Welcome...
You've just stumbled upon a little treasure chest of musical goodies - a pool of wealth which, if you exert some effort, can greatly increase your understanding of music theory, how this theory relates to improvisation and how it directly relates to playing and understanding the guitar.
I originally designed these lessons for guitar players who already know how to play, but never studied music theory formally. This lesson series grew out of the materials I developed for my students many years ago when I first started teaching guitar after moving to Boulder, Colorado, in 1995.
Music Theory can be a very daunting subject if you don't have a good understanding of the fundamentals. Without proper guidance one risks getting overwhelmed by all of the little details of music instead of ordering them into a larger conceptual framework.
Music theory really can support your approach to guitar playing if you make an effort to understand and integrate it into your playing and into your listening. Theory provides the necessary sonic maps and precise language which can be used to help you conceptualize and realize your musical vision. In short, theory can act as the catalyst to unleash your creative potential. It can also act as a reliable supplement to fall back upon for those days when your inspiration is waning or somewhat lacking.
Where do we start?
We start with intervals, the basic building blocks of music, and then work our way to higher levels of thinking and organizing. If you can understand how intervals work, all of the other concepts will fall into place as most other concepts in music are expressed in terms of intervals - which are simply distances between notes.
I've gone to great lengths to ensure that topics are introduced from the ground up and that topics are presented at the right time and in the right order. As you will discover, music theory concepts build on top of each other so it's important to start at the beginning and master the basics before prematurely moving on to more advanced topics.
If you don't understand something in a later lesson, it's most likely an indication that you've missed some things covered in an earlier lesson. So do yourself a favor and take your time digesting this material.
Do I cover everything there is to learn in this series? Certainly not, but I do cover enough to get you started and then some. My hope is that this material will help you to establish a good foundation from which you can base your future studies, wherever that journey may take you.
Thank you...
If you have any questions, would like to give me some feedback, find a mistake or whatever, or are interested in studying with me privately, please feel free to reach out and contact me. I would love to hear from you.
I enjoy teaching very much and believe working with a good teacher one-on-one is still, by far, the best way to learn. I've been playing guitar for about 30+ years. I can probably help you!
Again, thanks for stopping by. I hope you're able to learn something from this resource. It's been a labor of love and I'm happy to share it with you.
~Gabriel Perry
Boulder, Colorado
www.flupe.com
Read a high level summary of topics covered in this lesson series.
-
Intervals - the basic building
blocks for all theoretical concepts in music
- how to play them
- how to name them
- enharmonic spellings - what does that even mean?
- tricks to memorizing/deriving them
-
The Major Scale:
- construction
- the major scale formula - w, w, H, w, w, w, H
- diatonic intervals
- key signatures
- the circle of 5ths
- relative minor keys: unlocking the fingerboard, seeing the connections
-
Diatonic Harmony:
- triads and 7th chords
- the "caged" method
- arpeggios
- 3-note voicings - essential building blocks
- all about inversions
- drop-2 and drop-3 voicings: jazz chord foundations
- tensions: adding color to your chords
-
Pentatonic Scales:
- the "ins" and "outs" of major and minor pentatonic scales
- how to switch between major and minor forms
- how to use them in different contexts besides the standard major/minor idioms
- extended pentatonic structures - unlocking the fingerboard once again
-
how to use pentatonics in conjunction with
modes and other scales:
- the bridge between 7-note scales and 5-note scales - an essential approach every musician should understand
-
Modes:
- how to think about them
- how to use them
- how to hear them
- the derivative approach - helps you to leverage knowledge you already know
- the parallel approach - helps you to think in more direct and sophisticated ways
- essential fingerings and forms
- modal harmony:
- how to write and play modal vamps and progressions
- characteristic notes: what makes a mode a mode
-
Diatonic Reharmonization:
- useful techniques for songwriting and improv
- 3 different sound categories for major scale harmonies
-
Melodic Minor Scales:
- chords and harmonies
- derivative modal forms
- the "way" to sound "out"
- the "jazz" scale - they call it the "jazz minor" scale for a reason
-
Minor Key Diatonic Harmony:
- modal interchange - the pat metheny technique (he uses it all the time)
- pivot chords - the doorway to modulation
-
Jon Damian's Magical 3-Note Palette:
- 3-note motives/constructs
- a mind blowing strategy that opens up the fingerboard and gets you playing in new and exciting ways
- maybe the coolest thing you'll ever learn about the guitar and about music
Here is a list of music related resources you may find useful. One you may find of particular interest is the RGP - Phrase Trainer Tool, a web utility I built which can help you transcribe music and learn guitar solos.
- Lessons Overview - ESSENTIAL READING: Some words of encouragement to get you started.
- Lesson Testimonials - Read what others have said about these lessons. These testimonials were sent to me from folks who purchased these lessons years ago.
- Email This Page To A Friend - Help spread... The Gospel According to Flupe?
- RGP: Phrase Trainer Tool - I'm a big proponent of transcribing music and learning by ear. I believe it is the single best way to learn how to play your instrument and that is why I built the "Phrase Trainer Tool". It can be used to help you with your transcription work.
- My Music - APPLICATIONS: Theory in practice; it's not all talk. Check out some of the recordings I've made over the years.
- My YouTube Channel - Improvisations and More: I've been getting more serious about my YouTube channel. Check out some of my performances and/or instructional videos.
- The Pedalboard - Check out some of the gear I use to make music.
- Pedals and Gear for Sale - I usually have something for sale posted on Reverb.com.
- SIS Cables - How to create Evidence SIS Audio Cables.
Foundations
Lesson 1
The 12 Notes of Music - The Chromatic Scale
Date Posted: 16-MAR-2002, (Revised: 7-JUN-2003)
Lesson Topics:
-
the 12 notes of music
- the chromatic scale
- the chromatic scale on the A string of the guitar
- note names
- accidentals:
- sharps
- flats
- introducing intervals
-
enharmonic spellings for note names
- notes that sound the same but are written differently
Lesson 2
Date Posted: 17-MAR-2002
Lesson Topics:
- tableture diagrams
- the open position
- the C major scale
- whole steps vs. half steps
- position playing (playing vertically) vs. playing up and down on one string at a time (playing horizontally)
-
the major scale formula:
- w, w, H, w, w, w, H
Lesson 3
Date Posted: 24-MAR-2002, (Revised: 9-AUG-2002)
Lesson Topics:
- further discussions on playing vertically vs. playing horizontally
- the major scale on one string
- how to figure out notes on the guitar
- the natural notes on the guitar
- an Intro to the Major (Ionian) mode
Lesson 4
Date Posted: 25-MAR-2002
Lesson Topics:
-
2 patterns for the major scale:
- root starting on the 6th string
- root starting on the 5th string
- how to use these 2 patterns to play any major scale
Lesson 5
Date Posted: 12-AUG-2002, (Revised: 7-FEB-2003)
Lesson Topics:
- definition of an interval
- the staff
- diatonic intervals
-
how to tune your guitar using unisons
- harmonics
- intonation
-
2 components of an interval:
- the name or quality part
- the number or quantity part
- the "rules" of intervals
- how intervals relate to half steps
-
some exercises and examples to help put it all together
- power chords
Lesson 6
Date Posted: 14-AUG-2002, (Revised: 2-DEC-2002)
Lesson Topics:
- how to construct any major scale
- key signatures
- the circle of 5ths
- the notes in the 15 major keys
Lesson Topics:
- how to play intervals on the guitar
- 21 diagrams (100 fingerings) for intervals less than or equal to an octave
Lesson Topics:
- non-diatonic intervals
- weird intervals and some tricks to help you memorize interval names
-
another way to express the major scale formula:
- R, 2, 3, 4, 5, 6, 7, R
- the major scale as a frame of reference
- enharmonic spellings for intervals
Lesson 9
Date Posted: 9-JUL-2002, (Revised: 20-AUG-2002)
Lesson Topics:
-
the chemical composition of the minor pentatonic scale:
- R, b3, 4, 5, b7, R
- the quintessential pattern for the minor pentatonic scale (root on the 6th string)
Lesson 10
Date Posted: 14-AUG-2002
Lesson Topics:
- all 5 patterns for the minor pentatonic scale
- some interesting observations and things worth mentioning
Intermediate Lessons
Lesson 11
Date Posted: 2-DEC-2002
Lesson Topics:
- harmonizing a major scale
- triads in A major
-
triadic formulas:
- major (r, 3, 5)
- minor (r, b3, 5)
- augmented (r, 3, #5)
- diminished (r, b3, b5)
- essential guitar chord forms - part 1
- there are only 4 augmented chords
- putting it all together - triads in all major keys
Lesson Topics:
-
figured bass notation
- chord forms: 5-3, 6-3, 6-4
-
inversions of triads:
- root position (r, 3, 5)
- 1st inversion (3, 5, r)
- 2nd inversion (5, r, 3)
- close voicings - "tightly packed" triads
- all close triadic chord forms on the guitar
Lesson 13
Position Playing and the Major Scale Modes
Date Posted: 7-FEB-2003, (Revised: 27-MAR-2003, 5-JAN-2018 and 16-Mar-2020)
Lesson Topics:
- the rules of position playing
-
7 patterns for a C major scale using strict position playing rules
- 2 octave patterns
- fingerings: 1s, 1, 2, 3, 4, 4s
- 5 "Practical" Patterns for a C Major Scale
-
an explanation of the major scale modes using the derivative
approach:
- ionian
- dorian
- phrygian
- lydian
- mixolydian
- aeolian
- locrian
- the relativity of music
- establishing a tonal center:
- pedal tones
- altering the tuning of the low strings on the guitar
- essential playing exercises
- putting it all together:
- examples of how to think "derivatively"
- a table of all the major scale modes
Lesson 14
Date Posted: 6-APR-2003
Lesson Topics:
- harmonizing a major scale again - further explorations of diatonic harmony
- 7th chords in A major
- 7th chord formulas:
- maj. 7 (r, 3, 5, 7)
- min. 7 (r, b3, 5, b7)
- dom. 7 (r, 3, 5, b7)
- min. 7 (b5) (r, b3, b5, b7)
- essential chord forms - part 2
- putting it all together - 7th chords in all major keys
Lesson 15
Date Posted: 24-MAY-2003, (Revised: 12-DEC-2003)
Lesson Topics:
-
the 3 standard minor scales:
- natural minor (a detailed explanation)
- harmonic minor
- melodic minor
- relative major/minor keys and scales
- diatonic harmony for a natural minor key
- harmonic analysis of pink floyd's comfortably numb
-
modal interchange - borrowing chords from a parallel key or
mode
- pivot chords
- avoid notes
- dominant 7 sus 4 chords (R, 4, 5, b7)
- the "blue" note (flat 5)
Lesson 16
Date Posted: 26-MAY-2003
Lesson Topics:
- the major pentatonic scale
- the major pent. scale formula: r, 2, 3, 5, 6, r
- major/minor pent. patterns are the same, just use them differently
Lesson 17
Date Posted: 7-JUN-2003, (Revised 6-JAN-2018)
Lesson Topics:
- a quick review of the derivative approach
- the 3 main parent scales:
- the major scale
- the melodic minor scale
- the harmonic minor scale
- the berklee method
- two kinds of modes: major and minor sounding modes
- the parallel approach to modes
- mick goodrick's advancing guitarist
- modal scale formulas
- 12 pedal tones: a playing exercise
Lesson 18
Date Posted: 15-AUG-2002
Lesson Topics:
-
this lesson explains how to create 3 general sound
classifications for diatonic chords for a major key:
- tonic (I, iii- vi-)
- subdominant (ii-, IV)
- dominant (V, vii°)
- this concept provides you with a basis for chord substitution (or reharmonization).
- this lesson is a must read for songwriters and those interested in arranging music as it is a very useful compositional technique which can help you to be more creative.
Lesson 19
Date Posted: 9-JUN-2003, (Revised: 30-Dec-2017)
Lesson Topics:
- most people know how to play a modal scale, but most don't know how to write modal progressions. this lesson will teach you how and more.
-
everything you need to know about modal harmony
is covered. topics include:
- how to create modal vamps (chord progressions).
-
characteristic notes - what are they and what is the
rationale behind them.
- the characteristic note for dorian: the "raised sixth"
- tonic chords vs. non-tonic chords
- characteristic chords
- modal cadences: characteristic chords resolving to tonic chords
- triads and 7th chords diatonic to the key of dorian - yes, modes are keys too!
- avoid chords and avoid chord progressions: what are they, where do they come from, how not to use them, etc.
- also covered in this lesson: an overview of the "less familiar" modes viewed from a "traditional" perspective. this viewpoint provides the foundation for understanding each mode's characteristic note.
-
the "less familiar" modes:
- dorian (covered in detail in this lesson)
- phrygian
- lydian
- mixolydian
- ionian (the major scale)
- aeolian (the natural minor scale)
- after reading this lesson, you'll understand modal harmony, and dorian mode specifically, inside and out.
Lesson 20
Date Posted: 9-JUN-2003
Lesson Topics:
- a continuation of the same approach presented in the previous lesson
- the other 4 modes are presented in detail:
- phrygian
- lydian
- mixolydian
- aeolian
- again, characteristic chords and chord progressions are discussed thoroughly.
- as are modal recipes (vamps), avoid chords and the avoid chord progressions for each mode.
- we then wrap things up with a nice little vamp in A aeolian which is analogous to the c major vamp which was presented in lesson 3.
Advanced Lessons
Lesson Topics:
- this lesson alone is worth the price of admission. the ideas come from jon damian, a virtuoso jazz guitarist who teaches at the berklee college of music in boston.
- famous cat (guitarist) who studied with jon: bill frisell. this is most likely where bill learned how to develop his unique intervallic approach towards music.
- non-famous cat (guitarist) who studied with jon: gabriel perry. i had the good fortune and pleasure of studying with jon for a semester while attending berklee in the early 90s. (later, after school, i studied with jon privately for a summer before moving to boulder.)
- years later i'm still working on and learning from the concepts and materials jon presented to me in our lessons together - the sign of a truly inspired and gifted teacher. i believe, the palette, is his best lesson.
- so what's the big deal? in short, the palette systematically categorizes the guitar's intervallic capabilities. one learns how to develop an intervallic vocabulary on the guitar.
- where does the palette come from? jon damian's whacky imagination. oh yeah, and from... motifs
-
motifs? what the hell are they? why... little musical ideas
or themes. in this lesson we explore:
- motifs as musical building blocks
- 3-note motifs: the palette's foundation and your key to unlocking the intervallic potential of the guitar.
- inversions of motifs - motific cycles
-
2 main motific categories:
- tightly-packed (close) voicings
- spread-out (open) voicings
-
the palette reveals 6 types of motific families:
- clusters
- triads
- quartals (voicings in forths)
- 7th chords with no 3rd
- 7th chords with no 5th
- structures an octave in height
- in short... this lesson will keep you busy for the next 50 years.
Lesson 22
Date Posted: 17-NOV-2003
Lesson Topics:
- learn how to play any jazz chord you could ever want.
- drop-2 theory is explained in detail.
- drop-2 voicings are presented and a method is shown how to create these voicings.
-
drop-2's yield 12 patterns on 3 sets of 4 adjacent strings:
- (6, 5, 4, 3) - the bottom 4 strings
- (5, 4, 3, 2) - the 4 middle strings
- (4, 3, 2, 1) - the top 4 strings
-
this lesson also covers the 15 types of chords found in music:
- maj.7
- min.7
- dom.7
- min.7 (b5)
- min. maj.7
- min.7 (#5)
- maj.7 (b5)
- maj.7 (#5)
- dom.7 (b5)
- dom.7 (#5)
- dom.7 (sus 4)
- maj.6
- min.6
- dim.7
- tonic dim.
- 12 drop-2 patterns for each chord type above gives us a total of 180 patterns.
Lesson 23
Date Posted: 26-NOV-2003
Lesson Topics:
- and just when you thought you were finished with chords... we do the whole thing again but with drop-3 voicings.
-
drop-3's yeild 8 patterns on 2 sets of strings:
- (6, 4, 3, 2) - bass notes on the 6th string
- (5, 3, 2, 1) - bass notes on the 5th string
- 8 drop-3 patterns for each chord type in the previous lesson yields 120 patterns.
Lesson 24
Date Posted: 16-AUG-2004
Lesson Topics:
- ever wonder how to "color" or embellish your chords? well, this is the lesson for you. i cover everything you need to know about these color-tones which are also called tensions.
-
first, we start with a brief review of triads and 7th chords,
then we get into tensions. topics include:
- compound intervals - intervals beyond an octave
- 9ths above chord tones
- major 9ths vs. minor 9ths
- avoid notes
- available vs. non-available tensions
- a simple method for cool voicings with 6 examples
- some of my favorite chords with 16 examples
-
drop-2 and drop-3 tension
substitution rules
- learn how to embellish all those chords you learned in lessons 22 and 23.
-
then we explore charlie parker's blues
for alice. this is a great vehicle to explore even more
topics:
- tension substitution examples for drop-2's
- tritone substitutions
- guide-tones
- another cool voicing for an E7 alt chord, you can never have enough
- berklee college of music - chord lab 3 examples (more than you could ever want)
- berklee chord lab 3 midterm exam, oh my!
- again, another lesson which will keep you busy for the next century.
Lesson 25
Date Posted: 16-DEC-2003
Lesson Topics:
- the lesson for songwriters
-
the definition of a secondary dominant chord
- cadences
- the 6 secondary dominant chords in the key of C major
- the 4 common characteristics of all secondary dominants
- secondary dominants as a way to spice up your tunes
- harmonic analysis of the beatles' hey jude
Lesson Topics:
- this lesson opens pandora's box... you really start down the dark side of the force with these ideas and concepts. warning: this lesson is not for the weak-minded masses.
-
the lesson extensively explores the use of the melodic minor
scale, topics include:
- diatonic harmony for a melodic minor scale
- the melodic minor scale formula
- triads and 7th chords
- altered dominant harmonies
- line clichés - minor and major
- the "james bond" chord
- drop-3 examples
- "thumbed" voicings - voicings using your thumb to grab a bass note
-
the melodic minor modes:
- melodic minor (jazz minor)
- dorian b2 (phrygian w/a raised 6th)
- lydian augmented
- lydian b7 (overtone scale)
- aeolian major (mixolydian b6)
- locrian w/a raised 2nd
- altered dominant (super locrian)
- 7 scale patterns, 7 recordings
-
practical applications:
- cool altered dominant 7th voicings in E
- putting it all together - jam over E7
- a minor pentatonic scale in place of super locrian? too cool.
Lesson Topics:
- a pivotal lesson which really puts things into perspective and ties almost all previous concepts together enabling one to truly develop a philosophy and approach towards improvisation.
- this lesson thoroughly re-examines diatonic harmony uniting it with pentatonic theory in an insightful and inspiring way.
- also, some fun with 7th chords and triads which create a new approach towards playing chords, working with harmony, and of course, soloing.
- more work with tensions and avoid tones, as well as more sound advice on soloing and striving to think in terms of a "bigger picture".
- and finally, a "12-tone" approach is presented which basically blows the doors off all of the rules and really opens one up to new ways to approach and synthesize music. these concepts will guide you on the rest of your musical journey for years to come.
- my holy grail of lessons has finally been actualized!
Lesson Topics:
- this lesson explores how to move horizonally between the 5 basic pentatonic patterns presented in lesson 10.
- along the way we discover the magic of the pentatonic "boxes" - little power-packed note bundles.
- these "boxes" are powerful because they're simple structures (easy to play) yet they contain a ton of guitar licks. more poetically speaking, each box contains "a handful of blues."
- connecting the "boxes" to the larger pentatonic shapes yields extended pentatonic structures. this simple technique unlocks a whole "fretboard of blues."
- then we explore how to switch between parallel major and minor pentatonic scales using the root as a pivot - a simple yet powerful idea indeed.
- and finally, i provide a brief introduction into the "12-bar blues". (i would be remiss if i did not.)
Lesson Topics:
- in this lesson we explore the CAGED method - a simple way to play major and minor chords using only 5 voicings (more or less).
- not really an advanced lesson, but something i want to present as it's a nice way to get around the neck when playing major and/or minor chords.
- some of the voicings can be a little awkward, so i show you some ways to transform these trickier voicings into more practical ones.
Lesson Topics:
- everything else i wanted to say, but never got around to until now
- tendency tones
- guide tones in a "traditional standard cadence"
- major scale patterns: 3-notes per string
-
harmonic minor scales:
- diatonic harmony
- motivation for the "raised" 7th
- position playing - 7 patterns for c harmonic minor
- the picardy third - how to get reborn
- practical modal applications
- minor two-fives
- melodic minor scale review
- diatonic arpeggios: 15 patterns
NOTE: All lesson material © and ® by Gabriel Perry 2002-. All rights reserved.
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