by:

Ri ck
Ros eberry
OR,
1 25 Ways to Pl ay
L oui e L oui e i n C
Uses:
play a simple C-F-G progression 125 different ways
play close harmony, like horn section lines
re-voice a harmony or progression when
using a capo or changing key
learn more slide patterns
play any chord in 5 different places and in 5 ways
move up and down the neck when playing rhythm
use the whole neck to play a chord progression or solo
need to know only 5 forms of each chord
Includes:
diagrams of 5 types of 10 different chords (M M7 7 m m7 + dim 9 11 13)
tricks and progressions (basic and fancy)
detailed fingering and patterns
technical exercises
Circle of 4ths, 5ths, 3rds (new!)
practical advise
No reading of music or tab is necessary.
Print this document on 8x11 inch letter-sized paper, 24 pages. Can't Copy text.
Please do not share with others, it is illegal and deprives me of important guitar-strings-and-beer money. Thank you.
Author: Rick Roseberry 2005-2007. Circle of Thirds, 125 Ways to Play Louie Louie in C, Secrets of the Guitar Fretboard Revealed, Secrets of
Scales and Chords Revealed, Secrets of Chord Substitutions Revealed, and Secrets of the Blues Revealed
are trademarks of Rick Roseberry 2005-2007. All rights reserved.
Published by: Rick Roseberry, secrets@rickroseberry.com www.FretboardRevealed.com
Place of Publication: San Francisco, California. Year of Publication: 2007
The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made.
Also available at www.FretboardRevealed.com...
Secrets of the Guitar
Fretboard Revealed
Table of Contents
The Ten G-type Chords..................................12
The Ten E-type Chords...................................13
The Ten D-type Chords..................................14
Proper Hand Positioning...............................15
The Numbers Translated To Notes..............15
Circle of Fifths/Fourths/Thirds.....................16
Linear and Diagonal Exercises......................17
Home is Where The Root Is...........................18
Chords As Numbers.......................................18
Does It Sound Good?.....................................19
Page
Foreword............................................................i
Symbol Legend................................................ii
The Five CAGED Chords...............................1
The Basic C Scale in Each Position.............3
The C Chord in the 5 CAGED Positions... . .4
The Full C Scale in Each Position................5
The Consolidated C Major Scale................7
The Ten Chords................................................8
The Ten C-type Chords..................................10
The Ten A-type Chords.................................11
www. F r e t b o a r d R e v e a l e d . c o m
Foreword
This book is dedicated to guitar teachers in
general, but especially to my favorite guitar teacher,
the late Keith Allen.
His enthusiasm, professionalism, knowledge,
honesty, humor, generosity, kind spirit, tone and
monster technique made him a true guitar hero to me
as a teenager.
Already blessed with 10 years worth of guitar
playing under my belt, I could read as well as play. I
just needed direction and motivation. Although only a
few years older, Keith was way ahead of me in ability
and knowledge, and more than happy to share both.
This brave new world of guitar was laid before me,
off to the horizon as far as I could see.
Jimi, Duane, Jeff, Eric, Buddy, Albert, Freddie, Roy,
Billy and the rest were Guitar Gods where I come from,
and Keith was the Son through which I came to them.
A professional musician and teacher all his life,
Keith refused to abandon his family to tour, or else
you, too, would know his name far and wide.
In January 2004, Keith joined Duane and Jimi in
the great Celestial Jam, dead of a heart attack at 50.
This book is dedicated to him, in an effort to
document his teachings before those of us left from
those heady '70s get too old to remember it, and too
busy to teach it.
Oral wisdom must be written to survive.
Keith Allen, R.I.P.
Rick Roseberry, 2007
RR, Age 9, 1966 RR, Age 21, 1978
My name is Rick and I've been living,
breathing, studying, playing, and
performing the guitar since 1964 at age 7,
and teaching since 1974. I learned from the
late great San Francisco guitar teacher
Keith Allen, my mentor since 1973. I
learned to play guitar and read music at
age 7, two hours a day plus a lesson a
week, for 3 years. I later rebelled, quit the
lessons, and explored this early-70s new-
to-me music by the Allman Bros, Jeff Beck
and Jimi Hendrix. I would learn the records
late at night, note-for-note. They were my
new guitar teachers, and I was on fire for
guitar again.
Then at age 17 I went to Blue
Bear Waltzes School of Music in San
Francisco, the first "Rock&Roll College."
It was there I learned fretboard and
music theory, composition; and studied
with my practice partner Chris Hayes
(Huey Lewis & The News), Bonnie Hayes
(Bonnie Raitt's composer), Keith Allen
(Steve Miller Band), and others.
Since 1974 I've been teaching only
intermediate and advanced players.
From playing in loud rock bands to
musicals like Pippin and Godspell, from
blues to jazz, folk to classical, CAGED has
made me a better guitarist.
i
b = flat: lowered, or down towards the nut one fret
bb = double-flat: lowered, or down towards the nut two frets
# = sharp: raised, or up towards the bridge one fret
natural = no flat or sharp
= corresponds to the fret markers on most necks
= fingers to use for that note
= open string
= root
= regular note, Just play it, dude
|| = end of chord progression, go to the beginning or end it
Symbol Legend
This is an explanation of the diagrams and symbols you will see, in case they
aren't familiar. Since you are an avid student of the guitar, you've no doubt seen
this type of notation. There is no tab or treble clef notation in this book.
In these diagrams of the fretboard, the nut is at the top, the high E string is
on the right, and the low E (bass) string is on the left. This is as if you were
looking at the guitar as it stands up on its end.
I chose to diagram the fretboard in this conventional way, a standard
method for teaching chords I've studied the past 40 years.
However, I am not a fan of that style of notation, as guitarists actually don't
see the fretboard as if we are looking at a guitar standing on its end. Instead, we
look down on it sideways from its left (for a right-handed player).
Therefore, the diagram should have the nut at the left, low E string at the
top, high E string at the bottom. That's how guitarists spend years looking at the
fretboard. I originally wrote all the diagrams this way, and I believe it is superior
to convention.
Nevertheless, in an effort to reduce potential confusion, I opted for
convention over personal preference.
ii
The guitar fretboard is unique in that it allows the
opportunity to describe where on the neck to play a chord
or scale, and which fingering pattern to use.
All instruments call a chord or scale by its root key, say
C. And then further, its quality, such as Cm or C7. The
guitar is unique in that we can also say E-type Cm, or D-
type C7.
E-type Cm states not only that the chord is a Cm, but
also that the chord form to use is the E type of Cm. By
implication it also states where on the neck to play it, since
a, say, E-type C7 chord can only be played at the 8
th
fret.
So, every chord on the fretboard can be classified by its
type, just as every chord has a root key and and quality. On
the fretboard, there are only 5 chord types, namely C, A, G, E
and D (named by their chord forms when played in the
open position, or at the nut).
These are the only 5 major chords anyone needs to
learn on guitar. All other chords, say, B-flat, can be learned
as one of the 5 types of an A chord moved up a half-step, or
any of the 5 types of a C chord moved down a whole step (2
frets).
CAGED can be used in the following ways: playing a
simple C-F-G progression in 125 different ways; playing
horn section lines; re-voicing a harmony or progression such
as when using a capo or changing a song's key; using the
whole neck to play a chord progression or solo; not getting
in the way when playing rhythm with another guitarist.
Learn these chords and their scales, and the secrets of
the fretboard are yours!
1
On the guitar neck there are 5 positions, which are
connected up the neck in a certain order. These positions
are named by their shape when played in the open (nut)
position. They are, in order, C,A,G,E, and D. The diagram on
Page 1 shows how the positions connect up the neck,
showing the 5 types of the C chord.
Each of the 5 types has its own uniquely-fretted chords;
such as Major, minor, Suspended, Dominant, diminished,
Augmented, Major7, minor7, 6, 9, 11, 13, and many more.
See Page 9.
That means there are 5 ways in 5 different places on the
neck to play any Major chord, and all 5 are connected, or
share at least one note in common.
Where there are chords, there are patterns for scales.
Where there are scales, there are solos.
For solos, you can use any scale or combination of
scales, or an un-deconstructed just close your eyes and
play what you feel riff (which can usually be reduced to a
scale anyway).
Scales can be the Major, minor, suspended, Dominant,
diminished, Augmented, Blues, and more. There are as
many scales as there are stars in the sky.
Tip: Tune your guitar using an electronic tuner, so you can
learn the proper sound of each chord or scale.
The Five CAGED Chords
125 Different Ways to Play C-F-G
C chord
(C-type
C major chord)
C
A
A chord
(A-type
A major chord)
G
G chord
(G-type
G major chord)
E
E chord
(E-type
E major chord)
D
D chord
(D-type
D major chord)
The Five CAGED Chords, continued = Root (C)
The flow between positions is one of the tricks to good
rhythm playing and soloing.
Tip: practice playing a scale up and down the neck using
the CAGED patterns for that scale.
Tip: practice playing the same chord progression in each of
the 5 positions. A simple 3-chord progression, like Louie
Louie, has 125 possible combinations (5x5x5=125).
Notice how the positions are in a pattern of 3-fret
pattern followed by a 2-fret pattern. The fretboard is all
about patterns, and that's a good one to remember, it'll
come in handy later.
When learning or writing a new song, make a point of
learning all 5 positions to play each chord. Then Mix and
Match. Move up the neck playing increasingly higher
positions, then back down. Play a higher position during a
solo. Even use it to play a solo using nothing but chords,
made more interesting by Mix and Match.
On the guitar neck there are 5 positions, which are
connected up the neck in a certain order. These positions
are named by their shape when played in the open (nut)
position. They are, in order, C,A,G,E, and D. The diagram on
Page 4 shows how the positions connect up the neck,
showing the 5 types of the C chord.
Each of the 5 types has its own uniquely-fretted chords;
such as Major, minor, Suspended, Dominant, diminished,
Augmented, Major7, minor7, 6, 9, 11, 13, and many more.
See Page 11.
That means there are 5 ways in 5 different places on the
neck to play any Major chord, and all 5 are connected, or
share at least one note in common.
Where there are chords, there are patterns for scales.
Where there are scales, there are solos.
2
The Basic C Scale
in Each CAGED
Position
C scale, C to C,
in each of the 5 positions
Here is the C scale in
each of the 5 positions,
starting and ending on a C.
This is the heart of CAGED
as it relates to scales,
especially major scales.
Notice how they are
similar in shape or pattern
to the A, G, E, and D scales
in the open position (at the
nut).
Learn these 5, and you
will know all the major
scales you'll need. Same
with other forms, like
minor. Soon, we will
combine them and start
and end on notes besides
C. See Page 7.
Connect them to move
up and down the neck.
In this way you can play
the same lick in 5 different
places on the neck, that is,
in 5 different positions.
A-type C scale
1
2
3
4
3
5
7
9
12
Play this
fingering, so
when you
move up the
neck it's
easier
C-type C scale
2
3
4 3
5
7
9
12
= Root (C)
G-type C scale
1
2
3
4
Slide down
with finger 1
for this note
3
5
7
9
12
E-type C scale
1
2
3
4
3
5
7
9
12
D-type C scale
1
2
3
4
From the
12
th
fret is
like starting
at the nut
3
5
7
9
12
Slide down
with 1
st
finger
for these notes
3
The C Chord in the 5 CAGED Positions
These are the 5 different types of C major chords on the neck,
showing the 5 Positions. In this case C is the 1
st
Position, A is the 2
nd
Position, G the 3
rd
, and so on.
Learn these cold so you can quickly go to any of the 5 types of chords
when playing a C.
Notice that chords have
some common notes
Notice how the C, A, G, E and D
chords go in order up the neck? That's why
the system is called CAGED.
3
5
7
9
12
= Root (C)
4
The Full C Scale
in Each CAGED
Position
Here's the rest of the
notes in the C scale, in
each of the 5 CAGED
positions. These are C scales
like in last lesson, but we
are adding starting and
ending on notes other than
C, and including all the
scale notes that can be
played in the position.
Notice the common
notes in adjacent positions.
Those can provide good
anchors to remember
where you are in the scale
and on the neck.
Tip: Combine these scales
to expand your solo range
more than 1 octave;
moving linearly on the neck
for licks or solos; play the
dozens of 2- and 3-note
chords like a horn section or
organ; move to a different
position for a certain lick;
and in general for an
expanded style and sound.
C-type
C scale
Notice this
C chord in
the scale
2
3
4
Play
notes on
this fret
with this
finger #
3
5
7
9
12
= Root (C)
A-type
C scale
Notice this
A chord in
the scale
2
3
4
Play
notes on
this fret
with this
finger
1
3
5
7
9
12
Slide up for these
notes with
the 4
th
finger
5
D-type
C scale
Notice this
D chord in
the scale
1
2
3
4
3
5
7
9
12
Slide down for
this note with
the 1
st
finger
E-type
C scale
Notice this
E chord in
the scale
1
2
3
4
Play
notes on
this fret
with this
finger
3
5
7
9
12
= Root (C)
G-type
C scale
Notice this
G chord in
the scale
2
3
4
3
5
7
9
12
1
Slide down for
this note with
the 1
st
finger
6
The Full C Scale in Each CAGED Position, continued
This is the Basic C scale in each position, the C chord
with the rest of the notes in the key of C added, as well as
the combination of the 5 CAGED scales on Pages 5-6.
In the key of C, this is the whole enchilada, 12 frets
worth. Know it cold. Play it linearly, diagonally, and in all
positions. Practice great leaps between the notes to break
out of the each-note-next-to-the-other routine.
D-type C scale
E-type C scale
G-type C scale
A-type C scale
C-type C scale
= Root (C)
7
Try playing the Consolidated C Major Scale over the
following Diatonic (scale-wise) chord progressions:
C | F | Dm | G7 | C | Am7 | Dm7 | G7 | C ||
C | F | G7 | F | C | F | G7 | F | C ||
C | Dm | Em | Dm | C | Dm | Em | Dm | C ||
Am | Dm | Em | Dm | Am | Dm | Em | Dm | Am ||
Em | Am | Dm7 | G7 | C ||
C | Dm | Em | F | G7 | Am | B | C ||
Am | F | G | F | C | Dm | Em | Dm | Am | F | G | F | C ||
Am | F | G | Dm | Em | C | F | Em | G7 | C | Dm | G7 | C ||
Dm7 | G7 | C | Am | Dm7 | G7 | C ||
Dm7 | G7 | C | Am | Dm7 | G7 | C ||
Tip: record yourself playing the chords and then play along
with a solo using the scale, or have a friend play the chords
while you play the solo, then switch.
Tip: Since the chords stay within the key (no sharps or flats
if in the key of C), the progression is called Diatonic.
Notes:
7 = dominant seventh (flat 7 or b7)
m = minor (flat 3 or b3)
= Major 7 (natural 7)
= diminished (flat 3, flat 5, double-flat 7 or b3, b5, bb7)
The Consolidated C Major Scale
The Full C Major Scale in Each of the 5 CAGED Positions
Here are the ways to play each of the main 10 chords in
each of the CAGED types. They are Major, minor, Major 7,
minor 7, 7
th
, 9
th
, 11
th
, 13
th
, Augmented, and diminished. They
each have a characteristic sound, each are used in specific
ways, and each has a chord(s) to which it resolves.
Each of these chords has its scale, one which when
played over that chord, sounds the wail most euphonious.
Suggested scales for each type of chord are as follows. See
my Secrets of Scales and Chords Revealed for more.
Major chord: Major (Ionian), Mixolydian, Lydian, Major
Pentatonic, Blues, Enigmatic, Hindu, Jazz Melodic minor,
Double-harmonic, Byzantine, Chinese, Ichikosucho, Purvi.
Resolves to any other chord. Really.
minor or minor7 chords: Any minor, Dorian, Aeolian,
Phrygian, Blues, minor Pentatonic, Diminished, Dim, Jazz
Melodic minor, Locrian, Super-locrian, Altered, Bali, 8-Tone
Spanish, Hirajoshi, Hungarian (both), Kumai, Mohammedan,
Neopolitan, Pelog, Todi. Cm resolves to Fm, Bb, Ab, Eb, Dm.
Major7 chord: Major (Ionian), Lydian, Major pentatonic.
Cmaj7 resolves to Fmaj7, Dm7, G, Dmaj7, Cm7.
7
th
, 9
th
, 11
th
and 13
th
chords: Mixolydian, Locrian, Super-
locrian, Major Pentatonic, Blues, Whole-tone, Altered,
Arabian, 8-Tone (exc. 11
th
chord), Hindu, Hungarian Major,
Overtone. C resolves to F, Bmaj7, C+, C, B9, Bb7.
Augmented chord: Mixolydian, Major Pentatonic, Blues,
Augmented, Whole-tone, Altered, Byzantine, 8-Tone,
Enigmatic, Hindu, Hirajoshi, Persian. C+ is a passing chord
which resolves to A, C#, or F.
8
The Ten Chords
diminished chord: Locrian, Super-locrian, Diminished, Half-
diminished, Blues, Altered, 8-Tone, Hungarian Minor, Todi.
C is a passing chord which resolves to C#, E, G, or A#.
Many chords have strong leading properties. For
instance, when the ear hears C7, it wants to resolve to F. The
C+ also strongly leads to F. The diminished chord is unique
since it resolves to any of the 4 chords a half-step (1 fret) up
from any of the chord tones. C resolves to C#, E, G, and A#.
Likewise, the Augmented chord also resolves up a half-
step of the chord tones. C+ resolves to C#, A, and F.
Notice the symmetry of the diminished and Augmented
chords: they are the only ones with their chord tones
equally spaced, 3 frets apart for the dim, and 4 frets apart
for the Aug. That also means the dim repeats itself every 3
frets (stays the same chord) as you move chromatically up
the neck, and the Augmented does the same, every 4 frets.
Thus, the C is also a Eb, Gb, and A. Same with Aug: a
C+ is also a E+ and G#+. Use both these kinds of chords to
make difficult changes of keys or chords, like going from C
to Db via C, or C to Ab via C+.
The 11 chord is a smoky and mysterious but beautiful
Dominant chord, which resolves from V to I (G11 to C). It
combines the classic harmony of the V to I with the
funkiness of the gospel-like IV chord resolving to the I, as it
is little more than a IV chord with a V in the bass. The IV also
adds suspension, strongly leading to resolution to the I.
Used mostly in pop and jazz, hear it in a Blues at 1:13 in
Goin' Down Slow (Allman Bros).
The 11 chord is a smoky and mysterious but beautiful
Dominant chord, which resolves from V to I (G11 to C). It
combines the classic harmony of the V to I with the
funkiness of the gospel-like IV chord resolving to the I, as it
is little more than a IV chord with a V in the bass. The IV also
adds suspension, strongly leading to resolution to the I.
Used mostly in pop and jazz, hear it in a Blues at 1:13 in
Goin' Down Slow (Allman Bros).
Unless called add6, a 13
th
chord always has the b7 and
the 9, but not the 11. The 9
th
chord always has the b7,
except if add9.
Tip: Try using the funky 9
th
chord, jazzy 13
th
chord, or the
sexy 11
th
, in place of a 7
th
chord. Always use the b7 for a 7
th
chord, not the major 7.
Tip: A tritone substitution uses a F9 or F13 in place of a B7
to resolve to E. The F is a tritone, or b5, from B. Works for
any key, is used mostly in jazz and jazzy blues. See Page 31.
Tip: Use the Phrygian scale (mode) or the diminished scale
in a minor blues progression, or a whole tone scale over a 7
th
chord. See Page 25 for forty-five scales.
Tip: Extensions or altered chord tones, like the b7, 9, 11, or
13, should be the higher notes, not in bass. The 5
th
(G in the
key of C) or the Root (C in the key of C) can usually be
omitted.
In the real world, not all of the 10 chords in all of the 5
positions are useful, either because of fingering difficulty or
its sound. Below are the chords you'll find more useful than
others in most playing situations.
The Ten Chords, continued
9
C-type chords
C
Cmaj7
C7
C9
C11
C13
C+
C
G-type chords
G
Gmaj7
G7
Gsus
G9
G11
D-type chords
D
Dmaj7
Dm
Dm7
D7
Dsus
Best for Major: C, A, G, E, D
Best for minor: A, E, D
Best for minor7
th
: A, E, D
Best for Major7
th
: C, A, G, D
Best for 7
th
: C, A, G, E, D
Best for 9
th
: C, G, E, D
Best for 11
th
: C, A, G
Best for 13
th
: C, E
Best for Aug: C, A, E
Best for dim: C, A, D
A-type chords
A
Amaj7
A7
Am
Am7
A11
Asus
A+
A
E-type chords
E
E7
Em
Em7
E9
E13
E+

`=barre (bar)
aka: also known as
= forms used most often
Although ten chords are shown
here, they are only the most popular
ones. There are dozens more.
Each of the chords has a unique
sound, and each has its own unique
scale to go with it. More than one scale
will work for most chords. Over the
minor chord you could play the Melodic
minor, Harmonic minor, or Diminished
scales, or the Dorian, Aeolian, or
Phrygian modes. See Page 25.
Also shown are the notes making up
each chord. The more complex chords
naturally have more notes (called
extensions), thereby providing the
harmonic density. The Aug, 7, 9, 13, and
11 chords want to resolve up a fourth,
such as C7 to F. Diminished chords
resolve up step from any of its notes,
so the C dim (or C) naturally wants to
resolve to Db, Bb, G, or E Major chords.
Tip: Some of the chords of each type are
really harder to play than they're worth,
so I've put a star next to the better ones.
Tip: Not all chords tones must be
played, esp. the Root and 5. Some chord
tones are omitted in these diagrams.
The Ten C-type Chords

Cm7
C Eb G Bb
aka:
min 7
minor 7
b3b7
C
C E G
Cmaj7
C E G B
aka:

M7
major7

C9
C E G
Bb D
C7
C E G Bb
aka:
dom7
seventh
dominant
3
C+
C E G#
aka:
aug
augmented
C11
C F Bb D
(don't confuse
with a sus
chord)
C
o
C Eb Gb A
aka:
dim
dim 7
diminished

C13
C E G
Bb D A
Cm
C Eb G
aka:
min
minor
b3
10
The Ten A-type Chords
A13
A C# E
G B F#
A
A C# E

A9
A C# E G B

A7
A C# E G
aka:
dom7
seventh
dominant
A11
A D G E
(don't
confuse with
a sus chord)
Amaj7
A C# E G#
aka:

M7
major7
A+
A C# F
aka:
aug
augmented
A
o
A C Eb Gb
aka:
dim
diminished
Am
A C E
aka:
min
minor
b3
Am7
A C E G
aka:
min 7
minor 7
b3b7
11

=barre (bar)
aka: also known as
= forms used most often
G+
G B D#
aka:
aug
augmented
The Ten G-type Chords
G
o
G Bb Db E
aka:
dim
dim 7
diminished
Gm
G Bb D
aka:
min
minor
b3
G
G B D
G11
G C A F
(don't
confuse with
a sus chord)
Gmaj7
G B D F#
aka:

M7
major7
Gm7
G Bb D F
aka:
min 7
minor 7
b3b7
G13
G B D F A E
G9
G B D F A
G7
G B D F
aka:
dom7
seventh
dominant
12

=barre (bar)
aka: also known as
= forms used most often
The Ten E-type Chords

E11
E A B D
(don't confuse
with a sus
chord)
E
o
E G Bb Db
aka:
dim
dim 7
diminished
E
E G# B
E9
E G# B D F#
E7
E G# B D
aka:
dom7
seventh
dominant
E13
E G# B
D F# C#
Emaj7
E G# B D#
aka:

M7
major7
E+
E G# B#
aka:
aug
augmented
Em7
E G B D
aka:
min 7
minor 7
b3b7
Em
E G B
aka:
min
minor
b3
13

=barre (bar)
aka: also known as
= forms used most often
The Ten D-type Chords
D
o
D F G# B
aka:
dim
dim 7
diminished
14
D+
D F# A# C
aka:
aug
augmented
D11
D G A E
(don't
confuse
with a sus
chord)
D13
D F# A
C E B
D9
D F# A C E

Dm7
D F A C
aka:
min 7
minor 7
b3b7
Dm
D F A
aka:
min
minor
b3

Dmaj7
D F# A C#
aka:

M7
major7
D
D F# A
D7
D F# A C
aka:
dom7
seventh
dominant

=barre (bar)
aka: also known as
= forms used most often
Proper Hand Positioning
Classical guitarists know where
best to position the hand during a
scale. It's similar to piano, namely
the crossover point for fingerings.
Looking at the fretboard linearly
(from nut to bridge), play an F
scale on only one string. In so doing
the hand should easily go to the 3
Positions, as shown below.
It helps break the stuck in 1
position rut we can get into, and
makes linear movement more
natural and spontaneous.
Tip: practice big jumps up and down
the neck, like Jimi, SRV, and Johnny
Winter.
Tip: try playing diagonally; High E on
the 12
th
fret to Open Low E, 3
octaves. Then reverse: Open Low E
to High E 12
th
fret. How you get from
one to the other is the Art. Use your
ear, use your heart, use what you
learn here.
This exercise also reminds you of
the Major scale's intervals, namely:
whole step, whole step, half step,
whole step, whole step, whole step,
half step. A whole step? On guitar
that's a step (or interval) of 2 frets,
thus a half step is a 1 fret interval.
=fingers to use
F Major Scale
Start with
hand here
Then here.
Now go
back down
in reverse
Move
to here
The Numbers Translated
to Notes
In the key of C, the numbers
correspond to:
Note: there are no 10
th
or
12
th
chords, the 10 is E, the
Third in C; and 12 is G, the Fifth.
1 = C
b2 = Db
2 = D
b3 = Eb
3 = E
4 = F
#4 = F#
b5 = Gb
5 = G
+5 = G#
b6 = Ab
6 = A
b7 = Bb
7 = B
b9 = Db
9 = D
#9 = D#
11 = F
13= A
15
C (1)
E (3)
G (5)
B (7) D (9)
F (11)
A (13)
Circle of Thirds
C
G
D
A
E
B/Cb
Gb/F#
Db/C#
Ab/G#
Eb/D#
Bb/A#
F
Circle of Fifths
(and Fourths)
Circle of Fifths this way Circle of Fourths this way
B
G
E
C
A
F
D
E
a
c
h

k
e
y

t
h
i
s

w
a
y

i
s

o
n
e

m
o
r
e

#
,

u
n
t
i
l

C
#
E
a
c
h

k
e
y

t
h
i
s

w
a
y

i
s

o
n
e

m
o
r
e

b
,

u
n
t
i
l

C
b
This is my invention, the Circle of Thirds. It illustrates
how chords are just stacked Thirds. This example is in
the key of C, of course. C E G creates the basic C chord
(Eb for minor, G# for augmented). Adding the B creates
a C7 (if Bb, or Cmaj7 if natural B). Adding D creates that
funky C9 chord (Db makes it Cb9, D# makes it C#9).
Adding an F creates a suspenseful C11 chord. Finally,
adding an A gives a jazzy C13 chord. In practice, you
can play just a C7 in place of the 9, 11 or 13. An 11
chord is played without the 9, and the 13 chord wants
the 7 and 9 join it, but not the 11.
The Circle of Fifths is one of the truly magical
things in music. Going around the circle clockwise
is the Circle of Fifths, and counter-clockwise is the
Circle of Fourths. As you see, either way you hit
every key, and still end up back at C. The Circle of
Fourths is often used in jazz, such as the
progression C E7 A7 D7 G7, and in turnarounds.
The common jazz progression called II-V-I is the
Circle of Fourths, and is the jazz version of blues' I-
IV-V. The song Hey Joe is the Circle of Fifths. Try
playing both Circles as a chord progression.
16
Circle of Fifths, Fourths and Thirds
Linear and Diagonal Exercises
Linear exercises are good for warming-up fingers,
increasing speed and perfecting your tempo.
Tip: reverse it in all directions, and try alternating
fingers (1324, 4231 and 123443211234). The one on
the left is good for practicing hammer-ons, and the
right good for pull-offs. Playing every fret on every
string this way (starting at the low F) is a good way to
check a neck for buzzes and bad frets.
=play in this order, 1-24
Diagonal exercises are a good way to improve
picking and fretting precision.
Tip: these are wild and fun. Reverse it in both directions
(back and forth and up and down), alternate fingers
(1324 and 4231) and alternate strings. Play it evenly,
fluidly and with swing like a solo.
17
Chords as Numbers
One way to express to
others which chord to play in a
chord progression is with
numbers. It makes it easy to
communicate which chord is
next while the band is playing,
either by shouting Four!, or
by holding up 4 fingers (for the
IV chord), 5 fingers for the V
chord, or 1 finger for the I
chord. In the key of C, the
chords are:
I = C
II = D (Dm)
III = E (Em)
IV = F
V = G (G7)
Tip: Shorthand for starting at
the beginning is to point to,
touch or tap the top of your
head. It came from jazz, where
the beginning of the song is
called the head."
18
Home is Where The Root Is
When soloing, the most important
note in any scale is the Root, the tone
that's the key of the part youre playing
over (not always the key of the song,
since the solo might be in different key).
The Root is home. Start and
especially end a phrase or solo on it. Solos
can be otherwise harmonically-wild, as
long as you end on the Root. That way
it'll sound like you meant for that to
happen.
Use all the notes of the Root on the
guitar, for instance, there are seven C
notes within the 12 frets. See below.
All the C notes,
the Root in the
key of C.
Memorize and use
them all.
Start a solo high
and end low,
or vice-versa.
Or play the same
lick in different
octaves.
3
5
7
9
12
Does It Sound Good?
You are the sole judge of what sounds good or not. No one
else knows better than you how well you sound. Therefore,
play just for you, not for the cute girl in the front row, or your
buddy in the back, or anyone else. They have no idea if you are
playing well, but you sure do.
When I play on stage, my aim is to give myself chills like I
would get when I saw my heroes, like Jeff Beck, Roy Buchanan,
Johnny Winter, Robben Ford, Charlie Baty, or Buddy
Whittington, for the first time. That same sense of excitement,
awe, and joy. They inspired me to study and play harder.
So now when I play, I do it primarily for me, to entertain
myself. I try to give myself chills, every solo. Everyone else gets
to vicariously enjoy it as well. But in the middle of a solo, I'm
trying to make myself laugh and be surprised, by stretching a
little farther or playing something I've never played before. No
one else will know if I succeed at that. But I will.
That's the only way for me to ensure I play at my peak.
Otherwise, the problem is that everyone else will enjoy it even
if I don't play inspiringly, but I won't. I know what I'm capable
of, and I know when I either fall short or exceed it.
So if I try impress the cute girl in the front row, I won't play
to my full potential. But if I try to impress myself, then I'll play
to my full potential at that moment, and then some.
And she, and everyone else, will surely be impressed
because of it.
19