Lead Guitar Decoded

Chris Pal

Description

If you can see it - you can play it.This is a very visual book on learning to see arpeggios and scales on the guitar using fretboard diagrams. It is also about superimposing seemingly unrelated arpeggios over chords to produce interesting sounds and to help "develop" your ears.If you want to learn how, when, why and where to use arpeggios and scales over different chord types and progressions, then this is the book for you. In addition, you can hear mp3 audio with each example and backing tracks are supplied for practice.It is written for guitarists on any level. If you're a visual learner, you're going to love this format. If you don't read music, don't fret; there are no crotchets or quavers here.This is not a licks book. Learning licks is ok, but will only get you so far.This book provides the raw material necessary to create your own licks. The more you can see and hear all the note intervals, the more the neck will open up for you and you'll start to understand the relationship between the underlying harmony and the notes you pick.The mp3 examples give you a taste of the general "flavour" of each sound. All you need to do is pick out your favourite arpeggios/scales and start applying them to songs.Any way you look at it, you are getting a lifetime of knowledge and ideas.

Sujets

• Music

Informations

• Publié par: eBookPartnership.com
• Date de parution: 25 septembre 2013
• Nombre de lectures: 3
• EAN13: 9781783012091
• Langue: English
• Poids de l'ouvrage: 13 Mo

Extrait

Lead Guitar Decoded :
How To Apply Arpeggios and Scales Over Chords - An Easy Visual Guide To Soloing
Chris Pal
* * *
This book is dedicated to the memory of my father. His love of music influenced my life.
* * *
Copyright 2012, 2013 - Chris Pal
All Rights Reserved No part of this publication may be reproduced or transmitted in any way, without prior permission from the author
A guy leans out of a car window and asks someone passing nearby,
Hey, how do you get to Madison Square Garden?
The reply ...
Lots of practice
It is in this spirit, that you should approach this book - By asking yourself questions, having short-term goals, long-term goals and having a consistent practice routine (and having fun along the way).
Most importantly, you must apply what you learn to real songs, a little each day.
____________________
A journey of a thousand miles starts with the first step
He who fails to plan, plans to fail
A good plan is like a road map, it shows the final destination and the best way to get there. H Stanley Judd
Table of Contents
Forward
The Major Scale
Building Chords
Diatonic Chords in C
Nashville Number System - Transposing to other Keys
Let s Improvise
Non Chord Tones / Passing Tones
Modes
The Blues
Non-Functioning Chords
Parallel Keys / Modal Interchange / Borrowed Chords
Phrygian Dominants / Secondary Dominants
Applying Pentatonic and Blues Scales
Blues Scale Diagrams
Arpeggios for Dominant Chords
Arpeggios for Major Chords
Arpeggios for Minor Chords
Arpeggios for m7 5 Chords
Slash Chords
Other Chords
Playing over diatonic chords in the Key of D
Diatonic Chord Diagrams all keys
Interval Scale Diagrams
Melodic Minor Diagrams
Harmonic Minor Diagrams
Melodic Minor
Harmonic Minor
Forward
This is a musical navigation/reference book. You can use it to:-
Learn arpeggio / scale patterns over different chord types.
Use it as a song-writing tool, by carefully planning your lines and melody.
This material is intended as a guide to get you to the ballpark by sparking ideas and getting your creative juices flowing.
This is not a licks book. This book provides the raw material necessary to create your own licks. The major benefit is that once the information is absorbed, you will take ownership of your solos. The fastest way to obtain goals is by internalising information, it becomes part of you, and you ll hopefully gain the ability and freedom to hear a note before you play it.
Learning licks is ok, but it will only get you so far. You have probably already learned a few licks but may not understand how they came into being. I hope this book will answer many of your questions.
The first essential step to improvising is the ability to hear what is being played. Training your ear is the key. I encourage transcribing as many of your favourite songs as possible. If you have the sheet music for a particular song, first use your ear to work it out, (no cheating) then check your work with the sheet music. In the distant past, long, long, ago, sheet music took years to come out in print and musicians had to work out music by ear if they wanted to play a gig that night, get paid and eat.
Sir Paul McCartney is the most successful composer and recording artist of all time and has a great ear, but Sir Paul doesn t read or write a note of music. Don t get me wrong, I m not against reading music, I encourage reading at every opportunity. I m only saying that having the ability to hear, wins every time. I had a friend who was classically trained on piano, a real pro. One day I asked him if he wanted to jam and he replied, Where is the music? At that point, I really wanted to say it s inside you. He really could not play a note unless there was a piece of paper in front of him. To me it was like some kind of musical paralysis. I showed him a few rock jazz scales and told him how I practiced how I transcribed songs by ear. A few months later he got so good at transcribing it blew me away - he became a monster player. He actually had all this music hidden inside him all that time, wanting to get out. As a musician, he was finally free.
There are no crotchets or quavers or tabs in here. The main reason is that guys nowadays simply don t learn the notes on the fretboard and just noodle around aimlessly. While this is good as personal therapy, it won t help you if you want to take your playing up a notch or two. To help you find notes on the guitar, I have supplied diagrams and written the notes and related scale degrees. Supplying only the essential notes in diagram form means you will have to find the rest of them - if you re going to get serious, knowing your instrument is very important.
If you consider that there are 5 locations for a middle C on a guitar, you can see that your options are going to grow, so once you learn something new, play exactly the same thing in another location. This alone will increase your familiarity and visualisation of the fretboard.
If you don t know where all the notes are you won t be able to play them.
I have already supplied all the ingredients - you will supply the music. The assumption is that you already have a grasp of the basics and know how to divide time.
The mp3 examples are here only to give you a taste of the general flavour of the sound.
The scales and arpeggios were played as simple as possible without any chromaticism to let you hear what their most fundamental, basic application can sound like.
Some diagrams shown are what I call fragments . They are the seeds of what is possible - its up to you and your imagination to breathe life into these notes in addition to finding them all over the neck.
Lastly, you need to choose a reliable GPS system in order to navigate your way around the guitar neck. Some guys like to visualise notes and others prefer to see scale / tone degrees (like flat 5, flat 7, in relation to the current chord). Whatever method you choose, if you re serious about learning improvisation, you NEED to know ALL the notes on the fretboard. It will greatly assist your playing if you can see chord tones all over the neck as opposed to just noodling around without purpose.
The more you can see the notes (or degrees), the more the neck will open up for you and you ll start to understand the relationship between the underlying harmony and the notes you pick.
When you learn any new musical concept, apply it immediately.
This book has taken a very long time to put together from a mass of notes I have collected over 20 years and also from practical experience playing gigs and teaching guitar.
It has taken me countless hours to put it together.
Any way you look at it, you are getting years of knowledge and ideas.
Apply it, and be rewarded.
If you can visualise it - you can play it
The Major Scale
The major scale is the standard reference for all music.

The word scale comes from Latin, meaning ladder. The same word in Greek is Dromo, which means road. Knowing all the roads on the fretboard means you can take short cuts and get where you want to go faster, or take the long scenic route and enjoy the ride. Knowing the way there is the key.
From the root, the intervals (steps) are: whole - whole - half - whole - whole - whole - half.
These notes are all the white keys on a piano.



Examine the semitones - check out the spacing.



Remember that C # is the same as D ,
D # = E F # =G G # = A A # = B these are enharmonic notes.
Note that the 9 th degree (the note D) is equal to the 2 nd degree. 9 = 2
There are 7 notes in a major scale - so an easy way to work out the upper extensions of a scale is to add or subtract seven, 9 - 7 = 2, or the other way around, 2 + 7 = 9
11 = 4 and 13 = 6, they are the same notes. 4 + 7 = 11 6 + 7 = 13
Building Chords
To build chords, we need to pick out every other note (known as thirds).


All these chords are simple triads. Learning all the triads, both major and minor, is probably the greatest thing to learn if you want to improvise, it s the foundation of all chords and arpeggios.
Diatonic Chords in the key of C

We have already counted up to the 5 th degree. If we keep on extending and adding more thirds to the chords we get the 7 th degree.

B D F A = Bm7 5 or B Half Diminished or B for short. The perfect fifth of Bm7 is F # - however, the C Scale does not have any flats or sharps, so we have to lower the F # (or flatten it) by a half step, or semitone, and make the F # a F note or the 5 degree (tritone), relative to the B note.
To make it clearer, take a moment to count the semitone intervals between C G (G is the perfect 5 th ), then start on B and count the (semitone) intervals between B and F - can you see the difference? It s 1 semitone less.

Due to harmonic gravity , music likes to travel in a cycle of fourths or fifths. Here is an example of a 70 s disco song (I Will Survive by Gloria Gaynor) going through the circle of fourths in the key of Am, which is the 6 th degree or Relative Minor of C .
I Will Survive chord progression

The Key of Am also known as Aeolian Mode

This is called the Aeolian Mode, or the Relative Minor of C Major Scale - If you re-arrange the harmonised C Scale and place Am first in the chain, the Dm will become the 4th degree, then count another four forward and you get the G7 chord, etc, this is called moving in fourths - or fifths if you go backwards. The chords are the same as the key of C, only the order has changed.
Without going into too much theory, the E minor chord is changed to E7 dominant to resolve back to Am, E7 contains a G# note that leads the ear back to Am, which is a semitone away.
I should also point out that many composers use a B chord instead of B (in the key of C) especially in pop and rock music. We call this B chord the 7 degree. If you play Rock, Pop or Blues, don t stress too much about the B chord, it s used mainly in Jazz. Look at it as a G9 chord wi