Week 1 Tab Book

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Table Of Contents
Introduction 3
The Chromatic Scale 3
Scale Theory 4
The Diatonic Scale 8
Chordal Theory And Triads 17
Seventh Chords 20
Chord Shortcuts 23
Introduction To Modes 24

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MODES
by Steve Stine

INTRODUCTION
This course will deal with the ins and outs of the diatonic scale called modes and their relationships to the music that we
play. Modes have been a very confusing topic for many guitar students over the years, making modes impossible to use
in playing, hence the need for this course to go into practical details regarding them.

THE CHROMATIC SCALE

The chromatic scale is a sequence of 12 notes. It starts from a particular note all the way up to its octave. Each note in
the chromatic scale is a half-step interval apart from the next. Think of the chromatic scale as a dictionary of notes.
In a piano keyboard that has 88 keys, there are only 12 notes that get repeated over and over in octaves.

The chromatic scale has seven primary notes namely A, B, C, D, E, F and G. These are the notes one can play over the
white keys of the piano keyboard. The black keys (called accidentals) provide access to the other five notes found in
between the primary notes. A black key immediately to the right of a white key is called a sharp (#) and the one to the
left is called a flat (b).
Because each black key can be found in between two white keys, these accidentals have two names i.e. enharmonic
names. For example, C# is the same note as Db.
When we look at the piano keyboard, we find that there are no black keys between B and C and E and F, and this is why
we say that there is no B# (which is actually C) or E# (F). Remember the term BE as a shortcut to remembering this.
Given the explanation of sharps and flats on the piano keyboard, we can also say that sharp always means to raise
something by a half step and flat means to lower something by a half step.
When we look at the guitars fretboard, the chromatic scale can be easily realized. This is because the frets of the guitar
actually divide the fretboard in half steps. The row of notes from the open E of the 6th string up to the 12th fret is a
chromatic scale starting in E!

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If we know how the chromatic scale works, we only need to memorize a number of notes per string and we can, by
analogy, find the rest of them easy:

1. Memorize the primary notes (i.e. those with no sharps or flats) on the fretboard up until the 12th fret. Start out
with the 6th string first. Use the dot inlays of your fretboard as guides.
2. Once we know where these notes are, we can easily find all the accidentals by way of analogy, keeping in mind
BE (no B# or E#, no Cb or Fb). If it is a sharp, it should just be one fret above the primary note. If it is a flat, its
one fret below.

SCALE THEORY
If the chromatic scale is the dictionary of musical notes, it is not very useful in a musical sense necessarily. From the
chromatic scale, however, we draw other kinds of scales to make music. The scale that will be in focus for this course is
the diatonic scale (a.k.a the do-re-mi-fa-so-la-ti-do scale). Another kind of scale very familiar to guitar players is the
pentatonic scale (five-note scale).
When we look at the seven primary notes from our chromatic scale starting at C (C, D, E, F, G, A, B - all the white notes
of the piano keyboard), this is a diatonic scale. All of the 12 key signatures used in music are based on diatonic scales i.e.
every diatonic scale in any key must have some sort of do or C to start out with and follow that pattern of intervals

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as indicated by the sequence of notes in a diatonic scale. Each diatonic scale should spell out having ALL the individual
note names (e.g. there cant be two Cs or two Ds in a diatonic scale).

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Because of its seven notes, the diatonic scales can be used in many ways other than the standard major and minor.
Pentatonic scales, however, differ from the diatonic scale in that these scales are missing crucial notes. Therefore,
pentatonic scales can only be used as major and minor, unlike diatonic scales that can be used in different modes.
Since guitar players usually learn pentatonic scales first, we can think about the pentatonic scale as a skeleton to form
the diatonic scale. We will only add two notes in the pentatonic scale to create a diatonic scale.

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THE DIATONIC SCALE

To further the discussion about diatonic scales, we will start out with the C major scale. We choose the key of C for this
because it has no sharps or flats plus the major scale serves as a basis or starting point for discovering modes and minor
scales:

One key concept in understanding the diatonic scale is the interval (the distance between two notes). To come up with a
diatonic scale, we need a combination of whole and half steps (hence the term diatonic scale meaning a scale with
whole and half steps).

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To easily memorize the sequence of intervals in a major diatonic scale we need to realize:
1. The diatonic scale has seven notes (excluding the octave).
2. The half steps are in between notes 3 and 4 and then in between 7 and 8va.
3. This means that for the rest of the notes, the intervals between them are whole steps.
Why do we need to understand these intervals? It is this sequence of intervals in between notes that give our major
diatonic scale its character or distinct sound!
Lets try out this sequence of whole steps and half steps in understanding the same major scale in the key of G:

In order for us to properly play a G major scale we need to change some of the notes along the GABCDEFG sequence in
order to get the proper intervals. Notice that in between E and F is a half step and in between F and G is a whole step. If
we keep these notes as they are, we dont have the G major scale (its going to sound like something else). This is where
accidentals become useful. By turning F into F#, we now have the requisite half step between 7 and 8 for the major
scale.

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Lets check our major scale in the key of F:

Between E and F is already a half step, and so it satisfies the required half step between notes 7 and 8. However, the
interval between notes 3 and 4 (A and B) is a whole step and so this needs to be changed. By turning B into Bb, we now
have a half step between notes 3 and 4, and so we have the F major scale.
The succeeding page shows charts of all 12 major scales.

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CHORDAL THEORY AND TRIADS

Within a diatonic scale, we can create chords out of at least three notes. Chords are built upon triads i.e. three individual
pitches. These pitches are the root, the third, and the fifth. A chord like C, for instance, has the notes C (root), E (a third
from C), and G (a fifth from C):

In
terms of the guitar in standard tuning, we typically play chords in at least five different basic shapes. Regardless the
shape of the chord (open or barre, etc.) or the number of strings we use to play it, we are just playing three notes if we
are playing a triad:

If youre having difficulty thinking of a triad as root-third-fifth, think of a triad as every other note for the first three
notes.
Now that we have established what a triad is, lets look into the intervals in between each note of the triad. After all,
these intervals are what would give the chord its characteristic sound. Take a look at the interval between C to E. How
many half steps does it take to go from C to E? We can ask the same about E to G. We would discover that it takes four
half steps to go from C to E. We can call four half steps a major third interval. Between E to G, we only have three half
steps, and this is what we call a minor third interval.

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Going
back to our C triad, we notice that we start out with a major third on top of a minor third. This is how we create a major
triad.
Again we repeat: a major triad has a major third on top of a minor third.
In our C major scale, we have our C major triad as the first one. Lets look into the second triad we can form out of D, F,
and A. In between D and F there are only three half steps, and then in between F and A are four half steps. We call this
kind of triad a minor triad because it starts out with a minor third stacked on top of a major third:

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If we examine the rest of the notes of the scale, we can come up with seven triads out of seven notes. Looking deeper
into it, we will notice that triads I, IV, and V are major and triads ii, iii, and vi are minor:

When we get into the seventh triad, we get two minor thirds stacked. This is what we call a diminished triad:

So, we can sum up that in the major scale:

1. I, IV, and V are always major triads.
2. Ii, iii, and vi are always minor triads.
3. The viio is always a diminished triad.
Take note that everything that will be discussed in this course regarding music theory in general will be based on the
major scale. Matter of fact is that most of the concepts we know about music will always revolve around the major scale
as a basis, even minor scales and key signatures.

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SEVENTH CHORDS
Seventh chords are triads that have a seventh tagged into it. This means we are effectively stacking another third on top.
Here we have a chart showing all seventh chords within the key of G:

Imaj7
G
B
D
F#

ii7
A
C
E
G

iii7
B
D
F#
A

IVmaj7
C
E
G
B

V7
D
F#
A
C

vi7
E
G
B
D

viio7
F#
A
C
E

When we name seventh chords, the major (represented as M or maj) refers to the interval (seventh) and not the
chord itself. For example, if we read GM7 (G Major 7th), it means that we have a G major chord with a note that is a
major seventh from the root. If we just see a 7, it means that the chord has a minor seventh .
In this case, the I and IV chords get another major third. Since these chords have a major seventh from the root, we call
these major 7th chords e.g. GM7 or Gmaj7. Stereotypically speaking, major 7th chords sound like jazz just because these
chords are used ubiquitously in the jazz genre.

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The ii, iii, vi, and viio chords all get a minor third i.e. they have a minor or dominant seventh from the root. In this case,
we can call ii, iii, and vi minor 7th chords e.g. Am7.

There is actually something peculiar about our V and viio chords. In a major scale, the V chord always gets a minor
seventh. Major chords with a minor seventh as an extension is called a dominant 7th chord e.g. D7. The reason why
chords like D7 and G7 are called dominant 7th chords is that they usually function as the V chord a.k.a. dominant of a
particular major scale or key signature. Dominant chords naturally lead to playing a I chord (root) e.g. after playing a D7
(V7) chord, we expect to hear a G (I) chord next. Dominant 7th chords sound like blues just because these chords are
used a great deal in all styles of blues.

As for the diminished chord, it can have a minor seventh as a natural extension from the major scale. This chord is called
a half diminished 7th chord (in contrast to a fully diminished 7th chord, which has a diminished seventh instead of a
minor seventh).

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The shortcut to figuring out your seventh chords on your guitar is in moving one of the root notes in your chord (usually
the octave or those in the higher register):
1. Move at least one of the root notes in your chord a half step to get a major 7th.
2. Move at least one of the root notes in your chord a whole step to get a dominant 7th.

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CHORD SHORTCUTS
To help make learning and understanding triads easier to understand, we have a number of charts here that we can
use.
MAJOR TRIAD CHART: (This is not a scale, but this is a shortcut to learn major triads)

A
C#
E

B
D#
F#

C
E
G

D
F#
A

E
G#
B

F
A
C

G
B
D

Directions for use:

1. All triads in this chart are major.
2. Flatten the thirds to get minor triads.
3. Flatten the thirds and fifths to get diminished triads.
From here we can create a chart showing the triads of the C major scale:

I
C
E
G

ii
D
F
A

iii
E
G
B

IV
F
A
C

V
G
B
D

vi
A
C
E

viio
B
D
F

ii
A
C
E

iii
B
D
F#

IV
C
E
G

V
D
F#
A

vi
E
G
B

viio
F#
A
C

G major scale:

I
G
B
D

As an additional learning activity, it is suggested to write similar charts in all keys.

INTRODUCTION TO MODES
What is a mode? A mode is simply a degree i.e. placing emphasis on a certain note or chord to make it central to the
music. In the major diatonic scale, we have seven notes meaning that it gives us seven triads as well as seven modes. If,
for example, in the key of G we place emphasis on the A minor chord, we are actually playing the in the second mode
since Am is the second chord along the sequence of the major scale. In effect, the way we get modes is the same way we
get our minor key. A minor key is simply another mode along a major scale!
In any major key signature, placing emphasis on the first chord (I) or note gives us the first mode. This mode is called
Ionian. For example, in the key of G, the Ionian mode starts with G (the I chord). The Ionian mode is also the same as our
as major scale starting at the root or key.
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B
D

C
E

D
F#

E
G

F#
A

G
B

A
C

As an additional learning activity, it is suggested to write similar charts in all keys.

INTRODUCTION TO MODES
What is a mode? A mode is simply a degree i.e. placing emphasis on a certain note or chord to make it central to the
music. In the major diatonic scale, we have seven notes meaning that it gives us seven triads as well as seven modes. If,
for example, in the key of G we place emphasis on the A minor chord, we are actually playing the in the second mode
since Am is the second chord along the sequence of the major scale. In effect, the way we get modes is the same way we
get our minor key. A minor key is simply another mode along a major scale!
In any major key signature, placing emphasis on the first chord (I) or note gives us the first mode. This mode is called
Ionian. For example, in the key of G, the Ionian mode starts with G (the I chord). The Ionian mode is also the same as our
as major scale starting at the root or key.
The names of all the relative modes of the major scale, from first to seventh (as well as whether or not they are major or
minor), are as follows:
1.
2.
3.
4.
5.
6.
7.

Ionian - major
Dorian - minor
Phrygian - minor
Lydian -major
Mixolydian - major
Aeolian - minor
Locrian minor/diminished

We can chart our modes according to the scale degree or chord it starts out with:
Mode

Starting/Emphasized Scale
Degree
Ionian
1
Dorian
2
Phrygian
3
Lydian
4
Mixolydian
5
Aeolian
6
Locrian
7
In the key of G, here are the modes and their starting notes or chords:
Mode
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian

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Starting Note
G
A
B
C
D
E
F#

Starting/Emphasized Chord
I
ii
iii
IV
V
vi
viio
Starting Chord
G
Am
Bm
C
D
Em
F#dim

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Progress Tracker
Date

WEEK 1
Introduction
The Chromatic Scale
Scale Theory
The Diatonic Scale
Chordal Theory And Triads
Seventh Chords

Chord Shortcuts

Introduction to Modes

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/
/
/
/

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/
/
/
/

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Week 2 Tab Book

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Table Of Contents
Exploring modes with chords 3
Converting pentatonic to diatonic 9
The major scale over the fretboard
14
Emphasizing chord tones 15
The seven positions of the major scale
20
Progress Tracker 25

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EXPLORING MODES WITH CHORDS

In this segment, we will explore modes using chord progressions. Lets say were in the key of G and we have our I-IV-V
chord progression:

If you have followed the discussion earlier, you will say that this chord progression is in the Ionian mode. What if,
however, we want to emphasize something else i.e. play in another mode? The simplest way to do it is to place
emphasis on another chord.
Drawing the ear towards a particular chord and away from the I chord is the goal of modal playing. In the case above,
its as if the central chord is Am despite the fact that the music is in the key of G major. This principle works in any key.

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Here an example of playing in the Dorian mode:

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Going back to the key of G, playing in the Dorian mode can be as simple as a ii-iii chord progression:

What is it that makes Dorian or any other mode sound different from the scale it was derived from? You will notice that
the order of whole steps (W) and half steps (H) found in a major diatonic scale has been rearranged just because we
emphasized a chord other than the I chord. In a major scale we have a whole-step-half-step pattern of W-W-H-W-W-WH. In the Dorian mode, since we emphasize the second scale degree, the half steps are now located somewhere else (we
get a sequence of W-H-W-W-W-H-W). This lends to the unique sound of a mode.

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Here is an example of a chord progression in Phrygian mode:

The Phrygian mode has a kind of Spanish-sounding feel to it.

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An example of a chord progression in the Lydian mode may look like this:

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Mixolydian is a very important mode in genres like Southern rock. Here is an example of a chord progression in
Mixolydian mode:

To figure out the key signature of a song based on a modal chord progression, remember the following:
1. Chords ii and iii are always minor and are side by side. This means that if you hear/see two minor chords side by
side in a song, it is very likely that those chords are ii and iii of a certain key signature.
2. Chords IV and V are always major and are side by side. If you hear/see two major chords side by side in a song,
the probability that those two chords are IV and V of a certain key signature is very high.
For example, if you have a chord progression that goes Dm then Em, you will find out that it is in the key of C because
Dm is the ii chord and Em is the iii chord in the key of C.

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CONVERTING PENTATONIC TO DIATONIC

Since we guitar players tend to learn pentatonic scales first, it is very important for us to know how we can convert the
pentatonic scale into diatonic. Here is the A minor pentatonic scale:

The downside of the pentatonic scale is that it does not have any half steps, and half steps tend to add color to melody.
So, the way to add these half steps is to convert the pentatonic to diatonic by adding in two notes. To do this, let us first
play our A minor pentatonic as C major pentatonic (since they are essentially the same scale i.e. both scales have the
same notes)

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We see that the C major pentatonic scale has scale degrees 1, 2, 3, 5, and 6 right before the octave of 1. All we have to
do now is add scale degrees 4 (half step after 3) and 7 (half step before 8va) to convert our C major pentatonic into C
major diatonic:

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If we are to convert our A minor pentatonic into diatonic, we need to add in the 2nd and the 6th:

Realize that all along that you are playing C major and then A minor that you are actually playing the same scale. The
only difference is the note that you are emphasizing.

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As a second example, we can also attempt to convert pentatonic to diatonic in the key of A major:

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THE MAJOR SCALE OVER THE FRETBOARD

Here is the G major scale in spread fingering in the first position

For this course, we will be playing in the key of G major all throughout.

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EMPHASIZING CHORD TONES

Within the scale, depending on what chord were at, there are notes called chord tones and non-chord or color tones. A
chord tone is simply a note that can be found in a chord presently being played in a song or piece. For example, if we are
playing a G major, the chord tones are G, B, and D. (1,3, and 5). Color tones are notes that you will not find present in
the chord being played. In our given example, these are A, C, E, and F#.
The sound of our melodies and solos based on our diatonic scale sounds a lot different, opening up a lot of other
sounds/colors.

Take note in the example above that the solo tends to emphasize G. Remember, the point of the mode is to emphasize
something to make it sound more important than something else. In the next few examples, take a look at how the
combination of chord and color tones with various rhythms and expressive techniques make up a melody. Solo Sample 2
emphasizes G (Ionian) while Solo Sample 3 emphasizes B (Phrygian):

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Emphasizing a chord tone may involve prolonging the note, playing the note on a strong beat, playing the note with a
different accent, using embellishment prior to the chord tone, etc. The important thing to keep in mind is that when
emphasizing a certain note, there is a need to use various rhythms, dynamics, and other expressive techniques.

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THE SEVEN POSITIONS OF THE MAJOR SCALE

To be able to get the most out of this course (and eventually complete it), you need to be able to play all seven positions
of the major scale.
When dealing with these seven positions, remember that playing the different positions does NOT guarantee that you
are playing in a particular mode. Similar to modal chord progressions (where a particular chord is in focus to determine
the mode), it is when we emphasize a particular pitch that determines whether or not you are playing modally. The
following pages show diagrams of all seven positions of the major scale (in the key of G):

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Progress Tracker
WEEK 2

Date

/
/
Converting pentatonic to diatonic
/
/

The major scale over the fretboard /
/
Emphasizing chord tones
/
/

The seven positions of the major scale
/
/
Exploring modes with chords

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Week 3 Tab Book

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Table Of Contents
Ionian mode: chord tones vs. Non-chord tones
3
Dorian mode 4
Phrygian mode 5
Progress Tracker 6

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IONIAN MODE: CHORD TONES VS. NON-CHORD TONES

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DORIAN MODE

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PHRYGIAN MODE

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Progress Tracker
WEEK 3

/
Dorian mode
/

Phrygian mode
/

Ionian mode: chord tones vs. Non-chord tones

Date

/
/
/

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Week 4 Tab Book

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Table Of Contents
Lydian mode 3
Mixolydian mode 4
Aeolian mode/natural minor 5
Locrian mode 6
Progress tracker 7

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LYDIAN MODE

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MIXOLYDIAN MODE

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AEOLIAN MODE/NATURAL MINOR

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LOCRIAN MODE

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Progress Tracker
WEEK 4

Date

/
/
Mixolydian mode
/
/
Aeolian mode/natural minor
/
/

Locrian mode
/
/

Lydian mode

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Week 5 Tab Book

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Table Of Contents
Parallel modes 3
The parallel mode approach 6
Modal multiple choice 8
Modes in the real world
10
Modes in metal 15
Progress Tracker 18

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PARALLEL MODES

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THE PARALLEL MODE APPROACH

The parallel mode approach is most useful whenever we encounter chords that do not belong to the same key. Lets say
we have a song in two keys, G major and G minor (or Bb major), and we encounter a chord progression going G then Eb,
how do we solo over it? The key to this is playing different modes within the same area of the fretboard. Over G, we can
play G Ionian then play Eb Lydian over Eb (since the other key in the song is G minor).To play both modes within the
same area of the fretboard, we need to choose either a mode that is parallel to G Ionian that would match Eb or play a
mode parallel to Eb Lydian that would match GM7. In this example, we choose to play Eb Lydian in a position at the 11th
fret over Eb and then play G Ionian at a position somewhere around that area. (G Ionian starting at the 10th fret fifth
string):

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MODAL MULTIPLE CHOICE

In certain songs, we may have the choice of playing one or two modes over a particular chord. The opportunity presents
itself when a chord plays for quite a number of bars long enough to explore use of different modes. For example, lets
say we have Am and G as the chord progression. For Am, we have the option of going A Dorian, A Phrygian, or A Aeolian
(since these modes will sound good over a minor chord). If we wanted to get a Spanish-sounding feel over Am, we
choose to play A Phrygian and then G Mixolydian over G to give it a bluesy feel. The next time we come around Am, we
can choose to play Dorian and then go for G Ionian the next G.

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The point here is that while the modal multiple choice is similar to the parallel mode approach, it differs in that we
deliberately play a particular mode over a particular chord to get a certain kind of sound WITHOUT regard for the key
signature as long as it fits the chord at a particular moment rather than playing a particular mode in consideration of a
key signature. Remember as well that to truly utilize a mode, we want to emphasize some non-chord tones along with
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chord tones to make the mode stick out. By doing so, the intervallic relationships between the notes of the mode
become obvious, allowing anybody to hear the full effect of the mode. Modal multiple choice works very well in
situations where a chord progression may be repetitive enough or a particular chord (or chords) play long enough to
give you some time to develop a variety of soloing ideas using different modes.

MODES IN THE REAL WORLD

Here are some shortcuts we can use if we want to use scales other than pentatonic (or the blues scale) in blues or rock &
roll:
1. Given that most Blues feature dominant 7th chords or combinations of major and minor, the Dorian mode is
good for the minor side in blues. It will sound nice over the I or I7 chord:

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2. The Mixolydian mode is good for the major side in blues. It usually sounds great over the V or V7 chord:

3. A pure minor blues i.e. a blues song with only minor chords, by its very nature, will compel most guitar players to use
the Aeolian mode (natural minor scale) over it. For example, one would solo with A Aeolian over Am and so on.

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By combining the Dorian and Mixolydian modes, we get to have a hybrid scale, and it works flawlessly over blues and
rock &roll:

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Heres an example of Steve demonstrating the concept:

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MODES IN METAL
Most metal music
1. is based on power chords. Given that power chords dont have a third, it usually is unclear if they are major or
minor.
2. has a kind of movement between power chords does not imply a particular chord progression. A single power
chord can be played for a long time. If there is movement between them, it usually is in a riff-like manner that
does not make sense from a tonal perspective.
Because of these two facts, metal guitar players can create elaborate solos using a variety of modes to create sounds
going from the usual to the exotic. This is why such guitar players love using modes.

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SOLOING TIPS
1.
2.
3.
4.
5.
6.

Melody rules. Creating good melodies rely on phrasing and rhythmic variation.
Apply dynamics for expressive effect.
Look for various ways that change how things sound.
Look for and practice things that make sense to you first. Afterwards, you can build knowledge from there.
Dont forget about technique, feel, and anything else that you might need.
Practice on the days that you eat, practice hard, and ask questions.

GuitarZoom 2014

17

Progress Tracker
Date

WEEK 5
Parallel modes
The parallel mode approach
Modal multiple choice
Modes in the real world
Modes in metal

18

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GuitarZoom 2014

Week 56 Tab Book

GuitarZoom.com

Table Of Contents
Hey Jude Example
Lonian Example 1 - Let it Be
Lonian Example 2 - Heaven
Lonian Example 3 - Hit me with your best shot
Lonian Example 4 - Fool in the Rain
Dorian Example 1 - Evil Ways
Dorian Example 2 - Oye Como Va
Dorian Example 3 - Moondance
Phrygian Example - White Rabbit
Lydian Example - Dreams
Mixoydian Example - Cant You See
Aeolian Example 1 - All Along the Watchtower
Aeolian Example 2 - Maria, Maria

3
4
6
8
10
12
14
16
18
20
21
22
23

GuitarZoom 2014

Modes Made Easy Week 6

Steve Sne
Standard tuning: E, A, D, G, B, e

"Hey Jude" Example

Ex.1

Moderately Slow q = 80

b4
& 4
F

6
2
3

& b
3

5 8
5
5
3

5
5

9 7

6 5

5 7

7 5

7 5
7

&
6

7 5
7 5

F
8

6
2

5
6

GuitarZoom 2014

Modes Made Easy Week 6

Music by Steve Sne
Standard tuning: E, A, D, G, B, e

Ionian Example 1 - Let it Be

Ex.1 Running Through the Scale

Moderately Slow q = 75

4
&4
C

9
8

10

10

10

12

10

10

10

12

12

&
J
3

4
4

7
10

10

8
12

10

12

Ex.2 Sample Improvisaon

4
&4
5

F
C

5
5 7

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G
F

&

2 9

full

5
5

full

10

15

7
7

&
12 13
15 13 15
C

11

14

1214

12

12 17

14

12
12 10 10 12

A
F
G

RR
R

8 7
8
7

&
13

8 10

10

10

10 8

Etc...

G
F
C

#### # 4
# 4
&

8
8 10 6
5 6
15

full

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7 5

X 9

Ionian Example 2 - Heaven

Ex.3

Moderate (Swing 16ths) q = 90

#### # 4
& #4
17

F

K
r
r
R
7 6 7
X

#### # R R R

& # R
R
R J
22

7
9

. . .

## # # r r

R R

& #
3
. . .
F
G

24

11

11 12

4 3

4 3

1113

14

12

11

11

11

14 13 11

12
11

. . .

#
## # #

& #
27

. . .

14 12 11 12 11

11
13

13 11 13 11

11
13

11
13 11 8 11 13

13 11
13 11

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## # #

& #

4 28

#### #
& #
29

#### #
& #
30

full

full

11 14 14
11 13

13 13 11

13

11 13

11 13
13 11 13

11 13

full

11 14 14
13

13 13 11

11 13

11 13
13 11 13

11 13

14

full

11 13
9

14

R R R R R
16

14

13

11

14

13

11

#### #
r

R R
& #

Etc..

31

#### 4
4

(cut at 20:28)

full

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12 11
11
11

11

11

11 11

Ionian Example 3 - Hit Me with Your Best Shot

Ex.4

Lively q = 140

#### 4
& 4

33

E A

9 10 12

J JJ

10

10

9 11

9 11

9 11

#### w
&

E A

37

B E. . . A. . C B A B

3
3
3
. 3. . . 3.

12 11

11 9 11 9

14

11 12 14 12 11

12

12

14 12 10 9

11

E
B/D C
A
B

#### w

J
&

5
5 4
4 5
41

####
w
&
45

8 9 11

9 11

5 4 2
4 2
5
5 4 2 4
5 2

B/D C

4 2 1

1 2 1
4

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E A

. . . . 3
48

#### J J
J
&
. 3 3 . . 3 .

7 5 4

5 7

7 5

12

9 10 9
10 9

full

12

12

11 9

E
A
C
B
A
B
E
A

51

####

&

3
3
12 11 12 14 12 3

11

11

9
14 11 14 11 9
11 9 7 11

####
&
54

11

10
9

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17

16

14

16

full

12
X

C
B
A
B

56
#
## #
&
17

19

19

13

w
Etc..

nnnn 4
4

Etc..

17

Ionian Example 4 - Fool in the Rain

Ex.5

58
C D E F A G
C D E

w
4

& 4 V V V V V V VJ J
3
3

.
5 6 8 8
Fast Swing q = 130

&
61

A G

C D E F
A G
.

w
3
.

8
7
5
8
6
5
5
6
7

C
D
E
F AG

63

. . .

R J
&
. 3. . . 3.

12 13
15
15
15 13 12
12 13
full

&
65

15

12 14

10

14

C
D
F
A G

full

5
8

5 6 5
7

5 7

7 5 4 5
5

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&

8 67

5
7

E
F

3
7

8 10

8 10

8
8

5 7

69

w
&
3
3

8 7
8
8
8 8

C D E F

A G

full

A G

.
. . . . .
. 3. . . 3. .

12 13 15 13 12 13

Etc..
F
A
G
D E

w
b 44
&
6
6
6

12
15 13 12
13 12
12
72

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14

14 12 14 12

12
14

14 12 14 12
15 14

11

Dorian Example 1 - Evil Ways

Ex.6

Lan Rock q = 120

b4
& 4
74

J
3

3 5 5

3 5

C
G
C
G
C

b

&
3
3

3 6 5 3
3
6 5 6 5
5 6 5 3
5 5 6 5 3 5 5 6 5 3 5 3
78

5 3 2

b
r #n n

&
R R R

81

1/2

1/4

6
3
3

.
G
C
.

j
.
.

.
b b

.
n

&
. . n
J
. . . . .
. .
.
83

1 1/2

6 5

12

6 5 3

5
5

7
5 5

5
5

GuitarZoom 2014

 b
&

1086

full

10

11
10 12

10 11 10
12

12 10

10 12
12 10 12

.
C. .

88
b
&
G

13 10 11 10

10 13
10 12 10

11

. . .

full

10 11 13 13

10 12
12 10

D7

Etc..

. n .
90
#

b
4

&
4
3
Etc..
. .

13 12 10
13 11 10
11 10

GuitarZoom 2014

12 10

12 10
12 10
13 12 10 8 10 12 10

13

Dorian Example 2 - Oye Como Va

11

Ex.7

Lan Rock q = 120

#4
& 4
92

full

full

5
5

5
5

A
D

#

&
R
R R
96

full

5
8

5
7

7 5

5 7 5 4

A
D
D

&
R R R
A
D

5
5
8 7
5 7
98

5 7 5 4 5 4

5
5 7

4 5 7

# R J

&
J
101

14

5
8

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D
. . . . . A

# R
R R

&
3
6
3
. . . 3. .

12103

7 10

7 8

7 5

7 5 5

5 4

4
5

# j
&

105

5 7

108 A

&

full

12 14 15

12 13
12 14

110
#
&

17

GuitarZoom 2014

12 13 15
14

13 12

15

12 13 15
14 12 14

.
.

15

.
.

14

12
15

15

 #
&
111

(Fade out at 35:34)

Etc..

w
4

12

13 12

12 13 15

15 13 12

14 12 14

12
14

13

14 12 14 12 11
14 12

14
15 14 12

Dorian Example 3 - Moondance

Ex.8

Medium Jazz/Swing q = 120

A7 B7
A7
B7

#4 j
.

& 4

.
113

A7
B7

j #j

A7

B7

5
5

. . B7
. .

A7
B7
.
.

j
#

R J

&
3
. . . .
. . 3.

A7

117

8 7 5

16

7 8 10

8 7

7 8 10

9 7 9

10 8 7

7 8

9 7 9

9 7

GuitarZoom 2014

14

& J
A7

B7

A7

B7

. . . . .
12 13 15 13 12 13

5
7 5

#
R R R
&
A7

B7

122

5 7 5

B7
. . . . .

A7 3

119

13
13

A7

#
&
124

GuitarZoom 2014

12
12

13

A7
B7

. .

15

14

15

12

14

Etc..

B7
A7 B7

j
J
w
J

B7

A7

8
7 9

## 4
4

5
7

17

Phrygian Example - White Rabbit

15

Ex.9

Moderate q = 110

## 4
& 4
127

. .

7 8

8 7

7 9

##
&
131

10

. .

7
7

7
7
9

18

7
10 8

10

10

## R R

R
&
10

10

132

10

GuitarZoom 2014

 ##
&

16135

r r

2 4 5

3
3
## j
j
&

2 3 5

5 3 2

2 3 5

138

2
5

##
&
141

4 5

4 5 4 5

j j

7 5 5

GuitarZoom 2014

7 7

7 7

Etc...

nn 4
4

19

Lydian Example - Dreams

17

Ex.10

Fast Rock q = 125

4
&4
F

144

G
F
G

w
.

J
J
6

6 5
7

J
& w

10

5
5

148

8 7

10 8

8 10

10

9 7
0

Etc...

w
w

#4

&
4
J
152

20

6 5
7

5 X 9

6
5

GuitarZoom 2014

18

Mixoydian Example - Can't You See?

Ex.11

Moderate q = 82

#4
& 4
156

9 7 5

7 9

G
D

D
R R
w

0 1
7 7 10 7 10 10 10

#
&
161

5 4
5

&
R
165

full

D
167
#
&

10 8 12 10

5
7

R
7

# #

# # 44

Etc...

7
7

(Fade out at 50:40)

GuitarZoom 2014

21

19

Aeolian Example 1 - All Along the Watchtower

Ex.12

Moderately Fast q = 110

B C
B

168

.
#

## # 4

& 4
J
3
6
3
.

12

9
12 9
10 9
9
C

full

11

11 9

9 11

11 9
11

A
B C B
A
B

####
&
6

9
9 11
9 11 12
9 10 12
10 12
12
171

####
&
174

8 9 8

8
11 9

8 9
9 11

8 9 11
11

B.

14

12

11

12

11

12

####

&
175

10

B w
Etc...

nnnn 4
4

16 19

22

12 10 9

17
11 9

9 11 11

16

11 9 11

14 18
14 16

rake

GuitarZoom 2014

20

Aeolian Example 2 - Maria, Maria

Ex.13

Moderate q = 98

j w
J

4
&4
177

A7

5
5

7
7

&

5
5
7

. . .

R J
. . .
8
8 10 8
8

R R

5
8

&
186 D7

GuitarZoom 2014

5 7

184

181

&

.3

8 7 5

rake

3. .

. A7

. . . 3

8 10 12 10 8 7
8
8 10
10 8 8 8
7

5
5 7

8 10

23



&

189

E7

5
5
5
5

5
5

R
R
7

&
191

24

21

Etc...

A7

5
7

GuitarZoom 2014

Hey Jude Example

Lonian Example 1 - Let it Be
Lonian Example 2 - Heaven
Lonian Example 3 - Hit me with your best shot
Lonian Example 4 - Fool in the Rain
Dorian Example 1 - Evil Ways
Dorian Example 2 - Oye Como Va
Dorian Example 3 - Moondance
Phrygian Example - White Rabbit
Lydian Example - Dreams
Mixoydian Example - Cant You See
Aeolian Example 1 - All Along the Watchtower
Aeolian Example 2 - Maria, Maria

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GuitarZoom 2014