Articles

Suspended Chords (July 2015)

Suspended chords do not have a defining note that determines whether it is a major or minor chord. The 3rd note that defines the chord is missing.

There are 2 basic suspended chords:

sus2 and sus4.

Eg.

C Major Scale Note Frequencies and Fret ratios (June 2015)

This is a list of each frequency for the each note of the C major scale.

C note, A string, 3rd fret = 261Hz

D note, A string, 5th fret = 294Hz

E note, A string, 7th fret = 329Hz

F note, A string, 8th fret = 349Hz

G note, A string, 10th fret = 392Hz

A note, A string, 12th fret = 440Hz

B note, A string, 14th fret = 490Hz

C note, A string, 15th fret = 523Hz

C 261Hz x 9/

Altered Scale (April 2015)

The altered scale notes are derived from the 7th mode of the Harmonic Minor Scale.

When playing in the key of C, the C7#9 would be suitable as a backing chord.

Guitarmodes students have the foundation to play the harmonic minor scale, it's modes and chord structure in any inversion across the fretboard.

If a student does not know the scale, A 1 minute description is all they need to achie

Diminished Chord Groups (April 2015)

There are only 3 groups of diminished chords.

Each individual group of diminished chords has 1 set of notes.
Therefore, chords within each group may be substituted for each other.

Group 1
C, F#, A, D#...Notes
Cdim, D#dim, F#dim, Adim...Chords

Group 2
C#, G, Bb, E...Notes
C#dim, Edim, Gdim, Bbdim...Chords

Group 3
D, F, G#, B...Notes
Ddim, Fdim, G#dim, Bdim...Chords.

C group,

Mixolydian Pentatonic (April 2015)

Mixolydian Pentatonic can be derived from 5 notes of the C major scale.
G B C D F.

These notes are within the G7th chord.
Therefore the same scales degrees are consistent with any 7th chord.

The Mixolydian Pentatonic may be substituted for Minor Pentatonic in a typical 12 bar blues in the key of A.

The progression A7th, D7th and E7th being dominant chords, may utilise Mixolydian Pentato

Double Augmented Scale (April 2015)

The Double Augmented scale gives a very strong Indian sound.

It is a 6 note scale.

The Augmented chord can be located at the 3rd degree of the Harmonic minor scale.

In the key of C (Harmonic minor scale) the notes are:
D# G B

If you where to play the Augmented chord linearly, each note is 4 frets apart.

eg, D#...E F F# G
G is the 4th fret from the D# note.

G...G# A A# B
B is

Scale Note Names (April 2015)

The 7 note major scale has note names, these names are used to describe the musical relationships between notes in the scale.

The names describe the function of each note.

There is a tonal centre or main note, it's name is the Tonic.

Each note has a different level of musical tension to resolve back to the Tonic.

The note names are listed in association with the C Major scale:

C To

How to Form Chords using The Circle of Fifths (April 2015)

Circle of Fifths

Cmajor chord:

Start on C,

Count forward 4 notes...G D A E...(2nd note E)
Count backward 3 notes...

Dominant Scales and Modes (August 2014)

Dominant is a reference to a scale containing Major 3rd note and a flattened 7th note.

Create dominant scales by selecting a mode from the major scale.

Phrygian Dominant:

Take the third mode of the major scale.

Raise the 3rd note 1 semi tone.

Now the scale contains a major 3rd and a b7th.

Lydian Dominant:

Take the 4th mode of the major scale.

Lower the 7th note 1 semi t

Double Harmonic Minor Scale (April 2014)

Guitarmodes offers a simple method to play the Double Harmonic Minor scale across the fret board including all of the modes and chords for this scale in any key.

A reference for this scale is the Harmonic Minor scale.
The fourth note is omitted and flat 5 is added.

This would be a conventional teachers method to discribe the scale.

But the Guitarmodes method does not use sharps or flats.

How to Play the Altered Scales and Modes (January 2014)

We have a process for teaching the Altered scale that will complement any other Altered scale method that may be on offer. We do not use sharps or flats to describe the way to do this.
The basis for an Altered scale is conventionally taught by nominating a dominant chord. 1, 3 and flat7.

Linear Method to Form Extended Chords (December 2013)

Guitar Modes describes how to build extended chords by using the notes from a Major scale on each string.

This allows us to build chords horizontally up and down the fret board.

The method also assists with harmony development and Jazz chord structure.

You will find the information in Session 35 on the Lesson page.

Guitar Modes Method for all Scales (November 2013)

Guitar modes method may be applied to all scales to make them easy to learn and play, including their modes.

We have aquired a huge list of scales collated by Tommy Smith, http://en.wikipedia.org/wiki/Tommy_Smith_(saxophonist)

The scales will all be collated on the Lesson page using the GM method....work in progress.

Diminished Scales and Chords (August 2013)

Guitar modes gives you a simple method to understand and play Diminished Scales, chords and modes across the fret board.

The Diminished chord is conventionally taught by using the Major scale as a basis then notes are adjusted using Flats.
We use scales and their modes, Sharps or Flats are not used.

A straight diminished chord can be made from the 7th, 2nd and 4th note of the major scale.

Hexatonic Scales 6 Note Scales (August 2013)

Guitar modes provides a simple method that is allied to convention allowing you to play 6 note scales across the fret board.

The way we attain a 6 note scale is to reduce the major scale from 7 notes to 6 notes.
We describe this by dropping the 7th note from the Major scale.


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