The Guitarist’s Guide to Music Theory and Application By Sean Ashcraft Introduction – What is this packet and why is this stuff important? I’ve noticed over the years that many guitarists simply not know anything about music theory, namely the theory based in the “western” classical tradition Well, to say they not know anything about it is a bit of an exaggeration; many know a decent amount about theory, they just not know how to apply it to the guitar It is almost as if there are two separate languages being spoken these days: “real” music and “guitar” music Hence the popularity of tablature and it being the sole method for song learning many guitarists (right along with playing by ear) I am writing this to show that all these are actually a part of the same thing, and that the “problem” with guitarists is just a little lack of practice Both those with experience with music theory and those without will be able to benefit from this packet because we will start with the very basics I am also not going to lie; music theory is not something that just comes naturally You can be given pages and pages of music and examples and explanations from the best of the best, but it is still up to the musician to learn the material and know how to apply it to the musical world So with that being said, what is the packet actually going to for you, the guitarist, the musician? It is going to take you right to the first thing almost every musician masters: the scales The keys But the guitar, being a polyphonic (multi voiced) instrument, will also have another thing to tackle: the chords And this being a theory packet, we will discuss the function of these chords We will start off nice and relatively easy with first position (as many open strings as possible) But we cannot stop there We have all those other frets to master as well Whereas most other stringed instruments (I’m thinking violins, violas, cellos, etc here) will then talk about position playing (here is scale “X” in position “Y,” and now again in position “Z,” etc.), the guitar is much better suited for scale pattern playing, which will then warrant an in depth discussion of the modes, as well as barre chords After that, we will begin thinking more “outside the box” (a reference to the old pentatonic scale so many guitarist love) and begin applying vertical motion in our scale playing (up and down the neck) Then we will expand our knowledge of chord voicing (jazz players will especially benefit from this) And we will also begin discussing the importance of arpeggios (Yes, “sweeps” will be covered, but why limit ourselves to just “sweeping”?) And then I will have probably have forgotten something very important by then, so I will probably update with a new addition or make some supplementary packet to go along with this I must now emphasize that this is NOT a “chord book” or a “scale book.” I will not draw every single chord that exists or every possible scale fingering! This book is meant to be a guide to let the musician determine what suits his/her tastes There is a definite wrong way to this, but there is not a definite right way to them (example: a C major scale has certain specific pitches, but there are dozens of ways to play it) I have tried to make this book as “neutral” as possible; in other words, a rock guitarist and a jazz guitarist should be able to learn just as much about music as a classical guitarist (or whatever you consider yourself) would All music shares a similar heritage It all just depends on how you want to express yourself How to read this packet and how to practice this stuff Like I said in the introduction, you will be given examples of everything that is outlined here Occasionally I will give guidelines as to how much each thing should be practiced and what should be memorized But often I not, as following with a sort of tradition that textbook writers tend to follow (probably not intentionally); it would seem that I leave it up to the reader to decide what’s “more important.” Whenever you take a class in high school or college, at least in the public school system most Americans are raised with, you memorize only what the teacher or professor tells you (or what’s going to be on the test) There is no standardized test that the musician is going to take after reading this packet, however The real test is the musical world: how you want to apply it, and how you are challenged by others to apply it So, it really depends on what kind of musician you want to become In theory, the best musician (if there is such a thing) will memorize every scale and every chord form and know every rule about theory ever created But if you are more apt to just learning about how to create the best solo, then you want to memorize your scales and chord functions If you want to just write music for others to perform, then knowing chord function and how scales relate to chords should be emphasized Or if you want to just play guitar and not really write music, then knowing your chords and scales is probably the most important Ideally, you have someone wiser than yourself guiding you through this process of learning the guitar inside and out Whether you have an instructor or not, challenge yourself to know the material, not just memorize it Constantly apply what you have learned to the real world Find music that has what you just learned If you need help, local music stores and the Internet are great resources Also, take your time with the material Don’t move on until you feel confident about each example A good rule of thumb is that you have mastered something once you physically cannot play it wrong But, not every example needs to be mastered 100% to still learn much about music theory, so if you are having problems, move on, or review And remember to have fun Part One: The Keys in Open Position Key of C Major No sharps No flats What could possibly be a better place to start? I must now make a few quick notes before we get started First, every topic discussed will have an example on a separate corresponding piece of sheet music I had to make an executive decision to it this way because I am selfpublished, and way too lazy to combine the two elements together Second, I am assuming the musician has basic knowledge of things: how to play basic guitar (you at least know the notes in first position and you can play some basic chords like C, D, G, E, Em, Am, F, etc.), and how to read music on a musical staff (and know what types of fingerings correspond to what: Example 1.2 shows what I’m talking about) If you are not familiar with one or both of these, then I suggest you take some guitar lessons real quick, and then after this is mastered, return to the material in this packet Teachers are great guides and are essential to become a guitar master! Third, this first key is a doozy Why? Because I will discuss all the intricacies of the theory behind the key, but only once, because the same principles apply to all keys If this last one confused you a bit, just hold on, take a breath, and prepare for a little bit of a ride Consider yourself lucky, though; many musicians practice keys their whole career without anyone explaining the theory behind them (and usually their careers are quite short) What is a key? Great question But to define this, you have to know quite a lot about how our system of music works in the first place I’ve provided two separate definitions for those who are interested and for those who know that the important thing is your ability to play them The Long Definition: Music is simply the organization of noises But it is that key term organization that, in reality, makes it not so simple The tones we perceive as pitches are perceived because they vibrate the air around our eardrum How fast the air vibrates determines the pitch that we hear Now, a crazy thing about vibration is that whenever you double the rate of vibration, you will see (imagine a slinky right now) a similar vibration pattern to the original one emerge, just with twice as much “stuff” going on Going back to that slinky, if you fixed one end of it (to let’s say a door) and shook it back and forth until you got one bend in it, that would be one “pitch.” Now shake it twice as fast Now you have two bends in it What’s the big deal with this? Well, when this happens in music, we call it an octave Play the low “E” string Now play the high “e” string Same pitch Two separate octaves See Example 1.1 In western music, we decided to divide the octave into 12 pitched tones, and if you play all of them in consecutive order, you get the chromatic scale Make sure you can read and understand Example 1.2, the Open Position Chromatic Scale This brings up the topic of enharmonic tones: most notes can be written in a couple different ways We will talk about the importance of which enharmonic tone to use in the context of scales and chord stacking and junk later For now, just stick to the provided fingerings if the notes are giving you trouble The classical tradition is to begin with major scales, then progress to minor scales, then to tackle other scales after that What’s the difference between a major and minor scale? Why is the major scale like this and not like that? First, a minor scale is a mode of the major scale What does this mean? A mode is just another name for a scale, but the connotation is that it is derived from (or based off) another scale For example, the key of A minor is based off the key of C major We’ll discuss this in more depth later But why is the major scale set up the way it is? Well, there is this somewhat complicated idea of the overtone series that states that each tone is actually comprised of multiple overtones, which make the sound brighter or darker depending on what overtones sound Play in the middle of a string—around the 12th fret—it sounds darker; less overtones appear Play next to the bridge: it sounds bright; more overtones are present The argument goes that the major scale contains most of the notes of the overtone series But this argument has a some of flaws in it and goes way above what you need to know right now Basically the major scale sounds good, so we’ll stick with it And music theory makes a lot more sense once you get to know it In other words: The short and skinny: A key is a collection of tones that sound good when played right If I practice my keys, I will know more about the guitar and music in general The Standard C Major Scale – Example 1.3 I will start off each key with the standard version of it I define a key’s standard version as movement from the lowest key note in first position on the guitar to the highest key note in first position So, this first scale will go from low C to middle C, one octave Compare the shape of your hand as you play this scale to the C chord See how they’re related? This scale should eventually be memorized The Extended C Major Scale – Example 1.4 An extended scale is essentially all the possible tones in that particular key, limited to the position at hand, namely first position Don’t so much memorize this as be able to call up any tone from it at command These two scales are great warm ups Force yourself to play as cleanly as possible with these and all scales Do not go too fast! Only go as fast as you can play cleanly Even if this seems too elementary for you, challenge yourself with cleanliness Try adding rhythms to make things more interesting; for example, try swinging 8ths, or dotted rhythms Be creative Do not just skip over these open position scales! Etudes in C Major An etude is a piece of music that exercises a given technique or idea Practice with a metronome is a fantastic idea with these 1.5 – Scale in 3rds Great exercise with intervals For the zealous musician, try the scale in 4ths, 5ths, etc Don’t know what an interval is yet? I talk about them a little more in the Chords in the Key of C Major section 1.6 – A nice little ditty, complete with chords in case your teacher or your friend wanted to accompany you as you practice this etude You can also use the chords to see how melody and harmony relates once you read about the chords in the key of C major 1.7 – This is an example of what is called a melodic sequence This is when a simple melodic passage is repeated and transposed, or moved, up or down every so often in a predictable pattern: in this case, every one measure, down a step I’ll bring up the idea of harmonic sequences later; they are the foundation for the melodic content of a melodic sequence If you have other method books or songbooks of your own, try playing the melodies that have few accidentals (sharps or flats) and appear to be in the key of C One day I will have an edition of this packet with examples from real music, with a bunch of different genres to keep things interesting But for now, due to lack of research, funding, and overall interest, you will have to be your own repertoire builder Consult a guitar instructor for more guidance Chords in the Key of C Major First, let’s talk about what a chord is A chord, for our purposes right now, is simply a specific set of intervals played at the same time A chord’s name depends on two factors: its root and quality Let me quickly talk about both Root: This is often the “bass” note of a chord (i.e., the lowest note played on the guitar or the note the bass player would play in a band), but this is not always the case For now, let’s think of the root as the note that is the most stable, or that never changes when you alter the chord’s quality I know that makes little sense right now, but just keep going and it will make more sense in a minute Quality: There are two ways of thinking about a chord’s quality First, you can speak of the “emotion” of the chord, or basically, how does it sound? You know (or should know) the E and E minor chords Would you agree that one sounds “happier” than the other? One sounds “darker” than the other? I bet you think the E minor chord sound dark, whereas the E (major) chord sounds more or less “resolute.” You can prescribe a number of different characteristics to each chord you learn But since everyone has a different opinion on music (or a different “ear”), this isn’t a very good way of categorizing chords or organizing them in a way that we can effectively study So… Secondly, you can analyze the relative structure of the chord We this by assigning a name (or quality) to a series of intervals that are a certain chromatic distance But when they talk of cooking I'm mighty hard to beat, I've made ten thousand loaves of bread The devil couldn't eat I like a lazy partner So I can take my ease, Lay down and talk of golden home, As happy as you please; Without a thing to eat or drink, Away from care and grief,— I'm fat and sassy, ragged, too, And tough as Spanish beef No matter whether rich or poor, I'm happy as a clam I wish my friends at home could look And see me as I am With woolen shirt and rubber boots, In mud up to my knees, And lice as large as chili beans Fighting with the fleas I'll mine for half an ounce a day, Perhaps a little less; But when it comes to China pay I cannot stand the press Like thousands there, I'll make a pile, If I make one at all, About the time the allied forces Take Sepasterpol THE CALIFORNIA STAGE COMPANY There's no respect for youth or age On board the California stage, But pull and haul about the seats As bed-bugs about the sheets Refrain: They started as a thieving line In eighteen hundred and forty-nine; All opposition they defy, So the people must root hog or die You're crowded in with Chinamen, As fattening hogs are in a pen; And what will more a man provoke Is musty plug tobacco smoke The ladies are compelled to sit With dresses in tobacco spit; The gentlemen don't seem to care, But talk on politics and swear The dust is deep in summer time, The mountains very hard to climb, And drivers often stop and yell, "Get out, all hands, and push up hill." The drivers, when they feel inclined, Will have you walking on behind, And on your shoulders lug a pole To help them out some muddy hole They promise when your fare you pay, "You'll have to walk but half the way"; Then add aside, with cunning laugh, "You'll have to push the other half." NEW NATIONAL ANTHEM My country, 'tis of thee, Land where things used to be So cheap, we croak Land of the mavericks, Land of the puncher's tricks, Thy culture-inroad pricks The hide of this peeler-bloke Some of the punchers swear That what they eat and wear Takes all their calves Others vow that they Eat only once a day Jerked beef and prairie hay Washed down with tallow salves These salty-dogs[14] but crave To pull them out the grave Just one Kiowa spur They know they still will dine On flesh and beef the time; But give us, Lord divine, One "hen-fruit stir."[15] Our father's land, with thee, Best trails of liberty, We chose to stop We don't exactly like So soon to henceward hike, But hell, we'll take the pike If this don't stop Footnote 1: In this song, as in several others, the chorus should come in after each stanza The arrangement followed has been adopted to illustrate versions current in different sections.(Back) Footnote 2: Sung to the air of My Bonnie Lies Over the Ocean.(Back) Footnote 3: Attributed to James Barton Adams.(Back) Footnote 4: Printed as a fugitive ballad in Grandon of Sierra, by Charles E Winter.(Back) Footnote 5: A song current in Arizona, probably written by Berton Braley Cowboys and miners often take verses that please them and fit them to music.(Back) Footnote 6: These verses are used in many parts of the West as a dance song Sung to waltz music the song takes the place of "Home, Sweet Home" at the conclusion of a cowboy ball The "fiddle" is silenced and the entire company sing as they dance.(Back) Footnote 7: A lumber jack song adopted by the cowboys.(Back) Footnote 8: This poem, one of the best in Larry Chittenden's Ranch Verses, published by G.P Putnam's Sons, New York, has been set to music by the cowboys and its phraseology slightly changed, as this copy will show, by oral transmission I have heard it in New Mexico and it has been sent to me from various places,—always as a song None of those who sent in the song knew that it was already in print.(Back) Footnote 9: "set" means settler.(Back) Footnote 10: snake, bad steer.(Back) Footnote 11: Dolly welter, rope tied all around the saddle.(Back) Footnote 12: rim-fire saddle, without flank girth.(Back) Footnote 13: To tune of Pop Goes the Weasel.(Back) Footnote 14: Cowboy Dude.(Back) Footnote 15: Pancake.(Back) End of the Project Gutenberg EBook of Cowboy Songs, by Various *** END OF THIS PROJECT GUTENBERG EBOOK COWBOY SONGS *** ***** This file should be named 21300-h.htm or 21300-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/2/1/3/0/21300/ Produced by The Online Distributed Proofreading Team at http://www.pgdp.net Music transcribed by Linda Cantoni, Joyce Wilson, Espe (Nada Prodanovic), and the PG Finale Project Team Updated editions will replace the previous one the old editions will be renamed Creating the works from public domain print editions means that no one owns a United States copyright in these 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and Am in the key of C major) “Tonic” refers to the home key,