Blog | Guitar Music Theory

Oh Well Tab Fleetwood Mac

Posted on 22-02-2012 | By: Desi Serna |

Category : Blog

Tags: Fleetwood Mac, Oh Well, pentatonic scale, riff, riffs, Tab

“Oh Well” by Fleetwood Mac is a great guitar riff that is based almost entirely on the E minor pentatonic scale. Play the video below to see and hear what this famous guitar riff looks and sounds like.

http://youtu.be/KE4HGlmtOcg

Oh Well Tab Fleetwood Mac
Click hear to preview and get the complete, accurate, fully legal and licensed Oh Well Tab Fleetwood Mac for guitar.

Pentatonic Scales
Pentatonic scales are one of the most widely used scales in music to play guitar riffs, lead guitar solos and bass lines. The five pentatonic scale patterns are taught in Fretboard Theory Chapter 2 and also the DVD Getting Started with the Pentatonic Scale. Click the links to download a free preview.

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
Facebook: http://facebook.com/guitarmusictheory
Twitter: http://twitter.com/MrGuitarTheory
YouTube: http://youtube.com/GuitarMusicTheoryTab
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How to Spice Up Your Chord Progressions

Posted on 20-02-2012 | By: Desi Serna |

Category : Blog

Tags: chord progressions, chord shapes, inversions, voicings

One way to spice up your chord progressions is to play something other than stock, standard, block chords. Instead, use different chord inversions and chord voicings. A great example of this is “Jack and Diane” by John Mellancamp. The whole song is based on A, D and E, but each section sounds unique because it uses different versions of the same three chords.

CAGED Chord System
The CAGED system for guitar is a method for mapping out chord shapes and arpeggio patterns on the fretboard. When you understand how chords are built and where the notes of a given chord are located across the fretboard, then you can grab the notes however you see fit and create new chord shapes and interesting chord voicings.

The guitar CAGED chord system is taught in Fretboard Theory Chapter 3 and also the DVD CAGED Template Chord System. Click the link to sign up for a free guitar theory book and DVD preview.

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“Get Back” The Beatles Guitar Chords and Tabs

Posted on 15-02-2012 | By: Desi Serna |

Category : Blog

Tags: 6ths, 7ths, bealtes, blues, get back chords, get back tabs, inversions, john lennon, seventh chords, sixths

http://youtu.be/32USieJD3w0

John Lennon’s guitar parts in “Get Back” by The Beatles features some great blues elements in both the chords used for rhythm and the scales used for lead. Above you’ll find a great video demonstration and below is the guitar tab to match. I also offer an explanation of the music theory and how it pertains to guitar.

Get Back Progression
The song is primarily based on a I IV chord progression in A. But because each chord is functioning as a static dominant seventh chord, it’s really a V7 V7 chord progression in two different keys. A7 stems from the D major scale and D7 stems from the G major scale.

Get Back Scales
John Lennon didn’t play major scale patterns during the song. Instead he used a combination of A major and A minor pentatonic scales for the lead fills and solo sections.

Get Back Chords
His rhythm features sixths and seventh chord inversions. During the verse he used the standard 5th and 6th “shuffle rhythm” that is so common in blues, rock and boogie woogie. During the chorus he fills with some A7 and D7 seventh chord inversions.

These are the basic parts, but there are a few other things that complete the song. Watch the video and follow the tabs to see.

To learn more about guitar theory including scales, chords, progressions and more, visit my guitar music theory website and sign up for a free preview of my guitar theory book and DVDs.

Get Back Tabs
    A
-|-----------------------------------------------------
-|-----------------------------------------------------
-|-----------------------------------------------------
-|-----------------------------------------------------
-|--7----9-----7---9----7---------9-----7----9---------
-|--5----5-----5---5----5---------5-----5----5---------
   Jojo was a man who thought he was a loner

    D                       A
-|-------------------------------------------12------------------------
-|------------------------------10--12b(14)------b(14)12--10------10---
-|-------------------------/11--------------------------------11-------
-|--7------9-------7---9-----------------------------------------------
-|--5------5-------5---5-----------------------------------------------
-|---------------------------------------------------------------------
   But he knew it couldn't last

    A
-|---------------------------------------------------
-|---------------------------------------------------
-|---------------------------------------------------
-|---------------------------------------------------
-|--7----9--------7---9----7-----9----7----9---------
-|--5----5--------5---5----5-----5----5----5---------
   Jojo left his home in Tucson Ari  zona 

    D                       A
-|------------------------------------------12------------------------
-|-----------------------------10--12b(14)------b(14)12--10------10---
-|------------------------/11--------------------------------11-------
-|--7---------9---7---9-----------------------------------------------
-|--5---------5---5---5-----------------------------------------------
-|--------------------------------------------------------------------
   For some Cali fornia grass                                Get back

     A
-|---------------9--9--9--9--9---------------9--9--9--9--9--------
-|---------------8--8--8--8--8---------------8--8--8--8--8--------
-|---------------9--9--9--9--9---------------9--9--9--9--9--------
-|------------7---------------------------7-----------------------
-|------7--9------------------------7--9--------------------------
-|--/9--------------------------/9--------------------------------
                          Get Back                   Get Back

     D7                         A           G/A    D/A   A
-|---------------8--8--8--8--8---------------9--9--9--9--9--------
-|---------------7--7--7--7--7---------------8--8--8--8--8--------
-|---------------7--7--7--7--7---------------9--9--9--9--9--------
-|------------7---------------------------7-----------------------
-|------7--9------------------------7--9--------------------------
-|--/9--------------------------/9--------------------------------
   to where you once   be long                      Get  back

     A
-|---------------9--9--9--9--9---------------9--9--9--9--9--------
-|---------------8--8--8--8--8---------------8--8--8--8--8--------
-|---------------9--9--9--9--9---------------9--9--9--9--9--------
-|------------7---------------------------7-----------------------
-|------7--9------------------------7--9--------------------------
-|--/9--------------------------/9--------------------------------
                          Get Back                   Get Back

     D7                         A
-|---------------8--8--8--8--8---------------9--9--9--9--9--------
-|---------------7--7--7--7--7---------------8--8--8--8--8--------
-|---------------7--7--7--7--7---------------9--9--9--9--9--------
-|------------7---------------------------7-----------------------
-|------7--9------------------------7--9--------------------------
-|--/9--------------------------/9--------------------------------
   to where you once   be long

Guitar Lead:
     A
-|--------------------------------12------------------------------
-|-------10--10--10--12--12b(14)------b(14)12--10-----------------
-|--/11--------------------------------------------11-------------
-|----------------------------------------------------------------
-|----------------------------------------------------------------
-|----------------------------------------------------------------

    D                   A          G   D
-|---------------------------------------------------------------
-|---------------------------------------------------------------
-|-----------7---------------------------------------------------
-|-----7--9-----10--7--10b(11)-----------------------------------
-|--9------------------------------------------------------------
-|---------------------------------------------------------------

     A
-|--------------------------------12------------------------------
-|-------10--10--10--12--12b(14)------b(14)12--10------10---------
-|--/11--------------------------------------------11-------------
-|----------------------------------------------------------------
-|----------------------------------------------------------------
-|----------------------------------------------------------------

    D                   A               G            D
-|----------------------------------------------------------------
-|--------------------------8--5----------------------------------
-|------------7----------------------5--7b(9)--5-----5------------
-|-----7--10-----10--7--10--------7---------------7---------------
-|--9-------------------------------------------------------------
-|----------------------------------------------------------------

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How to Make Hard Acoustic Guitar Barre Chords Easier to Play

Posted on 06-02-2012 | By: Desi Serna |

Category : Blog

Tags: acoustic, bar chord, barre chords, caged

There are a few reasons why playing barre chords on an acoustic guitar is hard. First, acoustic guitars are strung with thicker strings that are harder on the fingertips and require more pressure to hold down and fret. Second, acoustic guitars are usually set up with higher action (the distance between the strings and the fretboard) in order to maximize the volume and tone of the open strings. If you’d like to make your acoustic guitar easier to play, then I suggest using lighter gauge strings and setting the action as low as possible. Setting the action will probably require a professional guitar tech or music store clerk who has experiecne with making truss rod, fret, nut and bridge adjustments.

I traveled around and played acoustic music professionally for many years. I used smaller bodied, semi-hollow and even solid-body acoustic/electric guitars strung with .010 gauge electric guitar strings. Though I didn’t get the best acoustic guitar tone, the sound was good enough for live performances and much easier on my fingertips. I was even able to play lead guitar solos and bend the strings. You can see a good example of this in my Wish You Were Here Tab How to Guitar Solo Lesson video.

Barre Chords
For more instruction on playing guitar barre chords see my old blog post Barre Chords Are a B*tch!

Guitar CAGED Chord System
If you’re playing in a setting where you’re accompanying another acoustic guitar player who is playing full open chords, then you may choose to play the same chords in a different position in order to get a different sound. This could be done by using a capo or using barre chords. If you use barre chords, then you don’t have to use full barre chords. You can break down the barre chord shapes into smaller, easier to finger and play pieces. To learn how to do this I recommend studying my CAGED guitar chord system.

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Difference Between Guitar Theory Book and DVDs

Posted on 31-01-2012 | By: Desi Serna |

Category : Blog

Tags: difference, guitar theory book, guitar theory dvds, guitar theory videos

Regarding the difference between my guitar book and guitar theory DVDs:

Guitar Theory DVDs
The DVDs enable me to demonstrate things in a manner that you can see and hear, something I can’t do in the book.

Guitar Theory Book
The book includes charts and diagrams, most of which are not used in the videos.

So the book and DVDs are supportive of each other and can be used together and at the same time. But the DVDs take a closer look at only four topics. The book covers everything. Also, I offer a 25% off discount when you purchase everything together.

Free Download
Sign up for a free preview of my guitar theory book and DVDs or buy now.

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How Can I Develop Better Rhythm and Timing On Guitar?

Posted on 20-01-2012 | By: Desi Serna |

Category : Blog

Tags: mel bay, notation, reading music, rhythm, sight read, time, timin

A lot of guitar players tell me that they understand guitar music theory, scales and soloing, but they struggle with rhythms and timing. They often ask for advice on developing good rhythm and time. I hope to produce instructional material that deals with developing rhythm and timing someday. Until then, I recommend guitarists learn the basics of reading music.

Learning about note values, rests, time signatures, counting and foot tapping can really help your playing, even if you don’t plan to sight read much. I’d try to get through Mel Bay grades 1, 2 and 3 or something similar. Be sure to use the companion DVDs and play along CDs that are available for the books.

Also, it might be worth working with an experienced instructor since standard musical notation may be completely foreign to you. You want to make sure you’re doing it right and not reinforcing any bad habits.

I hope this helps.

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Questions about Cocaine, Wayfarin’ Stranger, Modes & Harmonic Minor

Posted on 17-01-2012 | By: Desi Serna |

Category : Blog

Tags: eric clapton, harmonic minor, johnny cash, modes

Brad asks,

“I just downloaded your “Fretboard Theory” and the DVDs. In fact, I also bought the Kindle version of the book so I can review it when I want on my new Kindle Fire (in full color!).

I’m a retired senior and I’ve been seriously studying guitar for about two years, but I’ve made more progress with theory than practice. I’d say I’m still a low level intermediate.

I’m not sure if I should put these questions in the forum or just ask them to you via email. If you think they’d be of interest to the forum, please put them on the forum, or I’d be glad to resend them.

First, a comment. I’d never seen a treatment of modes like yours, and I found it fascinating. I tried the experiment with my instructor of playing around on the C major scale while he played through the C scale chords. We were amazed at how the tonal quality of the constant C major scale changed as the chords changed.

But that brings up my first question. In your current blog, in discussing Clapton’s Cocaine, you commented that you could hear him playing the full E Dorian modal scale over the ii of D. I thought that with your way of looking at the modes, you would really never play what could be called a modal scale – you would just play the D major scale in this case, over the ii chord. Does that just mean that he emphasized the E as he played the D scale over the ii chord?

My main questions concerned the listing of chord progressions as you change the root of the song. I would gather from your discussion in the Rusted Root section of the blog that you can list the progression as a progression of the major scale degrees, or as a new progression of the new root scale. Attached is an example of “Wayfarin’ Stranger” by Johnny Cash. BTW, that might make a good example song for Aeolian roots. Maybe you’ve already got it in your amazing, amazing lists of example songs, but if so, I missed it.

My first question is, would you consider this song in the key of C, Aeolian mode with the root Am? Or would you just say it’s in the key of Am? Again, I gather either is used, judging from the Rusted Root blog. But is one designation preferred?

Attached also is my analysis of the progression of chords in this song. If it’s in the Key of C, AmAeolian, then we have: vi, ii, iii, vi, ii, vi, ii, iii, vi, IV, I, IV, iii(sus), and iiix (E major)

If it’s in the Key of Am, then we have: i, iv, v(?-E7), i, iv, i, iv, v(E7), i, VI, III (?-C), VI, v(sus), V(?-Emajor).

The SpyTunes website, in their book, Guitar Conspiracy p 72 & 73, says that in an Aeolian progression, the iii (Em in this case) could be an E or E7. (http://spytunes.com)

So the questions are, is there a preferred progression to use? C major or AmAeolian?

And how do we designate the alternative chords – the E, E7, E(sus)?

What is the musical theoretical rationale for using an E or E7 in place of the Em for the iii in the Aeolian progression?

I’m afraid these question are kind of nitpicking, but you seem to be interested in keeping musicians on the same page with terminology and I’m asking them in that spirit.

Thanks much, and thanks for your great work.”

Thanks for the email, Brad. Cocaine is unique. Because of it’s simplicity, it can actually fit into a couple different keys. So in this case, you can choose which mode to play over it (or just play the pentatonic). Whatever you play, E is the root and should be emphasized.

Wayfaring Stranger is in A harmonic minor. It’s basically A Aeolian (C major but the root is the vi chord, Am) except on the E. Instead of playing the E as minor, as it naturally occurs in the scale, it’s played as a dominant seven chord. This creates a harmonic V7 pull back to the tonic, in this case Am. To change an E minor chord to an E major chord the G note is raised to G# (you can also add in a D note to make an E7). To play an A harmonic minor scale you do the same thing, raise the G to G#. Only do this over the E7 chord. When the progression is not on the E7 everything is natural minor.

I plan to teach the harmonic minor scale in Fretboard Theory Volume 2. Stay tuned!

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What About Other Scales and Music Genres?

Posted on 06-01-2012 | By: Desi Serna |

Category : Video

Tags: exotic scales, jazz, joe satriani

Pentatonic and major scale patterns are used most of the time in popular music. The next scale that is likely to come up is the harmonic minor scale. Even though it comes up less often and only in small parts, the harmonic minor is actually very important and I plan to teach it in the upcoming Fretboard Theory Volume 2. But believe it or not, all other scales are rarely, if ever, used in the music that most people listen to (oldies, classic rock, rock, pop, country, folk, etc.). When I search the Internet for the top 100 guitar tabs, I see artists such as Guns N’ Roses, Metallica, The Eagles, Led Zeppelin, The Beatles, Pink Floyd and songs that are primarily based on pentatonic and major scale patterns (with some occasional harmonic minor scale). You won’t really come across other scales unless you venture into unusual styles such as jazz and some other forms of instrumental music (like instrumental rock from Joe Satriani, Steve Vai, John Petrucci, etc.). And if you want to venture into exotic scales and styles (which I hope you have the opportunity to do someday), then you better make sure that you’ve mastered all the guitar theory behind pentatonic and major scales because more complicated concepts stem directly from these rudimentary music principals. In other words, it’s not an either or thing. You’ve got to lay a proper foundation before you can successfully build upward.

Get started with building your foundation today with my guitar theory book and DVDs. Click on the link to download a free preview.

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Review: Guitar Modes – The Modal Scales of Popular Music DVD

Posted on 05-01-2012 | By: Desi Serna |

Category : Video

Tags: dvd, guitar modes, modal scales, modes, review, video

Often times my customers can sum things up much better than I can. Rich bought my guitar modes video and finally found the answers he was looking for. If you’re serious about understanding music theory for guitar and developing into a great player, then I highly recommend reading his comments below.

“You are absolutely correct. EVERY book I purchased on the subject approached the topic the same way. That is, pattern number one is Ionion, pattern number two Dorian, pattern three Phrygian, etc. But you said something so fundamentally basic very early in the modes video that completely changed my perception of modes: “There is only one scale pattern and that is the major scale pattern that happens to be one large pattern on the fretboard.” Then you went a little further explaining the concept and it finally hit me…the mode is created by the underlying chord progression, not by any particular order that a note happens to be located within a major scale. The focus was on the wrong element, notes rather than chords.

Dude…what a relief from the frustration! For example, I would try to play something “Spanish” sounding using a “phrygian” pattern (because that is what everyone says to use if you want that Spanish feel). The problem is I would use the phrygian pattern in a chord progression that wrapped itself around a major sequence starting with the key (I). Guess what? It did not work out very well. Rather than sounding Spanish, it sounded sterile. …Yeah!….no kidding!….I now understand why. It isn’t because of a lack of talent (although that is entirely possible!) but rather a lack of understanding. (Pick a darker chord progression that wraps itself around a minor, iii in particular.) Now that Carlos Santana sound is just the correct chord progression away!

Thank you again for ending the unnecessary frustration.” -Rich

That’s as good as five stars to me. Thanks, Rich.

You can finally understand and use guitar modes too by getting Guitar Modes – The Modal Scales of Popular Music DVD. Click the link and sign up for a free preview.

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Oh Well Tab Fleetwood Mac

How to Spice Up Your Chord Progressions

“Get Back” The Beatles Guitar Chords and Tabs

How to Make Hard Acoustic Guitar Barre Chords Easier to Play

Difference Between Guitar Theory Book and DVDs

How Can I Develop Better Rhythm and Timing On Guitar?

Questions about Cocaine, Wayfarin’ Stranger, Modes & Harmonic Minor

What About Other Scales and Music Genres?

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