| Introduction |
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1 | (6) |
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1 | (2) |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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4 | (3) |
| Part 1: Getting Started With Guitar Theory |
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7 | (36) |
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Chapter 1 Guitar Theory in a Nutshell |
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9 | (12) |
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10 | (1) |
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10 | (5) |
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Seeing the fretboard as a grid |
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11 | (1) |
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11 | (1) |
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12 | (3) |
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15 | (2) |
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15 | (1) |
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16 | (1) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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Adding chord tones and extensions |
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17 | (1) |
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17 | (1) |
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Charting chord progressions |
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17 | (1) |
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Testing Your Guitar Theory Knowledge |
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18 | (3) |
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Chapter 2 Navigating the Fretboard Like a Pro |
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21 | (22) |
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Tracing Everything Back to Strings 6 and 5 |
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22 | (7) |
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Moving between pitches with whole steps and half steps |
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24 | (2) |
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Naming the pitches between natural notes: Sharps and flats |
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26 | (1) |
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26 | (3) |
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Tracking Notes and Playing Songs with Octaves |
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29 | (5) |
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Shaping octaves with your 1st finger on strings 6 and 5 |
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30 | (1) |
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Shaping octaves with your 1st finger on strings 4 and 3 |
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31 | (1) |
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Shaping octaves that are three strings apart |
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32 | (1) |
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Repeating octaves beyond the 12th fret |
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32 | (2) |
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Measuring the Space between Pitches with Intervals |
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34 | (11) |
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Playing intervals 1 through 7 |
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35 | (4) |
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Filling in the gaps with flats and sharps |
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39 | (4) |
| Part 2: Working With Chords From The Ground Up |
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43 | (68) |
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Chapter 3 Harmonizing the Major Scale to Form Triads and Chords |
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45 | (8) |
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Building Triads and Chords |
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46 | (3) |
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Major triad: Building from the 1st scale degree of the major scale |
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46 | (2) |
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Minor triad: Building from the 2nd scale degree of the major scale |
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48 | (1) |
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Playing through the Seven Triads of the Major Scale |
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49 | (1) |
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Playing the Chord Sequence of the Major Scale |
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50 | (3) |
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Chapter 4 Forming Chord Shapes with the CAGED System |
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53 | (34) |
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Making Chord Inversions and Chord Voicings |
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54 | (1) |
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55 | (7) |
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Using the C form as a moveable barre chord |
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55 | (1) |
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Playing a C form arpeggio pattern |
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56 | (3) |
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Playing C form chord voicings |
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59 | (3) |
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62 | (3) |
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65 | (2) |
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67 | (3) |
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70 | (2) |
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Connecting the Five CAGED Forms |
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72 | (7) |
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73 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (6) |
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Sample CAGED Chord Changes |
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79 | (2) |
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Playing Minor CAGED Forms |
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81 | (3) |
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81 | (1) |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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Connecting the Five Minor CAGED Forms |
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84 | (2) |
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Minor CAGED Chord Changes |
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86 | (1) |
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Chapter 5 Adding Chord Tones and Extensions to Chords |
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87 | (24) |
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About Chord Tones and Extensions |
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88 | (2) |
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Adding 7ths to the Major Scale Chords |
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90 | (9) |
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Playing major and minor 7th chords |
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94 | (2) |
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Playing dominant 7th chords |
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96 | (2) |
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Playing minor 7th flat 5 chords |
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98 | (1) |
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Working with 2nds and 9ths |
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99 | (4) |
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99 | (1) |
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99 | (1) |
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Minor chords with 2nds and 9ths |
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100 | (2) |
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102 | (1) |
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Working with 4ths and 11ths |
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103 | (2) |
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103 | (1) |
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104 | (1) |
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Playing 6th Chords and Using the 6th Interval |
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105 | (2) |
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Adding Harmony with Pedal Point |
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107 | (1) |
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Playing Pedal Tones with Two Guitars |
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108 | (3) |
| Part 3: Getting To Know Keys, Modes, And Chord Progressions |
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111 | (96) |
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Chapter 6 Playing Chord Progressions by Numbers |
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113 | (16) |
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Drawing Chord Progressions from the Major Scale |
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114 | (1) |
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Using Roman Numerals to Represent Chords |
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115 | (1) |
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Visualizing Numbers on the Fretboard |
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116 | (1) |
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117 | (1) |
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Playing Common Chord Progressions |
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118 | (4) |
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Playing I-IV-V chord progressions |
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119 | (1) |
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Playing major chord progressions |
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120 | (1) |
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Adding minor chords ii, iii, and vi |
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120 | (1) |
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Playing minor chord progressions |
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121 | (1) |
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Starting Numbers on the 5th String |
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122 | (3) |
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Playing Chord Progressions with Open Chords |
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125 | (1) |
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Using the Nashville Number System |
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126 | (3) |
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Chapter 7 Knowing Music Inside Out: Identifying Tonics, Keys, and Modes |
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129 | (32) |
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Understanding the Relationship between Major and Minor Scales |
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130 | (2) |
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Numbering the Relative Minor |
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132 | (5) |
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Accounting for any interval changes |
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133 | (2) |
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Looking at a few minor key song examples |
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135 | (2) |
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Identifying the Modes of the Major Scale |
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137 | (18) |
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138 | (1) |
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139 | (5) |
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144 | (3) |
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147 | (4) |
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151 | (4) |
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155 | (1) |
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155 | (1) |
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Key Signatures and Common Discrepancies |
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155 | (4) |
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Looking past the key signature to figure out a song's mode |
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155 | (2) |
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Considering some common discrepancies in music notation |
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157 | (2) |
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Comparing Scale Formulas and Structures |
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159 | (2) |
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Chapter 8 Following Key Changes |
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161 | (18) |
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Getting to Know Key Changes by Switching Tonics within a Scale |
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162 | (1) |
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Switching between relative major and minor |
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162 | (1) |
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Switching between other scale degrees |
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163 | (1) |
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Transposing a Progression |
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163 | (2) |
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Changing Key and Progression |
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165 | (1) |
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Using Modal Interchange and Borrowed Chords |
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166 | (8) |
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Playing modal interchanges |
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167 | (4) |
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Playing minor modal interchanges |
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171 | (3) |
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Using the Circle of 5ths for Circle Progressions |
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174 | (5) |
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Applying the same circle to 4ths |
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175 | (2) |
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Seeing circle progressions in action |
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177 | (2) |
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Chapter 9 Dominant Function and Voice Leading |
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179 | (14) |
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Chord Function and the Dominant Chord |
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179 | (4) |
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Leading with the leading tone |
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181 | (1) |
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Tension rises with a tritone |
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181 | (1) |
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Playing songs with dominant function |
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182 | (1) |
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183 | (5) |
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Drawing attention to some common secondary dominants |
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184 | (1) |
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Thinking of secondary dominants as mini key changes |
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185 | (3) |
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Songs that use secondary dominants |
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188 | (1) |
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188 | (5) |
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Chapter 10 Filling the Gaps with Passing Chords |
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193 | (14) |
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Getting to Know Chromatic Passing Chords |
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194 | (4) |
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195 | (2) |
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197 | (1) |
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Chromatic ch-ch-ch-ch-changes |
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197 | (1) |
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Getting to Know Diminished Chords |
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198 | (5) |
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Fingering diminished chord shapes |
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198 | (1) |
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Playing diminished 7th chord inversions |
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199 | (1) |
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Using diminished 7ths as passing chords |
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200 | (2) |
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Substituting diminished 7th chords for dominant 7th chords |
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202 | (1) |
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203 | (6) |
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Playing augmented chord inversions |
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203 | (1) |
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Using augmented chords for dominant function |
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204 | (1) |
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Using augmented chords in voice leading |
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204 | (3) |
| Part 4: Playing Guitar Scales |
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207 | (104) |
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Chapter 11 Preparing for Riffs and Solos with the Pentatonic Scale |
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209 | (24) |
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Getting to Know the Pentatonic Scale |
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210 | (1) |
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Covering the Fretboard with the Pentatonic Scale |
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211 | (8) |
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211 | (2) |
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Playing pentatonic pattern 2 |
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213 | (2) |
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Playing pentatonic pattern 3 |
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215 | (1) |
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Playing pentatonic pattern 4 |
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216 | (1) |
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Finishing up with pentatonic pattern 5 |
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217 | (1) |
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Connecting all the patterns |
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217 | (2) |
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Using the Pentatonic Scale as Major and Minor |
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219 | (4) |
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Playing the Pentatonic Scale in Other Keys |
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223 | (6) |
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Playing in F minor and Ai |
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224 | (1) |
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Playing in Fs minor and A major |
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225 | (1) |
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Playing in G minor and Bb major |
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226 | (1) |
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Playing in Git minor and B major and other keys |
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227 | (1) |
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Playing in A minor and C major |
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227 | (2) |
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Applying the Pentatonic Scale |
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229 | (4) |
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Chapter 12 Playing Music's Primary Melody Maker: The Major Scale |
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233 | (20) |
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Getting Familiar with the Major Scale |
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234 | (3) |
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Playing the Major Scale as Five Smaller Patterns |
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237 | (5) |
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Breaking down the G major scale |
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238 | (2) |
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240 | (1) |
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Connecting the five patterns to cover the whole fretboard |
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240 | (2) |
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Practicing the Major Scale without Getting Bored |
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242 | (6) |
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Playing along with accompaniment |
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242 | (2) |
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Adding minor notes and patterns |
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244 | (1) |
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Transposing the major scale to new keys |
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245 | (3) |
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248 | (2) |
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Playing Three-Notes-Per-String Patterns |
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250 | (3) |
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Chapter 13 Playing in Modes and Using Modal Scale Patterns |
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253 | (24) |
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254 | (1) |
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Knowing how modal sounds are made |
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254 | (1) |
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Remembering that modes are more than just patterns or starting positions |
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255 | (1) |
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255 | (3) |
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Seeing and hearing Ionian mode in action |
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255 | (2) |
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Using Ionian mode with the pentatonic scale |
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257 | (1) |
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258 | (5) |
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Getting the Dorian details |
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258 | (3) |
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Using Dorian mode with the pentatonic scale |
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261 | (2) |
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263 | (3) |
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266 | (4) |
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270 | (3) |
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273 | (4) |
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Chapter 14 Exploring New Patterns with the Harmonic Minor Scale |
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277 | (18) |
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Getting to Know the Harmonic Minor Scale |
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278 | (4) |
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Raising the 7th scale degree |
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278 | (2) |
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Identifying some harmonic minor chord progressions |
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280 | (2) |
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Using Harmonic Minor within a Pentatonic Pattern |
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282 | (6) |
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Adding a raised 7th to the pentatonic |
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283 | (1) |
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284 | (2) |
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Completing the harmonic minor scale |
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286 | (2) |
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Covering the Fretboard with Harmonic Minor Scale Patterns |
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288 | (3) |
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289 | (1) |
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289 | (1) |
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Practice, practice, practice! |
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289 | (2) |
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Transposing the harmonic minor scale to new keys |
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291 | (1) |
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Playing in a Harmonic Minor Mode |
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291 | (1) |
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Getting to Know the Melodic Minor Scale |
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292 | (1) |
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Using Harmonic Minor in Dorian Mode |
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293 | (2) |
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Chapter 15 Playing the Blues |
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295 | (16) |
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Recognizing Blues Elements in Popular Music |
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296 | (1) |
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Playing Over a Blues V7 Chord |
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297 | (5) |
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Playing the dominant scale |
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297 | (2) |
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Using the major and minor pentatonic |
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299 | (1) |
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Mixing up the scale options |
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300 | (2) |
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Tackling Whole Chord Progressions with the 12-Bar Blues |
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302 | (4) |
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Switching dominant scales |
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304 | (1) |
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Sticking with minor pentatonic |
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305 | (1) |
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Using a major pentatonic scale |
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305 | (1) |
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Changing pentatonic scales on each chord |
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306 | (1) |
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306 | (5) |
| Part 5: Part Of Tens |
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311 | (28) |
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Chapter 16 Ten Guitar Songs Worth Learning |
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313 | (14) |
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314 | (2) |
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316 | (1) |
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317 | (1) |
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318 | (1) |
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319 | (1) |
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320 | (2) |
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322 | (1) |
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323 | (2) |
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325 | (1) |
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325 | (2) |
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Chapter 17 Ten Sample Scale Applications |
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327 | (6) |
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328 | (1) |
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328 | (1) |
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329 | (1) |
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329 | (1) |
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329 | (1) |
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330 | (1) |
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330 | (1) |
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330 | (1) |
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331 | (1) |
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331 | (2) |
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Chapter 18 Tens Ways to Put Theory into Practice |
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333 | (6) |
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333 | (2) |
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335 | (1) |
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Record and Listen to Yourself |
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335 | (1) |
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335 | (1) |
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336 | (1) |
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336 | (1) |
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Practice a Little and Play a Lot |
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337 | (1) |
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Study More Music Theory Resources |
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337 | (1) |
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Set Reasonable, Realistic Goals |
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338 | (1) |
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Have a Good Time All the Time |
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338 | (1) |
| Appendix: Audio Tracks And Video Clips |
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339 | (4) |
| Index |
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343 | |
Lisainfo e-raamatute kohta