where m=minor, M=major, P=perfect, dim=diminished, aug=augmented.

If you look closely, you will notice that the notes that are contained in the C major scale (being the example from the note C) are all a major or a perfect intervals.

C-D Major 2nd

C-E Major 3rd

C-F  Perfect 4th

C-G Prefect 5th

C-A Major 6th

C-B Major 7th

This stands true for all the major scales in every key.  So another quick way to find at what interval distance two notes are, is to calculate from the major scale.

How do I calculate intervals on guitar?

To  calculate intervals on guitar is not difficult at all as everything translate in exactly the same way. If I know the notes on the guitar neck this is all very simple as all I need to do is make the calculation like I did above. (Eg: if I am playing a C on the 3rd fret, 5th string and an F# 4th fret 4th string , that is a augmented 4th, just like above).

After a while you will see a some recurring ‘shapes’  and you will learn to quickly recognise an interval by the shape it draws on the fretboard, just like you do with chords: the following is an attempt to summarize all these shapes. Maybe not complete, but I hope it will help.

Click on the images below to download the interval charts PDF files:

Both these resources are from ‘The Guitar Kit Pro’, where the files will be higher resolution and unbranded: read all about it here: ‘The Guitar Kit Pro’ . Keep supporting this site by purchasing the products on the Shop page, thanks!

In my experience as teacher I have found to be a divide between the guitarist that is obsessed by theory and scales and that who is just interested in learning songs with no real interest in knowing how this songs are created.  I always wondered why  the second category were happier about their playing…

We spend as musicians most of our time learning theory, techniques and we often wonder how these fit in with ‘real life’….a lot of times we forget that tunes and musical pieces/compositions should be the goal of what we do. All these exercises and music theory studies should be a way to better perform and understand the tunes we know and write.

I always suggest to all my students to always keep an updated list of all the tunes they know (or they can busk), and a folder with all their original material, from the completed tunes to the ‘work in progress’ type material.

Keep writing and learning new tunes: this will give you a sense of purpose  in your studies and also it will be a test for all the techniques and theory you have learnt…

Good luck!

This is where http://www.thestringery.com/featured/random-chords-generator/ comes into play.

On this site you can easily generate random sequences to improve your chord recognition knowledge and improvisational skill. The default number of chords is 16 but you can easily change that number. I advice to play along to a drum beat or a metronome, so that you are more focused, starting with a chord per bar.

Also you could leave the recording backing track for a few days, so you completely forget what you recorded, and use it to practice your aural recognition skills (ear training). Try and see if you can recognise a major chord from a minor, or what extensions are contained in a chord.

I am also sure you will find some ‘snippets’ that will inspire you…maybe the beginning of your next masterpiece.

We have seen in the previous lesson al the major triads in close (or closed) position. As already stated if these notes of the triad (or ‘voices’) are contained within an octave we call it in ‘close’ or ‘closed’ position, as opposite as ‘spread’ position (more than an octave). Just watch the video where I go through all the most popular shapes for the latter.

OTHER TRIADS

Just like for the close position, it is really simple to find other (minor, augmented, diminished) triads from the major triad.

Major triad – R,3,5 – C,E,G

Minor triad – R,m3,5 – C,Eb,G (Lower the 3rd one 1/2 step)

Augmented triad – R, 3, #5 – C,E,G# (Raise the 5th one 1/2 step)

Diminished triad – R,m3,dim5 – C,Eb,Gb (Lower both the 3rd and 5th one 1/2 step)

Download -here- the page with all the triad inversions on a printable PDF file or click the image below (2 pages, both close and spread voicings).

In this lesson I go through all inversions for the most popular major triad ‘shapes’ on guitar.

The theory behind triads is quite simple: a major triad is basically the 1st, 3rd and 5th note of a major scale. If analysed in intervals:  from the root I will have a first note that is a major 3rd apart and a second note that is a perfect 5th apart. As an example, for the key of C major (C,D,E,F,G,A,B)  my C major triad will be C,E,G (C-E major 3rd, C-G perfect 5th).

If these notes (or ‘voices’) are contained within an octave we call this ‘close’ or ‘closed’ position, as opposite as ‘spread’ position (more than an octave). We will see the triads in Spread Position in another lesson.

INVERSIONS

When the triad is in its Root-3rd-5th configuration we call it ‘root position’ – C,E,G

If we move the root up an octave we have the first inversion – 3rd, 5th, Root – E,G,C

If we then move the 3rd up an octave we have the second inversion – 5th, Root, 3rd - G,C,E

OTHER TRIADS

It is really simple to find other (minor, augmented, diminished) triads from the major triad.

Major triad – R,3,5 – C,E,G

Minor triad – R,m3,5 – C,Eb,G (Lower the 3rd one 1/2 step)

Augmented triad – R, 3, #5 – C,E,G# (Raise the 5th one 1/2 step)

Diminished triad – R,m3,dim5 – C,Eb,Gb (Lower both the 3rd and 5th one 1/2 step)

Download -here- the page with all the inversions on a printable PDF file or click the image below.

If you enjoyed the free version of ‘The guitar kit’, ‘THE GUITAR KIT PRO’ is an even bigger collection of music and guitar templates, that I personally use to teach, now available in a consistent and professional look.

Over 70 pages of print quality templates in both JPG and PDF format, customizable and brand-able (step by step instructions on how to add your own logo with popular programs are included).

All for only $19.95! Instant download, quick and safe checkout with Paypal.

‘THE GUITAR KIT PRO’ INCLUDES:

(in 60 JPG’s and a 71 page PDF eBook)
BLANK MUSIC PAPER TEMPLATES:
BLANK STAFF PAPER TEMPLATE
BLANK TREBLE CLEF STAFF (without Barlines)
BLANK TREBLE CLEF STAFF (with Barlines)
BLANK TREBLE CLEF STAFF+TAB (without Barlines)
BLANK TREBLE CLEF STAFF+TAB (with Barlines)
BLANK TAB ONLY (without Barlines)
BLANK TAB ONLY (with Barlines)
BLANK PAGE WITH BARLINES
BLANK GUITAR NECK BOX 6 FRETS
BLANK GUITAR NECK BOX 12 FRETS
BLANK GUITAR NECK BOX 24 FRETS
SCALES:
MAJOR/MINOR PENTATONIC SCALE/ BLUES SCALE (5 SHAPES)
MAJOR SCALES (5 SHAPES)
MAJOR SCALES 3 NOTES PER STRING (7 SHAPES)
MELODIC MINOR (5 SHAPES)
MELODIC MINOR 3 NPS (7 SHAPES)
HARMONIC MINOR (5 SHAPES)
HARMONIC MINOR 3 NPS (7 SHAPES)
WHOLE TONE SCALE
DIMINISHED SCALE
MODES OF C MAJOR
MODES OF C MAJOR, PARALLEL APPROACH
MODES OF C MELODIC MINOR
MODES OF C HARMONIC MINOR
ALL MODES – FORMULAS
CHORDS:
BASIC CHORDS CHART (Most popular open chords and Barre chords)
7TH CHORDS CHART :maj7, m7, 7, m7(b5)
CHORD VOCABULARY:
MOST POPULAR CHORDS (TONIC:C)
MOST POPULAR CHORDS (TONIC:Db/C#)
MOST POPULAR CHORDS (TONIC:D)
MOST POPULAR CHORDS (TONIC:Eb/D#)
MOST POPULAR CHORDS (TONIC:E)
MOST POPULAR CHORDS (TONIC:F)
MOST POPULAR CHORDS (TONIC:Gb/F#)
MOST POPULAR CHORDS (TONIC:G)
MOST POPULAR CHORDS (TONIC:Ab/G#)
MOST POPULAR CHORDS (TONIC:A)
MOST POPULAR CHORDS (TONIC:Bb/A#)
MOST POPULAR CHORDS (TONIC:B)
ARPEGGIOS:
MAJOR/MINOR/AUG TRIADS ALL INVERSIONS
7th ARPEGGIOS ALL INVERSIONS
7th ARPEGGIOS 3 STRING SETS
MISC TEMPLATES:
12 BAR BLUES FORM (ROMAN NUMERALS)
12 BAR BLUES IN E
12 BAR BLUES IN A
12 BAR BLUES IN C
12 BAR BLUES IN G
GUITAR ANATOMY/FINGER NUMBERING
NOTE NAMES ON TREBLE STAFF/NOTE VALUES
NOTES ON GUITAR NECK
CAGED SYSTEM
STRUMMING PATTERN TEMPLATE
HARMONICS CHART
CIRCLE OF FIFTHS
MAJOR SCALES ALL KEYS
INTERVALS CHART
INTERVALS ON THE GUITAR NECK
TRIAD INVERSIONS (CLOSED)
TRIAD INVERSIONS (SPREAD)
GOALS SETTING TEMPLATE
STUDENT NOTES TEMPLATE FOR TEACHERS

I really like this style of phrasing, take some great examples like McCoy Tyner, and a lot of the ‘hard bop’ jazz cats. The basic idea is this: take a scale, in this example I will use a C major scale.

Now  play all the diatonic fourths contained in C major:

In the video I am playing on a Dm (Dorian) vamp, but you can use this phrasing technique on any scale, mode…have fun.

In this lesson he talks about some very cool (and incredibly easy) applications of the standard box pentatonic shape:

Here he talks introduces his book Modern Chords:
Advanced Harmony for Guitar (Mel Bay’s Private Lessons)

I cannot recommend enough to check out this incredible musician!

The Chords (from the fake book-as far as I know it is not copyrighted material so I am posting the original):

One good ‘pattern’ to start familiarising with the progression in playing 1235 for every chord (meaning the 1st,2nd,3nd and 5th of every chord). For the original key it would be B,C#,D#,F#(Bmaj7) then D,E,F#,A (D7), G,A,B,D (G)and so on…

It’s all about getting used to keep your brain engaged at any time. A great exercise!

In this video I show how to use the Superlocrian mode (nothing more than the 7th mode of a minor melodic scale) to improvise over altered chords. On C7 the choice would be C Superlocrian C, Db,Eb,E, F#,G#,Bb (also known as Db melodic minor starting from C). Listen to a few examples of resolution from C7(alt) to F major and to F minor in the second part of the video.