RULES OF CHORD HARMONY

The chords formed by harmonizing the diatonic scale in thirds are organized into two groups: primary chords, and secondary chords. Chords built on the Tonic (1), the Sub Dominant (4) and the Dominant (5), create a natural progression on major sounds and are called Primay Chords. Chords built on the second, third, sixth, and the seventh degree are minor chords called Secondary Chords.

TONIC (1) Chord may resolve to any chord.

SUPER TONIC (2) Chord may resolve to any chord except the Tonic

MEDIANT (3) chord may resolve to any chord except the Tonic or Dominant chord.

SUB-DOMINANT (4) chord may resolve to any chord

DOMINANT (5) chord may resolve to any chord except the super tonic or Leading tone.

SUB-MEDIANT (6) chord may resolve to any chord except the Tonic or the Leading tone

LEADING TONE (7) chord may resolve to any chord except the Super Tonic or the Sub-Dominant.

RELATIONSHIP OF CHORDS

The scale harmonized in thirds establishes the type of chord created at each degree of a Major scale.  Chords built on the first, fourth, and fifth degrees are Major type chords.  Chords built on the second, third, and sixth degrees are Minor chords.  The chord built on the Seventh degree is called a Minor flat five chord.

The chord sequence is:

1. Major 2. Minor 3. Minor 4. Major 5. Major 6. Minor 7. Minor flat five.

HARMONIZING THE MAJOR SCALE

The secret to improvisation can be very simple. If you have AC#E, or FAC, GBD, EG#B. The ability to successfully play lead lines over chord progressions is knowing diatonic triads.

Composers and arrangers have simple rules to aid them in writing harmony and to understand these rules will enable you to easily determine which chords belong to each key.

The Major Scale is harmonized by creating three note chords over each degree of the scale.

I explained earlier that the chord triad is created by stacking notes in intervals of a third. The triad produces major and minor chords. If we continue stacking thirds to extend each chords tonality, it is possible to harmonize the scale with four note chords. A four note chord, stacking four third intervals, creates seventh chords. Each chord contains only notes of the parent scale and is said to be diatonic to the key of which the scale is written. This sequence of chords is known as diatonic seventh chords.

CHORD HARMONY STUDY

Improvisational solos follow a few well-defined rules of chord harmony. A trained ear, knowledge of chord triads, and a developed sense of rhythmic structure constitutes the bedrock of creative music. Just playing chords will not be enough if you want to create lead lines. To solo, you must come to understand the infrastructure of chords, triads, tonality, and how progressions resolve. One of the greatest assets you can acquire in your study of improvisation is how the scale is harmonized and what chords belong to each key.

MOVEABLE PATTERNS

It is important to develop the ability to improvise from within each pattern, for as you will come to understand the individual finger characteristics of each pattern spurs originality.  Often, licks played comfortable in one pattern become awkward when played in another.  Remember that each pattern overlaps its respective chord.  It is always simpler to  identify a chord position than the appropriate scale position.   By developing the abilities to improvise effectively in all five patterns, you will never be caught wondering where the next phrase or solo should be played.

Learn the individual sound of each scale pattern.  Train yourself to sing with the guitart.  Move around within the scale, skip intervals, learn to predict tones before they are played.  Develop a trained ear, and the skill to play correctly any note you can sing.

C SCALE PATTERN - FORM ONE

There are five basic barr chord forms in common usage, and since most guitarists have a working knowledge of barr chords and how each ascends and descends chromatically, it becomes quite easy to know scales in all 12 keys.  Each scale pattern overlays its respective chord form, therefore chord harmony and arpeggio playing is locked in with the scale.  Remember, since each scale pattern moves through the entire range of the fingerboard, mastering one finger pattern actually provides you with the skill to play in all twelve keys.  A lick of solo played in one key may be played in any key without changing the fingering that produced the notes.

At the fifth fret we can play an A Major barr chord.  The scale form that produces the A chord will be an A diatonic scale.  Play the same chord form at the eighth fret, we have a C Major chord.  The scale will now be  a C diatonic scale.

Each scale pattern is a fixed position on the fingerboard.  Develop the stretch required to properly finger each scale.  This requires a one-finger-per-fret approach.  The correct fingering is indicated on the TAB charts by small encircled numbers.  Insome of the patterns you need to reach one fret above or below the basic postion, a five fret reach.  We begin each pattern with the lowest note available within the range of the pattern.  The Tonic note is marked with a black triangle.

DIATONIC SCALE IN 5 HAND POSITIONS

Understanding scale theory is a mental process and easy to grasp, whereas playing a scale is a physical task and takes longer to master.  On the guitar, there are countless fingering pattern possibilities for any given scale, so it is desirable to reduce the options to a few more manageable forms.

There are three ways we can play scales: a Linear, lengthwise movement, a zig-zag movement and a position.  At this time we will concentrate on playing scales in fixed positions.  To begin, we must first focus on learning to play the Diatonic scale in five basic hand positions.

A position encompasses all notes of a given scale placed withith five frets.  There are open position scales played within the first four frets and utilizing notes produced by the open strings E A D G B E, and moveable closed positions, no open string notes which produce a new key at each fret.

The closed position ascends and descends chromatically moving through the entire twelve notes of music and will produce the notes of 12 keys.

There are several diatonic scale finger patterns in common usage - fingering systems developed by individual guitarists to facilitate their unique style of playing.  We are using fingering patterns made popular by the late Los Angeles studio pro Jack Marshall.  These five patterns relate to the five chords forms found in open postion - the open chords C A G E D.  This sytem of one scale findering pattern for each chord form is used by guitarists Howard Roberts, Barney Kessel, and Herb Ellis.

The five patterns divide the fingerboard into smaller more manageable areas of learning, but put them end to end, they cover the entire range of the fingerboard.  When we are able to visualize the entire fretboard as a whole, fingers becomes a personal preference.

GUITAR IMPROVISATION REVIEW

Chromatic scales provide a great connecting links between scales and licks, played at different positions on the fingerboard. They may also be used to connect arpeggios and large interval skips.

Learn to recognize octaves, A to A as an example. Remember, all scales are played between octaves.

The Diatonic Scale is the Mother Scale of improvisation. You must be able to create diatonic scales from scratch, to be able to locate the Key note, theTonic, and walk the step/half-step pattern of the diatonic scale either in a linear-straight-line movement, or by using a zig-zag movement across the neck, creating the proper step pattern of a diatonic scale in any given key.
With just a little practice, you will be able to instrinctively walk the fretboard, correctly playing all the notes of any given key. And as you will see, by memorizing the eight-step numbers you will be able to play all the scales used in the art of improvisation.

It is extremely important for you to develop the ability to look at key signatures, the placement and number of sharps or flats and we know what key in which you are to play.
The key signature sets the key, the scale. The scale determines the chords and generally provides all the tools required in order to play solos and riffs.

READING KEY SIGNATURES

A piece of music is written in a particular key which defines the pitch of the scale in which the music is written. We indicate the key by a key signature. The purpose of the key signature is to indicate the sharps or flats that belong in each individual scale. It eases the eye by avoiding the placing of sharps or flats against particular notes every time they occur in the arrangement. we write the key signature simply by placing the appropriate number of sharps or flats on the music staff after the clef sign and before the time signature. They effect all designated notes appearing in the arrangement.

As previously explained, key signatures are used to establish keys and to indicate what notes must be raised or lowered in order to maintain the step, half-step pattern that establishes the major diatonic scale.

The key of C Major is the simplest of our scales. Commencing on the note C, the diatonic step, half step pattern produces a scale without sharps or flats. The method by which the placement of accidentals occurs follows a very simplistic theme and is called the Circle of Fifths.

The Circle of Fifths is a visual device that shows the relationship between the Tonic, and the sub-dominant and dominant notes within the diatonic scale. It presents in logical order the addition of required accidentals as keys of different pitch are created. The Circle of Fifths is based upon two concepts.

Starting with the key of C, sharp keys are created by counting up an interval of a fifth (CDEFG) The key is G Major. The note G is the fifth note in the C scale. In order to maintain the proper step, half-step pattern, the seventh note of the new scale G, has been raised a half-step creating the sharp note in the G scale.

Starting with the key of C, flat keys are created by counting up an interval of a fourth (CDEF). The new key is F Major. The note F is the fourth note in the C scale. In order to maintain the proper step, half-step pattern, the seventh note has been lowered a half step, creating one flat in the F scale.

THE SCALE IN THEORETICAL FORM

Each Diatonic Scale will have a different group of notes and a different arrangement and number of sharps or flats.  The C Major Scale C D EF G A BC, we do not have any sharps or flats, called accidentals.  the C diatonic scale is called the natural scale.

Each note of the scale is called a degree, and may be indicted by Arabic Numerals: 1 2 3 4 5 6 7 8.  Each degree may also be indicted by Roman Numerals.  The usage of Roman Numerals is common in chord theory studies.  A capital Roman number indicates major chords.  Small letters (i i) represents minor chords.

The Do Re Mi system of identifying scale degrees was developed as an educational aid in teaching vocalists to sing notes on pitch, Do, being the first note of a diatonic scale, the Tonic note.

The correct theoretcal name for each degree of the scale (Tonic, super Tonic, Mediant, Subdominant, dominat, submediant, Leading tone, Tonic, is commonly used in chord theory studies.

An interval is the distance between two tones.

MAJOR DIATONIC SCALE

Most modern music is not written with chromatic scales, buth with a more manageble, pleasant sounding, eight note scale called a Diatonic Scale.  The Diantonic Major Scale with its familiar DO-RE-MI-FA-SO-LA-TI-DO sound, Illustration Three, is the scale used to create the vast majority or the music guitarists encounter daily.  It is from the Diatonic Major Scale that the minor, the pentatonic, and our modal system of scales originate.  To understand the art of improvisation, we must therefore fully understand the step pattern, the degree name and number, of the diatonic scale and be able to play scales in five patterns on the fingerboard.

The Major Diatonic Scale is a predetermined pattern of eight notes arranged in five whole steps and two half steps.  A half-step is the distance of one fret on the guitar: a whole step is the distance of two frets.  A Major Diatonic Scale is a succession of tones arranged in a fixed step, half-step pattern.  The distance between notes remains constant and the interval between notes in fixed and will not change even if the music is played in another key.  We recognize a sone and can hum the melody, regardless of the key in which it is performed, thus making it possible to transpose a piece of music to different keys.

A diatonic scale may be built commencing on any of the twelve notes of the chromatic scale.  We have twelve major scales called keys.  The sound of the Major Diatonic Scale is due to the placement of the half-steps between the 3rd and 4th notes and between the 7th and 8th notes.  The resulting two-tone, interval between the 1st and 3rd notes create the scales major characteristics.

THE GUITAR FRETBOARD

The six strings of the guitar make up six chromatic scales.  Each scale starts on the note in the chromatic scale upon which the which the guitar string is tuned and continues up the neck, ascending in pitch until the tone is repeated again at the12th fret.  Twelve frets plus the open string tone equals one octave.

It is important understand the tonal relationship of chromatic scale notes, for the chromatic scale includes every pitch within an octave.  It is upon the chromatic scale we build the more simplistic scales used in establishing our musical keys: the Diatonic Major and Minor Scales.  Remember:  The chromatic scale simply represents, in alphabetical order, our interval system of notes.

It is important to memorize the fretboard.  It can be a formidable task.  However, if you start by learning the names of the open strings, the educational process can be greatly simplified by visualizing a chromatic scale in your head.

TYPES OF SCALES

All music is based on the proven scientific fact that the notes we use to create music have fixed rates of vibration which are mathematically related to one another. Each note has a pitch which we can produce vocally or with a muscial instrument. These notes, when played in fixed patterns, are called scales.

When we have two notes of the same name,, but one of different pitch, one written higher than the other and vice versa, they are said to be an octave apart. It is important to realize that an octave does not consist of 13 chord tones, but is the 13th note above the fret of a series of 12 consecutive notes. We will first look at the Chromatic scale:

The interval sequence of notes upon which all scales are built is called a Chromatic Scale. It is one octave divided into 12 tones, called half steps.

TYPES OF INTERVALS

When two tones of different pitches are played in succession , it is called a Melodic Interval. When two tones are played together, it is called a Harmonic Interval.

Unison Interval – two notes of the same letter – two notes of the same pitch.

Perfect Interval – The Unison, fourth, fifth, and octave are called Perfect intervals because they remain constant from key to key.

Minor Intervals – Lowering the upper tone, one half – step or raising the lower tone a half-step. The second, third, sixth and seventh intervals may be played as Minor Intervals.

Diminished Intervals – The diminished interval is obtained by bringing a Perfect interval or a Minor interal one half-step closer.

Augmented Intervals – The interval between two tones is expanded. Raising the upper note one half-step, or lowering the lower tone one half-step.

Tritone Interval – The interval between the fourth and fifth.

BASIC IMPROV THEORY

Here are the important definitions that you will have to memorize:

1. INTERVALS – An interval is the difference in pitch between any two notes measured in whole and half-steps. The lower tone is considered the Root or Tonic; the upper tone is the Interval.

2. SCALES – All scales are predermined pattern of notes arranged in steps and half-steps. A whole step is the distance of two frets on the guitar. Scales are depicted on the staff by notes written in ascending and descending order.

3. CHORDS – The simultaneous sounding of three or more tones called a triad. There are four types of chords and many variations of each. We have Major, Minor, Augmented, and Diminished chords, plus variations such as 6ths, 7ths, 9ths, 11th, and 13ths.

4. ARPEGGIOS – An arpeggio is some or all notes of a chord played one note at a time.

IMPROV RULES

You must learn to play scales over chords. Chords are built from scale tones. Chords are the results of harmonizing a scale, placing notes in intervals of thirds, fourths, fifths, sixths, etc. on to top on each other. By playing notes of the scale of which the chord is constructed, you will learn to relate scales and chords together. When the proper scale is played over a given chord progression, we will not play any bad notes.

Here are the key elements you must understand and apply correctly in order to improvise:

You must understand the theory of intervals, scales, modes, chords, and arpeggios.
Must know and be able to play scales in five patterns.
Have a developed ear. Acquire ability to distinguish tones, intervals, and chord harmony.
Understand the principle rhythm structure of various types of music: Jazz, country, Blues, etc.
Determine Key Centers within chord progression
Develop technique to create riffs, motifs, lead lines, and how to connect them together.

WHAT IMPROV SKILLS TO DEVELOP

Every guitar player wants to create music, play in a band, or jam with friends, and be able to express themselves. If you do not develop the knowledge of scales, modes and how they play over chord progressions, you will have major frustration with your musial development. There are four fundamental aspects with you need to develop your improvasional and musical skills.

1.Choose the correct scale or mode that will play over a given chord progression, so you may always play correct notes.

2. Look at a chord progression and identify the key in which the song is written.

3. Learn to create riffs, motifs and lead lines that are correct, with no bad notes, and fit the rhythm structure of the music, so you will play the competence and flair

4. Experience playing in a variety of musical styles.