Guitar Lesson Six - Theory Part I

zentao.com

Guitar Lesson Six - Theory

Part I

In lesson 5, I gave you an arpeggio execise for learning the four possible triads.

In order to play the exercise, you had to utilize a right hand finger to tap the highest note of each triad. This approach may or may not be ideal, depending on the sound you want to achieve.

The problem is that intervals larger than a 3rd are difficult to play on a single string without excessive hand movement.

Let's look at the R 3 5, starting with C, on the B-string:

There are 7 frets between the R and the 5! That's an impossible stretch and a difficult jump to make quickly.

So, what if we were to move the 5 over to the E-string?

First, let's turn our intervals back into notes:

Now, instead of having to get all the way up to the 8th fret for our G note, we could play the G on the E-string at the 3rd fret:

Now, let's turn the notes back into intervals:

Using this idea of moving the highest note of the triad over to the E-string, go back through the arpeggio exercise from lesson 5. This time, however, play the last note of each triplet on the E-string using your left hand, and pick each note ( preferebly using alternate picking) instead of using right hand finger tapping:

As you can see, working with two strings, as opposed to one string, is a very different animal.

Now, before we continue, let me say, once and for all, that intervals are not dependent upon the name of the note you are playing. In other words, you may be playing a Gb, but that doesn't mean you are playing a b5 interval (unless your playing in the key of C which has Gb as the b5 interval).

For example, let's look at the key of E:

The notes of the E major scale are E - F# - G# - A - B - C# - D# - E.

The major scale (ie. W/H-step pattern) dictates the intervals 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8.

Therefore, the intervals 2 - 3 - 6 - 7 in the key of E are F# - G# - C# - D#.

So, if you wanted to play, say, the b3, you would play G.

The important thing to always keep in mind is that intervals are determined by how far apart the notes are not by the name of the note.

This is where fingerboard patterns can be very useful.

Let's look at the E major scale as a pattern on the fingerboard:

Now, let's get rid of everything except the R - 3 - 5:

Notice that we have the same distance between the notes (4 frets from R to 3, 7 frets from R to 5) as when we were working with the key of C on the B-string. In fact, no matter which note you use for R, the distance between the intervals will always be exactly the same.

Now, let's move the 5th over to the G-string:

Again, we get the same relationship as before.

If you haven't noticed already, when you play the R and 5 together, you get our old friend the power chord. This is important to understand, because it gives you some place familiar to work from. Since you've already spent a great deal of time playing R and 5, the only thing you have to add to the formula is 3.

Also, don't forget that whenever you're moving from the G-string to the B-string, the notes and intervals will be one fret higher than on any other combination of strings. (Review lesson 2.)

What follows is an arpeggio exercise using major, minor and diminished triads. Play the R and 3 of each triad on the A-string and the 5 of each triad on the D-string. Pick each note using alternate picking:

It's also very useful to move the 3 over one string as well:

When you play the intervals in this manner, use either your middle or ring finger to play R. Most times, the middle finger is the best choice, but other times, the ring finger is most logical.

Now, go back and play both arpeggio exercises, but this time, move the 3 of each triad over to the same string as the 5.

This lesson is divided into six parts:

Introduction

Theory Part I

Theory Part II

Left Hand Technique

Right Hand Technique

Music

Comments or questions about this lesson?
Visit Jam Session.

If you think this site is way cool,
click here to tell your friends.

zentao.com