Music Theory for Guitarists: Everything You Ever Wanted to Know But Were Afraid to Ask

103 Pages·2008·61.7 MB·English

by  Tom Kolb

waL LEONARD §=©» MUSIC THEORY

GUITAR METHOD

‘About the Author
Acknowledgments
Introduction

‘About the Recoting
Timing tas.

CHAPTER 1: The Fretboard...
CHAPTER 2: Theory Basics ...
CHAPTER 3: Scales and Key Signatures ....
CHAPTER 4: Intervals
CHAPTER 5: Triads
CHAPTER 6: Hermonizing the Major Scale
CHAPTER 7; Chord Construction
CHAPTER 8: Harmonizing the Minor Scale...
CHAPTER 9: Determining Key Centers . .
CHAPTER 10: Blues Harmony and Pentatonic Scales
CHAPTER 11: Movles and Modal Harmony... es z
CHAPTER 12: Other Seales and Modes; Chord/Scale Relationships; Arpeggins ...... 79 ....63-81
CHAPTER 13: Chord Substitution and Retarmonization

Index of Musical Terms... 5
Answer Kays for Quizzes anal Ear Training Drills
Guitar Notation Legend...
ABOUT THE AUTHOR

Atte a oer eno earns nd crc acc
‘vi wie, Tem Kribha found iff ust about eve) mus
statin iginebe. He cut erly maintains ¢ busy sahedule of cigs and
sissons wilt a wide varity of arsts fine udng tis ov bard, Tie
‘Guras) n-th Los Angeles aca ad ebro,

An iisrto” at Me werk famous Musiiens nt ws (B LT) $008
1889, “ons akea che airier of tha instrucsonal haces Amazing
Phresing, odes fr Sua ane Chava Progressions 10! Pats trary
Zoi Fun, 2 availa €throgh Ha Leona. Ke hes 330 atten
rouiless cagezine aricles ard curs foles 2 aostior 3s am
ssociale 2dtor end coll columnist for Cun Oke mayen
add or te hs playing ar wary carer, Tom gas the Featurod rt at
ov many Star Less ane He! Lecrad inst uetio al victos and ODS,
ilu ding. 50 bcks Rook Sis. Render Satvoasty reat, Modes 01
te Load unos, be Starr Sees, Sesto Lennon and MeCarTey or
acc Gur, Faravs Rsk Star AS and Solas, 0s Fsjchadtc
uter Atvanced Chores and Prythns, ard te iei Leonard Guar
etc

ACKNOWLEDGMENTS

keto tak my wits Hedy ene ry daughter Fymeortotr unconcicxal ave znd support: my parents for he enzo.
aul in my ‘irae yeas; 42 Leaner Corpotaior, ell a: Setar Che nagsrin€ 19 stat cna ster 9 Musics
inate, Holwocd; érd 2 the rus cans | heve hed te priors ct gsyin wit ever tka yeas,
INTRODUCTION

8 ole gin you hands unque book—a complete music theory netics vesigne spec tically fer gait. sie
thera ave meray ru henry aks an he market, 38 “OCUS Cn e ian kevtoard ad He crn sal. In Music Tem
fertbe Gatarst every cone2at, 2x02, 2nd Meal oxamve 3 gatr-spetl
regard ote cave ute ial ials eset, ‘ho rst fe apts ofthe book cal wth furdarenl terms, out fom tat
pion, ar no spel 2 xvas fat as val of ciel “Pars are alae ca~2eprs tobe eamed in every cap,
reales 0 ect payin oe Se ool tna ta jurp in anywhere, cr simaly use tas a Yancy releence qude Atay ne
Yu came across. an infarct seal ern. simply ook kup ir the Index on pag2 £4 t3 find U2 ace in ve Doe hae it
ie sept ra,
‘uizzes and earning drills apa2ar erie cally threagiout U'= ook. These ar designate fain “caren” che rate
breagt forth In each ctapte. The cnawe's cre acd Li csr ks al It# Rank cf ha a9ck

‘Woy rope vo th thee Fail. Se lurk, ar have un wit your muse,

Tom Koto

ABOUT THE RECORDING

any fhe examples ths Laake dented nr ha aecompaming CD. Thess ar centied with 3 CD

iack ion, Seine fs: = dacku> “hythm sect. (tear appropri). Porches tac; the feetured
wir i od hatd «gh This os you 70 Sobre >a par play aleng withthe erie i, uy euiustig 12 ag
Dar te Ue ft play sles wat tthe rym sert an Lisan co Tack I to tune you guile Lo Une ecu cg

0 Production Gres:
A uit, base, keyboard, ane drurcrogrem ming: Tom Kat
Al nusial exp 23 composer ard arrenges by Tom <b
Assistant Rzcorirg Eng neer: Dan Brewed
CHAPTER 1: THE FRETBOARD

FRETBOARD LAYOUT

‘sts isa qu tarspece boos, et stat wth an oe-ve of gutter:

fot

Fao. Apa ee Db EPP FG—6>
sfc [am] o |r }-¢ tow a geen
so —— a alph sg 8 oe F € [otal sagt
oboe F cha AND c tole 2
«Fain —p—} p [oie os [oe sa |-c loa 8 toil —c
slp —bii—at—c—o ot le rte 6

ui v vu * x

The yu 5a reed sic-sting isu, tec low te high: E—A-O-G-D-C. Toe “a's preset asap Inte mets (se
hapte 4, Intel) 50 pleyin aleng one srg {ory “coen te elt et) preduces al web aces ft chromatic
(03 meth fet opresa MS an aoe (ave Ghasl 4 nivale) cduve Ue sarng pont (ever atingh,
‘toh the pies Start over cqain. unt endirg a frts 7104 72 (on. most elect 2 ilar, Une oa pews the sare ate
Diaved at soveral eran oirs 1 the quit. Th is eetransited below.

Fig.2
Lcaming 112 cames cf the ape" ctrings ses, tut memarirg 2 ef the nes an the reLow dar bea lrg and au!
process, Hera crest vamp exercise o zest you nv acvieirg tual yal Sius# ay nei and ay once” each sting
(utr its leaiecCatwean te apen sting and re alzven ot, rom the dew € ta che high E end ba3k down acan, Star
slonly ct gradu i-easing the 1 9¢. Lo this 192 minute oso, her raea a provass ar ae up (ae anes
2 ad 2), Cu this eer day Cant a auc ne), anc 2 nyc be abet fate any pitch onthe guitar ured
lela rvlias sil “his eons is damarrated beca vith the 8A. oO
Fig, 38

SSS

| =
A 7
os

Fig. 3B

Be — = ———
8 et a i Set

Heros an impe tat reyeltion that mary evesenk: Tha tuning syste used ‘or guitar follows a pate o asec adr, serlect
‘hurt irs an Cvapr 4, Intrecls) law Ee 1 A (dis Ato 2 (40), D to 3 (4th 6 te B imsjor Sr th exc spt an
ard B 1a E (4th, L yor te full tht oarlel nats alte sare fret) ov aeiaca str (tar then she G ar stings,
aval srl fours cj tires onthe G ard B sige) arywhs-e nthe nacs This infmaton groves viel le fer
‘2% phasing inva (and otkar aot aaiensp cae eros (Ths prezess is dscussed deal Chaplet 4.)

TUNING

‘Wherier you cise fo tue your guia Le ano instumen: (such as plano), ora elstranie ne yt sho alas fine
Tine yn ga te tones ou fish. Here’ a step-by-<:9porooess te he p you double-check your aus Wn

Use te & snrg as tha mast giteh seuce. Pay the of21 sng ane fat tks low Cstirg at et 5. Them aust the swig
(the kes F tng stat he fn ret eatches te opan Astin.

No: verse tho progoss and ly the A sng athe fits fst nd ads the ph tthe ara. Cent we is p-oLess Unc
cut -herersng>” ofthe sng

Fro eO suig te 1th fet nd tune the apen et“ to pita.
Fe the G ting ale fourt ft cd tune te oper stir

Fret the 311g the fh hl ad tc 13 oven high E stir,

ar more acura, let th tes tg toy end tne with your ict (cick) had
Fiy. 4
Ting wth Harmoics

Anoher peaular ‘ining mad ive returlRarmemecs raul harman the bel ke tone ge ud wen un open
lings pluvied wl a r2="ane fir ger lig-ty uches Faye a tag nat rt oar ) Ske he tarmenie 3:12 ft
th lo E slg (ivy nue l= sting ciel aveve the fret we), Fe: and ere 1 rarwenic ct the sever ‘re
the A sting. I Tey ae vl cl Lane, yuu ea a public”, oF a sees Of "bea" es they're Krav, Tho fate the beat a
the ules ts more ou oF tne he sang ane Assur that ou" hr Fin 48 Lae, We Ue 8 Sig {cp our Unt
taut sens. Tas ame ft etaeverh et syste apples ae and sin sa ccuratsk sin te
‘hele 'arnonicon the S sting and et he sting asthe e ght er, ther tune, Co this ‘arte 3 nd high F sing st
also, bu Het he hig lng al the saver rel. (Now: This proces ors a very clase, but apprarte ur ng)

lotanation

No amaurt of turing wl sufi Hy uta sot Into ted progr rtaneticn athe nuts best et ne ands” your
luc repair, bu: Edge intenat on iv rst ezsae le 20> tyausal eb, (your riege see not have aajustac sacle,
thi elation wo wai fr yt. Ui ese, ist your eps an)

Start by put on anew st of sir ys {rary ntrationarablems are solv ty this simple proce) ad te ther to
Sich “he ned stp ste ac ust the b-iige sade ie” lurwa'd or backward. unl 1-2 tveletat an onic ofeach sr 9g
{haa pont hetusen the ride andthe nut} ec aspones to te nok Wot a; he ele

Fer ava s Str ia trs tweet hartanic of he ow E sting ar ne ito plo (use a elector tuner for his) New fret
tha iow © sin ath alta et an check tha unin. i rig on, tes Ne mecd Te adjust sa Hove ie =
{e's fla | over) “vw string length (toe oridge ar nur) needs tebe Srertened, Oe tis by ac using the a dae sacle
lornard (owerd the 2c) unl 2 feted mete is tune vltn-ha harran 2. rate registers shar (signer, the cing
‘needs 9 2 enatenec. Tis i eleva oy eusane te Lrg sale Lack (avs from the neck} unt the fetad ots 19
ure. Fellow he sane penne fr each sn,

‘you stilancourtar wing prob ans, Rae ae a ka reablestouirg tis:

2 sLirgs. THis ea caus@the stings o go sharp. (This
load felbuatds,)

+ Wake sare you arent pressing te ard wih yeu et
preblem is comme with amb frets end guts with

Irtoration ay be of 3 the ul 1 is use fs re to 22k a goad reper ma

+ Auras setch you sings (ell p an zach sing, away fromthe and) after ‘un np. This w! tase 9 ary
slack ict ay ozcurulte a the Le pag Aer sLelching the sings. tepes the tung pracase
CHAPTER 2: THEORY BASICS

Jose tation 4 system used to ransria the thre man oompanets
ym (arangemant of pcs plced 1 t met, end hey (Lumina in 0

MELODY
The Saf

Sante ms nota on ster oF a gid 2 si Uv nas and four spaces, ale = ett. The linge ar sound from
S-4-3), a te lhe spaues (12 8 4),

sie: meiody(eangemont ct pies,
F more pits

rte beginning of every stat yeu ne a sy! called &
rate onthe tebe oe, ur Cee ip 2),

Fin.

Jot Tho ore many dferentty>2s of lf, ut qtr musi is

tac tne cd pace ef he soli ass gna leter name. On tka raale ce, tha Tires ar in créer rom boon to ‘ph
E-G-3-0-F asin “Fvary Gaon Ey Dass ves Faves.” The specs are ir oder rom tation to tp): F-A-G-E, whic of sours

——

Fig. 8
Tha Musial Alphabet

All potes in rus ae asclgnad lever nares. Thase eter nemes are the sae asthe Irsl seven leters of 12 lpFabet
(0-3-0-D-E-6G), and ve retsred to 25 the musical apt "cles cre renesenied on he sta i tt: fem of roteads
(ckeles andor ead olack des), The hig te atc, the higher Ls pled on the sha. f-onk cain a 2 pevis set
ot erat you ine up tz ole wares 1 der (ine spe-Aine-spsze, ate.) am bottom 1 top, cy foo the musiee
ap abe in s3quantial ater F-#-6-4-8-2-D-E-F]

May of te noi v1 ve ular otEoa exten heyora se sta‘. Thea pees are rotated using edgar lines—shet Hines
Halal a6 lp ary ssf aster sios. The only ror-ledge! ne noes that apoear cutie the sta are Geely above the
‘83H, and D dec’ below te saff) Gheckout Mg. 4 te see 19w they ae used lw rnesen! some oF Heat highest
Fates an the neck, Far an zaplaricn oF ‘abe crrecyonds 1 te musica ster to Fp. 20 in fis snap, anc
also te Guta Notaan Logendlo sald a ths bau © the boos)

Neves that teverds the erd of Fg, 4 the notes cro9 aack dow se star stn bing enain This is cor tan the fac or is
besore too gh and thetelors matic te vex cuicky “Ta nota an "Bva" ndicats chat ase toes are tobe 3y2d one
‘eke vigherfhar writen Tha use of 8va lun tothe ¢sareion ofthe masiel nett, out genera speaking We

fon the out ladear ina ea coc pace to svat,

»
Fiat

Sa >

oa er

Accidents

‘Ts musical clshaset cess of sven laters, bt, at is lel ev Jert ar the guitar ‘=thaad, thre ae actualy te
pessible ores. “hve ofa oitenes are ened accorcing to now t= eat to “alr “naturc-nate” (B,C, 9. £,F, @) neat
bers. This tols-rzm ng prozess le achieved wth the nlp ofan acacena symacl. Fo: istanze, thre < nce bsveen 2 and
1. This car eltar be named A#tspcken 2s A stay), cr BP (sposen ¢3 0 fn). The "#” syrbol ries the net by aha step
(one te) ve the >” snot lowers te rae by = taf sep, (Re lo Fa, 1, Gap, fora Mastin is names.)

‘Theresa tird acideral symbol zl th natura sign (see Fig fo" accidental examples), T= nual sign cance's prev
us sharps or els etry Hz al tos aural postr. (Note Acide als avy appea”belere Ue noah 1 musi
wl)

Fin.

a

Quin #1

‘nha fl svng qu shea (Fig, fir the nem rame above te sare tv strrgtat acaten en the teblacaa sta. You
‘an rele othe reskc ere trom Chapter. but try to de ths by soLrse DW the exception ofthe hiv srrg, ve note
locals Jel yo bagure Us fou fre) To Palp gel you sale, tr “ist ew answers ae elec, Wrn you're fn
‘bok yourans.ors inthe “Answer Key" secon loco in the back of 2 took
Fig. 6

afi gw a ae a a

BBE ey pie) eee is iy gel bo Sk
4 5
RHYTHM

Measures

As escussd, thes ara reprraniec In v2tcal ‘aston (up ard down) on ths si’ Flyin (pishes eseuring inte}
hava, 27¢ mpreseiad Hor zonte!teson along th st trv It gi Tu el Kea Lacs ol itm and tests, the
sets ci dd i small seg nents called veeswres, Meesues are stoutled by vrt sa slast25 ocled canes. double
tito ite thi nes aly mars the end of action. ermal blir the ¢8¢an4 Ina ickar ar cara han the fst)
is uexd to mark-he ond at «plese of music

Fig?

bate oat'2 tari ne ‘emia ang

Tine Signs
‘tthe beg mia of paca cuter 152 is t0 38 ight th ae af) sas rumbe-s, aren top of eter
Tis scale te tina lretu, The to ruber rprse's he nia ot bets cans) pe: measure, Ue La a bet

Indeares the ype of nota reseling te beat. Sae ig. 8) Sumedimes che cap ial flay Cis suustiuted volar ef he time
snare, ind cates corn ine, 0° 4 ine

Fla. 8

4 saure.

Beats por measire
com = Fighth neta'= one neat

Note Values

As stated exo, Je eal wa valéigad on‘he ill ind ces the pith. T>2 duration (or value ctr not, “neve, i iad
‘aed by se “slaps” ee ale ay. 9 afer a breckdown cf the “ast commen note vats.

2 beats per measure
‘Quararncte

Fin.
Whoerate o Abels
Fattncin d= 2 eats
tater note = 1 vet
fighta nate). 112 beat
Sateeth ote = 144 beat
Fasts

Fess indicat en of since beswee cl
Fin. 10

4, 10 depiets the most sonuron types ct

Wholerest Hal esl uarler vest Eighth rast xteeuth rest.
4 als 2 bots heat 2 0aat 1 beat

——