Professional Documents
Culture Documents
|G
|G
|G
|C
|C
|G
|G
|D7 |C
|G
|D7 |
The next diagram shows the chords that are in the key of G.
I II III IV V VI VII
G A B C D E F#
As you can see, the G is the I, the C is the IV, and the D7 is the V
in the I- IV - V progression. Any F chords played in the key of G
need to be sharped, otherwise they are considered to be out of key.
In the same way, the circle of fifths shows which notes need to
sharped or flatted in chord constuction. To form a major chord, the
first, third, and fifth notes of the scale need to be played. In
the case of Gmajor (or just G as it is commonly called), a G note
would be 1, a B note would be 3, and a D note would be 5.
e||---|---|-o-|---|
B||---|---|---|---|
G||---|---|---|---|
D||---|---|---|---|
A||---|-o-|---|---|
E||---|---|-o-|---|
G
B
G
D
B
G
(1)
(3)
(1)
(5)
(3)
(1)
For the third part, the Circle of fifths gives an indication of when
to play minors, etc. The following chart shows some guidelines.
Later on
I = major
II = minor7
III = minor7
IV = major
V = dominant7
VI = minor (known also as the relative minor)
VII = diminished
I will show some substitution rules for incorporating more unusual
chords into a progression. It is important to remember that these
rules are only general guidelines. If you look at the chords of
some songs that you know, you will probably see that as a general
trend, these rules are followed, but on many occasions they aren't.
One thing to keep in mind: a chord progression may be in the key of
A (A is the I chord) without playing an A chord first. Look at the
following
example.
|E
|E
|A
|D
G - F#
D - F#, C#
A - F#, C#, G#
E - F#, C#, G#, D#
B - F#, C#, G#, D#, A#
F# (Gb) - F#, C#, G#, D#, A#, E# (F)
Db - Bb, Eb, Ab, Db, Gb
Ab - Bb, Eb, Ab, Db
Eb - Bb, Eb, Ab
Bb - Bb, Eb
F - Bb
Notice the spacing between chords is the same for each key. Here is
the example again in the key of G.
I
G
II
A
III
B
IV
C
V
D
VI
E
VII
F#
Notice that there is a whole step between all chords except between
III and IV, and between VII and I. This will be true for all keys.
That pattern is also the same as that for the major scale. The
above diagram shows the notes contained in the G major scale.
The VI chord is called the relative minor, because it shares many
notes with the tonic (I chord). If C were the tonic, Am would be
the relative minor. If you play one after the other, you will
notice they sound good together. If something is played in an Am
key, you use the exact same chords as if it were being played in the
key of C. In this way, you can determine all of the mionr keys as
well from the circle of fifths.
3. Chord Construction
======================
A chord is a group of three or more different notes played together.
Every chord is based on a specific formula which relates back to the
major scale after which it is named. As shown earlier, the formula
for a major chord is 1 3 5 hence a G major (GM) chord consists of
the first, third, and fifth notes of the G major scale, G B D (refer
to the circle of fifths chart). **Note the ROOT note is the note
after which the chord is named (the 1 note).
The formula for a minor chord is 1 b3 5. In the case of a G minor
(Gm) the notes would be G Bb D. **Note: a G flat major (Gb) is Gb
Bb Db, therefore a Gbm (G flat minor) would be Gb Bbb Db, or Gb A
Db. There are many cases where a flatted note has to be flatted
again according to the chord formula.
In the following diagrams I will show the names, formulas, and
fingerings for over 30 of the most common chords. The numbers show
where to fret the strings and with which finger. A 1===1 means to
barre that number of strings with your index finger. Any notes with
a question mark ? underneath are optional (can be muted). Any
strings with no note shown below are not to be played. Sharp and
flat symbols will come before the note (b3). Shown are the most
common barre chord fingerings (all open chords can be derived from
the barre chord shapes). Not all chords have the root as the bass
note, but most do. 1 = index finger, 2 = ring, 3 = middle, 4 = pinky.
Name: Major
+-+-+-+-+-+
How it's written: M* +-+-+-+-+-+
Formula: 1 3 5
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | 2 | |
+-+-+-+-+-+
| 3 4 | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 3===3 |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | 1===1
+-+-+-+-+-+
| | | | 2 |
+-+-+-+-+-+
| | 3 | | |
+-+-+-+-+-+
| 4 | | | |
+-+-+-+-+-+
1 5 1 3 5 1
5 1 5 1 3 5
1 3 5 1 3
?
?
* G major can either be written GM or more commonly just G.
======================================================================
Minor
m
+-+-+-+-+-+
+-+-+-+-+-+
1 b3 5
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | 2 |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 4 | | |
| | 3 4 | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 1b3 5 1
5 1 5 1b3 5
?
This is the last standard minor that I will diagram. All chords can
be turned into a minor by flatting the 3 note. I will diagram a
couple that are not apparent, but the rest are very easy to figure
out using this formula.
======================================================================
Fifth
5
+-+-+-+-+-+
+-+-+-+-+-+
1 5
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 | | | | |
| 1 | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 4 | | |
| | 3=3 | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 1
1 5 1
======================================================================
Suspended 2
sus2
+-+-+-+-+-+
+-+-+-+-+-+
1 2 5
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 3 4 | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 1=1 | |
+-+-+-+-+-+
| | | | 2 |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| 3 | | | 4
+-+-+-+-+-+
5 1 5 1 2 5
1 2 5 1 5
?
?
======================================================================
Suspended 4
sus4
+-+-+-+-+-+
+-+-+-+-+-+
1 4 5
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3===3 | |
| | 3=3 | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | 4 |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 1 4 5 1
5 1 5 1 4 5
? ?
?
?
======================================================================
Suspended 2 Suspended 4
sus2sus4
+-+-+-+-+-+
+-+-+-+-+-+
1 2 4 5
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
| 1=======1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | 3 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | 4 |
+-+-+-+-+-+
+-+-+-+-+-+
5 1 4 1 2 5
5 1 4 1 2
?
======================================================================
Major add 9*
add9
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 9 (or 2)
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3=3 | | 4
| | 3===3 |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | 4 | |
+-+-+-+-+-+
1 5 1 3 5 9
5 1 5 9 3 5
?
?
* 9 = 2, but one octave higher:1 2 3 4 5 6 7 1 2 (or 9) 3 4 (or 11)
5 6 (or 13)
======================================================================
Major 6
6 or M6
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 6
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3=3 | 4 |
| | 3=====3
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 1 3 6 1
5 1 5 1 3 6
======================================================================
Major 6 add 9
6add9
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 6 9
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | 1=====1
| 1=======1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
3 | | 4 | |
+-+-+-+-+-+
+-+-+-+-+-+
4 | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1
5 9 3 6
3 5 1 5 6 9
======================================================================
Dominant 7
7
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 b7
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 | | | |
| | 3===3 |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | 4
+-+-+-+-+-+
+-+-+-+-+-+
1 5 b73 5 1
5 1 5 1 3 b7
?
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | 2 | |
+-+-+-+-+-+
| 3 | | | |
+-+-+-+-+-+
| | | | 4 |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 3 | 4 |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1 5 b73 b71
5 1 5 b73 5
?
======================================================================
Minor add 9
m add9
1 b3 5 9
======================================================================
Minor 6
m6
1 b3 5 6
======================================================================
Minor 7
m7
1 b3 5 b7
======================================================================
Minor 6 add 9
m6 add9
1 b3 5 6 9
======================================================================
Seven suspended 4
7sus4
+-+-+-+-+-+
+-+-+-+-+-+
1 4 5 b7
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 | 4 | |
| | 3 | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | 4 |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 b74 5 1
5 1 5 b74 5
?
======================================================================
Major 7
X
M7
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 7
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
| | | 1===1
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | 3 2 | |
| | | 2 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| 4 | | | |
| | 3 | 4 |
| | 3 | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 4 | | | |
+-+-+-+-+-+
1 5 7 3 5 1
5 1 5 7 3 5
1 3 5 7 3
?
======================================================================
Minor Major 7
mM7
1 b3 5 7
======================================================================
Augmented
X
X X
+
+-+-+-+-+-+
+-+-+-+-+-+
1 3 #5
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | 1=1 |
| | | | | 1
+-+-+-+-+-+
+-+-+-+-+-+
| | 2 | | |
| | | 3 2 |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 | | | |
| | 4 | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | 4
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 3#5 1 #5
#5 1 3#5 3
3#5 1 3 1
#5 1 3 #5
1 3#5 1
3#5 1 3
Because of the nature of the formulat for augmented chords, any note played
could be considered the root. Therefore, Ab+, C+, and E+ can all have exactly
the same shape at the same location on the neck. The same concept applies to
diminished chords.
======================================================================
Diminished 7
X X
dim7
+-+-+-+-+-+
+-+-+-+-+-+
1 b3 b5 bb7
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
| | 1 | 2 |
+-+-+-+-+-+
+-+-+-+-+-+
| 2 | | | |
| | | 3 | 4
+-+-+-+-+-+
+-+-+-+-+-+
| | 3 | 4 |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
First shape: 1 b5 1 b3 bb7 1, b3 bb7 b3 b5 1 b3, b5 1 b5 bb7 b3 1, or
bb7 b3 bb7 1 b5 bb7
Second shape: 1 b5 bb7 b3, b3 bb7 1 b5, b5 1 b3 bb7, or bb7 b3 b5 1
======================================================================
Ninth
X
9
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 b7 9
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
| | 1 | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
| 2 | 3===3
+-+-+-+-+-+
+-+-+-+-+-+
| 3 | | | 4
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 b73 1 9
1 3 b79 5
======================================================================
Minor 9
m9
1 b3 5 b7 9
======================================================================
Major 9
M9
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 7 9
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 1=======1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
2 | | | 3 |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | 4 | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| 4 | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 3 7 9 5 7
3 1 9 5 7 3
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | 2 | |
+-+-+-+-+-+
| | 3 | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
X
X
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 1 | | |
+-+-+-+-+-+
| 2 | | 3 |
+-+-+-+-+-+
| | | 4 | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
5 1 5 7 9 5
?
1 3 7 9
(no fifth)
======================================================================
Eleventh
X
11
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 b7 9 11
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 1=======1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | 2 | |
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | 3
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 11b79 5
1 11b73 5 9
======================================================================
Minor 11th
X
m11
1 b3 5 b7 9 11
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| 1=======1
+-+-+-+-+-+
| | | | 2 |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1=========1
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | | | 3
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1 11b7b35
(no ninth)
1 11b7b35 9
======================================================================
Thirteenth
13
+-+-+-+-+-+
+-+-+-+-+-+
1 3 5 b7 9 13
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1=========1
1=========1
+-+-+-+-+-+
+-+-+-+-+-+
| | | 2 | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
| 3 | | 4=4
| | 2 | 3 4
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
| | | | | |
+-+-+-+-+-+
+-+-+-+-+-+
1 5 b73 139
5 1 5 b73 13
X
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | 1 | | |
+-+-+-+-+-+
| 2 | 3=3 |
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
| | | | | 4
+-+-+-+-+-+
X
+-+-+-+-+-+
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1 | 2 | | |
+-+-+-+-+-+
| | | 3 | |
+-+-+-+-+-+
| | | | 4=4
+-+-+-+-+-+
| | | | | |
+-+-+-+-+-+
1 3 b79 13
1 b7 3 139
======================================================================
Minor 13th
m13
1 b3 5 b7 9 13
The following is a chart of chords which have a slight alteration to
one of the given formulas, and are therefore called altered chords.
Chord Name
---------Major flat five
Minor seven flat five
Chord Formula
------------1 3 b5
1 b3 b5 b7
Example
------Cb5: C E Gb
Cm7b5: C Eb Gb Bb
1
1
1
1
1
1
1
1
1
1
1
3 #5 b7
3 b5 b7
3 5 b7 #9
3 5 b7 b9
3 #5 b7 b9
3 #5 b7 9
3 b5 b7 9
3 5 b7 9 11#
b3 5 7 9
3 5 b7 b9 13
3 b5 b7 b9 13
C7#5: C E G# Bb
C7b5: C E Gb Bb
C7#9: C E G Bb D#
C7b9: C E G Bb Db
C7#5b9: C E G# Bb Db
C9#5: C E G# Bb D
C9b5: C E Gb Bb D
C9#11: C E G Bb D F#
Cm9(M7): C Eb G B D
C13b9: C E G Bb Db A
C13b5b9: C E Gb Bb
C9
+----+----+----+----+----+
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
3
|
|
|
+----+----+----+----+----+
|
R
|
b7 9
5
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
+----+----+----+----+----+
+----+----+----+----+----+
|
|
b3 |
|
|
+----+----+----+----+----+
|
|
3
|
b9 b5
+----+----+----+----+----+
|
R
|
b7 9
5
+----+----+----+----+----+
|
|
|
|
#9 #5
+----+----+----+----+----+
|
|
|
|
| 13
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
C
+----+----+----+----+----+
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
(5) R
|
|
| (5)
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
5
R
3
|
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
+----+----+----+----+----+
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
|
|
|
|
|
|
+----+----+----+----+----+
(5) R
|
b7 2 (5)
+----+----+----+----+----+
|
|
|
7
b3 |
+----+----+----+----+----+
|
|
5
R
3
6
+----+----+----+----+----+
|
|
|
|
4
7
+----+----+----+----+----+
Modes
=====
The last topic I'm going to cover is modes. The reason I'm
including them is that they fit in so well with chord theory (as
does the major scale, which I mentioned much earlier). A mode is
simply a displaced scale. The ones I will show are a C major scale
(no sharps or flats), displaced to D, E, F, etc. The modes are
commonly used in jazz improvisation, but they also appear very often
in rock music. The one thing to remeber about soloing in the modes
is that you need to change modes according to the chord changes, and
also you need to resolve to the root when you make these changes.
The diagrams below show one position for the modes, with the most upto-date method of fingering (but certainly not the only). If you
are soloing in the F - Lydian mode, and need to change to G Lydian, you just slide everything up two frets.
I = Ionian
II = Dorian
III = Phrygian
IV = Lydian
V = Mixolydian
VI = Aeolian
VII = Locrian
F - LYDIAN
E A D G B e
================
+--+--+--+--+--+
(*) | | | | |
+--+--+--+--+--+
| * * * | |
+--+--+--+--+--+
* * (*) | * *
+--+--+--+--+--+
| | | * | |
+--+--+--+--+--+
* * * * * *
+--+--+--+--+--+
| | | | (*) |
+--+--+--+--+--+
| | | | | *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
B - LOCRIAN
E A D G B e
================
+--+--+--+--+--+
(*) * * * | |
7 +--+--+--+--+--+
* * | | * *
+--+--+--+--+--+
| | (*) * | |
+--+--+--+--+--+
* * * * * *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | (*) *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
E - Phrygian
E A D G B e
================
(*) * * * | |
12 +--+--+--+--+--+
* | | | * *
+--+--+--+--+--+
| * (*) * | |
+--+--+--+--+--+
* * * | * *
+--+--+--+--+--+
G - MIXOLYDIAN
E A D G B e
================
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
(*) * * | | |
3 +--+--+--+--+--+
| | | * | |
+--+--+--+--+--+
* * (*) * * *
+--+--+--+--+--+
| | | | * |
+--+--+--+--+--+
* * * * | *
+--+--+--+--+--+
| | | | (*) *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
C - IONIAN
E A D G B e
================
+--+--+--+--+--+
(*) * | | | |
8 +--+--+--+--+--+
| | * * | |
+--+--+--+--+--+
* * (*) * * *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
* * * * * *
+--+--+--+--+--+
| | | | (*) *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | * | |
+--+--+--+--+--+
| | | | (*) *
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
| | | | | |
+--+--+--+--+--+
Notice the repeating shapes of the modes. Unlike the scales you may have
previously learned, there is a repetitive pattern to the modes that makes
them easy to remember. A seven string guitar would actually show the
relationship between modes more clearly. This is what the Aeolian mode
would look like on a seven string guitar:
?||---|-*-|---|-*-|-*-|---|---|
?||---|-*-|---|-*-|-*-|---|---|
?||---|-*-|-*-|---|-*-|---|---|
?||---|-*-|-*-|---|-*-|---|---|
?||-*-|---|-*-|---|-*-|---|---|
?||-*-|---|-*-|---|-*-|---|---|
?||-*-|---|-*-|---|-*-|---|---|
There are seven different modes listed above, each one has this pattern,
only slightly altered: they each start at a different fret, and at a
different spot in the above pattern. Since there are only six strings,
the seventh pattern is left off. Also, unlike the fictional guitar
in the above example, the B and high-e strings are tuned higher, so the
pattern on those two strings is pushed up one fret higher.
This is following the pattern first shown in the circle of fifths. Each "-"
represents a half step:
I--II--III-IV--V--VI--VII-I....etc
If C is the I chord, then the III and IV chords will be E and F, and the VII
chord will be B (notice that there is only a half step from E to F, and from
B to C). Therefore the above diagram could also look like this, using Roman
numerals:
?||----|-II-|----|III-|-IV-|----|----|
?||----|-VI-|----|VII-|-I--|----|----|
?||----|III-|-IV-|----|-V--|----|----|
?||----|VII-|-I--|----|-II-|----|----|
?||-IV-|----|-V--|----|-VI-|----|----|
?||-I--|----|-II-|----|III-|-IV-|----|
?||-V--|----|-VI-|----|VII-|-I--|----|
^
|
I put these in to show why there are so many
different fingerings for the same scales. Just
as in tuning, if you go down one string and back
five frets, you get the exact same note.
A very good way to practice the modes (or any scale) is to do backsteps.
Play the first four notes of the scale, then the 2nd - 5th, then the
3rd - 7th, etc, all the way up, then backwards all the way down.
In tab for the Ionian mode in G: