Uploaded by Juan Gabriel Arce Santiago

NLP complete workbook

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Workbook
Bookmarks
Level 1
1. Speed and versatility: The fretboard
2. Chords: Major and minor barre chords
3. Lead: Major scales in 3 positions
4. Practical theory: Chord degrees
5. Improvisation: Key of C
6. Solo: “Optimistic Jam”
Advancing to Level 2
Lead: Major scales in 3 positions
Level 2
1. Chords: Triads
2. Lead: Pentatonic scales
3. Improvisation: Chords and pentatonic scales
4. Technique: Bending
5. Solo: “Feeling Blue in B Minor”
Advancing to Level 3
Level 3
1. Chords: 7th chords
2. Speed and versatility: Pentatonic scales
3. Practical theory: Chord progressions
4. Lead: Minor scales
5. Solo: “Aeolian Dream”
Advancing to Level 4
Level 4
1. Chords: Triads on the top 3 strings
2. Speed and versatility: Scales
3. Improvisation: How to embellish chords
4. Lead: Harmonic minor scales
5. Solo: “Harmonic Patterns in E Minor”
Advancing to Level 5
Bookmarks
Level 5
1. Technique: Picking
2. Technique: Fretting chords
3. Lead: Major and minor arpeggios
4. Chords: Dm7, G7
5. Practical theory: Dorian mode
6. Solo: “Dazzling Dorian Funk!”
Advancing to Level 6
Level 6
1. Speed and versatility: Diagonal pentatonic scales
2. Chords: Embellishments
3. Practical theory: The CAGED system
4. Lead: Target notes
5. Solo: “Target Blues in Am”
Advancing to Level 7
Level 7
1. Chords: Twelve-bar blues
2. Lead: Mixolydian scales
3. Improvisation: Twelve-bar blues
4. Chords: Extended chords
5. Solo: “Everything Is Connected”
Level 1
1. Speed and versatility: The fretboard
Ways to find notes quickly anywhere on the fretboard
Guitar terms
# Sharp: One fret up, it raises a note by a semitone (a half step)
♭ Flat: One fret down, it lowers the note by a semitone (a half step)
Octave: An interval of 8 notes of a musical scale that shares notes of the same
name – e.g., from a low C to a high C in the C major scale
The musical alphabet – a recap
There are 12 notes in Western music, but only 7 letters are used to name them: A, B, C, D,
E, F, G. To complete the 12, we use sharps (#) or flats (♭).
Tips for navigating the fretboard
1. Go 5 frets, 1 string down to find the same note. The exception is between the B and G
string, when you count 4 frets.
2. There are 12 frets between the lowest and highest notes of an octave.
3. Go 7 frets, 1 string up to find the lowest and highest notes of an octave. The exception
is between the G and B strings, when you count 8 frets.
1
Level 1
Goal
To be able to name a note at any random location on the fretboard within 5 seconds
Advanced goal
To be able to name a note at any random location on the fretboard within 2 seconds
Exercises
1.1.1 Learn strategic frets
The aim of this exercise is to know all the notes on 4 frets, which you can use as reference
points for counting up or down to quickly find other notes. Once you can name the notes
on a fret from memory, move on to the next fret. My suggestion is to learn these frets in
this order:
Fret 5
Fret 7
Fret 3
Fret 10
2
Level 1
1.1.2 Learn octave shapes
Take time to practice these octave shapes and memorize them. Then you can use your
knowledge to find your way quickly around the fretboard.
Octave Shapes
3
Level 1
2. Chords: Major and minor barre chords
Tips for playing barre chords
Guitar terms
Root note: The first note of a chord – e.g., the root note of E major is E
Technique
•
•
•
•
Place your thumb on the back of the neck.
Keep your index finger straight.
Maintain a gentle curve in your wrist.
Apply moderate pressure.
Movable chord shapes
Root Note
Major Chord
Minor Chord
On string 6 (low E)
On string 5 (A)
OR
4
Level 1
Goal
Within 1 second locate major or minor chords with the root on the 6th or 5th string,
as shown in the video
Note: If you’re absolutely new to this, it can take some time before these shapes become
second nature.
Exercises
1.2.1 Know the major barre chords
Make some time in your regular practice sessions to play the following chords with the
root on the 6th and 5th string. Use the diagrams at first if you need to. When you begin to
feel more confident, start playing them from memory.
C
G
D
A
E
B
F#
C#
1.2.2 Know the minor barre chords
Make some time in your regular practice sessions to play the following chords with the
root on the 6th and 5th string. Use the diagrams at first if you need to. When you begin to
feel more confident, start playing them from memory.
C minor
G minor
D minor
A minor
E minor
B minor
F# minor
C# minor
5
Level 1
3. Lead: Major scales in 3 positions
Increase your versatility as a player by knowing major scales
Guitar terms
Function: The relation of a note, scale degree, or a chord to the tonal center (or
key) of a song. Functions are expressed with numbers and can be flattened or
sharpened.
Interval: The distance between the pitch of one note and another note
The major scale – a recap
Starting from the root note, this is the sequence of intervals between the notes in a major
scale:
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (1 fret)
Goal
To play from memory the C major scale in 3 locations on the fretboard
6
Level 1
Exercises
These exercises are great to play every time you pick up the guitar, as a warmup.
1.3.1 Open chord and C major scale
1.3.2 Barre chord and C major scale, root on 5th string
7
Level 1
1.3.3 Barre chord and C major scale, root on 6th string
8
Level 1
4. Practical theory: Chord degrees
How chords and scales relate to the key – and what that means for your playing
Guitar terms
Chord progression: The sequence of chord degrees played in a song
Key: The group of pitches (the scale) that is used in a song
Chord choices
Chord degrees are named using these Roman numerals: I, ii, iii, IV, V, vi, vii.
The I, IV, and V are major chords. The ii, iii, and vi are minor chords.
Understanding how the scale and the chords in a key relate to each other can help you
choose chords and scales to play in a particular key.
Functions
Notes (C major scale)
Degrees
Chords
1
C
I
C major
2
D
ii
D minor
3
E
iii
E minor
4
F
IV
F major
5
G
V
G major
6
A
vi
A minor
7
B
vii
B diminished*
*We won’t be covering the vii degree in this course.
9
Level 1
Goal
Start to recognize the chord degrees.
Feel comfortable playing in different keys. (The most seen major keys are: C – G –
D – A – E.)
Exercises
1.4.1 Common chord progressions
Practice playing the following chord progressions:
Key of G: I – vi – IV – V
Key of C: vi – IV – I – V
Key of G: V – IV – I – I
Key of D: I – IV – V – I
Additionally, you can try to make a few chord progressions yourself.
1.4.2 Analyze songs
Take some songs you already know and analyze them to find the chord degrees.
10
Level 1
Exercise 1.4.1 Common chord progressions
11
Level 1
5. Improvisation: Key of C
Essentials for getting better at improvising
Tips
•
•
•
•
•
Play the guitar as if you’re speaking. Use short sentences. Stop once in a while to
breathe.
Use repetition.
Play licks you’ve memorized from solos by your favorite guitarists.
Study theory.
Practice improvising.
Advanced tips
•
•
Record yourself and listen back to hear the bigger story in your guitar solos.
Finish your licks on a target note from the chord you’re playing over.
Goal
To gain confidence improvising with notes from the C major scale
Exercise
1.5.1 Improvisation in the key of C
Improvise over the backing track. It uses the C chord and the F chord. In the key of C,
the C chord is the I chord, and the F chord is the IV chord. So we call it a “I–IV (one-four)
progression in the key of C.” If you use notes from the C major scale in your improvisation,
they will sound great with these chords.
12
Level 1
6. Solo: “Optimistic Jam”
Play over a backing track using the skills you’ve learned
Guitar terms
Bend: Push a string across the fretboard to make it tighter and raise the pitch of
the note
BPM: Beats per minute; a measure of the speed a song is played at
Double stop: Two notes played at the same time
Hammer-on: To play a string open and then place your finger on the string to play
a higher note without needing to pick again
Pull-off: To lift your finger off the fretboard so you can play a lower note on the
same string without picking again
Staccato: A style of playing where notes are short and clearly defined
Vibrato: Repeatedly and quickly bending a note to give character to the sound
Goal
To nail this solo over the slower backing track
Advanced goal
To nail this solo over the faster backing track by the end of the course
Exercise
1.6.1 Solo: “Optimistic Jam”
Practice the solo with the backing track. It becomes more difficult as the song progresses,
so play what you can. Then practice until you can play the whole solo over the backing
track.
If you can play the solo well over the slower BPM backing track, move on to the regular
speed.
You don’t need to be able to play the solo perfectly before moving on to the next level
of the course. Keep practicing it if you need to, even after you’ve finished the rest of the
course. I made it pretty challenging so you have something to work toward.
13
Level 1
Exercise 1.6.1 Solo: “Optimistic Jam”
lvl 1.6
 = 85


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C
1
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7
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9
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7
9
5
5
7
C
5
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2
3
7
7
C 
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full
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full full
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15
15
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13
13
14
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9
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8
5
8 5 8 5
7
5
7 5 7 5
7
F

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7
9
7
9
5
5
7
7
5
10
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15
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C
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full
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full
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15
14
C
8 5
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
6
8
9
7
F
full
F
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4
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14
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15
F
12
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3
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1
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15
   
3
0
3
1
F
C
F
 C           
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13
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3
3
3
3
3
3
3
3
15 12 0 15 12 0 12 10 0 12 10 0 10 8 0 10 8 0 8 5 0 8 5 0
C

17  
8 10 6
0
8
8
10 12 10 8 10 12 10
8 8
8 8
8 8
8
13
15 17 15 13 15 17 15
13 13 13 13 13 13 13 13
full

full

13
15
1/1
14
Level 1
Advancing to Level 2
This course becomes progressively more challenging as you build your skills. I designed
it so you can advance at your own pace, to suit your learning style and your priorities as a
guitarist.
To help you decide if you’re ready to move on, answer the questions below.
You don’t need to get everything right before you move forward. There are no guitar
police looking over your shoulder! But I really hope you’ll spend 10 minutes on this self-assessment so you know the areas where you need to practice more.
Level 1 Self test
Grab your guitar and a pen so you can assess the skills you’ve learned. For the answers,
go to Advancing to Level 2 in the members area.
1. Name the notes
Can you name these notes without looking at a diagram?
15
Level 1
2. Find the chords
Can you play these chords without looking at diagrams?
a) B
b) F# minor
3. Play a scale
Without looking at the tabs, can you play the C major scale in at least one of the positions
in lesson 3, with a C chord before and after?
4. Play in key
a) What is the iii chord in the key of G?
b) Name two chords that will always sound good in the key of D.
c) Can you play a I – IV – vi – V progression in the key of A? (Hint: one of these will
be a barre chord!)
5. Improvise and play solos
After playing with the backing tracks in lessons 5 and 6, do you feel more confident about
improvising and playing solos?
16
Level 1
17
Level 1 - Exercise
Level 1
Lead: Major scales in 3 positions
1.3.1 Open chord and C major scale
1.3.2 Barre chord and C major scale, root on 5th string
1.3.3 Barre chord and C major scale, root on 6th string
18
Level 2
1. Chords: Triads
Play major and minor chords wherever and however you want
Triads – a recap
•
•
•
Any major triad consists of these notes in the scale: 1 – 3 – 5.
Any minor triad consists of these notes in the scale: 1 – ♭3 – 5.
You have the freedom to play the notes of a triad in any order you like.
Guitar terms
Triad: A chord made up of 3 unique notes
First inversion: When the lowest note of the triad is the major third (for a major
chord) or a minor third (for a minor chord)
Second inversion: When the lowest note of the triad is the perfect fifth (the fifth
note of the major scale)
Goal
To know the 3 positions of the triads on the top 3 strings, and preferably on the D, G,
and B strings
Advanced goal
To know the triad positions on the A, D, and G strings
To know the triad positions on the E, A, and D strings
Exercise
2.1.1 More chord shapes
Practice the various chord shapes in the tabs by playing along with the backing track. Try
out different shapes of the same chord throughout the track
1
Level 2
Lvl 2.1
Exercise 2.1.1 More chord shapes

Standard tuning
G chord

7

    

10

10
12
12
harder level:
 
3
12
16


4
5
5
7
9
10
 

8

   


12
  

 
5
5
5
8
10
9
harder level
5
9
14




2
2
3
5
7
7
9
10
12
14
14
15
7







15




3
4
5
8
7
9
12
12
12
15
16
17






5

4
9

0
2
3
12
 








5
5
7
9
10
10
12
14
15
    






These are all Am chords!
5
9
13
 


 
1
2
2
5
5
7
10
9
10
13
14
14







6
12
13
14
       



12
    
16
17
17




 
 
0
 21


12
12
14
Am chord
5
 





2
15
15
16
      

 

7
7
  


7
8
7
these are all G major chords!
15



1 

  
3
 43


       

 
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
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

7
10

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2
3
5
7
7
8
8




14



10
12
12


14
15
17





1/1
2
Level 2
2. Lead: Pentatonic scales
Unlock soloing skills with these essential scales
Guitar terms
Pentatonic scale: A scale made up of 5 unique notes
Relative keys: Keys that share the same notes but start on different notes
Notes in a pentatonic scale
Major pentatonic scales are made up of these notes (with 1 being the root note):
1–2–3–5–6
Minor pentatonic scales are made up of these notes (with 1 being the root note):
1 – ♭3 – 4 – 5 – ♭7
Goal
To know the major and minor pentatonic scales in at least two positions in any key
3
Level 2
Exercises
Down below we see five minor shapes and five major shapes. These are movable, so
the position always depends on the root of the scale (R). Do you notice that each minor
shape has a major shape that is exactly the same? So if you’re smart (and I know you are!),
you just have to learn five shapes and you’ll know them for both minor and major! Just
remember that the root note changes.
2.2.1 Minor pentatonic scale patterns
2.2.2 Major pentatonic scale patterns
4
Level 2
Lvl 2.2
2.2.1 A minor pentatonic scale patterns
5 shapes of Am pentatonic

1

Shape 1
 
  
5
8
5
5
7
10
12
12
10
Shape 5
9

15
15
17
9
12
5
7
14
17
10
12
14
17
13





 
7
  
5
8
 
3
Shape 2
  
10
10
17

   
  
4
8
 
 
   6 
 
  
10
5
2
8
Shape 3
5
  
10
Shape 4
7
  
7
7
10
 
7
10
8
9
12


15
17
12
15



15
17
12
12
15
14
13
14

11
8
  
8
  
12
10
15
12
 
10
 
15
17

12
Lvl 2.2
2.2.2 C major pentatonic scale patterns
5 shapes of C major pentatonic

  
Shape 1
    
1

8
10
Shape 3
5

  
12
9
12
15
15
7
5

8

5
10
    
8
9
8
10
12

7
3
Shape 2
   
14

5
12
13
14
15
 

5
7
7
12
10
15

5

  

12
10
Shape 4
7
   
12

10
12
9
17

8

5
15
17


15
17
14
11
17
14
10
12
  
17

    
4
10
10
   


6
 
Shape 5

7
10
7
2
8
13
10
12
    
15
17
12
15
17

1/1
8
5
Level 2
3. Improvisation: Chords and pentatonic scales
Have fun adding licks between your chords
Combining chords and pentatonic scales
Chords and pentatonic scales from the same key sound great together.
They also sound great with their relative keys – e.g., A minor and C major; E minor and G
major.
Goal
To gain confidence adding licks that use notes from pentatonic scales between any
major or minor chord
Exercises
2.3.1 Improvise licks over Am and C
Use any A minor pentatonic shape over any A minor chord.
Use any C major pentatonic shape over any C major chord.
2.3.2 Improvise licks over Am and G
Use A minor pentatonic over the A minor chord, and the G major pentatonic over the G
major chord using the backing track.
Pro tip: Relative keys can help you find patterns quickly: A minor equals C major; and G
major equals E minor.
2.3.3. Improvise licks over C and F
Try improvising over C major and F major using the backing track.
6
Level 2
4. Technique: Bending
Ways to improve your bending style
Bending tips
•
•
•
•
•
•
•
Keep the tip of your thumb on top of the neck, pointing forward.
Don’t bend your wrist.
Position your fingers at about a 45-degree slant.
Use your ring finger to bend the string.
Use your middle and index fingers to help.
Don’t slide your fingers under the adjacent strings.
Use your index finger to prevent nearby strings from ringing when you release your
ring finger.
Goal
To be able to bend a string to the desired pitch without other strings ringing
Exercise
2.4.1 Melody in the Key of A minor
This melody gives you a chance to practice your bending technique while playing over a
backing track.
Pro tip: Try recording yourself when you play this exercise to really hear if you’re nailing
the intonation of your bends.
7
Level 2
Lvl 2.4
Exercise 2.4.1 Melody in the Key of A minor
 = 95
full = whole tone bend (2 frets)
Am
G

1
 
full

 15






13


6

13
12



6
7
full

17
Am

14

full

11
15

3
3
G
½


12 
full


full

16
14
14
G
½


16





9
full
full
½
9


Am
10

full
5
16
full


full


10

8
½
full

12

5
17

10

G
full

½

19
10
G
full

19



Am


½
6
full

full
12


10
4
Am
full
G


full

full
8
full


½
G
full
Am
12
3
½

15
8


G
full

13

full
full

9
Am
full

2
Am
5
1/2 = semitone bend (1 fret)
7
7





1/1
8
Level 2
5. Solo: “Feeling Blue in B Minor”
Play over a backing track using the skills you’ve learned
Guitar terms
Pick-up bar (or anacrusis): A note or series of notes before the first measure (the
first bar) of a song
Goal
To be able to keep up with the backing track, bending the notes with good technique
Exercise
2.5.1 Solo: “Feeling Blue in B Minor”
Have some fun practicing the solo with the backing track.
9
Level 2
2.5.1 Solo: “Feeling Blue in B Minor”
Lvl 2.5
Standard tuning
 = 96
Bm
      1 



full

 10



7
10 7 10


  2 
¼

full

    

full

full

full
¼




4
 
  
full


10 7
3

10
7
9
7
7
12 10
12
7
7
12
7 10 7 10

Bm
8
     6     7  
         

7
Em
5
8
9
7 9
8
12
9
8 7
7
9 7
7
7
7
9
7
9
7
9
7
7
7
(optional)

 
9
(7) (10)
F m
9

   
 
Em
10

   
Bm
¼

 
11

9 12
9
11
11
8
9
9
7
9
7
full

7
7
10
7



9
(9)
½
      
      12

full
full
¼
11
11
f 7
(9)

9
7

full
7

7 10
½
7
9

9
9
9
9



1/1
10
Level 2
Advancing to Level 3
Are you ready to move on? Answer the following questions to help you decide. For the
answers, go to Advancing to Level 3 in the members area.
Level 2 Self test
Grab your guitar, and a pen to write down your answers.
1. Notes in a triad
Major triads (or just “major chords”) are made of which notes from the scale?
2. Pentatonic scales
Can you play at least one pentatonic scale pattern up and down fluently and from
memory?
3. Relative keys
What do two relative keys share, and in what way are they different?
4. Bending technique
Are you able to keep up with the backing track and bend the strings to the correct pitch?
5. Improvise and play solos
Name 2 pentatonic scales to use when improvising over C and F chords.
11
Level 2
12
Level 3
1. Chords: 7th chords
These chords can add a bit of “spice” to your playing
Guitar terms
Major
Major 7th interval: A half tone lower than the high note of the octave
Major 7th chord: Major chord with the major 7th interval added (the 7 note of the
scale)
Minor
Minor 7th interval: One tone lower than the high note of the octave
Minor 7th chord: A minor chord with the minor 7th interval added (the ♭7 note of
the scale)
Dominant
7th chord (or dominant 7th chord): Major chord with the minor 7th interval added
(the ♭7 note of the scale)
7th chords – a recap
The most commonly seen 7th chords are:
• Major 7th, made up of these functions:
1–3–5–7
E.g., Cmaj7: C – E – G – B
• Minor 7th, made up of these functions:
1 – ♭3 – 5 – ♭7
E.g., Cm7: C – Eb – G – B♭
• 7th (or dominant 7th), made up of these functions:
1 – 3 – 5 – ♭7
E.g., C7: C – E – G – B♭
Tips
• Learn the chord shapes by heart. Don’t try to work them out as you’re playing.
• By adapting these chords to become barre chords, you can play them anywhere.
• The 5th interval can often be left out of any chord, especially if you’re adding other notes.
1
Level 3
Goal
Within 1 second, be able to locate any major 7th, minor 7th, or 7th chord anywhere on
the neck with the root on the low E string or the A string
Note: To reach this goal, you may need to keep coming back to practice these chords
as you advance through the course. It can take some time before these shapes become
second nature.
Exercises
3.1.1 7th chords – Part 1
Practice these chords with the tabs.
3.1.2 7th chords – Part 2
Expand your 7th chord vocabulary.
2
Level 3
Exercise 3.1.1 7th chords – Part 1
3
Level 3
Lvl 3.1
 


 
Exercise 3.1.2 7th chords – Part 2
Cm7

A  maj7


 
2
5
3

 




6
8
7
8
6
3
3
4
3
5
3
4
5
5 
  

5
 55
5
 7



4
5
5
Am7

G7
6
 1 
    
3
 43

5
 3
5
E  maj7
Dm7

6
G7






5
6
5
7
5
3
3
4
3
5
3
7



4

 

Cmaj7

8
 



3
5
4
5
3










1/1
4
Level 3
2. Speed and versatility: Pentatonic scales
Skills that will help you easily shift any lick to different strings
Guitar terms
Alternate picking: Alternating between a downstroke and an upstroke
Triplet: A group of three notes of the same length (counted as one-two-three)
Goal
To increase your speed at playing the E minor pentatonic in five positions, while
maintaining good technique
Exercises
3.2.1 The E minor pentatonic scale played in 5 patterns
Advanced exercises
• Count in sixes (not threes).
• Play the exercises in G minor or A minor.
• Use a metronome and gradually increase the speed.
5
Level 3
Exercise 3.2.1 The E minor pentatonic scale played in 5
patterns
Lvl 3.2
Em pentatonic
Pattern 1
Pattern 2
3

1
2





         
3


2
2 5
2 4 2 4
5
3
4
3 5
 
 
3

7 10
3
10
7
9
7
9
6

3
5
7
9
7
9
7
9
9
8 10
7
   
       
12
15
12
15
12
14
12
14
10

14
12
3
5 8 5 8
7
8

3
3
3
14
10 12 10 12
9
12
9 12 9 12

     
3
3
12
5
12
14
9
12

3
5 7

3
7
3
3
 
 
3
12
3
7
4 7 4 7
Pattern 4
Pattern 5
9
5 7 5 7
4
3
3
3
3
8
3
3 5 7


3
3
3
7
3 5
3
 
4
  





3
7
Pattern 3
5
3
3
3
3
9 12 9 12
10 12
11
3
12
14
12
14
12
1/1
6
Level 3
3. Practical theory: Chord progressions
Add to your repertoire with these 7th chords
Guitar terms
Transpose: To change the pitch of a song by raising or lowering the notes or
chords by the same interval
Chord progression dictionary
Chord degree
Name
Example: 7th Chords in Key of G major
I
Tonic (root)
Gmaj7 (or GΔ/GM7)
ii
Supertonic
Am7 (or A-7)
iii
Mediant
Bm7
IV
Subdominant
Cmaj7
V
Dominant
D7
vi
Submediant or relative minor
Em7
vii
Seventh or leading note
F#m7♭5 (or F#ø, which is pronounced
as “half-diminished”)
Goal
To be able to construct jazzy or spicy sounding chord progressions in any key based
on 7th chords
To be able to quickly find and play the chords with the root on the Low E or A string
Exercises
3.3.1 Jazz in key of G
Practice this tune with a I – vi – ii – V progression.
7
Level 3
Exercise 3.3.1 Jazz in key of G
Lvl 3.3
(   =  
)
   Em7
  
  D7 


I-vi-ii-V key of G
Gmaj7
Am7
7
 
 1
  







3
4
4
7
3
   Em7 
   
Gmaj7
5

3
7
3

 9 
   

 45
5
3
 3

5


5
5
5
7
5
7
5
5


 

5
5
5
5
5


  

5
6
I-vi-ii-V key of C



5
5
5
7
7
Cmaj7 Am7 
 

 

  
5
7
5
8
7
9
2

Am7   D7 


Different voicing
5

 



 43
4



  

5
5
5


5

  
3
5
4

  
5
6
5
7
5


3


3
4
3
3

5
vi


3
4
4
3
7

5
Dm7 G7 
 
10
I
5

3
 
5


3
4
4
3

  

7
3

3
ii

7


8
7
9
8
7
9

V


4


  

5
5
5
7
5
8


5
5
5
7
5
5


5
5
7
5
7
5

  
5
3
5
4
5
Cmaj7 Am7  Dm7  G7 
 
 
4x









Different voicings
11

3


  
3
5
4
5
3
 

5


5
5
5

12

5



5
3
5
3
5


3


3
4
3

3





1/1
8
Level 3
3.3.2 Jazz in key of C
Transpose the chord progression I – vi – ii – V into the key of C. You’ll find the answers in
the tabs – but try to work it out yourself first!
9
   
   
   


5
 

 
 
7
 





 

 











3
5
 43
4
7
Exercise
3.3.1
Jazz555 in key435of C
4
5
 4
7
7
5
5
5
3
6
3
5
I-vi-ii-V key of C
Cmaj7 Am7 
 
5

 9 
   

 45
5
3
 3


5


5
5
5
5
5
3
Dm7 G7 
 

10

5

  
5
6
5
7
5


3


3
4
3
3

  
7
8
7
9
8




5
5
5
7
5
5
Level 3




 

3

5
4
5
5

Cmaj7 Am7  Dm7  G7 
 
 
Different voicings
11

3


  
3
5
4
5
3
 

5


5
5
5

12

5

  
5
3
5
3
5


3


3
4
3

3





1/1
10
Level 3
4. Lead: Minor scales
A lot of music is in a minor key, so these are great scales to know
Guitar terms
Aeolian or natural minor scale: minor scale
The minor scale – a recap
Starting from the root note, this is the sequence between the notes in a minor scale:
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
The intervals of the minor scale compare to the intervals of the major scale like this:
11
Level 3
Goal
To play from memory the A minor and C minor scale in more than one location on the
fretboard
Exercises
3.4.1 A minor, root on string 6 and root on string 5
Root string 6
Root string 5
12
Level 3
Lvl 3.4
Exercise 3.4.1 A minor, root on string 6 and root on string 5

od.guit.
A minor scale pos. V
1

   
5
7
8
5
  
    
7
8
5
7
  
    
A minor scale pos. XII
4
   
12 14 15
4
(9)
12 14 15
12 14
12 13 15
5
7
5
  
12 13 15 17
    2       
6
8
5
5
7
8
    
15 13 12
7
5
8
6
5
    
15 13 12
14 12
7
5
    
4
(9) 7
5
    
15 14 12
15 14 12
  
3

8
7
5

6
    
15 13
8
7
12 13 15
5
12
1/1
13
Level 3
Lvl 3.4
Exercise 3.4.2 C minor, descending run and ascending run
          
Run down in C minor
     2            
  1 

 
  
 11 10 8 10 8
8
11
11 9
11 9 8 11 9 8
9 8
8

10
10 8
10 8 7 10 8 7
8 7

10
10 8

3
      
       
7
10
8
6
10
8
Run up in Cminor
5
3
    
3
8 10 11
 
8 10 11
6
5
8
6
5
6
8
   





3
10 11 13
3
3
10 11 13
10 12 13
5

8
6
   
3
10 12 13
4
      
5
8
6
5
8
6
5
   
    6 
3
12 13 15
3
12 13 15
3
13 15 16
     
6
8
5
8
6
       
3
13 15 16
3
15 16 18
8





3
15 16 18 20
1/1
14
Level 3
5. Solo: “Aeolian Dream”
Play over a backing track using the skills you’ve learned
Goal
To nail the solo, keeping up with the backing track
Advanced goal
To understand why the notes in the solo sound good with the chords in the backing
track
Exercise
3.5.1 Solo: “Aeolian Dream”
Practice the solo over the backing track … and then feel free to let loose and improvise.
15
Level 3
Lvl 3.5
3.5.1 Solo: “Aeolian Dream”



  

7
Fm

5 

1  

8
 (8)

Cm
8



 
2



11
 

10
12
8
10
 
3
6
7
Gm
7



 

8
11
10
11 10
11
(13)
Cm

9

full
full
full
full


8
11


10


8
10
8
8
Fm
13

8
11
17
8
9
10

8
full

8

11
8


full
full
full
full


10
13

14

 
11
14

full
full


13
16

15

   
full
full

15
18
full


full
full
full
15
18
15
18
15
18



full
full




full

16
10
8
10
 
6
8
7
13


      




12

  

 

full


11
11
Gm
full
full
full

full
10

full
8
11
8
8
8
10
A
      
11
11
9


12

8

11
(8)
full
13
4
8
8
     
  
6
A
8
7
8
7
7
10
8
      
8
10
8
8
8
8
8
Gm pentatonic
       
   

full

18 15
18 15
17 15
18 15
17 15
17 15
17 15
18 15

15
1/1
16
Level 3
Advancing to Level 4
Are you ready to move on? Complete the following questions to help you decide.
Grab your guitar, and a pen to write down your answers. You can check the answers in
Advancing to Level 4 in the members area.
Level 3 Self test
1. 7th chords
A major 7th chord is made up of which 4 intervals of the major scale?
2. Pentatonic scales
Can you play at least 3 of the 5 pentatonic scale patterns from lesson 2?
3. Chord progressions
If you were to play a ii – V – I progression with 7th chords in the key of D, what chords
would you play?
4. Minor scales
Are you able to play A minor in at least one of the two positions without checking tabs?
5. Improvise and play solos
Do you feel relatively comfortable jamming with the backing track in lesson 5?
17
Level 3
18
Level 4
1. Chords: Triads on the top 3 strings
Find the triads you need fast and fluently
Frequency spectrum
The guitar lies mostly in the middle registers of the frequency spectrum. For instance, it’s
not as low as a bass guitar, which has a lot of low frequencies, and doesn’t go as high as
the violin.
When you play, you have to decide where in that middle spectrum you want to be. If you
want the guitar to sound fat and thick, play the chords on the first few frets of the lower
strings. If you want the guitar to sound higher, play the chords on the higher strings, and
higher up the neck!
This is very important to think about when you play in a band or when you record guitar in
the studio.
Goal
To be able to locate any major or minor chord on the top three strings by the end of
the course
Advanced goal
To be able to play any major or minor chord on the D, G, and B strings by the end of
the course
Exercises
4.1.1 Reggae vibe in G
Play a G – C – D chord progression three ways on the top three strings, over the backing
track.
4.1.2 Reggae vibe in G minor
Play a Gm – Cm – Dm chord progression three ways on the top three strings, over the
backing track.
1
Level 4
Exercise 4.1.1 Reggae vibe in G
2
Level 4
Exercise 4.1.2 Reggae vibe in G minor
3
Level 4
2. Speed and versatility: Scales
Play scales using 3 notes per string to boost your skills
Guitar terms
Legato: A style of playing where notes are smooth and connected to one another
Goal
To increase your speed at playing the G major, A minor, and C major scales using the 3
notes per string system
Exercises
4.2.1 G major scale, 3 notes per string
4.2.2 A minor scale, 3 notes per string
4.2.3 C major scale, 3 notes per string
Advanced exercises
Figure out another minor scale and another major scale using the 3 notes per string system.
4
Level 4
Lvl 4.2
 
   
 

Lvl
4.2


 
   




 
 
   
 

Lvl
4.2


 
 

   
Exercise 4.2.1 G major scale, 3 notes per string
Run up in G major
1
3
3
3
Run up in G major
3
3
3





4
5
7


4
5
7
3
 upin G major 3 5 7
3
3
 Run


3
5
7



3
3
3

 
  1
   5 7 8 5 7 8 10








4
5
7




4
5
7
3

Run up in
3
3
5
7
3
 
 3A minor


5
7

Exercise
4.2.2
A
minor
scale,
3
notes
per
string
3

2

3
3



     5 7 8 5 7 8 10








4
5
7
    
3
3
4
5
7
 A minor
Run up in
3
3
5
7
 


3
5
7

3

2

3
3


 5 7 9 6 8 10 7 8 10 12









5
7
9
3
 up in A minor 5 7 8
3
3
 Run


5
7
8



3
3
3
 2

  6 8 10 7 8 10 12







5
7
9




5
7
9
  downin C major (extended
+ alternate
pick)
3
3
5
7
8
3
Run

5  7 
8


 
       
3


8  10  7  8  10 12 3
6
 

5
7
9

5 pick) 7
9
 down
Run
in
C
major
(extended
+
alternate
3
53
7
8
3
3

 5 3 7  84.2.3
3string 3
Exercise
C
major
scale,
3
notes
per


3
 13 12 10 13 12 10 13 12 10        
    3


12
10
9
12
10
9

12
10
9
12
10
9
+ alternate
 Run down
3 in C major (extended
3
3 pick)
12
10
8
3
3
3
3
       
3
       
3
 13 12 10
      
13
12
10
13
12
10

12
9
12
10
3

4
3
310
39

12
10
9
12
10
9
3
12
10
8
3
3
  3   3 

3
3

      


 13 12 10
13
12
10
13
12
10
8

12 310
9
12
10

4
3
39
12
10
9
12
10
9
  3
8 12


10
8
9
          

10

12
10
8
10

12
10
8
12
10
8
7
8
10
8
8


3
88
4
3
3
3

Run down in E minor
9
 (bonus)



10








12
10

10  8  12  10  8  12 10 8
7
8
10
8
8
       

  88  
5

 
9
in E minor (bonus)
10
12Run down
10

310  8  312  10  83  12 103 8
7 3
8
10 3
8
8
3
3
       
5 19 17 15 19 17 15 19 17 15
      
 Run down in E minor (bonus)
17
16
14
17
16
14
17
16
14
17
16
14
3
17
15
14
3
3
  3    3   3   3
3
          
5
19
17
15
  
19
17
15
19
17
15
17
16
14
17
16
14

17
16
14
17
16
14
3
3
3
3
17
15
14
3
3
 3
3
 19 17 15
19
17
15
19
17
15

1/2
17
16
14
17
16
14
17
16
14
17
16
14

17
15
14
1
3
3
3
5
7
8
5
7
8
10
1/2
5
1/2

4
3

12


10
3


3



3

8
10
8
10
8
Bonus: Run 12down
in
E 12minor



7
8
10




8
8
8
9
10
10
8

Level 4



   
      
          
5
 

Run down in E minor (bonus)
 19


3
17
3
15
19
17
3
15
19
17
3
15
17
16
3
14
17
16
3
14
17
16
3
14
17
16
3
14
17
15
14
1/2
6
Level 4
3. Improvisation: How to embellish chords
Creative ways to give chords a solo feel
Guitar terms
Arpeggio: The notes of a chord played sequentially, instead of all at once.
Grace note: A note added simply as an embellishment (not essential for the melody or harmony)
Goal
To be able to add notes to any chord, major or minor, while retaining the sound of the
chord
Pro tip: Embellishments should add a touch of spice to a chord but not change the sound
of the chord. You can think of it like this: a pizza still needs to taste like pizza even if you
put spicy toppings on it!
Exercises
4.3.1 Embellished E major – version 1
4.3.2 Embellished E major – version 2
Advanced exercise
Try embellishing another major chord and another minor chord.
7
Level 4
Lvl 4.3
Exercise 4.3.1 Embellished E major – version 1
 = 70
4.3.1
1

    




E
3
E


(1)
(2)
(2)
(0)
0
2
4
6
4
4
6
6
4
7
6





9
2
9
11
11


9
11
(F  m)
0
0
1
2
5
2
9




2
X
4
2
X
4




2
2
4
4

5
0
0
1
2
2
0

9
12


E



 
0
0
1
2
6


(F  m)




4
0


6
4
E
2
0
Scale position (4:57) E major pentatonic
6
5
4

      
0
0
1
2
2
0
0
1
2
2







 


 





1
2
2
0








(0)
(0)
(1)
(2)
(2)
(0)


12
4.3.2
E




7
0
9

0



7
9
9
9
7

 
7
9
9
9
7
  
   
7
9
9
11
12
9
12
9
11
11
8

9
0
   
 
12
11
9
11

10

12
9
9
0







   
7
9
9
9
7
7
full

7
9
9
9
7
11
12

9
11
       
 
full

9
 
9
  
11
9
full
full

11

9
11
9
11
   
  
9
9
0
11
11
9





1/1
8
(2)
(0)
2
Scale position (4:57) E major pentatonic
6





2
0


9
11
4
9
2
0




4
9
12

(2)
(0)

Level 4

12
9
11
7
9
11
Exercise
4.3.2
Embellished
E major – version 2
4.3.2
E




7
0
9

0



7
9
9
9
7

 
7
9
9
9
7
  




7
9
9
11
12
9
12
9
11
11
8

9
0
   
 
12
11
9
11

10

12
9
9
0







   
7
9
9
9
7
7
full

7
9
9
9
7
11
12

9
11
       
 
full

9
 
9
  
11
9
full
full

11

9
11
9
11
   
  
9
9
0
11
11
9





1/1
9
Level 4
4. Lead: Harmonic minor scales
Use this scale to create a unique sound
The harmonic minor scale – a recap
Starting from the root note, this is the sequence of intervals between the notes in a harmonic minor scale:
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (1 fret)
3 semitones (3 frets)
Semitone (1 fret)
The intervals of the harmonic minor scale compared to the intervals of the minor scale are:
When to use it
In songs with a minor chord progression, the V chord is frequently switched to a major
chord for a more interesting sound. Try playing notes from the harmonic minor scale over
that chord (rather than notes from the natural minor or pentatonic scale).
Goal
To play from memory the A harmonic minor scale and recognize when you can use it
in a song
Pro tip: The harmonic minor scale has a very distinct flavor and sound, so it’s easily recognizable in a song once you know it.
10
Level 4
Exercise
4.4.1 A harmonic minor scale
Root on string 6
Root on string 5
11
Level 4
Exercise 4.4.1 A Harmonic minor scale

A harmonic minor scale root on string 6
1

2
5
7
7



14
Am E7
 
  

0
1
2
2
0
3
1
2
2
0
12
15
14
6
8



A harmonic minor scale root on string 5
12
3
5
8








7


13
14
15
Cool lick in A harmonic minor (bonus)
4
              
7
6 7
4
5
7
4
5
7
4
5
7
5
5
7
5
5



4
5
7



12
13
15


5
6


4
5




12
13
16
17
Am


              6
6
5
7
6
4
5
6
4
5
6
4
5
7
4
5
7

8
0
12
1/1
Level 4
5. Solo: “Harmonic Patterns in E Minor”
Create an amazing sound using the harmonic minor plus scales from earlier levels
Guitar terms
Tremolo picking: Alternating upstrokes and downstrokes at high speed
Goal
To nail the solo while keeping up with the backing track
Exercise
4.5.1 Solo: “Harmonic Patterns in E Minor”
Practice the solo over the backing track, then jump into an improvisation.
13
Level 4
Exercise 4.5.1 Solo: “Harmonic Patterns in E Minor
14
Level 4
15
Level 4
Advancing to Level 5
Are you ready to move on? Complete the following questions to help you decide.
Grab your guitar, and a pen to write down your answers. You can check the answers in
Advancing to Level 5 in the members area.
Level 4 Self test
1. Triads on the top 3 strings
Can you play the Gm – Cm – Dm chord progression at least two ways on the top three
strings without looking at tabs?
2. Scales
Can you play the A minor scale using three notes per string?
3. Embellishing chords
What is the easiest scale we can use to embellish any major or minor chord?
4. Harmonic minor scales
What is the difference between a natural minor scale and a harmonic minor scale?
5. Improvise and play solos
a) When playing the solo, do you hear when you’re playing E harmonic minor instead of natural minor?
b) When you’re jamming over the backing track, do you hear the backing track change to the B7 chord?
16
Level 4
17
Level 5
1. Technique: Picking
One of the biggest secrets to my playing: how I keep in time
Guitar terms
Syncopated rhythm: When notes fall in unexpected places, such as the off beats
16th note: A note that lasts for a quarter of a beat (counted as 1 e & a 2 e & a …)
Tips
• Move your picking hand up and down even when you’re not playing a note.
• Think of your hand like a metronome that’s keeping the beat.
• Maintain a steady pace.
Goal
To play the exercise with the backing track, using the picking technique in the video
Exercise
5.1.1 Funky syncopated rhythm
Play along with the backing track.
1
Level 5
Exercise 5.1.1 Funky syncopated rhythm
Lvl 5.1
 = 90
(   =   )
 
  
1

3

0
  
 
 
 

 


 




 0
4
5
7
4
5
  
 
 
 

2


7

¼

4
5
7
4
5
7
4
0
¼

 
 
4

5
0
  












5
7
4
5
2
3
  




 



4
5
7
4
5
2
3





1/1
2
Level 5
2. Technique: Fretting chords
Give your chords a new sound with hammer-ons, pull-offs, and muting
Tips
• Maintain the strumming pattern from the previous lesson.
• Use the hammer-on technique in the video for any minor or minor 7 chord. Also try it out
on different chord shapes!
• Experiment with leaving out some notes of a chord.
Goal
To play the exercise using the fretting techniques in the video, and the rhythmic
picking technique from the previous lesson
Exercise
5.2.1 Funky fretting
Play along with the backing track.
3
Level 5
Lvl 5.2
Exercise 5.2.1 Funky fretting
 = 90
Em7
  1  
  


            
  
 
 
 

           
7
7
 77 8 78 XX XX 77 XX XX 77 XX XX 77 8 XX XX
7 9
9 X X 7 X X 7 X X 7 9 X X
7
 7

2  
 


7
7
7
7
7
8
9


      
  
 
     
7
8
7
9
7
X
X
X
X
X
X
7
7
7
X
X
X
7
7
7
7
7
8
9



    
 

Em7
    
10
8
7
9
7
X
X
X
X
X
X
7
7
7
X
X
X





1/1
4
Level 5
3. Lead: Major and minor arpeggios
Three positions for playing arpeggios
Lvl 5.3
3 shapes of A minor and C major
5.3 The video examples

3 shapes of Am
1 

 

  14



3
13
12
17

3
3



12
13
12

2

3
3 shapes of C major 
4

15



12
13

5
12




8
10
9
13
8
8
9
12
         


7
 
 3
3
3
3

12
17
12
12
17
12
13
13
13
 14 13
14

   
   
 
 
C
12
13
3
12
15
12
3
13
12
13
15
12

5

8
5



8

3
15
17
17
5

3
8

3
5
5
6
3
14
13
3
13
20
15
17
17
13
3
13
3
13
13
14
17
13
13
E
         


Dm
10
3
3
13

   
F     



8
3
12
10
3
Am
3





3
3
8
3
12

3
3
5.3.1
9

10
10
10
13
10
3
10
13
12
3
12
16
12
12





1/1
5
Level 5
3 positions, major and minor
Minor
Root position
Major
1st inversion
2nd inversion
Goal
To play any major or minor arpeggio in 3 positions
Exercise
5.3.1 Arpeggio progression: Am – F – C – Dm – E
6

3 shapes of C major 

3
3
4



12
15

5





8
12
 Level
5

3
3
3
12





6
8
3
15
20
15
Exercise 5.3.1 Arpeggio progression: Am – F – C – Dm – E
13
12
13
8
9
5.3.1
 
 







7 
 
 3
3
3
3

12
17
12
12
17
12
13
13
13
 14 13
14

 
 
 
   

9 
3
12
13
3
12
15
12
3
13
12
13
15
12
3
14
13
3
13
17
13
3
13
3
13
13
14
17
13
13
E
   
   

 
10 
Dm
3
3
13
17
F
3
12
17
17
   
   



8 
Am
C
8
10
10
10
13
10
3
10
13
12
3
12
16
12
12





1/1
7
Level 5
4. Chords: Dm7, G7
Expand your vocabulary with 6 different ways to play these chords
Dm7
G7
8
Level 5
Goal
To play from memory the D minor 7 chord in 6 positions, and the G7 chord in 6 positions
Exercises
5.4.1 Six positions of Dm7 – G7
Practice with the backing track.
5.4.2 Funky slides
Practice with the backing track.
9
Level 5
Exercise 5.4.1 Six positions of Dm7 – G7
Exercise 5.4.2 Funky slides
10
Level 5
5. Practical theory: Dorian mode
A great scale to use for blues, funk, and even pop
Guitar terms
Ionian mode: Major scale
Aeolian mode: Natural minor scale or minor scale
Dorian mode – a recap
Starting from the root note, this is the sequence of intervals between the notes in a dorian
scale:
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
Whole tone (1 fret)
Semitone (1 fret)
Whole tone (2 frets)
The intervals of the dorian scale compared to the intervals of the minor scale are:
11
Level 5
Dorian mode, root on string 6
Dorian mode, root on string 5
12
Level 5
When to use it
The dorian mode is frequently used in blues, funk, and pop music. It is most often heard
when the home chord (the “tonic” or the I chord) is minor or minor 7, and the IV chord is
major.
For example, over the chords Em – A, notes from the E dorian scale (E – F# – G – A – B –
C# – D – E) will sound great. That’s because the major third from the A chord (C#) is the 6
in the key of E.
As another example, a blues shuffle in the key of A made up of the chords A7 – D – E7 is
perfectly suited for the dorian mode.
Blues scale
Goal
To know the D dorian scale from memory and feel comfortable improvising with it
Exercise
5.5.1 D dorian scale
Practice this useful scale until you feel comfortable playing it.
5.5.2 Improvise in dorian mode
Using the backing track, improvise licks using the D dorian scale (and add the D minor
pentatonic and D blues scale if you wish).
13
Level 5
Lvl 5.5
Exercise 5.5.1 D dorian scale

Dm
10


 

1

5
 Dm

5



5
6
7
7
5
2
10
10
10
12
12
10
  





D dorian root string 6
10
6
12
13
10
12
D dorian root string 5

5

7

8

5
9

7
10
3
  
    
9
12



4
5
7
10
12
7
10
12
13



5
6
8
10
4
12

13



5
7
8

1/1
14
Level 5
6. Solo: “Dazzling Dorian Funk!”
A cool melody that brings together everything you learned in this lesson
Goal
To nail the solo while keeping up with the backing track
Exercise
5.6.1 Solo: “Dazzling Dorian Funk!”
Get funky with the backing track.
15
Level 5
5.6.1 Solo: “Dazzling Dorian Funk!”
16
Level 5
17
Level 5
Advancing to Level 6
Are you ready to move on? Complete the following questions to help you decide.
Grab your guitar, and a pen to write down your answers. You can check the answers in
Advancing to Level 6 in the members area.
Level 5 Self test
1. Timing
How many 16th notes fit in one beat?
2. Chords
Can you find at least two Dm7 chord shapes from memory?
3. Fretting
Now can you use the hammer-on technique to spice up the Dm7 chord?
4. Arpeggios
Can you play the C major arpeggio in 3 positions from memory?
5. Dorian mode
What is the difference between the minor scale and the dorian scale?
18
Level 5
19
Level 5
Level 5 - Exercise
Exercise 5.4.1 Six positions of Dm7 – G7
Exercise 5.4.2 Funky slides
20
10
Level 6
1. Speed and versatility: Diagonal pentatonic
scales
Think outside the box and you’ll have more options as a guitarist
Goal
To play from memory the G major, E minor, and A minor, and E major pentatonic scales
in the diagonal position
Advanced goal
Play any major or minor pentatonic scale diagonally in any key
1
Level 6
Exercise
6.1.1 Pentatonic scales in the diagonal position
G major pentatonic
E minor pentatonic
A minor pentatonic
E major pentatonic
2
Level 6
Exercise 6.1.1 Pentatonic scales in the diagonal position
3
Level 6
4
Level 6
2. Chords: Embellishments
Spice up chords like Hendrix, Frusciante, and Mayer
Goal
To feel confident improvising embellishments over a I – V – vi – IV chord progression
Pro tip: Use this type of embellishment from time to time, but don’t overdo it.
Exercises
6.2.1 A simple I – V – vi – IV chord progression
Practice this chord progression until you’re comfortable with it.
6.2.2 An embellished I – V – vi – IV chord progression
Now practice adding embellishments to the progression from the previous exercise.
5
Level 6
Exercise 6.2.1 A simple I – V – vi – IV chord progression
 = 80
6.2.1

A
5
E
7

  1
   

 









5
5
6
7
7
5




(5)



5
5
6
7
7
5

3

9

5


10
11
11



5
 



5



7
 




9
9
9

(9)

10
11
11
9



4
9



(7)



9
9
9
7
 




7
7
7
5
A


7
D
6.2.2
5
2
5
F m
9
 
(5)



7
7
7
5
5





E
7



5
5
6
7
7

5

9

7
  
7
9
7

6

7


9
9
9

7
  
9
9
11
9
  
9
9
11
9
1/2
6
Level 6
Exercise 6.2.2 An embellished I – V – vi – IV chord progression
7
Level 6
3. Practical theory: The CAGED system
A way to visualize the fretboard and find chords quickly
CAGED – a recap
• Use the C, A, G, E, and D open chord shapes to create other chords by playing them as
barre chords higher up the neck.
• The G and D shapes need some modifications to be easily played higher up the neck.
• Open Am, Em, and Dm chord shapes can also be moved up the neck to create other minor chords.
Major
C shape
E shape
A shape
G shape
OR
OR
D shape
8
Level 6
Minor
Am shape
Em shape
Dm shape
Goal
To know from memory the chords created by moving the open major chord shapes of
C, A, and E.
To play the minor shapes from Am, Em, and Dm up the neck as barre chords
Pro tip: CAGED is only one way of thinking about the fretboard. The most important thing
is to find the method that best helps you find chords quickly up and down the neck.
Exercise
6.3.1 CAGED
Try to locate the E major chord lying in 5 different positions on the neck of the guitar.
If you’re comfortable doing so, try doing the same for other major chords, such as C, G,
and A.
9
Level 6
Exercise 6.3.1 CAGED
 C

A 
G


Open chord shapes
 

 


 E

0
2
2
2
0
C shape
4

3

 
5
4
6
7

 

0
1
0
2
3




D 

 

 

3
0
0
0
2
3
2
0
0
1
2
2
0

 

2
3
2
0
 E  E  E  E  E   E  E

      
A shape
7
E
 

1
Lvl 6.3
G shape (+variations)
7

4
 

7
9
9
9
7
9



9
9
9
7
9

5 

 

12
9
9
9
11
12
9



E shape
9
12
   
12
9
9
9


12
9
9
11



9
9
9
12

6 



12
12
13
14
14
12
E
D shape


7
 


4
5
4
(2)
1/1
10
Level 6
4. Lead: Target notes
Build drama in your solos by creating and resolving tension
Guitar terms
6/8 time: When a bar is divided into six 8th notes, counted as two groups of 8th
notes with accents on the one and four, as in “one two three / four five six.”
Target notes – a recap
• A target note is any of the notes in the chord that you’re playing over.
• A target note sounds resolved to the ear because it’s harmonious with the chord and feels like “home.”
• Playing a non-target note can grab the listener’s attention by creating tension.
• By ending a lick on a target note, you can resolve the tension you created.
• Building and resolving tension in this way can make your solo sound interesting and well thought out.
• You can use the CAGED system to find target notes all along the neck.
Am target notes
Am chord target notes, position 5
Am arpeggio target notes, position 5
11
Level 6
Dm target notes
Dm chord target notes, position 5
Dm arpeggio target notes, position 5
12
Level 6
Goal
To be confident using target notes in solos to resolve tension.
To be able to listen to the chords playing underneath your solo and emphasize the
notes from these chords so your solos have a more thought-out sound.
Exercises
Exercise 6.4.1 Target note practice
Practice finding and playing the target notes of the Am and Dm chords in the 5th
position on the neck. As you get to know the target notes better, try to pick up speed.
Pro tip: Listen to what happens when you add a note from the minor 7 chord to the list
of target notes. Over Am (or Am7), the G (the ♭7) could be used as a target note, and it
will make the chord sound a little more spicy.
6.4.2 Target note improvisation
Improvise over the backing track. At the start and end of a bar or a chord, play a target
note from that chord. In between the target notes, experiment with non-target notes
from the A minor scale (natural minor / aeolian), the A minor pentatonic scale, or even
the A minor blues scale.
13
Level 6
Lvl 6.4
6.4.1 Target note practice
Use any of these notes as a target note over the Am chord
Am
5


1




We can add more target notes by looking at the Am arpeggio:
2

5



7
7
8
 Dm

5
5
5




5
5
5
7
7
5





8
Target notes from the Dm chord
5

3

4
Or the Dm arpeggio

5

8

7

7

6

5
6
7
7
5





5

(10)
1/1
14
Level 6
5. Solo: “Target Blues in Am”
Target notes, the harmonic minor, chord embellishments – get ready to bring all these
skills together
Goal
To feel confident playing the solo and then improvising over the backing track
Exercise
6.5.1 Solo: “Target Blues in Am”
Play the solo, and then have some fun improvising over it using everything you’ve learned
so far.
15
Level 6
Lvl 6.5
Target Blues in Am

 

1 

  

full
  

¼

Am
2

10
10


 
Am
15
4

full


15
13
10
     
6
      
¼

5 
13

  
¼


9

3 

full
¼


 
full
¼
Dm
13
E7
7
15
15


8
13


10
12
¼

10
9
full full
Am 
13
12



full full
20

  

full


Am
12
13

20
 

10
10

10
10
8
8
10
8
10 8
9
7

    
17

 
5
7
7
9
7
20 17
19
17
19
11




5



20
20
20
 
16
A harmonic minor
4
5
7
8
5
12
full full
17
   


E7
15
full
Dm    

full
20
8
9
full full

17
14
10
7
8

6
 
    
10
10
10
full

13 10
13
  





7
9
10
7
9
10
9
10
10
13
10
  
12
13
10
Am

17
full

full

15
1/1
16
Level 6
Advancing to Level 7
Are you ready to move on? Complete the following questions to help you decide.
Grab your guitar, and a pen to write down your answers. You can check the answers in
Advancing to Level 7 in the members area.
Level 6 Self test
1. Pentatonic scales in diagonal position
Can you play at least 2 of these scales from memory in the diagonal position: G major, E
minor, and A minor pentatonic?
2. Chord embellishment
Do you know how to use the sixth interval to embellish any major chord?
3. CAGED
Play the open A chord, then turn it into a barre chord and move it up the neck, naming
each new chord it creates.
4. Target notes
What are the target notes when soloing over the D minor chord?
5. Solo and improvisation
In the key of Am, name an arpeggio or scale you could play over the E7 chord?
17
Level 6
18
Level 7
1. Chords: Twelve-bar blues
Seven ways to play this fundamental chord progression
Guitar terms
Blue note: A note that creates tension. Often it’s a lower pitch than would be
expected. For example, playing the minor 3rd over a major or dominant seventh
chord (a C over an A7 chord).
Twelve-bar blues chord progression – a recap
These are the chord degrees to play in any given key:
Bars 1–4
I
Bars 5–6
IV
Bars 7–8
I
Bar 9V
Bar 10IV
Bar 11I
Bar 12V
Goal
To be able to play 12-bar blues in any key, in one or more of the ways shown in the
video
Exercise
7.1.1 Standard 12-bar blues in A
Tabs of the 12-bar blues for you to practice.
7.1.2 Seven ways to play 12-bar blues in A
In the tabs, I’ve started you out with the first 4 bars of each variation on the 12-bar
blues. Your task is to work out the IV and V chords and play the whole 12 bars in the
style I demonstrated in the lesson.
1
Level 7
Lvl 7.1
Exercise 7.1.1 Standard 12-bar blues in A
12 bar blues in A
A7
 
2
3
4
  1
                                   
                               


 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7
5
5
5
5
5
5
D7
5

       
7
5
7
5
9
5
7
5
7
5
7
5
9
5
6
7
5
5
5
5
5
5
5
5
5
       
7
5
7
5
9
5
7
5
7
5
7
5
9
5
5
5
5
5
5
7
7
5
       
8
7
5
7
5
A7
9
10
11
       
9
7
9
7
11
7
9
7
9
7
9
7
11
7
9
7
       
7
5
7
5
9
5
7
5
7
5
7
5
9
5
7
5
5
5
5
 
D7

5
5
5
5
5
5
5
5
5
A7
E7
 
5
9
5
7
5
7
5
7
5
9
5
7
5
 
       
7
5
7
5
9
5
7
5
7
5
7
5
9
5
7
5
       
7
5
7
5
9
5
7
5
7
5
7
5
9
5
7
5
E7 

 
12

        


9 9 11 9 9 9 11 9
7 7 7 7 7 7 7 7

1/1
2
Level 7
Exercise 7.1.2 Seven ways to play 12-bar blues in A
3
Level 7
4
Level 7
2. Lead: Mixolydian scales
Add to your repertoire when playing over 7th chords
Mixolydian mode – a recap
Starting from the root note, this is the sequence between the notes in a mixolydian scale:
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (1 fret)
Whole tone (2 frets)
Whole tone (2 frets)
Semitone (2 frets)
Whole tone (1 fret)
The intervals of the mixolydian scale compare to the intervals of the major scale like this:
Tips
• The mixolydian scale is also called the dominant scale, because it fits well over dominant
seventh chords.
• Mixolydian can be a great choice for blues, as most blues music is based on seventh chords.
5
Level 7
The modes compared
MODE
STARTS ON
Ionian (major) 1st scale
degree
FUNCTIONS
E.G.: C
MAJOR
NOTES OF SCALE
1 – 2 – 3 – 4 – 5 – 6 – 7 – 1/8
C
C–D–E–F–G–A–B–C
Dorian
2nd scale
degree of major 1 –2 – ♭3 – 4 – 5 – 6 – ♭7 – 1/8
D
D–E–F–G–A–B–C–D
Mixolydian
5th scale
degree of major 1 – 2 – 3 – 4 – 5 – 6 – ♭7 – 1/8
G
G–A–B–C–D–E–F–G
6th scale
Aeolian
(natural minor) degree of major 1 – 2 – ♭3 – 4 – 5 – ♭6 – ♭7 – 1/8
A
A–B–C–D–E–F–G–A
The A mixolydian scale
• The mixolydian scale is also called the dominant scale, because it fits well over dominant
seventh chords.
• Mixolydian can be a great choice for blues, as most blues music is based on seventh chords.
Root on the 6th string
6
Level 7
Root on the 5th string
Goal
To be able to play the A mixolydian scale from memory and use it in improvisation
Advanced goal
To be able to play the mixolydian scale in two positions in any key
Exercises
7.2.1 The A mixolydian scale
Pro tip: link the scale you’re playing to the chord shown in the tabs. So for this exercise,
link the A mixolydian scale to the A7 chords. Play the scale in two positions: with the
root on the 6th string, and with the root on the 5th string.
7.2.2. Improvisation with the A mixolydian scale
Experiment with playing notes from the A mixolydian scale over the backing track.
7
Level 7
Exercise 7.2.1 The A mixolydian scale

A7
5

 1 

 


12
2
5
5
6
5
7
5

 


12
14
12
14
12
  





5
 A7

5
A mixolydian (root 6th string)
4
7
5
7
A mixolydian (root 5th string)
6

12

14

11

12

14
4
5
3
4
7
 

11
14
12
  
    
6
7
7
5
7
5
8



12
14
15

4
7
(9)

 

12
14
17
15
1/1
8
Level 7
3. Improvisation: Twelve-bar blues
Four ways to take the lead in one of the most iconic music genres
Guitar terms
Passing note (or passing tone): A non-harmonic note that is used as an embellishment,
as a part of a melody, or to transition between notes
Key center: The chords that make up a key belong to one key center
Tips
• Using the minor pentatonic scale or minor blues scale is one of the easiest and best ways
to solo over the blues.
• When soloing over a blues progression, don’t overthink it.
• It’s less about following rules and more about listening to how it sounds.
Goal
To feel confident improvising over 12-bar blues using one or more of the techniques in
the video
Exercise
7.3.1 Twelve-bar blues improvisation
Play over the backing track and experiment with the techniques I covered in the video:
1. Minor pentatonic or minor blues scale. If you’re new to the blues, you can stick
with this. After all, there are some blues greats who use nothing but these scales.
2. Dorian scale. Here we add two notes to the minor pentatonic scale: the 2 and the 6. The 6 is perfect to stress the IV chord in the blues. The 2 is great for the V chord.
3. Play different scales over the different chord degrees. Play major pentatonic
on the I chord, minor pentatonic on the IV chord, and a seventh arpeggio on the V chord. For example, in the key of A, you would play: A major pentatonic on
the A7 chord, A minor pentatonic on the D 7 chord, and an E7 arpeggio on the V
chord.
4. Use the modes. Use the mixolydian scale on every chord. There are two ways
to look at it: 1) Look at it from the perspective of each chord – e.g., in the key of A,
play A mixolydian on the I chord, D mixolydian on the IV chord, and E mixolydian
on the V chord. 2) Look at it from the perspective of the key center. In the case of
A, that would be: A mixolydian over the I chord, A dorian over the IV chord, and A
major over the V chord.
Pro tip: Combine techniques to create the distinctive sound you want.
9
Level 7
4. Chords: Extended chords
Demystifying some of the more complex chord types
Scale degrees – a recap
• We number the first note of a scale as 1.
• The 8 is the same note as the 1 except one octave higher.
• We can continue counting up. For example:
9
2nd note of the scale, one octave higher
11
4th note of the scale, one octave higher
13
6th note of the scale, one octave higher
• The 9th, 11th, and 13th intervals can be added to chords to create different types of chords.
Chord types – a recap
Triads
A triad had 3 unique notes:
• Major: 1 – 3 – 5
• Minor: 1 – ♭3 – 5
Add chords
An add chord is a triad with a note added from the next octave of the scale. Some examples:
Cadd9:
1–3–5–9
Cadd11:
1 – 3 – 5 – 11
Cadd13*: 1 – 3 – 5 – 13
*The Cadd13 is usually called C6, because the 6 is already higher than the notes from the
chord, and the 13 and the 6 are the same notes.
Seventh chords
A seventh chord has 4 unique notes:
• Major 7: 1 – 3 – 5 – 7
• 7 (or dominant 7): 1 – 3 – 5 – ♭7
• Minor 7: 1 – ♭3 – 5 – ♭7
10
Level 7
Extended chords
• An extended chord is a seventh chord with an interval (or intervals) added from the next
octave of the scale.
• Leave out some notes to achieve the sound you want, depending on the song.
• It’s essential to leave notes out of chords that have more than 6 notes (e.g., Cmaj13).
• Some examples:
Chord name
Scale intervals
Cmaj9
1–3–5–7–9
Cmaj11
1 – 3 – 5 – 7 – 9 – 11
Cmaj13
1 – 3 – 5 – 7 – 9 – 11 – 13
C9
1 – 3 – 5 – ♭7 – 9
C11
1 – 3 – 5 – ♭7 – 9 – 11
C13
1 – 3 – 5 – ♭7 – 9 – 11 – 13
Cm9
1 – ♭3 – 5 – ♭7 – 9
Cm11
1 – ♭3 – 5 – ♭7 – 9 – 11
Cm13
1 – ♭3 – 5 – ♭7 – 9 – 11 – 13
Pro tip
Rather than trying to remember all the voicings of the extended chords:
• Learn the 9th, 11th, and 13th scale intervals for chords with the root on the low E string or
on the A string.
• Experiment with how it sounds when you add these notes as extensions to those chords.
11
Level 7
Goal
To be able to extend chords with the root on the low E string or the A string with the
9th, 11th, and 13th extensions
Exercises
7.4.1 Chord progression in Em
Practice a chord progression that uses extended chords.
7.4.2 Learn Cmaj9, C9, and Cm9
Hone your skills with this set of extended chords.
12
Level 7
7.4.1

Exercise 7.4.1 Chord progression in Em
5
 Em9 
 
A13
5

 
1
   
   

   


7
7
7
  5 7 7 7 5
5
5
7
 7
5
Dmaj9 

5

3


Dmaj13
5

5
7
5

 
7
6
7
5
7

 
5
6
 

7
6
6
6

 
4

7
6
5
5


B7
7
    
7
7
7
6
5
5
 
 
 
 

5
Bm11
   



 
6
2
7
5
7

   



7
7
9
7
8
7
9





1/1
13
Level 7
Lvl 7.4





Exercise 7.4.2 Learn Cmaj9, C9, and Cm9

Cmaj9
8


 

  
1

10
8
9
9
8
Cmaj9


2



3
4
2
3
C9
7

3

 

8
7
8
7
8
C9
4

 

3
3
2
3
Cm9
8
5
 

  


10
8
8
8
10
8
 
 
Cm9(no5)
6

  

3
3
1
3
1/1
14
Level 7
5. Solo: “Everything Is Connected”
Draw on all the skills you’ve learned in the course and see just far you’ve come
Goal
To feel confident playing the solo
Exercise
Exercise 7.5.1 Solo: “Everything Is Connected”
Pro tip: To keep developing as a player, it’s a good idea to come back to this solo or to any
of the other exercises in the course. That way you can refine your technique over time,
plus keep everything fresh in your memory.
15
Level 7
7.5.1 Solo: “Everything Is Connected”
(   =  
)
Minor pentatonic
Blues scale
A7
full


7


3
3
3
3
full
full
full
full

5

 


5
5
5

9
8

5
5
7
   



5
5
7
6
5

5
Major Blues scale
3


8



5
4
5

      6 

7
5
7
7
5
8
7
7
E7 arpeggio (E mixolydian)
8
5


5
5
3
3
3
¼
¼
¼

5

8
5
5
5
5
8
5
8
7
7
7
5
8
9
5
8


7
5


3
5
5
A7

8 7
5
8
7
  
9
5
8
5
 
8
 

8
5
8
6
7
5


       
3
8
5
9
5
5
8
7
6
7
A7
3
5
5
Mixolydian
D7
3
9
3
3
6
5


3
   
     11         
10
    
   


7 10 10
8
      
      7      
5

minor/major blues combined
8

7
¼

D7 arpeggio (D mixolydian)
E7
9

2
3
Dorian/playing target notes from D7
D7
5
¼

full
full

 
 
 


    
¼
1            

 
full
7
3
3
6
7
3
3
5
8
8
7
5
9
8
9
7
7
3
8
7
6
 
   12  
3
7
6
5
5

E7




3
6 (5)
5
6 7
5
7
6





1/1
16
Level 7
17
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