17 BAR CHORD REVIEW SHEET -6th and 5th string root chords diagrammed out – PDF FILE

A table will appear with chord charts drawn out for some popular 6th string root and 5th string root bar chords. The table shows some common voicings for 6th and 5th string root bar chords for the major, minor, minor seventh, dominant seventh, major seventh, ninth, and eleventh chords.

These are essential chords and you will want to learn them and get them down cold. These are only a few voicings of each of these chords, there are many for each chord – but these will get you started and provide you with a handy reference sheet with the chords listed all on one page. The square box denotes the root note. 

 
These chords are a vital part of any guitarists chord vocabulary and should be memorized. Utilize the bar chord changing exercises from the video lessons to practice switching chords in smooth rhythmic patterns. Use these chords in your daily exercises and practie them in songs. ROCK ON!
Click below to download the written material I prepared for you:

19 Using the CAPO – Capo chord conversion chart – PDF file

Using a capo on your electric or acoustic guitar can be both functional and fun. It will give you access to a whole new and exciting spectrum of sound textures as well as making key transpositions a snap. Using it is like giving the guitar the whole new palette of sounds.

Capo is actually short for the Italian phrase “capotasto”, which translates to “principle fret”. The device in essence provides a temporary nut on the guitar at various fret positions. In effect it shortens the length of the vibrating strings which raises the pitch of the open strings. So it makes open chord transposition a snap.

The capo is also a very useful tool as it makes it extremely easy to change a songs key to a more suitable vocal range. The guitarist can instantly change the pitch of the strings to suit their vocal range from song to song. It also makes playing flatted bar chords like Eb, Ab, and Bb much easier as with a capo you can play them with open voicings as compared to bar chords.If you affix the capo at the first fret, all the chords shapes you normally play will now be moved up a half step. Try playing familiar chord voicings while utilizing the capo at different frets and listen to the different sounds you can get with the capo.

Below is a chart that illustrates basic major chord shapes and what they will be transposed to if a capo is used at the indicated fret. For example if you play a C chord shape while having the capo affixed at the 6th fret, the chord will ring out to the pitch of F#. If you play a E chord shape with the capo affixed at the 6th fret, the chord will ring out to the pitch Bb.


You can see by these examples the capo allows the guitar player to shape common open chord fingerings but have the actual pitch ring out to a chord they may have to play with a bar chord.

Click below to download the written material I prepared for you:

33 Written diagrams and lesson on the HARMONIC MINOR Scale – pdf file

There are basically three types of minor scales – natural minor, harmonic minor, and melodic minor. The harmonic minor scale is a very interesting sounding scale that will add color and depth to your sound – it is a very exotic sounding scale. It has a very distinctive color to its sound – almost Spanish sounding. It is a natural minor scale with a raised seventh. The scale degrees are 1, 2 ,b3, 4, 5, b6, 7.

The natural minor scale is the same scale except the last degree is a flatted seventh, (b7). This form of minor scale is called “harmonic minor” because when harmonies are constructed in minor-key music, it often tends to utilize the raised 7th, especially in dominant harmony. In the key of C the harmonic minor scale would consist of the notes C, D, Eb, F, G, G#, and B. In the table shown on the written lesson you can see how the harmonic minor scale intervals relate to some of the other scales and modes that we have discussed in previous lessons.

This scale sounds great when played over a major V chord in a minor key progression or over minor plus seven chords. Try laying down a rhythm of Am7 – E7. Play A Aeolian over the Am chord and when the E7 chord comes up play the A Harmonic Minor scale over that chord and listen to the sound – WOW. Try resoling the 7th degree to the root for a nice tension and release feel. You can play the scale over straight minor chords – but it will sound a bit exotic – try it and experiment. Remember the keynote in the scale is that 7th – it is always a half step behind the root note.

Just to get you started below are two scale shapes. You can grab these easily in any key as you grab the root note with your first finger on the 6th string root in the one shape and the 5th string root in the other. These will get you started but over time learn the scale over the entire neck and practice in all keys.

Click below to download the written material I prepared for you:

36 The MODES OF THE MAJOR SCALE – Aeolian, Dorian, and Mixolydian drawn out

The following two-page written lesson is a continuation of modal studies. Please print out the previous written lesson on modal playing part one. With part one you should now have a basic modal overview and now we can discuss each mode in detail and how to go about utilizing them. In order to thoroughly understand the modes we will need to look at the interval structure that defines each mode and then match them with corresponding chords and progressions where they can be applied. Remember that the modes are all just variations of the major scale and you will be playing the modes by shifting emphasis to a different note in the parent or mother major scale. Once you know all six major scale patterns up and down the neck you know all the modes of the major scale. You wont have to learn another six shapes or scale patterns for each mode – you can get to all the modes through the major scales. Refer to the past lessons and learn all six major scales and scale links up and down the neck and practice in all keys.

The illustration below shows each mode in order and its interval structure. Many of the modes are very similar, some just one interval difference. For example the only difference between Aeolian and Dorian is the Aeolian mode has a b6 while the Dorian mode has a major 6th. Mixolydian is just like the Ionian mode or major scale but with a b7 and Lydian is also like the Ionian mode but with a #4. Phrygian is just like Aeolian except it has a b2. So many of the modes are very similar but these slight differences will give you a totally different mood and totally different sounds – it’s absolutely amazing! Keep in mind that each mode has its own specific sound, texture, and mood.

In the last column of the table on page one, it denotes which modes are considered more major modes and which are considered more minor modes. Memorize which are your major modes, (Ionian, Lydian, and Mixolydian), and which are the more minor modes, (Dorian, Phrygian, Aeolian, and Locrian) as this will help guide you to utilizing the correct mode over a given chord or chord progression. Notice the asterisk on the Dorian mode.

Click below to download the written material I prepared for you:

16 MOVEABLE BAR CHORDS made easy – with diagrams PDF file

In this two-page written lesson you will learn about moveable bar chords on the 6th string and 5th string roots. You should have watched the video lessons at the end of the beginner lessons section that coicide with this written lesson. The bar chords displayed are moveable up and down the neck on the given string. Keep the same fingering and same shape as you slide these chords around. The name of the chord will depend on which root note you are playing.

For example, play the root 6th string major chord on the 5th fret, (A note). The A is the root note, as depicted by the squares in the illustrations below. So this chord would be an A major bar chord. Now, move the whole shape to the 7th fret – slide the whole shape up a whole step or two frets. Now it becomes a B major bar chord. If you move it to the 8th fret it will be a C major bar chord.

You can move all these chords on its given string in the same fashion. Practice them in all keys and be patient, it will take some time to get your fingers to voice these chords – but with practice, you can do it. To ease into the fingering of bar chords let’s start by taking the shape of the E major open position chord we learned in a previous lesson:

Click below to download the written material I prepared for you:

38 LEAD PLAYING EXERCISE-apply arpeggios,scales,and modes over a Dmajor jam-w/matching jam track PDF

This written lesson is to be used with the “jazzy groove Dmaj7-Bm7-Em7-A7” jam track that is in the “JAM TRACKS” section of the website. It is time to work on your lead lines and improvisation. Here we will use a four chord progression with a jazzy edge to practice what you have learned to date. As discussed previously you must analyze the chords and the progression as that is what gives the road map to what you can utilize for soling and improvisational purposes.

In this example we have a I – VI – II – V progression in the key of D major. All the chords are common to the key of D major so you can utilize the D major scale over the whole progression as D major relates to all the chords. That is one road to take. Another road is to play over each chord individually with a different scale or arpeggio as it relates to that one individual chord that you are playing over. Print out the PDF file as I list some suggestions of a few scales, modes, and arpeggios that work over the given chords. Some arpeggios are also drawn out so you can see them on paper and put them in your reference library. There is a myriad of options and I list just a few to get you started, so get creative. Remember to listen carefully for the chord changes and try to end your phrases on strong chord tones. Mix things up – perhaps play through the changes at first utilizing all D major scales as that relates to all and then switch and practice playing over each chord. Practice with the jam track and really work on treating each chord like a separate event.

Have fun and try to build melodic ideas and play off yourself. Find the magic and then repeat the hip licks , vary them a little each time but keep going back to that melody lines. Remember, its rhythm, repetition and melody that will draw listeners into your solo – you want to engage the listener and draw them into what you are doing on the guitar.

Here is me playing over the jam using the jam track and playing the scales, modes, and arpeggios that I outline in this written lesson. Listen for the arpeggios and how I play both what relates to all (D major scales over all chords), and also play over each chord – treating each chord like a separate event – check it out by clicking HERE on this link

Click below to download the written material I prepared for you:

26 Building CHORDS from the MAJOR SCALE – critical for MUSIC THEORY and SONG WRITING – PDF FILE

As per our previous lessons we have learned that music theory falls back to the major scale. The major scale is the standard in music that all is compared. The major scale is a seven note scale that you have probably heard before as doe, re, me, fa, so, la, ti – then it repeats and goes back to doe. Each note of the major scale also refers to a chord in that scale – there are seven notes in the major scale and therefore seven basic chords in any major key. Remember we are talking about major key in this lesson – we will look at minor key in another lesson.

Now we will build chords from each degree of the major scale and you will easily be able to know which chords are in any given key. A scale is a series of sounds arranged by order of pitch, or alphabetically, from any given note to its octave. To find the notes in any major key, (major scale), start at the root and go up following this pattern: whole step, whole step, half step, whole step, whole step, whole step, half step. This will take you to the root one octave higher than where you began, and will include all seven notes in the major key in that octave. Remember, any chord might show up in any given key, however, some chords are much more likely to be in a given key than others. The most likely chords to show up in a given key are the chords made from combinations of the notes in that keys’ major scale. You’ll find that although the chords change from one key to the next, the pattern of major and minor type chords is always the same for any major key.

In the PDF file that coincides with this lesson we will examine the C major scale and build the chords in that key right from the scale. Then just follow this template to build the chords in any key. The chords in each key are built by stacking thirds. If you start on C and skip every other note in the scale for a total of 3, you have built a C major chord. The major chord follows the formula root, 3rd, 5th. So a C major chord is constructed from the three notes C, E, and G, the root of the scale, the third note of the scale, and the fifth note of the scale. (If this is not clear or totally new, before going forward, please stop and review the previous lessons on chord construction).

Now if we do the exact same thing except start on the D note, the second degree of the scale, and skip every other note – or just keep stacking thirds, we then have the three notes that construct a D minor chord, (as illustrated in the PDF document). The process of stacking 3 notes up in the major scale continues until you have a total of 7 chords, one for each note of the scale. Each major key will have a total of seven chords.


Because major scales are always built from stacking thirds, the pattern is always the same for every major key. The chords built on the first, fourth, and fifth degrees of the scale are major type chords (I, IV, and V). The chords built on the second, third, and sixth degrees of the scale are minor type chords (ii, iii, and vi). The chord built on the seventh degree of the scale is a diminished chord. So whichever key you are building chords from the pattern will always be the same. Major….Minor….Minor….Major….Major….Minor….Diminished – commit this pattern to memory!

Other video lessons to watch that coincide and dovetail with this lesson:

In the “MUSIC THEORY” section of the website watch:

Chord construction theory and major scale building – Guitar Lesson 9:20 minutes

CHORDS in each KEY – SONG WRITING LESSON FOR MAJOR KEY – part 1 of 3 – 13:41 minutes
CHORDS in each KEY – SONG WRITING LESSON FOR MAJOR KEY – part 2 of 3 – 13:13 minutes
CHORDS in each KEY – SONG WRITING LESSON FOR MAJOR KEY – part 3 of 3 – 13:39 minutes

Other written lessons to print out and read that coincide and dovetail with this lesson:
-SONGWRITING and Theory LESSON – chords in each MAJOR key – CHORD CHART – PDF FILE
Click below to download the written material I prepared for you:

32 CHORDS diagrammed out with fingerings – major 7th, 6th, 9th, and 13th chords – PDF FILE

It is so critical for the guitarist to know a large catalog of chords and how to utilize and embellish them. In this written lesson we will look at some different voicings for major 7th, 6th, ninth, and 13th chords. These chords are a lot of fun. The PDF file shows the chords diagrammed out as well as their fingerings and interval structure. Most of the chords shown have low root notes off the 6th string or the 5th string.

Major 7th, 6th, 9th, and 13th chords are all in the major family. You can usually tell major chords from minor chords by looking at the 3rd interval. Most major chords have a major 3rd interval while most minor chords have a flattened 3rd or b3 interval. Many major family chords are built off one another, and this principle is clearly illustrated by looking at each chord’s interval structure.

For example, the major seventh chord, (root, 3rd, 5th, 7th), is built off the major chord, (root, 3rd, 5th) – just add the 7th to the major. The dominant 7th chord is also built of the major by adding a b7 to the major making the formula root, 3rd, 5th, b7th. The ninth chord is then built off the 7th, (root, 3rd, 5th, b7th, 9th), – just add the 9th to the 7th.

Practice the examples below in all keys and commit the intervals to memory, as you will find them incredibly useful in everyday playing scenarios.
Click below to download the written material I prepared for you:

ABOUT NEXT LEVEL GUITAR

Next Level Guitar was born in 2005 by co-creators Tim Gilberg and David Taub. They were of the first to bring video lessons to the online guitar community and with their innovative and fun teaching methods quickly built a huge following. Over the years Tim and David have taught hundreds of thousands of students all over the world through this website how to play guitar or how to get their guitar skills to the next level.

Acoustic Blues Guitar Licks & Soloing Strategies rating

100% Money Back Guarantee

Here's my Totally Risk-Free, No-Worries, Guarantee
Your purchase is unconditionally guaranteed for 30 days,
No questions asked. Period.

Put the methods to practice and watch your playing get to the next level all while having fun.