In this post and the next we will learn how to identify keys
entirely visually, without having to memorize anything. Keys
tell you what chords and scales work together and are quite
useful. You can use them to figure out songs, compose, or
jam. Just knowing what scale you’re playing will give you a
list of chords to use. Playing 2 or 3 chords can tell you what
scale to play when you solo, and changing keys is easy, just
a chord by chord substitution. You’ve probably noticed that
most songs you play contain 3-6 chords total, just arranged
differently for the various parts. This because they are in a
key, which contains a total of 7 chords plus a scale. Over the
past 6 posts you have learned enough chords and scales,
now it’s time to learn how to put them together and use
them! (Again, a more complete explanation of keys, visual
and otherwise, along with practical methods for their use
is available in my book, “Take Control: for guitar”, available
on Amazon.)

My loose definition of a key is a group of chords and a scale

that work together. The 2 main types of keys used in popular

music are major keys and blues keys. Minor keys are just

major keys starting on a different root, the same as scales.

Here is the key of A Major…

SCALE NOTES       CHORDS        MODES      DEGREE #s

A                               A major           A major key       I

B                               B minor                                          ii

C#                            C# minor                                       iii

D                              D major                                         IV

E                               E major                                           V

F#                             F# minor       F#minor key      vi

G#                             G# dim.                                         vii*

-The left column lists the scale notes. Scales are used to

play melody; lead guitar, horn players, vocalists, and key-

boardists all use the same scales. The scale you have

learned is a pentatonic scale, which is a little more basic,

but it contains the same notes (minus the D and G#),

and will work fine. If you’re interested in the full major

scale, here is position 1 filled in(it has the same roots as

the pentatonic; 1st finger-minor/4th finger-major)

-The middle column lists the chords. Chords are used to 

play harmony and are used by keyboardists and guitarists.

You have learned to play 2 versions of all possible major

and minor chords and no version of a diminished chord.

Diminished chords sound nasty and are mostly used in

classical and jazz as passing chords (how many have you

played?) Look one up if you want, I can’t show you every

thing in a blog post!

-The  3rd column lists the 2 main modes in the key. This

shows that this is both the key of A major and the key of

F# minor! Just like your scales, the keys themselves are

both major and minor, just played from different roots.

If you play a 1st position A major scale with the 4th finger

on the 5th fret/6th string, you will see the minor root is

F# on the 2nd fret/6th string just like the example above!

The only difference between the key of A major and the

key of F# minor is what chord and note you consider to

be the root. In the key of A major the 1st chord ,A is the

main chord and in F# minor the 6th chord F# minor is

considered the main chord. As long as your jam focuses

on the main chord you can use any other chords in the

key and you will be in that mode/key. (Some chords will

work better than others, experiment!)

-The 4th column lists the degree numbers. Pros refer to

the chords in a key by Roman numbers, the 1st chord is

a I, the 2nd chord a ii, etc. Upper case numbers mean

major chords (I, IV, V) and lower case means minor

chords (ii, iii, vi), the last chord, a diminished, looks

like a minor with a * after it (vii*). The reason why we

use Roman numbers instead of regular chord names

is to change keys easily! Any I vi IV V chord sequence

is the same sequence for any key. This will make more

sense when we look at the key shape diagram below.

While all the above information is useful to know, you

can see the problem; there are 11 more keys, one for

each note in the chromatic scale, and they all have the

same amount of information and they’re all different!

With each key containing a 7 note scale, 7chords and 2

modes this adds up to 192 bits of information, which

is a lot to remember. Then there’s the obvious question

of how so many self taught musicians manage to write

songs and jam in key without knowing exactly what a

key is. The answer is they play by picture, both the

guitar and piano can be understood visually, this is

why the vast majority of self taught players play guitar

piano or both. We are already playing chords and 

scales without knowing all of the theory involved, so

learning the sequence of chords in a key visually is

just the next step. Below is the visual diagram of both

the major and blues keys along with the root notes on

the 6th string. (we are using the 6th string root to

locate the key but you have to use both 6th and 5th

string chords to get all of the chords in the key) The

top diagram on the right shows the location of all the

chords for any major key, the bottom diagram is for

the blues key shape, which we’ll talk about in the 

next lesson, ignore that for now. Notice the degree 

names instead of fret or chord names. This is what

allows us to play chords in any key.

You can start this shape on any fret and generate all of the

chords for that key. Need the chords for F major key? Move

the pattern to the F root/type I on the 1st fret and you get

all 7 chords in the key of F; just match the degree numbers

with the chord names for that fret. (1st fret-F major, 3rd fret

– G minor, 5th fret A minor, 1st fret, type2-Bb major, 3rd fret

C major, 5th fret-D minor, etc.) Start on any fret, the chords

will be there! The next post will explain the blues key shape,

which is vital for about half of all popular music.

 

 

In the last post we learned a pentatonic scale in position 1. I
also broke down the increased time allotted for practice from

20 to 30+ minutes a day depending on your schedule. 

Remember the most important factor in improving is regular

practice! 20 real minutes of practice is much better than 35

imaginary minutes. As I aid in the first post the pentatonic

scale is the most versatile and easiest to play, and the 1st

position we learned last time has the same root as the type 1 

bar chord. We also learned that the same scale is both major

and minor. The 4th finger (fret 8 in the diagram) is the major

root and the 1st finger (fret5 in the diagram) is the minor 

root. Just put the the correct finger on the type 1 root you

want and play away! By the way we are using 1 finger per

fret to play this scale; (1st finger 5th fret, 3rd finger 7th fret

and 4th finger 8th fret in the diagram). Now that we’ve

reviewed the last post, let’s learn the next position.

Fewer people know this pentatonic scale position (compared

to position 1) and it’s confusingly named. Although it goes

with a type 2 chord it’s called position 4! This is because we

are skipping 2 positions to get here, there are 5 positions in

total but we are are ignoring all but the 2 positions that match

our bar chords. You don’t have to worry about the 3 missing

positions since you will still be able to cover half of the neck

in any key! (I will show this at the end). Since this position

uses the same fingers for the roots; the circled note 4th

finger 15th fret is the major root and the 12th fret 1st finger

is the minor root, all you have to do is remember to name

it from the 5th string (type 2) root. Now you have a scale

to match each chord type. Again, just remember that minor

is 1st finger and major is 4th finger and you can play any 

key you want! Locate the type 2 root, put down the correct

finger and play! for example:

E major? 7th fret 4th finger

D minor? 5th fret 1st finger

Once your positioned in the key you can play anywhere in

the scale, you don’t always have to start with the root.

PLAYING HALF THE NECK WITH 2 POSITIONS

To do this we will need to go beyond the 12th fret. Although

my type 1 and 2 chord charts (1st quarter) ended at the 12th

fret that doesn’t mean you can’t play above the 12th fret!

It just means that chords are not practical above the 12th

fret, scales are another story. Since the notes on the neck

start over again on the 12th fret, I tell my students to view

the next 12 frets (frets 12 through 24) as a midget neck; 

the 15th,17th, and 19th fret markers have the same names

as the 3rd,5th, and 7th frets. You may not be able to play

chords on these frets but you can use the type 1 and 2

roots to play scales. No matter what the key, you should

be able to play at least 3 positions for any key. Since each

position covers 4 frets, those 3 positions add up to a 

total of 12 frets of scale coverage, half of a 24 fret neck!

(Here are 2 diagrams of  G minor chord/scale roots below))

Again, actually teaching you to use the scale is way beyond

what I can do in a blog post, although an earlier post,

“Permutations to the rescue” can help. However my book

“Take Control: for guitar” has an entire chapter with

sample riffs and a solo and is available on Amazon

through my website. To sum up:

Total time allotment;

5-10 minutes for scale practice

5-10 minutes for technique exercises

5 minutes chord/root review

5-10 minutes to jam

That’s it for this quarter! The final 2 posts will show

how to figure the chords and scales for any key, by

picture!

 

In this quarter the goal is to learn 2 positions of the pentatonic

scale. We will also need to increase the practice time from 15

minutes a day to 20-30 minutes a day. I’m keeping the time

flexible because 30 minutes is a big jump from 15! If you have

a busy day and 20 minutes is all you can do, great. I will break

down the time allocations at the end of this post. Even though

there are a total of 5 positions of the pentatonic scale, I’m only

using 2 because you guessed it, they go with the type 1 and

type 2 bar chords you learned in the 1st quarter. You don’t

need to worry much about the missing 3 positions, since you

will be able to cover half the guitar neck in any key, major or

minor with just these 2 positions! And you won’t have to

memorize any new root notes, just the same type 1 and type 2

roots you’ve already been learning (hopefully). A lot of the

following is taken from my book, “Take Control: for guitar”,

available on Amazon.

If you only learn one scale, make it a pentatonic scale. You can

use it for all popular music styles and it’s the foundation for

both major and blues scales. It’s easy to play and hard to screw

up! (Pentatonic means 5 notes, a pentatonic scale contains 5

notes repeated endlessly). The most common position is

called “position 1” and is named from the type 1 root.

PENTATONIC SCALE: POSITION 1

   8th fret, 6th string=major root/C major

 

Everybody knows this position, it’s the easiest to play and

the most used (half of all the guitar solos I’ve ever figured

out have been in this position). Many famous musicians

have built their careers with not much more than this

position. The first step in using this scale is figuring out

what key you want to play in. This is easy since the first

position scale has the same root as a type 1 bar chord, or

2 roots to be precise. Notice that the top note (fret 8) of

position 1 is the major root ( C on the 6th string, 8th fret).

The circled bottom note, which is on the 5th fret is the

minor root (A on the 6th string, 5th fret). As I teach my

students in the mode lesson, major and minor are just

different ways to play the same scale. If you want a minor

scale, play from the minor root (start on the 5th fret in the

diagram, using your 1st finger). If you want a major scale,

play from the major root (start on the 8th fret in the

diagram, using your 4th finger). The same scale is both

A minor (5th fret) and C major (8th fret), this is called

relative major and minor. Just remember that minor is

1st finger and major is 4th finger in this position. You

can play whatever key you want, just locate the type 1

root note (6th string), put down the correct finger and

play! For example:

Bb major? 6th fret, 4th finger

D minor? 10th fret, 1st finger

Once you’re positioned in the key, you can play anywhere

in the scale, you don’t always have to start on the root.

Now that you’ve learned a scale, and can locate it for any

key the challenge is how to use it. I use the metaphor of

learning to read; the scale is like the alphabet, riffs and

scale patterns are like words (your vocabulary), and solos

are like sentences. Teaching this is way beyond what I

can do in a blog post so I will again plug my book, “Take

Control: for guitar”. It’s available on Amazon, and has

an entire chapter of patterns, riffs and a sample solo.

It’s cheaper than 1 lesson with me and smells better!

To review the total time allotment:

5-10 minutes for scale practice

5-10 minutes for technique exercises

5 minutes chord/root review

5-10 minutes jam

The time varies with your schedule, it could be 20

minutes if time is tight or 30 minutes plus if you’re

up to it. In the next post we will learn another scale

position that goes with the type 2 root and see how

to cover half the neck (in any key) with just these 2

positions.

 

 

 

 

 

This post finishes up the 2nd quarter technique exercises. We’re

adding a whopping 5 minutes to our daily routine! (10>15 min.)

Remember in my original intro post, ” Practicing with no time:

part 3″ published 10/15/2019, the point is to build a practice

habit, something you do at the same time every day like brushing

your teeth. One reason I’m keeping the time allotment so small

is you have to be able to do it on the hard days. 15 minutes can

seem like a long time on a busy/crappy day! Moving on…..

Exercise#2 QUAD TECHNIQUE: A lot of people know this one.

It’s good for articulation, alternate picking and ultimately, speed.

(tab follows explanation pick all notes down and up)

-Put your 1st finger on the 6th string 1st fret, your 2nd finger

on the 6th string 2nd fret, your 3rd finger on the 6th string 3rd

fret and your 4th finger on the 6th string 4th fret. Pick all 4

notes in sequence, down up down up. Do the same on the 5th

string, 1 finger per fret/down up down up. Continue this for the

4th, 3rd, 2nd and 1st strings; 1 finger per fret and continuous

down/up picking. When you get to the 1st string 4th fret 4th

finger, slide your 4th finger up 1 fret to the 5th fret and start

back down; 4th finger on the 1st string 5th fret, 3rd finger on

the 1st string 4th fret, 2nd finger on the 1st string 3rd fret and

1st finger on the 1st string 2nd fret. Repeat the process on the

2nd string, 1 finger per fret still picking down and up. Continue

all the way down the 3rd, 4th, 5th and 6th strings, then move

your finger 1st finger from the 2nd fret to the 3rd fret on the 6th

string and walk back up, etc. Your goal is to keep walking your

way back and forth across the fretboard to at least the 12th fret.

(tab: pick all notes down and up v^)

1—————————————————————1-2-3-4->5-4-3-2–

2—————————————————1-2-3-4————————-5-4-3-

3————————————–1-2-3-4——————————————–etc..

4————————–1-2-3-4——————————————————–

5————-1-2-3-4———————————————————————

6-1-2-3-4———————————————————————————

Don’t be in a rush with this exercise, take your time and pick  each  

each note cleanly, especially your 4th finger notes (nobody likes

to use their pinky!). The 3rd exercise is for cross picking, the

ability to jump your pick from one string to another without looking.

#3 CROSSPICKING: This exercise develops your ability to find the

string you want to pick without having to look for it, to pick

without looking. This is my simplification of a Berklee Book 

exercise. I switched it to a 1st position A minor/C major pentatonic

scale because everybody knows that one. If you don’t you will by

the time you finish reading the tab! Keep your 4th finger pressed

down on the 1st string 8th fret throughout the exercise. Pick 100%

down and up (v^), the pinky note on the 1st string 8th fret will 

always be on the up stroke of the pick. Here is the tab;

 v ^ (down-up)

1—8–8–8–8–8–8–8–8–8–8–8–8–8–8–8–8–8–8–8–8-etc…

2-8–5———————————————————————-5–8–

3———7–5——————————————————5–7–

4——————7—5———————————–5–7–

5————————–7–5——————–5–7–

6———————————–8–5—5–8– 

You will probably need to look at your pick at first, but aim to

play without looking as soon as possible, even with a few mistakes.

Learn to pick this exercise by feel! Speed is not the goal here,

developing a sense of where the strings are is the goal.

This wraps up the 3 technique exercises. I still do all 3 as a

warm up 5 days a week. It stretches out my fingers and loosens

me up for the rest of the day and only takes me 5 minutes or so.

Remember 15 minutes total (5 on I/II roots and chords, 5 technique

and 5 jamming) 5 days a week. We’re building a habit! The next

quarter introduces scales.

 

In the second quarter, we increase the practice time to a total of

15 minutes. The extra 5 minutes will allow you to work on your

technique, which is an issue for most of us. Although I am giving

you 3 exercises, feel free to pick whatever 1 or 2 you most need

work on. You only have 5 minutes and you can always come back

later. The remaining 10 minutes of your 15 minute practice

session can be split between bar chord/root review and just

playing. I keep emphasizing knowing the roots because every-

thing else in my system,( which you will learn in the 3rd and 4th

quarters), is located off of these roots. The faster you can locate

these roots, the faster you can locate everything else and when

you’re jamming with other musicians it will not look good if

you have to stop and look at your notes! OK, that ends the

lecture, let’s start with the technique.

TECHNIQUE EXERCISES: There is a ton of material out there

to practice, it would easily be possible to come up with a 1 or 2

hour a day technique program. However with my philosophy

of least time and effort, I only use 3 exercises, because in my

experience most guitar players have 3 main problems:

-they can’t stretch far enough

-they can’t play and pick fast enough

-they keep picking the wrong strings

We’ll start with stretching.

1-STRETCHING: You must have a certain amount of flexibility

and reach in order to play more complex chords, scales and 

riffs. I generally start this exercise on the 9th fret. (my cheesy

home made tab follows this description).

Place the 1st finger on the 1st string, 9th fret. Place the 2nd

finger on the 2nd string, 10th fret. Place the 3rd finger on the

3rd string, 11th fret. Place the 4th finger on the 4th string 12th

fret. Congratulations! You are playing a D major 7 chord.

Pick each note until the entire chord is clear, then; move only

the 1st finger from the 1st string 9th fret to the 8th fret and

keep all the other fingers in place and pick each note, making

sure all 4 notes sound clear. Then move only the 2nd finger 

from the 2nd string 10th fret to the 9th fret, keeping all the

other fingers in place and the notes clean. Next move the 3rd

finger from the 3rd string 11th fret to the 10th fret and pick

all 4 strings and finally move your 4th finger from the 4th

string 12th fret to the 11th fret and pick. If you did this

correctly, moving only 1 finger at a time while keeping the

other 3 in position and picking all 4 notes cleanly, it

probably hurt a little and sounded terrible until you moved

all 4 fingers down. (now you’re playing a Db major 7 chord)

Once you can do this cleanly, moving only 1 finger at a 

time, continue by moving the 1st finger from the 8th fret

1st string to the 7th fret (keeping all the other fingers in 

place). Then move the 2nd finger from the 9th fret 2nd

string to the 8th fret, etc…. The goal is to walk your way

all the way down to the 1st fret, moving 1 finger at a time

and picking all the notes clean. Good luck!

(tab)

1–9—->8——8——-8——-8——->7—–7

2—10—-10—>9——-9——–9——–9—->8

3—-11—–11—–11—>10——10——10—–10….etc.

4——12—–12——12—-12—–>11——-11—–11

That wraps it up for this post. The next post will 

add the other 2 technique exercises and complete the

syllabus for the second quarter. Remember, 5 minutes

learning the stretching exercise and 10 minutes of

chord/root review and jamming. We’re still building

the habit of regular practice.