Notes, Scales and Theory Guitar Lesson

Chapter 1: (03:09) Lesson Introduction In this lesson and the following lessons, Jim exposes you to some basic music theory concepts. Many beginners are turned off by the idea of learning music theory for a few similar reasons. Many beginners don't want to put in the time necessary to learning music theory concepts. They just want to spend their time playing the instrument. Others are intimidated by learning theory. The terminology and mathematical nature of music theory turns off students of all ages.

If you are having similar apprehensions about learning theory, cast them aside quickly. In order to apply basic musical concepts to your playing, it is absolutely necessary that have at least a solid, precursory knowledge of music theory. Learning theory will never hurt your playing ability. It can only improve it. If you follow Jim's instruction regarding this topic, you will most likely find that theoretical concepts are not as complicated as you once thought.

In the scenes that follow, Jim introduces basic theory pertaining to intervals, scales, and chords.

Reading Tablature

Essentially, the tablature system provides a visual map of where specific notes are played on the guitar's fretboard. When reading tablature for guitar, six lines comprise the tablature staff. Each line represents a string on the guitar. Many beginners are confused by this concept. Looking at music notated in tablature is kind of like looking at the fretboard upside down. The line closest to the floor represents the fat, low E string. The next line represents the A string. The highest line represents the high E string.

The numbers written in tablature represent fret locations. For example, if you see "3" written on the bottom line, this means that you are supposed to play the note at the 3rd fret of the low E string. A "0" indicates that the designated string is to be played open.

Reading Standard Notation

Unlike tablature, the musical staff consists of five lines. Each line designates a specific note name. From the lowest line to the highest, these notes are E, G, B, D, and F. It may be useful to remember the saying, "every good boy does fine" to remember the note names of the lines.

A space occurs between every two lines. Each space is designated with a specific note name as well. From the lowest space to the highest, these notes are F, A, C, and E. The names of the spaces spell the word "face." Chapter 2: (13:02) Note Names and Basic Theory Review of Open String Names

The most logical way to learn the names of every note on the fretboard is to start with the open strings and work your way towards the bridge. Here's a quick review of the names of the open strings:

6th (fat): E
5th: A
4th: D
3rd: G
2nd: B
1st (skinny): E

Natural Notes in First Position

The term "position" typically refers to the fret location of where your left hand index finger plays. For example, if your first finger frets the notes at the 1st fret, you are playing in first position.

In this scene, Jim explains where all the natural notes occur within first position. The term "natural" means that the note name does not contain a sharp or flat. (Note names that contain a sharp or flat are discussed in later scenes.) The musical alphabet contains the following seven natural pitches: A, B, C, D, E, F, and G.

Learning Your First Scale

If natural music alphabet begins and ends with the note C, the C major scale is formed. This scale is spelled as follows: C, D, E, F, G, A, B, C. The C major scale is the best major scale to learn first, because it contains no accidentals. "Accidentals" means sharps (#) or flats (b).

To begin learning the C major scale, fret the basic C chord that you learned in previous lessons. When you fret this chord, you already have most of the notes in the scale under your fingers. Your third finger is fretting C, the root note of the scale. When playing the C major scale, you will begin with this note. Your index finger is also fretting the note C. This is where the scale will end. These two notes are one octave apart. The term "octave" means a span of eight notes.

Now, you must learn the rest of the notes in the scale between the two root notes. Here is a breakdown of where these notes occur:

5th string: C (3rd fret)
4th string: D (open), E (2nd fret), F (3rd fret)
3rd string: G (open), A (2nd fret)
2nd string: B (open), C (1st fret)

Note: Open the Supplemental Content tab for tablature to the C major scale.

It is absolutely necessary that you learn and memorize this scale pattern. Say each note name aloud as you play through the scale. This will help you memorize the location of each note name much faster.

Whole Steps and Half Steps

Between every note in the scale, either a half step or whole step interval occurs.

Note: The following information is taken from lesson 5 of Brad Henecke's Phase 2 lessons.

It may help to examine a piano keyboard to visualize this concept. The keyboard consists of black keys and white keys. A half step occurs between one key to the next regardless of color. Similarly, a half step on the guitar occurs from one fret to the next.

A whole step occurs between two frets on the guitar. For example, a whole step occurs between F on the 1st string and G on the 1st string. These notes are two frets apart.

Now, let’s return to the musical alphabet to apply these concepts. Make a careful note of where half steps and whole steps occur.

Between A and B: whole step
B and C: half step
C and D: whole step
D and E: whole step
E and F: half step
F and G: whole step
G and A: whole step

Many of you are probably wondering how all this theory is going to help your guitar playing. The answer is simple. All major scales follow the same pattern of half and whole steps. If you know this pattern, you can start on any given note and play a major scale.

Start with the C Major scale since it contains no sharps or flats. The C scale is spelled as follows: C, D, E, F, G, A, B, C. Take a look at where the whole and half steps occur within the scale. All major scales follow a pattern of whole step, whole, half, whole, whole, whole, half. Chapter 3: (04:48) More Notes and Relationship to Chords Additional First Position Notes

In addition to the notes found within the pattern of the C major scale, there are a few more first position notes that must be learned. Here is a breakdown of where these notes occur:

6th: E (open), F (1st fret), G (3rd fret)
5th: A (open), B (2nd fret)
2nd: D (3rd fret)
1st: E (open), F (1st fret), G (3rd fret)

You may already be familiar with the locations of these notes from learning basic chords. For example, the basic G chord has its root (G) on the 3rd fret of the low string. The F barre chord has its root on the 1st fret of the low string. Chapter 4: (08:01) C Scale Double / Alternate Picking Exercise Previously, when you were playing through the C major scale, you were probably using the pick in a downward direction exclusively. In order to play scales quickly, you must develop the upstroke technique.

Note: The following information is taken from lesson 5 of Steve Eulberg's bluegrass series.

In this lesson, you will learn an essential rudimentary right hand technique: double picking. Double picking is also commonly referred to as “alternate picking.” This technique enables a guitarist to play much faster. Repetitious picking in which the pick changes direction with each stroke is known as double picking. If you currently use downstrokes exclusively, your right hand is extremely limited in the range of what it can perform. Knowledge of scales and mastery of double picking are essential skills when playing any form of melodic material.

Double Picking Rules

1. Rest the palm of your right hand on the bridge when playing a double picked passage. The palm should also rest on the bridge when playing any scalar line.

2. Downstrokes and upstrokes must be identical in tone and volume.

3. Your pick strokes need only be large enough to create a solid tone. Keep the pick as close to the string as possible at all times. This will enable you to double pick much faster.

4. Only the very tip of the pick should make contact with the strings. Do not dig your pick into the strings. This will hinder your ability to move fluidly from one string to the next.

5. The right hand fingers not holding the pick should remain slightly curled into the palm. They should only fan outwards when playing rapid palm muted passages in the rock and metal genres.

Two Methods of Double Picking

There are two ways in which double picking can be performed. Both are equally valid options. Experiment with both options for a significant amount of time. After this initial experimentation period, decide which technique is more comfortable for you.

Method 1 - Use the wrist as a pivot to double pick.

Method 2 - This method almost excludes the wrist entirely. The thumb squeezes inwards toward the palm during a downstroke. For an upstroke, the thumb and first finger relax and return to their normal position. Thus, almost all of the picking movement originates from the thumb and first finger. This technique is generally more comfortable for guitarists that have a hitchhiker thumb.

Alternate Picking Exercise

Apply these rules to the exercise that Jim presents in this lesson. You will play through all of the natural notes in open position while double picking. Practice the exercise slowly in eighth notes. Set your metronome at about 60 beats per minute. Play as slowly as you need to. Strive for clarity and rhythmic accuracy.

Note: Open the Supplemental Content tab for tablature to this exercise.

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