | Em | A7 | D | G

    I've

    D G D G Dgot || sunshine | on a cloudy | day | When it's | cold outside |

    G D G D Em G A D EmI've got the month of | May | | I guess | you say | What can make me

    G A D G Afeel this way? | My girl | Talkin' bout | My Girl | I've got ||

    D | |G | |D ||

    My Girl

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    My Girl

    IntroductionC F C F

    4/4 | | | | | | | | | I've

    C F C F Cgot || sunshine | on a cloudy | day | When it's | cold outside |

    F C F C Dm F G C DmI've got the month of | May | | I guess | you say | What can make me

    F G C F G

    feel this way? | My girl | Talkin' bout | My Girl | I've got ||

    I've got so much honey the bees envy me. I've got a sweeter song. than the birds in the tree. Well, I guessyou say What can make me feel this way?My girl, talkin' bout my girl.

    I don't need no money, fortune or fame, I've got all the riches baby, one man can claim. Well, I guess you

    say What can make me feel this way?My girl, talkin' bout my girl.

    (Last Time transpose up to D. Change goes Dm G Em A7 then to top of song but now D G D G etc.)

    Dm | G7 | Em | A7 | D | GI've

    D G D G Dgot || sunshine | on a cloudy | day | When it's | cold outside |

    G D G D Em G A D EmI've got the month of | May | | I guess | you say | What can make me

    G A D G Afeel this way? | My girl | Talkin' bout | My Girl | I've got ||

    D | |G | |D ||

    Th iff i D

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    The riff in D.

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    Now just put it all together

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    Sleepwalk

    Song originally performed bySanto and Johnny on a Steel

    guitar.

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    Sleepwalk introduction. 5th position until the 4th measure 2nd notethen 8th position, switch to 7th position for last note. Then 2nd lineto the 4th position. Introduction ends at the double bar.

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    Common fingering for these chords. Indexon 1st string, middle on 3rd string, ring on 4th

    string and pinky on 2nd string.

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    Switch to 8th position for the single notes.

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    Up to the repeat.

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    8th position. Stretch to get to the12th fret.

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    Now Finish It Out Take your time.

    Work on one or two measures at a time. One person should concentrate on the

    chords. This is in 6/8 time so there are 6

    beats to a measure. Other should work on bass.

    Lastly work on the melody. It is reallygreat to have 2 people that can do themelody and then switch off.

    L d J

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    Lady J ane

    D C G D

    1. My sweet Lady J ane, when I see you agai n,C G Dyour servant am I and wi l l humbl y r emai n,

    E7 Am D7 GJ ust hear t hi s pl ea my l ove, on bended knees my l ove,

    C D7 AmI pl edge mysel f t o Lady J ane.

    D C G D2. My dear Lady Anne, I ' ve done what I can,

    C G DI must t ake my l eave, f or pr omi sed I am.

    E7 Am D7 GThi s pl ay i s r un my l ove, your t i me has come my l ove,

    C D7 AmI ' ve pl edged my t r ot h t o Lady J ane.

    D C G D3. Oh my sweet Mar i e, I wai t at your ease,

    C G Dt he sands have r un out , f or your l ady and me.

    E7 Am D7 GWedl ock i s ni gh my l ove, her st at i on' s r i ght my l ove,C D7 Am

    l i f e i s secur e wi t h Lady J ane.

    Rout e 66 A

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    ( A) Wel l i f you ever ( D) pl an t o mot or ( A) west ,Best t ake ( D) my way, t hat ' s t he hi way t hat s t he ( A) best ,

    Get your ( E) ki cks, on ( D) Rout e Si xt y( A) si x,

    Chor us:

    Wel l i t ( A) wi nds f r om Mi ssour i , ( A) down t hr u St . Loui e,( A) Okl ahoma Ci t y l ooks oh so pr et t y,

    You l l ( D) see Amar i l l o, and( A) Gal l up New Mexi co,

    ( E) Fl agst af f Ar i zona, don' t f or get Wi nona,Needl es , Bar st ow San Ber ni di no,When ( A) you, get ( D) hi p t o t hi s ki nd of ( A) t r i p,And you ( D) t ake t hat Cal i f or ni a ( A) t r i p,Get your ( D) ki cks on ( E) Rout e Si xt y( A) si x,

    ( A) Wel l , i t wi nds, f r om ( D) Chi - cago t o ( A) L. A. ,Al most ( D) t wo t housand mi l es al l t he ( A) way,Get your ( E) ki cks, on ( D) Rout e Si xt y( A) si x,

    Wel l i t ( A) wi nds f r om Mi ssour i , ( D) down t hr u St . Loui e,( A) Okl ahoma Ci t y l ooks oh so pr et t y,

    You l l ( D) see Amar i l l o, and( A) Gal l up New Mexi co,

    ( E) Fl agst af f Ar i zona, don' t f or get Wi nona,Needl es , Bar st ow San Ber ni di no,When ( A) you, get ( D) hi p t o t hi s ki nd of ( A) t r i p,And you ( D) t ake t hat Cal i f or ni a ( A) t r i p,Get your ( D) ki cks on ( E) Rout e Si xt y( A) si x.

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    Surfin USA

    SURFI N' U. S. A. }

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    }

    I f ev' r ybody had an [ A7] ocean, acr oss t he U. S. [ D] A.

    Then ev' r ybody' d be [ A7] sur f i n' l i ke Cal i f or ni [ D] aYou' d see t hem wear i n' t hei r [ G] baggi es, huar achi sandal s [ D] t ooA bushy bushy bl ond [ A7] hai r do, [ G] sur f i n' [ D] U. S. A.

    You' l l cat ch ' em sur f i n' at Del Mar , Vent ura Count y Li neSant a Cr uz and Tr essel s, Aust r al i a' s Nar abi ne

    Al l over Manhat t an and down Doheny WayEv' r ybody' s gone sur f i n' , sur f i n' U. S. A.

    Wel l al l be pl anni n' out a r out e, we' r e gonna t ake r eal soonWe' r e waxi n' down out sur f boar ds, we can' t wai t f or J uneWe' l l al l be gone f or t he summer , we' r e on saf ar i t o st ay

    Tel l t he t eacher we' r e sur f i n' , sur f i n' U. S. A.

    At Haggar t y' s and Swami ' s, Paci f i c Pal i sadesSan Onof r ee and Sunset , Redondo Beach, L. A.Al l over La J ol l a, at Wai amea BayEv' r ybody' s gone sur f i n' , sur f i n' U. S. A.

    You will see many songs written out this way. The chords are just repeated over& over again. This song is in 4/4 time. Each chord will get 2 measures or 8 beats.Start with the vocal and then come in on the A7.Try singing this song as you play it. Dont worry about your voice.

    Best to do from book page 274.

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    Look at these for Surfin USA. F form at 10th fret. Hit 4th string then 2nd & 3rd togetherbottom picture barre with ring at 12th fret and play 2nd & 3rd string together then the 1st 2strings at thee 10th fret (1/2 barre). Rest is based off of this.

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    While Guitar II works on this beginners to read the following pages inthe Guitar Reference: 12-13, 18-19.

    Most of you learned the A blues Scale below. Just think of playing it in the 1st

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    4

    1

    2

    1111 1

    444

    333

    5th Fret

    Blues Scale In A

    y p y gPosition.

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    Root is on the 6th

    string

    4

    1

    2

    1111 1

    444

    333

    5th Fret

    Blues Scale In A

    Fret 1 2 3 4 5 6 7 8 9Name F F#/Gb G Ab/G# A Bb/A# B C C#/Db

    You could keep going but on many of yourguitars this is as high as is practical.This is based off of the E form ofCAGED!! Note how the fingering changesbut not the root.

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    Do it at the 10th

    fret These are other notes that you can use.

    Also the D Dorian Mode is very useful.Shown on next slide

    Can also use combinations of the 2

    scales. Double stops work particularly well.

    Lastly can use any note in the D chord.

    Combinations would be D, E, F, F#, G, Ab,A, B and C.

    D Dorian Mode

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    1 1 2 2 1 1

    1 1

    3 3 4 4 3 3

    4 4 4 4

    D Dorian Mode

    9th fret

    10th fret

    D Combination

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    1 1 2 2 1 1

    1 1

    3 3 4 3 3 3

    4 4 4 4 4

    9th fret

    10th fret

    22

    1

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    Double Stops See examples on next page.

    These are just samples. Use the ones from the hook also.

    D Double Stops

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    1 1 2 2 1 1

    1 1

    3 3 4 4 3 3

    4 4 4 4

    9th fret

    10th fret

    D Double Stops 2

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    1 1 2 2 1 1

    1 1

    3 3 4 3 3 3

    4 4 4 4 4

    9th fret

    10th fret

    22

    1

    Any of these will alsowork. Next slide do someof your own.

    D Combination

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    1 1 2 2 1 1

    1 1

    3 3 4 3 3 3

    4 4 4 4 4

    9th fret

    10th fret

    22

    1

    Write a number of yourown ideas on this sheet.Get wild even skipstrings not allcombinations will workbut most will.

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    Johnny B. Goode

    Detailed explanation

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    The A Mixolydian Mode is the same as aD major scale but starting on the 5th degreeof the scale. So instead of starting on the5th fret of the 4th string start on the 5th fretof the 6th string. This is the scale that Chuck

    Berry uses for the runs in Johnny B. Goode.

    5th fret

    f1

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    Slide with 2nd fingerUp to the 6th fret. MostSlide from 4th to 6th fret

    This is on the 5th fret, 5th position with the form similar to the1st position F chord.

    Hammer5 to 6.

    Slide with 3rd finger Barred from 6 to 7th fret.

    Slide 4th to 6th fretSlide 4th to 5th fret with a Barre across the 1st & 2nd String

    A Mixolydian modedescending

    This time you barre with the ringFinger at the 7th fret across the4th and 5th strings and slide from the6th fret. Same basic rhythm as previou

    Here it is best to start with just the topnote and add in the others later.

    Switch here to 4th position.

    Slide or bend up from the 8th to the9th fret. Use your ring finger for this

    This is a double stop. You can just playthe 2nd string or do the double stop at anyPoint where the 2nd fret 5th string is played.

    Hold the barre A at the 5th fret through the majority of this song. Just take your first position F and move it up to the 5th fret for this.

    On recording there isnt a slide here.

    Slide 60

    f1 fmarkovich, 7/3/2003

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    Move to 4th position. The 6to 4 is a pull off

    Slide to 9th fret from either the 8th orThe 7th fret. Or you can bend the note from the 7th orThe 8th fret. This is the most difficult part of this intro.

    This is an A mixolydian mode from her until the first beat of the last measure ofThis line. Just starts on different notes.

    An A mixolydian mode from the 1st string5th fret descending to the 1st string 7th fretDescending.

    This is a rake. Hold the A chord downand brush the pick down the strings. To keepthe 3rd string from sounding just lightly touch the3rd string with the middle finger no pressure.

    Same as before only twice as

    This part is not played thesame each time. Note that

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    2 2 2

    1 1 1

    1

    4 4 4 4

    3

    1

    3 3

    4

    5th

    fret

    4th

    fret

    1 1 1 1 1 1

    3 3 3

    4 4 4 4

    2

    5th

    fret

    1 1 1 1

    2

    3 3 3 3

    4 4 4

    A Mixolydian A Blues Double Stop notes

    These are notes that you can useFor the blues in Chuck Berrystyle. Note that any pair on 2consecutive strings can work asLong as they are within 1 fret ofeach other.

    5th

    fret

    Here are some common patterns to try. 5th fret 1st and 2nd

    Strings. Go from 5th fret 2nd and 3rd strings to hammingingOnto the 6th fret of the 3rd string.

    Some examples. Listen to the recording for these.

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    1 1 5th

    fret

    3

    4

    7th

    fret

    1

    3

    5th

    fret

    1 1 5th to 1 1

    Fret 2

    5th

    fret

    4 4 8th

    fret

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    Now work on it Take this piece one measure at a time.

    Play each measure slowly until you can play it perfectly.

    The entire piece is based off of the chord form and the Amixolydian mode.

    Work on this with doing the backing of the song on tapeor by getting together with someone else.

    Once you learn it, work on variations to make it partlyyour own!!

    Use these ideas in solos of your own.

    Listen to the original recording. It is in the key of Bbwhich is up 1 fret from this version.

    Tequi l a Sunr i se

    By The Eagl es

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    GI t ' s anot her t equi l a sunr i se

    D Am D7 GSt ar i n' sl owl y ' cross t he sky, sai d goodbye

    GHe was j ust a hi r ed hand

    D Am D7 GWorki n on t he dreams he pl anned t o t r y, t he days go by

    Em CEver y ni ght when t he sun goes down

    Em C EmJ ust anot her l onel y boy i n t own

    Am D7And she' s out r unni n' r ound

    G

    She wasn' t j ust anot her womanD Am D7 GAnd I coul dn' t keep f r om comi n' on, i t ' s been so l ong

    GOh and i t ' s a hol l ow f eel i n'

    D Am D7 GWhen i t comes down t o deal i n' f r i ends, i t never ends

    Am DTake another shot of cour ageBm E Am B Em7 AWonder why t he r i ght words never come, you j ust get numb

    GI t ' s anot her t equi l a sunr i se

    D Am D7 GThi s ol d wor l d st i l l l ooks t he same, another f r ame

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    Minor Pentatonic Scales The formula for these is: 1 b3, 4, 5, b7.

    Key is to see these as related to the majorpentatonic scale.

    With the addition on one note theybecome Blues Scales.

    Here is the first of the minor pentatonic scales. What does it look like in relation tothe major pentatonic scales?

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    Here you can see the D major and the B minor pentatonic scales.Notice that the form is the same only the starting note is different.

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    Notice that the form is the same only the starting note is different.

    Here is the A Minor pentatonic related to the C major (A form)

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    Another fingering is shown on the next slide.Either fingering is fine to do.

    Here is the A Minor pentatonic related to the C major (A form)

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    F# Mi t t i l t d t th A M j (G F )

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    F# Minor pentatonic related to the A Major (G Form).

    E minor pentatonic related to the G major. Here you can see how therelative minor is the 6th note of the major scale (dont forget the

    t t i i i i th 4th d 7th t f j l

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    pentatonic is missing the 4th and 7th notes of a major scale.

    Again on this you could play 1 and 3 on the 2nd string and 1 on the 1st

    string.

    C# minor pentatonic related to the E major pentatonic (D form of CAGED).

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    Blues Scales From Minor

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    Pentatonic Scales All that is added is the b5 of the scale.

    When playing solos this note most oftenresolves to the 5th or downward to the 4th.While it can do a skip that is less likely.

    B blues is like the B minor with just the added b5 of the scale.

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    See the added notes. Note the alternate fingering for the AMinor Pentatonic Scale.

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    Lots here This is just the forms, next you will need to

    work with them.

    On the minor pentatonic scales the flat 3rd

    is many times bent up to the major 3rd inBlues licks unless the song is in minor.Learn where the flat 3rd is in each scale.

    It will take some time to master these.

    Work on them every day.

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    Some examples Any time there is a major chord you can use the

    major pentatonic scale of the same letter name.

    Any time there is a minor chord you can use theminor pentatonic scale of the same letter name.

    Any 7th

    or dominant chord you can use the majorpentatonic scale. Most of the time you can alsouse the minor pentatonic scale.

    In Jazz you can be more adventuresome.

    Minor Pentatonic Scales In Jazz

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    Chord 1st choice 2nd choise 3rd choice

    C Major A minor pentatonic E minor pentatonic B minor pentatonic

    C minor C minor pentatonic G minor pentatonic D minor pentatonicC 7 G minor pentatonic C minor pentatonic A minor pentatonic

    Try these for yourself

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    Play a chord and record it then apply the

    pentatonic to it. Some take a bit of time to get used to it.

    Then try progressions and see if you can

    find a pentatonic scale that would goagainst the progression.

    The 5 chords (starting with major

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    chords)Below are the 5 forms that everything is build off of. You mustknow all 5 of these 1st position chords to move on. Make sure

    that you have these down so you dont even think aboutthem. The rest of what is coming up is derived from these 5forms! We start with major but dominant and minor are justmodifications (small modifications) to this!

    Notice how we can barre this and move it up one fret. One word of warning is thatwhen you do this you wont always play all of the notes in the chord. Try these belowas a start.

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    For the C form only barre it barre from the 1st to the 3rd string and dontplay the 6th string. For the G form only play the inside 4 strings dont play the1st or 6th string. For the D form, it is best to move the 1st string pitch down 2

    octaves to the 6th string and dont play the 1st string.

    Lets look at some of these individually.

    Th fi t f th t t l i th E f H i di h i th

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    1

    2 3

    0 0 0

    1 1 1 1 1 1

    2

    3 4

    E Major E Form (G Major Chord)

    The first form that most players use is the E form. Here is a diagram showing theE form and then played at the 3rd fret it will be an E form but a G major chord.The root can be on the 1st, 4th or 6th string in this example as that is where theGs are located. Be able to play this form at any fret up to the 9th fret. This is themost used of the forms and the easiest of the forms for most players. Just as an

    example the G is at the 3rd

    fret on both the 1st

    and 6th

    strings. That is the root.Below each note on the G is written the scale degree R = Root, 3 = 3rd, and 5 =5th of the chord

    G D G B D G

    E B E G# B E R 5 R 3 5 R

    The A form is the next most used

    f

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    form.

    12 3

    X 0 0

    1

    3 3 3

    X X

    A Major A Form (C Major)

    Note that with this form you dont do a full barre chord for the major form. Belowis a C major in the A form. The root can be either the 5th string or the 3rd string.This form has to be learned also. Become familiar with this and the E form and

    how they relate to each other. In many ways they are similar. The order ofnotes is the same for the 4 lowest notes (root, 5th of chord, root, 3rd of chord).Listen to how they sound similar.

    C G C EA E A C# E

    R 5 R 3

    The C form.For this form try it without a full barre as shown below This is the voicing used in

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    12

    3

    0 0

    C Major Chord

    1 1 1

    2

    3

    4

    C Moveable Chord (D Major)

    Use this as a visual basis for the chords and the scales.

    It is one method that can excel you learning of the scales.

    Notice how the notes in the chord are all in the followingMajor scale. In fact, 3 of the 7 notes in a major scale areIn the chord. Try to visualize that on all of the chords and

    Scales. It will also help you with doing chord extensions.

    For this form try it without a full barre as shown below. This is the voicing used inTequila by the champs. This one is very good as a starting point for some jazzchords.

    D F# A D F#R 3 5 R 3

    Now going up the neck in one key.Here is where the power really comes in Say we have a C form of

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    Here is where the power really comes in. Say we have a C form ofthe D chord from the previous slide.

    The next form of D will be the A form at the 5th fret.

    The A form always follows the C form. Look closely at thatrelationship!

    1 1 1

    23

    4

    C Moveable Chord (D Major)

    1

    3 3 3

    X X

    Note thecommon tone!

    A Moveable Chord (D Major Chord)

    RR

    Some Observations

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    There are 3 frets between these 2 forms. Thiswill hold true in every instance!

    The order of notes changes slightly which givesthe 2 forms slightly different coloring. You can go either way, that is either up or back.

    Each form has a use and should be learned.Some players limit themselves to only two orthree forms. Not only does that mean lots ofposition shifting it also limits the melodic ability

    when adding in the scales or doing a chordmelody.

    The G formThis form is usually played without playing the 1st and 6th strings Below is an

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    2

    3 4

    1 1 1 1 1 1

    2

    3 4

    G Major G Form (A Major Chord)

    This form is usually played without playing the 1st and 6th strings. Below is anexample of the concept with the 1st and 6th strings in the 3rd diagram muted.Some bands such as the Doobie Brothers used this form as a basis for cool chordriffs.

    At this point notice that the root moves around by which voicing you are playing.Note that 1 = root. From here on 1 will refer to root rather than writing R.

    1 1 1

    3

    G Form (A Major Chord)

    X XC# E A C#

    3 5 1 3

    A C# E A C# A1 3 5 1 3 1

    Application fun

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    Take this moveable form up to the 7th fret

    and play it with the 6th

    string open. Barre across the first 5 strings and

    hammer on with the 3rd finger from the 7th

    to 9th fret. This is the starting chord riff toListen to the Music.

    G Form (E Major Chord)

    Start of Listen to the Music

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    1 1 1 1

    3

    0 X

    7th fretStart here andHammer the 3rd

    Finger to the 9th

    Fret. Keep the6th string open!Dont hit the1st string

    One of the points of this is that all of this is very practical! It isnt pie in the skytheory stuff but nuts and bolts.I really wish that my early teachers had taught me this. I believe they knew itbut knew it intuitively as that is how I learned it. Then I had a lesson with JoePass the famous Jazz guitarist and he mentioned CAGED. I didnt take itseriously at the time but now I know how important that lesson really was.If there was a secret to playing this is it!

    Now going up the neck in one key. Now we have 3 forms of the D chord moving up the neck.

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    Now we have 3 forms of the D chord moving up the neck.

    The C form of D to the A form of D to the G form of D.

    The G form always follows the A form. Look closely at thatrelationship! Along with the fact that the A form always follows the Cform you are 3/5ths of the way there.

    1 1 1

    2

    3

    4

    C Moveable Chord (D Major)

    1

    3 3 3

    X X

    Note thecommon tone!

    A Moveable Chord (D Major Chord)

    1 1 1

    3

    G Form (D Major Chord)

    X X

    7th fret.

    Practice this!

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    Do one measure of each form and do it asfollows:

    4/4 ||: D (C form) |D (A form) | D (G form) | D (A Form) : ||

    Play this over and over until it is 2nd nature. I know it is

    tough at first but the payback is worth it. As an exercise,sing the top note of each chord voicing as you do it.Note that they are all the F# or 3rd of the chord. Thensing the bottom note which is moving. Lastly, go from

    the bottom note for one sequence to the top note for thenext sequence. The goal is to not only play these but tohear the subtle differences between them!!!!!

    From the G form to the E form.

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    1 1 1

    2

    G Form (D Major Chord)

    X X

    7th fret.

    1 1 1 1 1 1

    23 4

    1 5 1 3 5 1

    10th fret

    (4)

    The E form of the D major chord.

    1 3 5 1 3

    Really notice how the change in order of notesmeans a difference in the texture of the chord!

    Again listen. You can also practice singing thechord from bottom note to top or top to bottom.

    C Moveable Chord (D Major)

    A Moveable Chord (D Major Chord)

    1 1 1

    G Form (D Major Chord)

    7th fret.

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    1 1 1

    3

    X X

    1 1 1 1 1 1

    2

    3 4

    10th fret

    The E form of the D major chord.

    (4)

    So now we have 4 of the 5 forms up theneck. Only one to go. If you are still with thisyou are really close to getting the wholething. Only one more to go for the chords.The scales will actually be easy tounderstand once you have the chords down.We start with major chords but the conceptapplies to minor and 7th chords to allchords.

    Go back and review!!!!!

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    Review the material so far. You have

    completed 4 of the forms and have movedthe forms up the neck.

    This is the essence of the CAGED system.

    Start to see that from one form to the nextis a set number of frets (either 2 or 3).That can also assist you in learning thismaterial.

    The last but not least form the D

    form

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    form. For this we move the note on the first

    string down 2 octaves to the 6

    th

    string anddont play the 1st string. It is also commonto not play the 5th string. Then there is no

    barring at all and the chord has a niceopenness quality.

    D Major D Form (E Major)

    See how this form works below. I personally like this form quite a bit andlike to go from the E form to this when going to a IV chord (G to C forexample).

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    1 2

    3

    1

    2 3

    4

    0 0X X

    Note you can more the F# on the 1st string 2nd fret toThe 6th string 2nd fret (both strings are the same letter

    Name it works out better for most cases.

    C Moveable Chord (D Major)

    A Moveable Chord (D Major Chord)

    1 1 1

    G Form (D Major Chord)

    7th fret.

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 4

    10th fret

    The E form of the D major chord.

    (4)

    1

    2 3

    4

    D Form (D Major)

    X X

    12th fret,couldhave

    alsodone in1st

    position.Arrows are pointing to wherethe roots are and move to.

    Try it in every key you play in.

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    I suggest the following keys to start:

    D, G, E, A, and C. Note that the lowest form will be different in

    different keys.

    I have written out some of the examples. Think of CAGED as CAGED, AGEDC,

    GEDCE, EDCAG and DCAGE as that is the

    order but the chord may start on differentforms.

    C Moveable Chord (D Major)

    A Moveable Chord (C Major Chord)

    1 1 1

    G Form (C Major Chord)

    5th fret.

    Here start with the A form of C at the 3rd fret!!

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 4

    8th fret

    The E form of the C major chord.

    (4)

    1

    2 3

    4

    D Form (C Major)

    X X

    10th

    fret,.

    Arrows are pointing to wherethe roots are and move to.

    12th fretOr

    open

    C Moveable Chord (G Major)

    A Moveable Chord (G Major Chord)

    1 1 1

    G Form (G Major Chord)

    12th fret.

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 4

    3rd fret

    The E form of the G major chord.

    (4)

    1

    2 3

    4

    D Form (G Major)

    X X

    5th fret,

    Arrows are pointing to wherethe roots are and move to.

    10th Fret7th fret

    For this for start on the E form at the 3rd fret!

    C Moveable Chord (A Major)

    A Moveable Chord (A Major Chord)

    1 1 1

    G Form (A Major Chord)

    2nd fret.

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 4

    58th fret

    The E form of the A major chord.

    (4)

    1

    2 3

    4

    D Form (A Major)

    X X

    7th fret,.

    Arrows are pointing to wherethe roots are and move to.

    9th fret12th fretCould alsoBe open.

    C Moveable Chord (E Major)

    A Moveable Chord (E Major Chord)

    1 1 1

    G Form (E Major Chord)

    9th fret.

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    1 1 1

    23

    4

    1

    3 3 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 4

    12th fret or open

    The E form of the E major chord.

    (4)

    1

    2 3

    4

    D Form (E Major)

    X X

    2nd fret,

    Arrows are pointing to wherethe roots are and move to.

    7th Fret4th fret

    For this for start on the E form at the 3rd fret!

    Go over these every day

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    At this point you have the concept down.

    I know it has been some work but it isreally worth it. Your knowledge of chordsand of the neck of the guitar has taken a

    giant leap forward. Now just apply. Learn all of the 7th chords next.

    When those are mastered then do theminor chords!!!

    C7 Moveable Chord (E7 Major)

    A7 Moveable Chord (E7 Chord)

    1 1 1

    G7 Form (E7 Chord)

    9th fret.

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    4

    12

    3

    1 1 1 1

    3 (3) 3

    X X

    3

    X X

    1 1 1 1 1 12

    3 (4)

    12th fret or open

    The E7 form of the E7 major chord.

    (4)

    1

    3 4

    D Form (E7 )

    X X

    2nd fret,

    Arrows are pointing to wherethe roots are and move to.

    7th Fret4th fret

    For this for start on the E form at the 3rd fret!

    Implied

    2

    Implied

    2

    C Moveable Chord (Em )

    A Moveable Chord (Em Chord)

    1 1

    G Form (Em Chord)

    9th fret.

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    1

    3

    4

    1

    3 3

    X X

    X X X

    1 1 1 1 1 1

    3 4

    12th fret or open

    The E form of the Em

    (4)

    1

    2

    34

    D Form (Em)

    X X

    2nd fret,

    Arrows are pointing to wherethe roots are and move to.

    7th Fret4th fret

    For this for start on the E form at the 3rd fret!

    2 2

    1

    2

    Note that there are variations

    I have just given you the basics There are variations to

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    I have just given you the basics. There are variations tothat.

    Some of these add notes at times or subtract notes. Theconcepts though remain the same. You should workthese out for yourself. Doing so will really enable you tosee this as one giant circle!!!

    The following page is for more advanced players to give

    them something to really think about. This is based offof the E form at the 3rd fret so it is a G major but wouldapply to any of the chords. The very last example on thenext page is a great starting place to do some coolsounding backups. Listen to Eric Johnson play and youwill hear this open sounding chords. Much of his style isbased upon this concept.

    Here are examples of the E form on a G MajorChordStarting chord

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    1 1 1 1 1 1

    2

    3 4

    G D G B D G

    1 1

    2

    B D G

    1 1

    2

    3

    G B D G

    1

    2

    3 4

    G D G B

    1

    23

    D B G

    23 4

    D G B

    Here youwouldchange thefinger.

    While I like thisone, you mostlikely wouldntstrum it butwould pluck itinstead! Very

    cool Voicing.

    Learn the names of the notes in

    each chord you playA l l th f th

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    y p y As an example learn the names of the

    notes in the G major chord (G, B and D).Then you can add into these moveablechords open strings.

    The next page has examples using openstrings on a G major chord.

    Here are examples of the E form on a G MajorChord using open stringsStarting chord

    00 0

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    1 1 1 1 1 1

    2

    3 4

    G D G B D G

    1

    2

    D B B G

    1 1

    3

    G G D G

    1

    2

    G D B

    1

    23

    D D B B G

    3 4

    D G B

    11

    00 0 0

    Major Scales Using The CAGED

    Format This works the way as the CAGED chords Can start

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    This works the way as the CAGED chords. Can startanywhere C form to A form to G form to E form to Dform. Or start at any other letter but still goes through

    the pattern. G from to E form to D form to C form to Aform. Each of these scales is built off of the chords of the

    same name. It is best to think of the chord form when

    doing the major scale. Many of these use the same basic form note how the Eand A forms are very similar.

    Start with the E form using the G Major Scale.

    Do each scale slowly and dont pick up speed until eachscale is perfect. Even then make sure that you play themsmoothly and evenly.

    Pattern of the major scale

    Background a step is 1 fret and a whole

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    Background a step is 1 fret and a wholestep is 2 steps or 2 frets on the guitar.

    For a major scale the pattern is as follows whole, whole, , whole, whole, whole, Each of the following scales cover the position

    and cover approximately 2 octaves.

    Do one scale at a time. Use your ear to hear thesound. Best if you sing what you are playing.

    All diatonic scales and even pentatonic scales

    have patterns but they can all be related orderived from the major scale.

    Watch the fingering

    While there are a couple of ways to play some of

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    While there are a couple of ways to play some ofthe scales, most have only one fingering that

    works. If there are more than one fingering pickone and stick with it until it is mastered. Keep your thumb in back of the neck and do not

    move it when playing a scale.

    Dont press the frets too hard it makes thenotes play out of tune. Play close to the fretswithout being on the frets, do it with just enoughpressure.

    Try to minimize your finger movements.

    Be sure to master the chords also!

    For each of the scales make sure that you can

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    For each of the scales make sure that you canalso do the chord that goes with it.

    By doing that you will be able to relate the scaleto the chord.

    It takes some time to really master these scales.There are a number of ways to accomplish this.

    First do the Scales up and down the fingerboard.

    Next do each key with all five scale forms. Startwith G major.

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    Each of the forms is moveable and the form is referred to by the name of the scale you wouldplay with that form in 2nd position. Take the C Major form as an example, it is a 5th string root, sowhen played in 2nd postion it it a C major scale with the C major form. In the 4th position thenote played as a root is the 5th fret of the 5th string (one higher than the position). That would makethe scale a D major scale (D is the note on the 5th fret of the 5th string), and it would be the C

    major form. This idea of form is key to the understanding of this concept. Take the G major form.In the second position the G major form is at the 2nd fret and the starting note is the 3rd fret of the6th string (the G note), therefore the scale is the G major scale, G major form. If you moved that

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    g ( ) j j yscale up the fingerboard two frets it would be the A major scale, with the G major form. It wouldbe A major since the 6th string 5th fret is an A. Try this with all of the scales. Fill in the following:

    G form at the 7th fret, is a ____ major scale G form at the 9th fret is a _____ major scale.G form at the 11th fret is a ____ major scale. A form at the 5th fret is a ____ major scale.

    A form at the 7th fret, is a ____ major scale A form at the 9th fret is a _____ major scale.A form at the 11th fret is a ____ major scale. C form at the 5th fret is a ____ major scale.C form at the 7th fret, is a ____ major scale C form at the 9th fret is a _____ major scale.C form at the 11th fret is a ____ major scale. D form at the 5th fret is a ____ major scale.

    You could do this with all of the forms. Now lets use CAGED to find the order of major scales upthe fingerboard. To start lets use the C major form.

    C major form would be in 2nd position for a C major scale.A major form would be in 5th position for a C major scale.

    G major form would be in 7th position for a C major scale.E major form would be in 10th position for a C major scale.D major form would be in 12th position for a C major scale.

    1

    C Major Chord C Moveable Chord (D Major)

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    2

    3

    0 0

    1 1 1 1 1 1

    2

    3

    4

    Use this as a visual basis for the chords and the scales.It is one method that can excel you learning of the scales.

    Notice how the notes in the chord are all in the following

    Major scale. In fact, 3 of the 7 notes in a major scale areIn the chord. Try to visualize that on all of the chords and Scales. It will also help you with doing chord extensions.

    C Form of the Major Scale

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    You can also play this by going all the way down to the 6th string2nd fret that would fully cover the position. The pattern above isMore of the standard way to play the scale.

    A Major A Form (C Major)

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    12 3

    X 0 0

    1

    3 3 3

    X X

    A Form of the Major Scale

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    G Major G Form (A Major Chord)

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    2

    3 4

    1 1 1 1 1 1

    2

    3 4

    G Form of the Major Scale

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    1

    E Major E Form (G Major Chord)

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    2 3

    0 0 0

    1 1 1 1 1 1

    2

    3 4

    E Form Major Scales

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    3

    1 2 1

    D MajorD Form (E Major)

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    1 2

    3

    1

    2 3

    4

    0 0 X X

    Note you can more the F# on the 1st string 2nd fret toThe 6th string 2nd fret (both strings are the same letterName it works out better for most cases.

    D Form of the Major Scale

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    Take your time and master each

    form! Do every day until you haveit down.

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    Play each form at each fret. Say the scale asyou do it. For example, doing the E from starting at G

    major (2nd position but first note starts on the 3rd

    fret of the 6th

    string). Then move up one fret toAb then another fret to A Major, etc. Say eachscale as you play it.

    Then practice them saying the name of the scale

    degree. So for the E form it would be 1, 2, 3, 4,5, 6, 7,1, 2, 3, 4, 5, 6, 7, 1, 7, 6, 5, 4, 3, 2, 1, 7,6, 5, 4, 3, 2,1 always remember to just play thetop note once.

    Do it to all of the 5 forms

    When you can do this smoothly then try just one

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    key. You should do the order of keys as follows:

    C, G, D, A, E, B, F#, C#, (Sharp keys except CMajor).

    F, Bb, Eb, Ab, Db, Gb, Cb (Flat Scales)

    Once you can do all of the above you havemastered the major scales and the CAGEDform. Again visualization will really help you to

    master this.

    Next Steps

    After this is mastered you can work on the otherscale forms

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    scale forms.

    For minor (usually Dorian Mode) you lower the2nd and 7th degrees of the scale that is whyyou need to know the degree of the scales.

    For a dominant chord (such as G7) the scale is

    the Mixolydian mode. For that you lower the 7th

    degree of the scale. You will find that you can do that with all scale

    forms. It makes it very easy to learn new scales.

    You just have to know which degree(s) to alter(raise or lower).

    Summary

    Scales are derived from the chord forms. Youshould know the chords before the scale forms

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    should know the chords before the scale forms.The scales all have the same whole stepform.

    The scales always go up the neck in the sameorder (CAGED).

    Learn all the scale forms in every key. Once they are mastered try the other scales.

    They are all derived from the major scale. Take them slowly speed comes with time and

    practice.

    G Major up the neck. Starting with the E form.The roots of each chord are circled.

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    This means that the

    first note is on the3rd fret.

    This is the Dform in the key

    of G. Lookclosely and youcan see the D

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    chord form in

    the scale.Again the rootis circled.

    This is the C form. See how itwraps around (CAGED). Again

    this is in the key of G. It startsat the 7th fret.

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    This is the A form ofthe scale. For those

    using a classicalguitar this would bet h d t d

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    too hard to do.

    This is the G form of themajor scale. The 3rd string11th fret could be playedas the 4th string 16th fretwith the pinky

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    with the pinky.

    Now do this for all the major scales.

    Take it one scale at a time. You will seeth t ft f it b t

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    that after a few it becomes very easy to

    add new scales.

    It does take some time to get it down

    perfect but if you practice it on a regularbasis you will be able to do it in a shorttime.

    Now for the scales

    1. We will play in 2nd position and then up the neck all 15 of thescale forms that you have learned thus far.

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    y2. I will also be setting up times soon to hear each of you.

    1. I expect all forms in 2nd position2. I expect that you can find any of these scales off of any

    tonic note.3. I further expect that you know the formulas for each and

    what is modified to get the scale form!4. I expect that you can figure out up the neck with any root.Ideally if you could do this but that is beyond therequirement of this term.

    5. Note that some of this will be necessary for next term!

    3. Need to memorize ASAP.4. We will start application soon.

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    C form MixolydianC form Dorian Mode

    C Form these are all against D

    C form Major D Major

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    Proud MaryIntro:

    |C A | C A | C A G F |F F F D |

    Verse 1:

    D

    Left a good job in the city, Workin for the man every night and day.And I never lost one minute of sleepin', Worryin' 'bout the way things might have been.A Bm

    Big wheel a-keep on turnin' Proud Mary keep on burnin',

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    g p y p ,D

    Roll - in', rollin', rollin' on the river. Roll - in', rollin', rollin' on the river.Verse 2:

    Cleaned a lot of plates in Memphis, Pumped a lot of pain down in New Orleans.But I never saw the good side of the city, Till I hitched a ride on a river boat queen.

    Big wheel a-keep on turnin,Proud Mary keep on burnin',Roll - in, rollin, rollin on the river. Roll - in, rollin, rollin on the river.Verse 3:

    If you come down to the river, Bet you're gonna find some people who live.You don't have to worry, cause you have no money,People on the river are happy to

    give.Big wheel keep on turnin, Proud Mary keep on burnin, Roll - in, rollin, rollin on theriver.

    Brown Eyed Girl

    G C G D G C

    ||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |G D G

    playin' a new | game. | Laughin' and a |C G D G C G

    runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |D C D G Em C D

    hearts a thumpin' and | you |My Brown Eyed Girl, | | | You're my | Brown Eyed

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    | | | | | |G D G C

    Girl. | Do you remem- | ber when | we used to sing | Sha la la la | la la la la |G D G C G D

    la la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |

    G C G D G C G D G

    | | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||

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    Mustang SallyWi l son Pi cket t

    {Intro: A7}

    Verse 1A7

    M t S l l b t t l t h t M t d

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    Must ang Sal l y, guess you bet t er sl ow t hat Must ang down

    D7 A7Must ang Sal l y, guess you bet t er sl ow t hat Must ang down.

    E7 ( E7 Eb7 ) D7

    You been r unni n' al l over t ownD7 A7 G7 A7

    Guess I ' l l have t o put your f l at f eet back on t he gr ound.

    RefrainA7

    Al l you wanna do i s r i de ar ound Sal l y ( r i de Sal l y r i de)Al l you wanna do i s r i de ar ound Sal l y ( r i de Sal l y r i de)D7

    Al l you wanna do i s r i de ar ound Sal l y ( r i de Sal l y r i de)A7

    Al l you wanna do i s r i de ar ound Sal l y ( r i de Sal l y r i de)E7 ( E7 Eb7 ) D7 A7 G7

    A7

    One of t hese ear l y mor ni ngs, I ' m gonna be wi pi n' t hose weepi n' eyes.

    Black Magic WomanSantana

    Dm AmI got a bl ack magi c woman, I got a bl ack magi c woman

    Dm GmI got a bl ack magi c woman got me so bl i nd I can' t see

    Dm A DmI got a bl ack magi c woman she t r y' i n t o make a devi l out of me

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    Dm AmTurn your back on me baby, t urn your back on me babyDm GmTurn your back on me baby don' t t urn babeDm A DmTurn your back on me baby you mi ght j ust pi ck up my magi c st i cks

    Dm AmGot your spel l on me baby, got your spel l on me babyDm GmGot your spel l on me baby t ur ni n my hear t i nt o st oneDm A Dm

    I need you so bad magi c woman I can' t l eave you al one

    You Really Got A Hold On MeSmokey Robinson

    INTRO:

    | C | Am | C | Am || / / / / | / / / / | / / / / | / / / / |

    VERSE:

    CI don' t l i ke you, but I l ove youAmSeems t hat I ' m al ways t hi nki n' of you.C F Dm

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    C F Dm

    Tho' oh oh you t r eat me badl y, I l ove you madl y,G7 C Am

    You r eal l y got a hol d on me. You r eal l y got a hol d on me.

    CI don' t want you, but I need you.Am

    Don' t wanna ki ss you, but I need t oC7 F DmTho' oh oh you do me wr ong now, my l ove i s st r ong now.

    G7 C AmYou r eal l y got a hol d on me. You r eal l y got a hol d on me. Baby,C7 FI l ove you and al l I want you t o do i s j ust

    C G7Hol d me, hol d me, hol d me, hol d me.

    | C | Am G C || / / / / | / / / / ( t i ght er ! ) || C Am G C || / / / / | / / / / ( t i ght er ! ) |

    | C | Am G C || / / / / | / / / / ( t i ght er ! ) || C Am G C || / / / / | / / / / ( t i ght er ! ) |

    C

    I wanna l eave you, don' t wanna st ay her eAmDon' t wanna spend anot her day her eC7 F DmTho' oh oh I wanna spl i t now, I can' t qui t now

    G7 C Am

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    G7 C Am

    You r eal l y got a hol d on me. You r eal l y got a hol d on me. Baby,C7 FI l ove you and al l I want you t o do i s j ustC G7( Hol d me) pl ease, ( hol d me) squeeze, hol d me

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    Sultans of Swing

    This is a minor key song. Most of itfalls into the Aolean Mode. Again Startwith the chords. We will work on the

    various parts.

    Aolean Mode

    This is based on the 6th degree of the major scale.Same as the relative minor.

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    For the following song it is in D Aolean Minor. Thatrelates to the major key of F major.

    F major scale is F, G, A, Bb, C, D, E and F. If you countup you will see that the 6th note in the scale is D.

    So the D Aolean mode is D, E, F, G, A, Bb, C and D. Chords built off of this I Dm, II Emb5 (in most pop

    tunes this is changed to Em), III F, IV Gm, V Am

    (but usually will be A7 make the V a 7th

    chord), VI Bb, VII - C

    Chords

    At this point you should play to the tunethe chord shapes you already know.

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    For next week add in a new form if youcan.

    Best to do 1 form or so per week. Dontpush it! You are not in a race. A trip of a1000 miles starts with one step!

    Doing too much will only slow you down!!!

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    You have choices on many of these. But it is best if you can get both down.

    G form. For Bb 3rd fret for C 5th

    fret. Root is on the 3rd string

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    For Guitar IV or above only!!!

    Gm (minor)

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    Root on these is on the 6th string so below is the note played on the 6 stringFret 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15Name G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb

    Barres start here.

    minor

    Also note that this is the note played on the 6 string but the index is 2 to 4 frets lower on thefingerboard then the root. Also for the major in the last line the root is 3 frets above the barreon the 6 string but it isnt played (there is another root on the 3 string.See how the G form moves up the neck. The bottom row is the preferred way to play.I have given you both.

    X X X X

    minor

    Start with the 1st 4 chords

    4/4 ||: Dmin | C | Bb | A7 : ||

    Will write the chords on the board. There will be

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    a number of versions. Guitar III should do onlythe A and E forms. Guitar IV should do the Aform for Dm, and for C and Bb should use the G

    form only on the inside strings (strings, 2, 3, 4,and 5).

    Then as the tune really goes:

    4/4 ||: Dmin | C Bb | A7 | : || Dont worry if this is difficult at first.

    Next Slide is the tune

    Again I will write the chords on the board.

    You may not be able to play the song at

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    first. Dont worry we will spend lots oftime in class on this you will all get it!

    Also we will break it down and take partsvery slow.s

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    You have choices on many of these. But it is best if you can get both down.

    1st section

    Sultans of Swing (Dire Straits)Dm

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    you get a shiver in the darkC Bb A7

    it's raining in the park but meantime

    Dm C Bb A7south of the river you stop and you hold everything

    Next section

    Now the F chord Guitar III do F in E format the 1st fret. Others F in C form at the 5th

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    fret.

    2nd section

    F Ca band is blowing Dixie double four time

    Bb Dm Bb -C

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    you feel alright when you hear that music ring

    3rd SectionF Ctoo much competition too many other placesBb Dmbut not too many horns can make that sound

    Bb C Bb C

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    Bb-C Bb-Cway on downsouth way on downsouth

    Dm Dm-C-Bb-C Dm-C-Bb-CLondon town

    First sections togetherSultans of Swing (Dire Straits)

    Dmyou get a shiver in the dark

    C Bb A7it's raining in the park but meantimeDm C Bb A7south of the river you stop and you hold everythingF C

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    F Ca band is blowing Dixie double four time

    Bb Dm Bb -Cyou feel alright when y ou hear that music ring

    Dm C Bb A7

    (Now) you step inside but you don't see too many facesDm C Bb A7coming in out of the rain to (y ou) hear the jazz go downF Ctoo much competition too many other placesBb Dmbut not too many horns can make that soundBb-C Bb-C

    way on downsouth way on downsouthDm Dm-C-Bb-C Dm-C-Bb-CLondon town

    Sultans of Swing (Dire Straits)Dmyou get a shiver in the dark

    C Bb A 7it's raining in the park but meantimeDm C Bb A 7south of the river you stop and you hold everythingF Ca band is blowing Dixie double four time

    Bb Dm Bb -Cyou feel alright when you hear that music ring

    Dm C Bb A 7(Now) you step inside but you don't see too many facesDm C Bb A 7

    coming in out of the rain to (y ou) hear the jazz go down

    F C

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    F Ctoo much competition too many other placesBb Dm

    but not too many horns can make that soundBb-C Bb-C

    way on downsouth way on downsouthDm Dm-C-Bb-C Dm-C-Bb-CLondon town

    Dm C Bb A 7you check out Guitar George he knows all th e chordsDm C Bb A 7mind he's (his) strictly rhythm he doesn't want to make it cry or singF Cand an old guitar is all he can affordBb Dm Bb-C

    when he gets up under the lights to play his thingDm C Bb A 7

    (and) harry doesnb't mind if he doesn' t make the sceneDm C Bb A 7

    he('s) got a daytime job he's doing al(l)rightF C

    he can play honky tone just like anything

    Dm C Bb Ahe('s) got a daytime job he's doing al(l)right

    F Che can play honky tone just like anything

    Bb Dm Bb-Csaving it up for friday night

    Bb-C

    with the sultansDm Dm-C-Bb-Cwith the sultans of swing

    Dm-C-Bb-CDm C Bb A

    and a crowd of young boys they're fooling around in the cornerDm C Bb Adrunk and dressed in their best brown baggies and their platform soles

    F C

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    F Cthey don't give a damn about ('bout) any trumpet playing band

    Bb Dm Bb-C Bb-Cit ain't what they call rock and roll and the sultans

    Dm Dm-C-Bb-Cand the sultans played creole

    Dm-C-Bb-C

    Lead 1: ( chords:Follow 1 full verse)Dm C Bb Aand then the man he steps right up to the microphoneDm C Bb A (A7)and says at last just as the time bell ringsF Cthank you goodnight now it's time to go home

    Bb Dm Bb-C

    and he makes it fast with one more thingBb-C

    we are the sultansDm Dm-C-Bb-C

    we are the sultans of swing

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    You have choices on many of these. But it is best if you can get both down.

    Get the Chords Perfect

    You need to get the chords perfect beforemoving on.

    Do them in both positions

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    Do them in both positions.

    Be sure that you sing this song. Even if

    you can

    t carry a tune sing. Listen to therecord, the vocals arent as much singingas talking. Talking song is sometimes a

    good thing.

    Introduction

    This is based off of Dm7 notes are D, F, A andC. They are the root (I), 3, 5, and b7 of the

    chord All are in the Aolean mode for D

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    chord. All are in the Aolean mode for D. Other notes are passing notes or upper/lower

    neighbors.

    All but the 5th measure are in the 5th position(index on 5th fret). The 5th measure is in the 7th

    position.

    Start with the Dm7 arpeggio Will write onboard.

    Dm7 Arpeggio in Tablature

    E| - - - - - - - - - -B| - - 6- - - - - - - - -

    G| 7

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

    A| - - - - - - - - - - - -E| - - - - - - - - - - - -

    D F A C1 3 5 b7

    I NTRO- - - - -

    Dm | Dm . . ARPe| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - 5- - 8- - 5- - |B| - - 6- - | - - 6- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - 6- - - - - - - - - |G| - - 7- - | - - 7- - 5- - 5- - | - - 5 h7- - 7^ ^ - - - - - - - - - 7- - - - - - - 10- | - - 7- - 7- - - - - - - - - - |D| - - 7- - | - - 7- - - - - - - - | - - - - - - - - - - - | - - - - 5/ 7- - - - - | - - - - - 7- - - - | - - - - - - - - - - - - - - - - |A| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - |E| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - |

    Dm C Bb A

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    Dm C Bb Ae| - - - - - - - - - - - - - - - - - |B| - - 6- - 5 h6 p5- - - - - |G| - - - - - - - - - - - - 7^ |D| - - - - - - - - - - - - - - - - - | ^A| - - - - - - - - - - - - - - - - - |

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

    Notice that this is almost all chord tones!!! To play like the record you

    must use your fingers on your picking hand and not your pick. Some ofthe lines just cant be played properly with a pick. Sound is also incorrectwith a pick. Next couple of pages covers the main riffs done in this song.Work on them before putting the song together.

    I NTRO- - - - -

    Dm | Dm ARP

    Now step at a time. Start with Dm in the A form at the 5th fret. Play thechord 2 times. He used his fingers and I suggest doing a brush on this!!!.

    Then with your thumb on your picking hand playing in the 5th position.

    Play the 5th fret 4th string 3 times Fretting hand index finger. The thirdtime you will hammer with the 3rd finger to the 7th fret. Then play the 7th

    fret again with some vibrato

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    Dm | Dm . . ARPe| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - 5-B| - - 6- - | - - 6- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - 6- -G| - - 7- - | - - 7- - 5- - 5- - | - - 5 h7- - 7^ ^ - - - - - - - - - 7- - - - - - - 10- | - - 7- - 7- - -D| - - 7- - | - - 7- - - - - - - - | - - - - - - - - - - - | - - - - 5/ 7- - - - - | - - - - - 7- - - - | - - - - - - - - -A| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - -E| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - -

    Dm C Bb Ae| - - - - - - - - - - - - - - - - - |

    B| - - 6- - 5 h6 p5- - - - - |G| - - - - - - - - - - - - 7^ |D| - - - - - - - - - - - - - - - - - | ^A| - - - - - - - - - - - - - - - - - |E| - - - - - - - - - - - - - - - - - |

    ARP

    Next using your index finger on the 5th fret of the 4th string play andimmediately slide to the 7th fret 4th string. You are now in 7th position. Youwill stay in 7th position until where I have it maked.

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    ARP| - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - 5- - 8- - 5- - || - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - 6- - - - - - - - - |^ - - - - - - - - - 7- - - - - - - 10- | - - 7- - 7- - - - - - - - - - |

    | - - - - 5/ 7- - - - - | - - - - - 7- - - - | - - - - - - - - - - - - - - - - || - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - || - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - |

    C Bb A

    Now 5th position.

    The last next part is just going up on the Dm7 arpeggio. This in the 5th

    position. Last note in this measure is the A at the 5th fret of the 1st string.

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    ARP- | - - - - - - - 5- - 8- - 5- - |

    - | - - - - - - 6- - - - - - - - - |- | - - 7- - 7- - - - - - - - - - |- | - - - - - - - - - - - - - - - - |

    - | - - - - - - - - - - - - - - - - |- | - - - - - - - - - - - - - - - - |

    Last measure still in 5th position. 1st note on the 6th fret

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    e| - - - - - - - - - - - - - - - - - |B| - - 6- - 5 h6 p5- - - - - |G| - - - - - - - - - - - - 7^ |D| - - - - - - - - - - - - - - - - - |A| - - - - - - - - - - - - - - - - - |E| - - - - - - - - - - - - - - - - - |

    I NTRO- - - - -

    Dm | Dm . . ARPe| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - 5- - 8- - 5- - |

    B| - - 6- - | - - 6- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - 6- - - - - - - - - |G| 7 | 7 5 5 | 5 h7 7^ ^ ^ 7 ^ 10 | 7 7 |

    Lets put it all together!

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    G| - - 7- - | - - 7- - 5- - 5- - | - - 5 h7- - 7^ ^ - - - - - - - - - 7- - - - - - - 10- | - - 7- - 7- - - - - - - - - - |D| - - 7- - | - - 7- - - - - - - - | - - - - - - - - - - - | - - - - 5/ 7- - - - - | - - - - - 7- - - - | - - - - - - - - - - - - - - - - |A| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - |E| - - 5- - | - - 5- - - - - - - - | - - - - - - - - - - - | - - - - - - - - - - - - | - - - - - - - - - - | - - - - - - - - - - - - - - - - |

    Dm C Bb Ae | - - - - - - - - - - - - - - - - - |B| - - 6- - 5 h6 p5- - - - - |G| - - - - - - - - - - - - 7^ |

    D| - - - - - - - - - - - - - - - - - | ^A| - - - - - - - - - - - - - - - - - |E| - - - - - - - - - - - - - - - - - |

    CAGED Your Friend

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    CAGED Your Friend

    Chord and scale visualization andpatterns for the Guitar.

    The CAGED System of Scalesand Chords

    With this you can learn all of the chords and scalescommonly used on the guitar and how to connect onescale or chord to the next form.

    This concept is used by many guitarists in many styles.While it isnt a shortcut it is a method whereby you can

    f

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    y yrelate one form to the next be it chords or scales.

    With some knowledge this can be built upon toencompass more advanced chords, scales etc.

    Once mastered you will have the ability to see chordsand scales not only across the fingerboard but up anddown the fingerboard. The power of this is such that itcan apply to almost anything. Arpeggios as an example

    just fall out of scales. Extensions can be second nature. The amount of work is less than you would spendlearning these scales and chords in other methods!

    Basic Concept

    The basic concept is that there are 5 chordforms. From these everything else is

    derived. It also applies to the scales

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    derived. It also applies to the scalesrelated to those 5 chord forms.

    The patterns will repeat themselves up theneck in the same order.

    It applies to chords, scales, arpeggios,

    riffs, etc.

    The 5 chords (starting with majorchords)

    Below are the 5 forms that everything is build off of. You mustknow all 5 of these 1st position chords to move on. Make surethat you have these down so you dont even think about

    them. The rest of what is coming up is derived from these 5forms! We start with major but dominant and minor are just

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    forms! We start with major but dominant and minor are justmodifications (small modifications) to this!

    Notice how we can barre this and move it up one fret. One word of warning is thatwhen you do this you wont always play all of the notes in the chord. Try these belowas a start.

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    For the C form only barre it barre from the 1st to the 3rd string and dontplay the 6th string. For the G form only play the inside 4 strings dont play the1st or 6th string. For the D form, it is best to move the 1st string pitch down 2octaves to the 6th string and dont play the 1st string.

    Lets look at some of these individually.

    E Major E Form (G Major Chord)

    The first form that most players use is the E form. Here is a diagram showing theE form and then played at the 3rd fret it will be an E form but a G major chord.The root can be on the 1st, 4th or 6th string in this example as that is where theGs are located. Be able to play this form at any fret up to the 9th fret. This is themost used of the forms and the easiest of the forms for most players. Just as anexample the G is at the 3rd fret on both the 1st and 6th strings. That is the root.Below each note on the G is written the scale degree R = Root, 3 = 3rd, and 5 =5th of the chord

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    1

    2 3

    0 0 0

    1 1 1 1 1 1

    2

    3 4

    E Major E Form (G Major Chord)

    G D G B D G

    E B E G# B E R 5 R 3 5 R

    The A form is the next most usedform.

    Note that with this form you dont do a full barre chord for the major form. Belowis a C major in the A form. The root can be either the 5th string or the 3rd string.This form has to be learned also. Become familiar with this and the E form andhow they relate to each other. In many ways they are similar. The order ofnotes is the same for the 4 lowest notes (root, 5th of chord, root, 3rd of chord).

    Listen to how they sound similar.

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    12 3

    X 0 0

    1

    3 3 3

    X X

    A Major A Form (C Major)

    C G C EA E A C# E

    R 5 R 3

    CAGED Chords in Forms

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    CAGED Chords in Forms

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    This is the end of the 2nd weeks lesson.What you must do by next week all groups:

    1.Learn at least version of each of the chords.2.Learn to play Sultans of Swing 1st verse3.Learn the Dm7 arpeggio.4.Read through CAGED handouts will send out.

    For Guitar IV1.All of the above.2 L th i t d ti

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    2.Learn the introduction.3.Learn the C and Bb in the G Form!!!

    If you havent already done so you must sendme an email to [email protected] out the student information sheet.

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    Note that you must work on this quite a bit to really get it. I havenot included the solo yet but have the main idea in the riffs pages.

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    OK That Is It

    You could work the whole thing out or just do itby various parts that you like.

    Remember though that the fingers are used and

    not a pick. We wont go over every part as that would takethe whole term (I have done that before) buteven so work on the main ideas.

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    Particularly work on the intro and the final part ofthe solo. Adding in a breakdown area really helps in

    breaking up the tune and adding interest.

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    Q E E E E E E E E E E E E E E| | | | | | | | | | | | | | |/ x / / / x / / / x / / / x x

    ~W W|----------------|-----------------||-6--------------|-----------------||-7--------------|-----------------||-8--------------|-----------------||----------------|-----------------||----------------|-----------------|

    Dm BbE S S E E E E E E Q E E E E E E| | | | | | | | | | | | | |/ / / x / / / x / / x / / /

    ~~~~~~~~~Q E E e E E E +Q E E E E E E

    |--------------10--8------|-------------------||----------------------10-|-(10)--------6-----||---------/10-(10)-9---10-|-(10)----7---7---x-||-------------------------|---------8-------x-||-------------------------|-------------------||-------------------------|-------------------|

    CE E E E E E E E E E E E Q E E| | | | | | | | | | | | | | |

    / / x / / / x / / / x / / x x

    E E E E +Q. E E E E E E E E E|---------------------|------------------|||--------8-(8)--------|------------------|||-7--9-9--------------|----------5---5---|||-8-10-------------10-|------5h7---7---7-|||---------------------|---/7-------------|||---------------------|------------------||

    4th VerseDm C Bb AQ E E +E E E E +E E E E Q E E

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    Q E E +E E E E +E E E E Q E E

    | | | | | | | | | | | | | |/ x / / / x / / / x / / x /

    E E +H. W|--------------------|-----------------||--------------------|-----------------||-5s7-(7)------------|-----------------||--------------------|-----------------||--------------------|-----------------||--------------------|-----------------|

    A7E E E E +E E E E E S S E E +E E E E| | | | | | | | | | | | | | | | |

    / / x / / / x / / / / /