The II-V-I Progression for Jazz

In: Jazz|Music Theory

31 Dec 2010

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The II-V-I progression (sometimes called 2-5-1) is one of the most commonly found progressions in jazz music.  This article will discuss two variations of the II-V-I progression: the major version, and the melodic minor version.

But first, let’s first take a look at a stripped down version of the II-V-I progression…
 

The Basic II-V-I

In the key of C, the basic version of the II-V-I progression would simply be:

ii       V       I
Dm       G       C

This form of the progression will work in virtually every form of music from classical to pop.  But to make it better suit the style of jazz… let’s look at adding chord extensions to the progression.

Extensions for the II-V-I

To get a jazzier feel it is essential to harmonize sevenths onto the basic II-V-I progression.  This is commonly done in one of two ways:

  1. with major tonality
  2. with melodic minor tonality

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Applying Intervals to Chords

In: Music Theory

28 Aug 2010

Someone recently asked me how musical intervals apply to chords.  For example, if you have a chord formula that goes 1-3-5-♭7-9, and you want to build the chord on the root of A♭ how do you determine which notes are in that chord?   Or maybe you discovered a chord  that has the notes F-A♭-C-E♭, and you want know its intervals to determine the chord type.  This article will address these problems.

If you are unfamiliar with the technicalities of musical intervals, I recommend you read this article before continuing.

Determining Note Letters from Intervals

There’s a lot of ways to do this, but the easiest way is probably just to determine the notes relative to the major scale.

Let’s say we have the following intervals:

1 - b3 - 5 - b7

Now, if we want to find the chord that follows that formula and has a root of F, what we need do is first determine the F major scale:

F - G - A - Bb - C - D - E

Now keeping in mind that the formula for the major scale is…

1 - 2 - 3 - 4 - 5 - 6 - 7

…we can simply pull notes with the same interval numbers as in the formula from the F major scale, and alter them based on the formula’s accidentals.  If that sounds confusing it should make more sense with an example:

The first note should be obvious, F.  The second note in the formula is a ♭3 or minor third, but the F major scale we’re using has a major third (in F Major this note is A).  Since we need a minor third all we do is lower the A by one semitone to arrive at A♭.  If the formula had called for a ♯3, then we would have used A♯, because an augmented third is one semitone above a major third.

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DADGAD — Chords and Scales

In: Guitar

19 Aug 2010

DADGAD Tuning

DADGAD (Sometimes called Open Sus4) is a really interesting alternate tuning for the guitar.  It was made famous by the British folk gutiarist Davey Graham, who used it extensively.  Jimmy Page is another figure who popularized the tuning by using it on the epic Led Zeppelin tune “Kashmir”.

I’ve been using this tuning a lot lately–and while it’s interesting one to improvise blindly in–sometimes it helps to know how to get certain chord types and scales.  For that reason I’ve created this post as a reference for anyone who needs the same information.

To arrive at DADGAD tuning, simply tune the high and low E-strings down 1 step to D, and tune the B string down 1 step to A.

Common Chord Shapes

Major

Minor

Diminished

Augmented

Major 7th

Minor 7th

Diminished 7th

Dominant 7th

Power Chord

Halfdim 7th

Common Scales

Major Scale

Formula: 1-2-3-4-5-6-7
Natural Minor Scale

Formula: 1-2-♭3-4-5-♭6-♭7
Pentatonic Minor Scale

Formula: 1-♭3-4-5-♭7
Blues Scale

Formula: 1-♭3-4-♭5-5-♭7

Read the rest of this entry »

Speed Picking Exercise

In: Guitar|Guitar Exercises

30 Apr 2010

Recently I decided to learn a Paul Gilbert song, and quickly discovered my lack of abilities when it comes to speed picking at tempos of say, 140 bpm.

In response to this, I developed an exercise that focuses on the alternate speed picking of 16th notes.  It mostly utilizes the index, ring, and little fingers, but notes with a * can be played with the middle finger if you want to incorporate some variety.  Having said that, play it the way that’s most comfortable to  you.
 
 
 
 
Anyway, here’s the pattern:

So basically, you keep repeating this, and every time it repeats the tempo increases by 5 bpm.  The goal is to slowly guide you up to higher speeds.  You don’t have to stop playing and reset a metronome.  Hopefully over time you’ll be able to get further in the track without error.  And if you’re Gilbert, you can probably go right up to the 200 bpm finale playing 32nds.

Download Backing Tracks

As I mentioned, the backing track starts at 70 bpm, and moves up to an insane 200 bpm (in increments of 5 bpm when the pattern repeats, which is every 3 bars).

I have two tracks–both are the same, but one has a voice that tells you what tempo you’re at.  If you’re like me, you’ll always be wondering what bpm you’re at, which can make you lose focus of your playing.  With the voice in the track, you don’t have to think about that, and can focus entirely on your playing.

  • DOWNLOAD: Without Spoken Tempo

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  • DOWNLOAD: With Spoken Tempo

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Movable Guitar Chord Shapes

In: Guitar|Music Theory

10 Feb 2010

If you are unfamiliar with how movable guitar chord shapes work, I recommend reading this.

Chord Reference Section

Since this post is extremely long, I’ve created this index. Click a link to be brought directly to a specific chord. Note: entries that are not linked are still being created, check back soon.

Standard Chords:

TRIADS SIXTHS SEVENTHS NINTHS ELEVENTHS THIRTEENTHS
Major Major 6th Major 7th
Dominant 7th		 Major 9th
Dominant 9th		 Major 11th
Dominant 11th		 Major 13th
Dominant 13th
Minor Minor 6th Minor 7th
Minor-Major 7th		 Minor 9th
Minor-Major 9th		 Minor 11th
Minor-Major 11th		 Minor 13th
Minor-Major 13th
Diminished Half-Diminished 7th
Diminished 7th
Augmented Augmented Major 7th
Augmented 7th

Altered Chords:


 ♭5
 ♯5
 ♭6 ♭9 ♯9 ♯11
Major Maj(♭5) Maj(♭6)
Minor Min(♭6)
Major 7th Maj7(♭5) Maj7(♯5) Maj7(♯11)
Minor 7th Min7(♭9)
Min7(♯5♭9)
Dominant 7th 7(♭5) 7(♯5) 7(♭9)
7(♭5♭9)
7(♯5♭9)		 7(♯9) – Hendrix Chord
7(♯5♯9)		 7(♯11)
Major 9th Maj9(♭5) Maj9(♯5) 9(♯11)
Minor 9th
Dominant 9th 9(♭5) 9(♯5) 9(♯11)
Dominant 11th 11(♭9)
Dominant 13th 13(♭9)
13(♭5♭9)		 13(♯9) 13(♯11)

Major Chord

The major chord is one of the most common and versatile chords. Its major third and perfect fifth give it a bright resolved sounding characteristic.

Formula: 1-3-5
Intervals: root, major third, perfect fifth
Notations: Major, Maj, Ma, M, Δ
Example:

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Major Guitar Chord Shapes:
Compatible Scales:
Recommended Scales
  • Major Scale, Ionian Mode
  • Pentatonic Major Scale
  • Lydian Mode
  • Mixolydian Mode
  • Phrygian Dominant (Phrygian ♯3)
  • Harmonic Major (Ionain ♭6)
Additional Scales (Click to expand)
  • Acoustic Scale
  • Augmented Fifth Scale
  • Augmented Scale
  • Bartok Scale
  • Byzantine Scale
  • Chinese 8-Tone Scale
  • Chinese Scale
  • Dominant Bebop Scale
  • Dorian Bebop Scale
  • Double Harmonic Scale
  • Galician Scale
  • Gypsy Scale
  • Half-Whole Scale
  • Hindu Scale
  • Hungarian Major Scale
  • Ionian add ♭9
  • Istrian Scale
  • Jewish (Freygish) Scale
  • Lydian ♯2
  • Lydian Augmented Bebop Scale
  • Lydian Dominant (Lydian ♭7)
  • Lydian Minor Bebop Scale
  • Lydiocrian Mode
  • Lydionian Mode
  • Major Bebop Scale
  • Melodic Major Minor Bebop Scale
  • Minor Bebop Scale
  • Mixionian Mode
  • Mixodorian Mode
  • Mixolydian add ♭9 Scale
  • Mixolydian ♭2
  • Mixolydian ♭6
  • Mixolydian Blues Scale
  • Mongolian Scale
  • Overtone Scale
  • Phrygian ♭4
  • Phrygian Bebop Scale
  • Spanish Gypsy Scale
  • Tritone Scale

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The Harmonic Minor Scale

In: Guitar|Music Theory

2 Feb 2010

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C Harmonic Minor

There are two common ways to alter the natural minor scale (aeolian mode).  One of these ways is the harmonic minor scale.  The harmonic minor scale is simply the natural minor scale with a raised seventh degree.  For this reason it is sometimes called the Aeolian ♯7 mode.

Additionally, you could also think of the harmonic minor scale as a major scale with a flattened third and sixth.  Flattening the seventh would reduce it to the natural minor scale.

Here’s the formula:

1    2   b3    4    5   b6    7    1
T   2M   3m    4    5   6m   7M    T
  W    H    W    W    H    A    H

So for example, using C as the root we’d get:

C - D - Eb - F - G - Ab - B

Harmonic Minor Guitar Scale Shape

Harmonic Minor Chords

Here’s a chart of chords available with the harmonic major scale:

Triad 7th 9th 11th 13th
i min m(Maj7)
ii° dim ø7 min7(b5b9) min11(b5b9)
III+ aug aug(Maj7)
iv min min7 min9
V Maj 7
VI Maj Maj7
vii° dim dim7

An Example

Here’s an example of what the harmonic minor scale sounds like. This entire piece is in B Harmonic minor.

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The Harmonic Major Scale

In: Guitar|Music Theory

1 Feb 2010

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C Harmonic Major

The harmonic major scale is an interesting way to spice up the major scale. It is enharmonically related to the harmonic minor scale, which gives it a similar mood.

You can think of it as a major scale with a minor sixth. A more technical name would be Ionian ♭6, or Ionian ♭13.

Here’s the formula:

1    2   3     4    5   b6    7    1
T   2M   3M    4    5   6m   7M    T
  W    H    W    W    H    A    H

So for example, using C as the root we’d get:

C - D - E - F - G - Ab - B

Harmonic Major Guitar Scale Shape

Harmonic Major Chords

Here’s a chart with some of the more common chords available using harmonic major:

# Triad 7th 9th 11th 13th
I Maj Maj7 Maj9 Maj11
ii° dim ø7 ø9
iii min min7 min7(b9)
iv min m(Maj7)
V Maj 7
VI+ aug
VII° dim dim7

Sample Chord Progression

A really simple and cool chord progression to use with harmonic major is as follows:

I - iv

In C, we would have:

C - Fm

This progression is especially effective with harmonic major because we are so used to hearing I-IV in standard major tonalities.  However, because harmonic minor has a flattened 6th, the iv now becomes minor (the 3rd in the iv is the same as the 6th of the scale).  This essentially helps to capture the defining note of harmonic major in a dramatic way.

An Example

Here’s a practical example of what the harmonic major scale sounds like. The first 27 seconds of this piece is in C Harmonic Major. In case you’re interested, the rest of the piece moves through A Natural minor, A Harmonic minor, C Lydian mode, and C Major.

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Musical Modes, Part 1 — The Diatonic Modes

In: Guitar|Music Theory

17 Aug 2009

A “musical mode” is what results from starting scale on a note other than its root. Modes can be formed from any scale. If a scale is not specified, then it is usually assumed the diatonic scale is being used, which is what will be discussed in this article.  It is important, however to remember that modes can be derived from any scale.

When used properly, the musical modes open the door to vast tonal possibilities and are capable of inducing unique and exotic moods. But it’s not as simple as just starting the scale on a different note–most of what causes a mood’s unique characteristics is the underlying chord structure. I’ll talk more about this in the latter section of this article.

Same Intervals, Different Starting Point

As I mentioned earlier, each of the seven modes we will discuss here will be formed from the diatonic scale, which is:

W - W - h - W - W - W - h

Now to derive the seven diatonic modes we just start each on a different note:

Ionian (Major)    W - W - h - W - W - W - h
Dorian                W - h - W - W - W - h - W
Phrygian                  h - W - W - W - h - W - W
Lydian                        W - W - W - h - W - W - h
Mixolydian                        W - W - h - W - W - h - W
Aeolian (Natural Minor)               W - h - W - W - h - W - W
Locrian                                   h - W - W - h - W - W - W

So say we wanted to find C Ionian, we would first take the intervals for the Ionian mode:

Ionian              W - W - h - W - W - W - h

…and apply them starting with C as our root:

C Ionian            C - D - E - F - G - A - B

If we do the same thing for A Aeolian we get:

A Aeolian           A - B - C - D - E - F - G

If you notice C Ionian, and A Aeolian have the same notes. This is because each mode has a set of relative modes that have the same notes, but in different orders. For example: C Ionian = D Dorian = E Phrygian = F Lydian = G Mixolydian = A Aeolian = B Locrian. An easy way to remember the order of the modes is this mnemonic: I Don’t Particularly Like Modes A Lot.

In the next sections I’ll present each of the diatonic modes:

  • Ionian Mode
  • Dorian Mode
  • Phrygian Mode
  • Lydian Mode
  • Mixolydian Mode
  • Aeolian Mode
  • Locrian Mode

After discussing each I’ll tie in how to apply them musically.

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The Maj7(♯11) Chord

In: Guitar|Music Theory

16 Aug 2009

Formula: 1-3-5-7-♯11
Notations: Major7(♯11), Maj7(♯11), M7(♯11), 7M(♯11), Δ7(♯11)

The major7♯11 chord is the same thing as a major 7 chord, with the only difference being that a sharpened 11th is added to the top of the chord.

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Movable Guitar Chord Shapes

chord_maj7#11_1 chord_maj7#11_2 chord_maj7#11_3 chord_maj7#11_4 chord_maj7#11_5 chord_maj7#11_6

Scales/Modes To Use:

Lydian

Formula: 1-2-3-♯4-5-6-7
Lydian Bebop

Formula: 1-2-3-♯4-5-♭6-6-7
Lydian ♯2

Formula: 1-♯2-3-♯4-5-6-7

Also Try:

  • Playing leads based on the maj7 arpeggio (1-3-5-7)
  • Use the minor pentatonic built on the note a semitone below the root of the chord — this is really cool sounding.

*

Fretboard Exercises, Part 2

In: Guitar|Guitar Exercises

12 Aug 2009

In my first article on fretboard exercises, I spoke about the benefits of fretboard exercises. In this second article I will present some additional, a few of which expand on the previous ones.

As I stated in my first article, I highly recommend that you use a metronome when you go through these exercises.  This is extremely important, as it will help you to synchronize the timing between your left and right hands.  Start with a slow tempo, like say 80bpm, and then gradually increase it as you master each exercise.

Exercise Five — Simple Warm Up (Variation A)

This exercise is a variation of the “simple warm up” exercise from my first article.  The only difference is that each of the four left hand notes are played on a different string.

.

Repeat the same pattern, this time starting at fret 2.

Again, repeat the same pattern, but this time start at the third fret.  Continue this all the way up the fretboard.

Exercise Six — Simple Warm Up (Variation B)

This is another warm up on the “simple warm up” exercise.  Figure 6B is where it gets interesting.  The downward movement and string changes will help improve your muscle memory of the fretboard.


Exercise Seven — String Skipping

This exercise will help with string skipping.  You could also use this to practice your economy picking by ignoring the picking notation.  Figures 7B and 7C show the pattern as it repeats one fret higher.

Figure 7D is an inverse version of the pattern.

After bar 24, repeat the entire exercise starting one fret higher.  Continue this all the way up the fretboard.

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