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Guitar Theory [Pehme köide]

3.65/5 (33 hinnangut Goodreads-ist)

David Hodge

Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 235x195x17 mm, kaal: 459 g
Sari: Idiot's Guides
Ilmumisaeg: 04-Nov-2014
Kirjastus: Alpha Books
ISBN-10: 1615646361
ISBN-13: 9781615646364

Teised raamatud teemal:

Theory of music & musicology - (Hetkel poes: 2 nimetust)
Guitar
Techniques of music / music tutorials - (Hetkel poes: 1 nimetust)

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Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 235x195x17 mm, kaal: 459 g
Sari: Idiot's Guides
Ilmumisaeg: 04-Nov-2014
Kirjastus: Alpha Books
ISBN-10: 1615646361
ISBN-13: 9781615646364

Teised raamatud teemal:

Theory of music & musicology - (Hetkel poes: 2 nimetust)
Guitar
Techniques of music / music tutorials - (Hetkel poes: 1 nimetust)

Püsilink: https://www.kriso.ee/db/9781615646364.html

Märksõnad:

Music theory is often considered to be one of the most difficult subjects to learn.Idiot's Guides: Guitar Theory breaks down music theory for guitar and other fretboard instruments in very simple and easy-to-understand lessons. Content includes everything a budding musician needs to know about notes, guitar tablature, rhythm, chords and scales, and more.

Part 1: Turning Tones into Notes

(28)

1 Defining Guitar Theory

(6)

What Guitar Theory Is... and Is Not

(3)

Guitar Theory Isn't Separate from Music Theory

(1)

Guitar Theory Isn't the Antithesis of Creativity

(1)

Guitar Theory Isn't Magic

(1)

Guitar Theory Isn't Just for Lead Guitar Players

(1)

Guitar Theory Isn't Just for Guitars

(1)

Guitar Theory Isn't Hard

(1)

Putting Theory to Practice

(2)

2 Naming Notes

(10)

Starting with a Point of Reference

(1)

Making a Map

(4)

Marking the Map

(1)

Adding Accidentals

(2)

Finding Your Reference Points

(3)

Finding Notes on the First Five Frets

(1)

Choosing Other Reference Points

(2)

Putting Theory to Practice

(2)

3 Reading Directions

(10)

Chord Charts

(2)

Xing Strings Out

(1)

Setting a Barre

(1)

Moving Up the Fretboard

(1)

A Very Brief Guide to Music Notation

(2)

Lines and Spaces

(1)

The Notes of the Open Strings

(1)

Checking Out Guitar Tablature

(1)

Marking Time

(2)

Tips on Reading Any Kind of Music

(2)

Part 2: Turning Notes into Scales, Intervals, and Chords

(52)

4 The Major Scale

(10)

What Is a Scale?

(1)

Constructing the Major Scale

(2)

Creating Specific Major Scales

(1)

Understanding Key Signatures

(1)

Key Signatures and the Guitar

(1)

Playing the 12 Major Scales in Open Position

(6)

5 Sizing Up Intervals

(12)

Giving Degrees to the Major Scale

(1)

Turning Degrees into Intervals

(1)

Finding Intervals on Your Fretboard

(6)

Beware the B String

(1)

Major and Minor Seconds

(1)

Major and Minor Thirds

(1)

Fourths

(1)

Fifths: Perfect, Augmented, and Diminished

(2)

Sixths and Minor Sixths

(1)

Major Sevenths and Minor Sevenths

(1)

Octaves

(2)

Playing Octaves on the Guitar

(1)

Octave Exercise

(1)

Putting Theory to Practice

(2)

6 Two Kinds of Thirds Equals Four Basic Chords

(8)

From Notes to Intervals to Chords

(1)

Constructing Chords from the Major Scale

(3)

Basic Open-Position Major Chords

(1)

Basic Open-Position Minor, Augmented, and Diminished Chords

(1)

Constructing Chords from Thirds

(1)

Playing Triads

(1)

Putting Theory to Practice

(2)

7 Filling In All the Other Chords

(10)

Chords Without Thirds

(2)

Power Chords

(1)

Suspended Chords

(1)

Sixths

(1)

Seven Types of Sevenths

(4)

Dominant

(1)

Major Sevenths

(1)

Minor Sevenths

(1)

Minor Major Sevenths

(1)

Augmented Sevenths

(1)

Diminished Sevenths and Half-Diminished Sevenths

(1)

Extending Chords Beyond the Octave

(2)

Adding On

(1)

Piling On

(1)

Putting Theory to Practice

(1)

8 The Keys to Diatonic Chords

(10)

Turning the Major Scale into Seven Diatonic Triads

(4)

Charting Out Diatonic Chords in Any Key

(2)

The Pattern of Diatonic Chords

(2)

Making the Guesswork Easier

(1)

A Diatonic Chart for Every Key

(1)

Transposing

(1)

Putting Theory to Practice

(3)

Part 3: Turning Chords into Chord Shapes

(68)

9 Converting Open Chord Shapes into Barre Chords

(10)

"Open" and "Closed" Chords

(1)

The Guitar Theory Behind Barre Chords

(1)

E-Shaped Barre Chords

(2)

Sevenths, Minors, and Minor Sevenths in the E-Shape

(1)

More E-Shaped Barre Chords

(1)

A-Shaped Barre Chords

(2)

Sevenths, Minors, and Minor Sevenths in the A Shape

(1)

More A-Shaped Barre Chords

(1)

C-Shaped Barre Chords

(1)

More C-Shaped Barre Chords

(1)

"Cheating" on the C-Shaped Barre

(1)

Putting Theory to Practice

(3)

10 Unlocking the CAGED System

(14)

Visualizing Chords as Shapes

(2)

The Missing Pieces

(1)

Turning Chord Shapes into "CAGED"

(1)

The Five CAGED Patterns

(2)

(1)

Shifting Through All Five CAGED Patterns

(5)

Pairing "CAGED" Patterns

103

(2)

C and D

103

(1)

A and G

104

(1)

G and E

104

(1)

Putting Theory to Practice

105

(2)

11 The Logic of Chord Progressions

107

(12)

Finding the Key of a Song

108

(2)

A Sense of "Home"

108

(1)

Keys vs. Key Signatures

109

(1)

Getting Home

110

(4)

From Specific to Generic

110

(1)

Five to One

111

(2)

Four to One

113

(1)

Common Diatonic Chord Progressions

114

(1)

"Borrowing" Chords from Other Keys

115

(2)

The Circle of Fifths

115

(2)

Common Progressions Involving Nondiatonic Chords

117

(1)

Modulation

117

(1)

Putting Theory to Practice

117

(2)

12 The Challenge of Minor Chord Progressions

119

(12)

The Sound of Minor Keys

120

(2)

A Minor for Every Major

120

(1)

A Relative Minor for Every Major

120

(2)

The Three Possible Minor Scales

122

(2)

The Natural Minor Scale

122

(1)

The Harmonic Minor Scale

123

(1)

The Melodic Minor Scale

123

(1)

Creating Diatonic Chords with Minor Scales

124

(2)

Diatonic Chords for the Natural Minor Scale

124

(1)

Diatonic Chords for the Harmonic Minor Scale

125

(1)

Diatonic Chords for the Melodic Minor Scale

126

(1)

Common Chord Progressions in Minor Keys

126

(1)

Modulating Between Major and Minor Keys

127

(1)

Pivot Chords

127

(1)

Thinking in More Than One Key

128

(1)

Putting Theory to Practice

128

(3)

13 Making Fretboard Theory Practical

131

(18)

Returning to Basics

132

(1)

Rethinking Chords from the Top Down

133

(5)

The E Shape

135

(1)

The D Shape

135

(1)

The A Shape

136

(1)

Connecting All Three Shapes

136

(2)

Visualizing "I — IV — V" on the Fretboard

138

(3)

Using the E Shape as the Root

139

(1)

Using the D Shape as the Root

140

(1)

Using the A Shape as the Root

141

(1)

Adding the Diatonic Chords to Your Map

141

(4)

Diatonic Chords with E Shapes

142

(1)

Diatonic Chords with D Shapes

143

(1)

Diatonic Chords with A Shapes

144

(1)

Putting Theory to Practice

145

(4)

Part 4: Turning the Major Scale into Many Different Scales

149

(50)

14 The Guitarist's Favorite Scale

151

(12)

Closing the Major Scale

152

(1)

Introducing the Pentatonic Scale

153

(3)

One Advantage of the Pentatonic Scale

154

(1)

Major and Relative Minor

155

(1)

Playing in Positions

156

(4)

Second Position

157

(1)

Laying Out the Five Pentatonic Positions

158

(1)

Placement of Positions

159

(1)

Connecting the Pentatonic Positions

160

(1)

Putting Theory to Practice

161

(2)

15 Demystifying Modes

163

(14)

Remembering Home

164

(1)

Building Modes Step by Step

164

(1)

Modes by Name

165

(1)

Finding Each Mode on the Fretboard

165

(7)

The Ionian Mode

166

(1)

The Dorian Mode

166

(1)

The Phrygian Mode

167

(1)

The Lydian Mode

168

(1)

The Mixolydian Mode

169

(1)

The Aeolian Mode

170

(1)

The Locrian Mode

171

(1)

Separating Modes into Major from Minor

172

(1)

Remembering Modes

172

(2)

Putting Theory to Practice

174

(3)

16 Getting the Blues with Minor Scales

177

(8)

Bringing the Three Minor Scales to Your Fretboard

178

(1)

The Harmonic Minor

178

(1)

The Melodic Minor

179

(1)

The Role of Dissonance

179

(2)

Finding the Blues in Blue Notes

179

(1)

Blue Notes for Three Chords from One Scale

180

(1)

All Three Blue Notes in One Scale

181

(1)

Pentatonic Plus

182

(1)

Putting Theory to Practice

183

(2)

17 Putting Scales and Chords Together

185

(14)

Filling in Space

186

(6)

Visualizing Scales and Chords Together

187

(3)

Creating Fills

190

(2)

From Fills to Solos

192

(1)

Finding Scales in Chord Progressions

192

(3)

Looking for Clues

193

(1)

Remember Your Modes

194

(1)

Flipping Switches

194

(1)

Choices of Moods

195

(1)

Backing Tracks for Soloing Practice

196

(1)

Putting Theory to Practice

197

(2)

Part 5: Turning Guitar Theory into Guitar Magic

199

(76)

18 The Philosophies of Guitar Accompaniment

201

(12)

Listen to the Music

202

(2)

Mixing and Matching in Group Play

204

(1)

Turning Your Single Guitar into a Trio

205

(4)

Assigning Parts

205

(1)

Assigning Placement

206

(3)

Putting Theory to Practice

209

(4)

19 Making Passes and Substitutions

213

(12)

Passing Notes Between Chords

214

(1)

Passing via Suspended Chords

214

(1)

Finding Passing Notes

215

(1)

Understanding Slash Chords

215

(4)

Using Slash Chords to Create Passing Bass Lines

216

(2)

How Slash Chords and Bass Lines Create Chord Progressions

218

(1)

Using Slash Chords to Stay in Place

218

(1)

Chromatic Passing Chords

219

(3)

Overshooting a Half-Step

220

(1)

Augmented and Diminished Chords in Passing

220

(1)

Very jazzy Passing Chords

221

(1)

Making Substitutions

222

(1)

Adding On Sevenths and Ninths

222

(1)

When in Doubt

222

(1)

Putting Theory to Practice

223

(2)

20 Putting Open Strings into Play

225

(12)

Ringing Strings

226

(2)

Refiguring Chords with Open Strings

228

(3)

Instant Substitutions

229

(1)

Banjo Rolls

229

(2)

Moving Scales in a Hurry

231

(3)

Drones

232

(1)

Unison Slide

233

(1)

Creating Cascades

234

(1)

Putting Theory to Practice

235

(2)

21 Exploring Harmony in Pairs

237

(10)

Double Stops

238

(1)

Harmony Pairs on the B and G Strings

238

(1)

Harmony Pairs on the High E and B Strings

239

(1)

Harmony Pairs on Nonadjacent Strings

239

(4)

Inverted Thirds

240

(1)

Harmony Pairs on the High E and G Strings

240

(1)

Harmony Pairs on the B and D Strings

241

(1)

Harmony Pairs on the B and A Strings

242

(1)

Harmony Pairs on the G and Low E Strings

242

(1)

Practicing Harmony Pairs in Specific Keys

243

(1)

Putting Theory to Practice

244

(3)

22 Beyond Basic E and A Shapes

247

(8)

Guitarcentric Chords

248

(1)

Moving E Around

249

(1)

Playing All the E Major Diatonic Chords

249

(1)

Adding the Root

249

(1)

Concentrating Around the Fifth Fret

250

(1)

Exploring A Shapes

250

(1)

Additional Chord Ideas for E and A

251

(1)

Putting Theory to Practice

252

(3)

23 Beyond Basic C, G, and D Chord Shapes

255

(6)

Combining C Shapes with Open Strings

256

(1)

Combining G Shapes with Open Strings

257

(1)

Combining D Shapes with Open Strings

257

(1)

Putting Theory to Practice

258

(3)

24 Creating More with Less

261

(6)

Starting Small

262

(2)

Setting Up a Backing Track

262

(1)

Two-Note Soloing

263

(1)

Four-Note Soloing

264

(1)

Soloing Based on Harmony Pairs

264

(2)

Distinguishing Dissonance and Embellishment

264

(1)

Sample Soloing with Harmony Pairs

265

(1)

Putting Theory to Practice

266

(1)

25 Exploring Further Beyond

267

(8)

Further Exploring the "Guitar" Aspect of Guitar Theory

268

(3)

Capos

268

(1)

Alternate Tuning

269

(2)

Further Exploring the "Theory" Aspect of Guitar Theory

271

(2)

Bass Guitar

271

(1)

Ukulele

271

(1)

Mandolin

272

(1)

Banjo

272

(1)

Other Fretted Instruments

273

(1)

Putting Theory to Practice

273

Appendixes

A Chord Charts

275

(4)

B Scale Charts

279

(4)

C For Further Study

283

(2)

D Glossary

285

(4)

Index

289

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