The Dorian Mode, when used as a “stand alone” tonality, can paint a wonderful musical portrait that is rich in emotional color, and very moving to the listener. As with all other modes, the Dorian Mode possesses it’s very own unique tonality and unique characteristics. More on this later.

In terms of strict theory, the Dorian Mode is created by altering the 6th degree of the Natural Minor scale, hereafter NM. More specifically, by raising the 6th degree of the NM scale. Once the 6th degree of NM has been raised, Dorian has been created. However, Ultra Guitar Method students do not have to consciously be concerned with scale tone alterations, because they are automatic and already under the fingers.

Strict theorists refer to the altered 6th of the NM scale as the Dorian 6th. Further, a very strict theorist will anticipate hearing the sound of the raised 6th in both scale (solos) and chord application (chord progressions).

Many instructors and players alike, are seriously confused when it comes to the inner workings of a strict modal application. Perhaps this is why many can only go so far with a theoretical explanation of Dorian or of any other mode. For example, how many times have you heard a guitarist exclaim “Hey, I know the modes”. OK. Then what? Where does one go from there? Is there any further explanation? Absolutely there is!

I’d wager a bet that the vast majority of players AND instructors have no idea of the in-depth application one can achieve when truly aware of the theory surrounding the Dorian Mode, or any other mode, for that matter. All it takes is an authentic understanding (education) of the related music theory and how all of that information is applied to the guitar fingerboard.

My students are smiling right now…I can tell, because, an in-depth study, analysis, and application of all of the modes and all related theory is a very small part of the overall Ultra Guitar Method program. Further, my students have to spot this stuff instantaniously (all applicaple theory), adjust and then play through the changes in real time. Does this sound a little scary? Well, it’s not. If you’re not getting this kind of instruction, then search for a more knowledgeable instructor.

Many players and sadly, many instructors, fail when approaching strict modal application. They simply do not understand how to create the “stand alone”, unique modal tonality and quality of Dorian (chords, scales, and progressions).

This, then, is where this article really begins. First, I’ll approach this subject in it’s easiest form of explanation, and then progress to a more in-depth analysis.

For the sake of example, let’s examine “D” Dorian. The scale tones for “D” Dorian are D-E-F-G-A-B-C-D (eight tones to the octave). Remember, modal application dictates the use of seven tone scales (eight tones to the octave). This is referred to as a Diatonic Scale. Not pentatonic…diatonic. Also, for this example, presume that the altered NM scale (the raised 6th) tone is already present. Therfore, the melodic structure of Dorian (for this example) has been established. But what about the harmonic structure (chords and chord function) of “D” Dorian? This is where it gets a bit sticky, but we’ll get through it.

In the spirit of simplicity, it’s best to begin understanding Dorian harmony by thinking in terms of triads. Ultra Guitar Method students know that they are able to fully extend these chords (four, five and six part chords along with certain altered notes) for a super application of Dorian. In fact, an over-the-top application of Dorian (I just love over-the-top stuff, don’t you?).

For those of you who already have a handle on the theory and application of scales and progressions pertaining to Dorian, let me share some of my own personal favorites with you.

First, the quality of Dorian is minor. Hey we all know that…right? Just look at the relationship between the root note of the chord and the 3rd. If the interval is a minor 3rd above the root note of the chord, it’s a minor chord. Whew….this is like giving birth to a baby!

There are essential elements that MUST be established in order for Dorian to emerge.

1.) The tonic note MUST be established! How can one play a “D” Dorian scale without playing the tonic note? Come on….we all know that we can jam without playing the “D” note. I’m not talking about that. I’m talking about a strict modal tonality. Establish the tonic note!

2.) The minor 3rd scale tone must be used. Share with your audience the beauty of minor. Besides, if there’s a PhD. in the audience, he/she will be expecting to hear it. Don’t place too much thought in what the “so-called” theorists might be thinking. Believe me, if you’re doing it right and truly have a calling, they’ll be envious of you. Been there, done that, have a tee-shirt.

3.) The raised 6th (NM raised 6th) scale tone must be used. This is what makes Dorian…Dorian. Once again, those who study Ultra Guitar Method are smiling, smiling, smiling!

With all of that said, there are particular chord characteristics that MUST occur. Remember, we’re examining STRICT modal approach here. They are as follows:

1.) The tonic i minor chord MUST be established. In “D” Dorian, this would be Dmi (triad). This is the tonal center. You’d definitely want to keep bringing your listener back to the tonic chord.

2.) one MUST, in addition to establishing the i minor, use at least one the other triads (exclusive to Dorian tonality) that contains the Dorian 6th. For example, the ii minor (in this case, Emi), the IV MA (in this case, GMA), or the vii dim (in this case, Bdim).

One of my favorite Dorian progressions is the i mi (Dmi) progressing to the IV MA (GMA). Similar to that of, “You’ve got change your evil ways,Baby” (Evil Ways: Carlos Santana). Gotta love Santana. Smart guy! Great player! Millions of dollars on a two chord vamp….go figure!

Other favorites (my favorites) are the i mi to the ii mi (Dmi-Emi), and the imi (Dmi) progressing to IV MA (GMA), progressing to the ii mi (Emi), progressing to the imi (Dmi), progressing to the bVII MAJ (CMA), progressing BACK to the i mi (Dmi). Note: always bring your listener back to the TONIC center.

Last, but not least, another favorite is the i mi (Dmi), progressing to the bIII MA (FMA), progressing to the IV MA (GMA), progressing to the i mi (Dmi). See, once again, we bring our listener back to the tonic i mi chord.

OK. This is the simple stuff. I have a GREAT idea. I’m willing to really dig in with DORIAN and all other modes, if the readers of this article really want to learn. How will I know? Email your requests for continuation.

That’s the deal on this one. Let me know that you’re reading, learning and interested and I’ll continue. Simple!

Until next time…practice, practice, practice!

Ultra Guitar Method™

© 2007-2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The Aeolian Mode is just one of the seven essential modes that every guitarist should have in his/her arsenal. Of course, the other modes are Dorian, Phrygian, Mixolydian, Lydian, Ionian, and Locrian. All of these are essential guitar scales that should be practiced daily.

The Aeolian mode (also known as the pure minor scale or Natural Minor), as a stand alone musical mode (scale), is absolutely beautiful in sound and structure. Personally, I believe the Aeolian Mode to be the center of the musical universe. I, among others, believe this to be true for many reasons. Therefore, several of these reasons will be discussed throughout this article. You then, the reader, can decide for yourself as to the importance you place on this particular mode.

The quality of the Aeolian Mode is minor (minor 3rd interval between the root note of the scale and it’s 3rd). For purposes of application, the following elements apply:

1) The tonic note of the Aeolian mode must always be established. In other words, if we were analyzing a C Aeolian scale, the root note C must be voiced (established; played). It’s always important to establish a tonal center with any mode.

2) The third scale step must be used in order to establish the minor quality of the Aeolian Mode.

3) Only the natural 6th and 7th degree scale tones (no alterations) be used to attain and preserve the Aeolian modal flavor or essence.

Thus far, we’ve established the tonic note, the minor 3rd, and the use of the natural 6th and 7th degree scale tones for the Aeolian mode. It’s safe to say that Aeolian, at this point, has been born.

It’s helpful to think of the Aeolian Mode as being rooted on the sixth degree of the major scale. For example, the scale tones for the C major scale are C-D-E-F-G-A-B-C. Therefore, the Aeolian root note would be A (rooted on the sixth degree of the major scale). Thus, A-B-C-D-E-F-G-A (Aeolian). Do you notice that the tonic note is present? Do you notice that the distance between A and C is a minor third interval? Also the 6th and 7th degree scale tones are natural (no alterations). This is why I offered this particular example in the key of C major (key of no sharps, no flats). It’s easier to keep track of the theory.

keep in mind that, the actual theory involved here, ironically infers altered scale tones once we discuss key signatures other than the key of C major (key of no sharps). In the key of C major, half steps automatically occur between the 3rd and 4th degrees of the major scale, and then once again between the 7th and 8th degrees of the C major scale (no alterations are necessary). In every other key signature, the degrees of the scale must be altered (using sharp signs or flat signs) in order to create the specific formula needed (whole steps and half steps) to establish a major scale.

Once again, for purposes of this article we will be utilizing the C Aeolian Mode. By adding some difficulty, the learning process will be authentic. Therefore, prepare yourself for just a little confusion. However, with some concentration, any initial confusion should clear up shortly.

The Aeolian Chords are: I minor, II diminished, bIII major, IV major, V minor (7), bVI major, and bVII major. There are typical and then, very strong Aeolian chord progressions. We’ll examine both in this article.

TYPICAL AEOLIAN PROGRESSIONS: study the following progressions and transfer them to your guitar.

1) I minor (C minor) progressing to the bVII major (Bb major), progressing to the I minor (C minor), progressing to the bVII major (Bb major), progressing to the bVI major (Ab), progressing to the bVII major (Bb), progressing to the I minor (C minor).

NOTE: Notice that we brought our listener back to the tonic I minor (C minor). It’s very important to establish a tonal center.

2) I minor (C minor) progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the I minor (C minor).

3) I minor (C minor) progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the V minor (G minor), progressing to the IV minor (F minor), progressing to the I minor (C minor).

4) I minor (C minor) progressing to the bVII major (Bb), progressing to the IV minor (F minor), progressing to the I minor (C minor), progressing to the V minor (G minor), progressing to the I minor (C minor).

5) I minor (C minor) progressing to the V minor (G minor), progressing to the I minor (C minor), progressing to the bIII major (Eb major), progressing to the IV minor (F minor), progressing to the I minor (C minor).

NOTE: Do not emphasize the bIII major because it tends to suggest the I major chord in the actual key signature. This takes away from the Aeolian flavor.

6) I minor (C minor) progressing to the IV minor (F minor), progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the I minor (C minor). The I minor, bVII major, to I minor are very strong Aeolian progressions, as well as the I minor, bVI major, bVII major, to the I minor.

It’s best to think of using triads (three part chords) when engaging in an Aeolian progression. My personal students are taught how to extend all chords to their fullest diatonic range. This adds flavor to any progression but will, most likely, annoy the strict theorists. There’s something to be said about Pop-Rock; we can get away with a lot of rule breaking and our audiences love it.

In the end, music is based on sound. All of the theory in the world is just theory unless analyzed, practiced, and implemented. The guitar is a wonderful instrument. We should all strive to continuously educate ourselves in order to unlock it’s endless secrets.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The Mixolydian Mode is a great guitar scale to use against dominant types of chords. In essence, the Mixolydian Mode is a major scale that contains a minor 7th interval between the root note of the scale and it’s 7th degree. This minor 7th interval gives the Mixolydian Mode it’s dominant flavor. In a traditional major scale, the 7th degree interval is a major 7th not a minor 7th degree. Hence, dominant.

In order for a true Mixolydian tonality to emerge, the tonic note must be established, the major 3rd scale tone must be voiced, and the lowered 7th scale tone must be used. Otherwise, Mixolydian tonality is not authentic.

There are some general rules applicable to Mixolydian chords and progressions. For example, one must always use the I major chord (this establishes the tonic home-base for the listener), and the V minor or the bVII major chord(s) must be used so that the b7th scale tone is actually sounded. For this particular article, we will be analyzing the C Mixolydian Mode (scale) and it’s corresponding tonality (chords and scale tones).

The following chord progressions are strong Mixolydian progressions. It’s best to think in terms of triads when using the specific chords necessary to portray Mixolydian tonality. However, when these chords are extended to their diatonic 7th’s, 9th’s, and 13th’s, a very contemporary flavor and sound will emerge.

1) I major (C major) progressing to the bVII major (Bb major), progressing back to the I major (C major).

2) I major (C major) progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the IV major (F major), progressing back to the I major (C major).

3) I major (C major) progressing to the IV major (F major), progressing to the bVII major (Bb major), progressing to the I major (C major).

4) I major (C major) progressing to the V minor (G minor), progressing to the I major (C major).

5) I major (C major) progressing to the V minor (G minor), progressing to the VI minor (A minor), progressing to the IV major (F major), progressing to the I major (C major).

6) I major (C major) progressing to the V minor (G minor), progressing to the IV major (F major), progressing to the V minor (G minor), progressing to the I major (C major).

7) I major (C major) progressing to the V minor (G minor), progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the I major (C major).

Note that in all of the above referenced chord progressions, the tonic was always established. In other words, the listener was given a strong starting point for tonality and a strong return to the tonality. Always remember to define a strong tonality for the audience. Subconsciously, a listener doesn’t enjoy being left up-in-the-air musically. Give them something to hold on to.

The Mixolydian Mode, as with all other modes, has it’s own unique characteristics. It is beneficial for all guitar players to learn (or remember) these characteristics. The small details can, sometimes, make the difference between a great guitar solo (or chord progression) vs. a mediocre guitar solo or performance. But this is just the beginning. We’re barely scraping the surface here. As any of my students would testify, the rabbit hole gets deeper and deeper. However, their actual education gets easier and easier. The application becomes automatic for them.

It’s absolutely refreshing and empowering to approach an authentic playing situation with confidence. How is this achieved? Education and practice. There’s mental and there’s physical. One without the other is incomplete.

There are many guitarists who play extremely well. However, the truth be known, there are, most likely, giant gaps in their understanding of key signatures, key changes, chord construction, scale application, intervals, substitution principles, and much, much more. Does this make them any less of a musician (in their own realm) than anyone else? Of course not. Could they become better as a result of a pro-end education? Absolutely yes.

Something as simple as the Mixolydian Mode, it’s analysis and understanding, has the potential to launch an entire new desire to progress as a guitarist. It’s amazing how much music can result from simple concentration and practice. As a player, there’s good and there’s great. The difference is the decision to progress.

For those of you contemplating guitar lessons, make sure that you are well matched with your guitar instructor. Define your goals and don’t waste time. If your goal is to play a few songs and strum a few chords, then almost anyone can help you with that goal. If your goal is to progress beyond your favorite artist, then you should aim for the best-of-the-best for instruction and educational material (theory and application).

Until next time, practice, practice, practice.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

First and foremost, for those of you who have not read my previous article pertaining to the the Aeolian Mode, it would be beneficial for you to do so. Otherwise, this particular article might become confusing at times. It’s always best to build a solid foundation of understanding before engaging in progressive principles.

As we have previously discovered, the Aeolian Mode is a minor scale. It is also referred to as the Pure Minor Scale or the Natural Minor scale. It has several unique characteristics both in sound and application (see previous article for explanation). Further, the Aeolian Mode (scale) is rooted on the 6th degree of it’s respective major scale. Once again, read the previous article for all of the essential details surrounding the Aeolian Mode.

As guitarists, an important element of performance is to establish a tonal center for our audience to hold on to. Tonic absolutely rules when establishing any tonality. What is meant by tonality? All of the notes and chords that belong in or to any piece of music.

Try this simple chord progression. Play an A min 7 chord for two measures. Progress to a D min7 chord for one measure, then return to the A min7 chord. We just established a tonality; a tonal center. The A min7 chord functions as the I minor (the tonic, home base). The D min7 chord is a great movement away from the tonic and functions as a IV minor. Returning to the A min7 chord (I minor), after playing the IV minor (D min7), is like a breath of fresh air. Everything sounds right.

The Aeolian Mode (Natural Minor Scale) played at the fifth fret (A), will establish the melodic tonal center for the above referenced progression. In short, we just created a minor tonality both in harmonic structure and melodic structure.

The associated major key signature for this example is C major. Remember, the Aeolian Mode is rooted on the 6th degree of it’s own respective major scale. A is the 6th degree of the C major scale. Therefore, it is referred to as the Relative Minor for the key of C major (see previous article).

Relative Minor and Parallel Minor key signatures are great tonalities to establish in order to take your listener away from the respective major scale. It is this movement away from the major tonality that provides interest and color for the listener to experience. Tonality and movement (musical motion) is everything when painting a musical portrait.

In my opinion, Parallel Minor is the greatest an best movement away from the major key signature. A I minor, IV minor progression in Parallel Minor is C minor7 to F minor7. This is a complete departure from the major key (C major) tonality. In the key of C major, the I chord is C major and the IV chord is F major. In the key of C parallel minor, both the C major chord (I major) and the F major chord (IV major) become minor chords (the 3rd of each chord is lowered by 1/2 step to create minor). Note that when Aeolian is played as Relative minor, the chords still reflect the major key signature. There is more contrast when played as Parallel minor. When Aeolian (or any of the other traditional minor scales; subjects for future articles) is played at C, it is referred to as parallel (key of C major) minor to the key of C major. Therefore, for the key of C major, there are two traditional minor key signatures; Relative and Parallel.

This article is a very basic approach to the two types of minor key application. For an in-depth analysis, it’s best to seek out an instructor or program that is very descriptive. The intent here, is to merely skim the surface with some of these concepts.

Once again, it’s important to become educated in music. An authentic understanding of music theory will help in all areas of music. Understanding the function of scales and chords enhances one’s ability to compose, perform, arrange, and produce music. Knowledge is power.

Contrary to what some might think, obtaining a great foundation in music theory doesn’t take years. It takes the desire to learn and a logical approach to these principles. A professional guitar course can chop years off the time it would take for one to learn these concepts in a traditional college or university setting.

There are many things to consider when establishing a minor tonality. Too many to discuss in this article. However, many of these subjects will be addressed in future articles. Stay tuned.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

There are many, many, different reasons why individuals decide to learn to play the guitar. What’s your purpose? Is it because you just want to play a few songs for your friends? If so, then I commend you for your honesty and wish you the very best in your song-playing adventure. Playing the guitar should always be fun.

If you’re a beginner, it’s important that you don’t become overwhelmed or intimidated by those who seem to be able to shred the guitar fingerboard at will. This should be the least of your worries. Especially in the beginning stages of learning to play the guitar. The fundamentals are essential for every beginner. For example, learning to hold the guitar pick correctly is essential in the beginning. Learning right-hand and left-hand finger control is very important. Further, merely feeling comfortable holding the guitar will actually take some work and practice. Once again, the fundamentals of guitar playing are very, very important.

It seems that we’re living in a society (musicians included) where instant gratification seems to be the way-of-life for many. We want what we want, and we want it now. When attempting to learn how to play the guitar, this type of approach will leave fatal flaws in one’s over all understanding of the guitar. Without an authentic understanding of the guitar, limitations are inevitable.

A solid foundation on the guitar (theory and application) will allow one to progress beyond their own expectations. One should strive to become a well-rounded guitarist. In other words, learn guitar chords, rhythm, and guitar solo techniques. So many guitarists today are mainly concerned with soloing. They seem to overlook all of the other aspects of guitar playing. Many beginning guitarists get hung up on issues such as speed playing.

In today’s musical environment, it’s much more important to become an accurate player rather than a flash player. The days of the twenty minute guitar solos, are over (for the most part). Oh yes, in a concert environment it’s good to let it all hang out and to blow out the carbon, as they say. However, nothing will top a well constructed melodic guitar solo. A well constructed guitar solo is a far cry from someone just mindlessly sweeping arpeggios.

Is speed important? Yes, in situations that call for speed. However, not all guitar solos consist of playing 128th notes at 160 BPM (beats per minute). Techniques, such as speed picking, sweeping, and tapping result from practicing good habits, not in lieu of them. Further, speed without soul equals nothingness. Why so much dissertation regarding speed? Let me explain.

For most beginners, there is generally an event which occurs, that inspires an individual to learn how to play the guitar. For example, desiring to learn the guitar could result from one hearing a song that has a special emotional impact on his/her life. However, it is more than likely that one of the great contemporary concert guitarist (a fire-breathing, neck-shredding Dragon) is the inspiration for most of today’s beginners. This is great however, was the inspiration the guitar itself or the fire-breathing, blazing speed, that the notes on the guitar were played at? More than likely, the answer would be speed. Inspiration is inspiration, right? Understand that a speed player is very skilled and has taken the time to build a solid foundation; fundamentals.

Speed picking and sweeping techniques have their place. We all know that. The question is (even for experienced guitar player), when and where (let alone, why) to employ these techniques. In other words, speed playing for the sake of speed playing doesn’t make much sense unless the music dictates a speed technique be employed. Of course, the obvious exception is practicing speed playing techniques in order to perfect them. Once again, if you’re a beginner, speed shouldn’t be your initial concern. Fundamentals will provide the foundation for future and difficult techniques. Take your time. Learn to play guitar the right way.

In the beginning stages of learning to play guitar, one should concentrate on learning simple guitar chords, learning simple songs, and learning to control the guitar itself. Become aware of sound and volume. Strive for accuracy and endurance. There are literally hundreds of elements that must be learned in order to truly master the guitar. Enjoy the beginning stages, you’ll arrive at the advanced learning scenario soon enough.

It is advisable to seek out a talented guitar instructor who will help you in the beginning. Remember, you’ll want to learn the fundamental elements first (picking, playing guitar chords, learning simple, but great songs). Plan your work and work your plan. Above all, have fun.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

First and foremost, this article is not for the beginning guitarist. For those who are in the early stages of learning how to play the guitar, please refer to some of my earlier articles. This particular article is geared more in the direction of the advanced professional guitarist. It presumes a very strong background in music theory and a few solid years of guitar under the belt.

Substituting guitar chords and guitar scales can add a tremendous amount of interest to any melodic structure or harmonic structure. Guitar solos and chord progressions take on a whole new life when substitution principles are utilized. Substitution principles add tonal interest and surprise for the listening audience.

Take, for example, a simple ii,V,I progression in the key of two sharps. For the sake of interest, let’s extend each chord to it’s diatonic 7th. Hence, ii mi7, V7, IMa7. This translates to an Emi7(ii mi7)-A7 (V7)-DMa7(IMa7) progression in the key of two sharps. By the way, and as a reminder, a ii, V, I progression is a very strong chord progression for ear training. The ii chord (minor) is an excellent departure away from the tonal center (major), whereas the V chord (dominant in function) is the strongest chord leading back to the established tonal center (major). The ii, V, I progression is very clinical in application. However, it’s a great chord progression to practice and experiment with.

Without meaning to state the obvious, did you notice that a ii, V, I progression immediately infers a diatonic chord progression? No alterations were referenced. Chord extensions yes, but alterations, no. Therefore, we know that we’re dealing with a diatonic tonality. This is good news for purposes of improvisation and easily identifying possible substitution principles.

We all know that there are several different ways to improvise, substitute, and analyze any particular progression. However, when harmonizing a solo, substituting one scale for another, or employing chord substitutions, our sense and knowledge of tonality needs to be accurate. This is why it’s always good to view things in the diatonic sense whenever possible. Everything just gets easier when we think in terms of diatonic relationships. In short, once we understand the diatonic relationships, the chromatic issues will stand out like a sore thumb and can easily be dealt with. Once again, and as I’m sure that you all know, tonal identification at every step, is essential to an accurate musical translation.

The ii, V, I progression in the key of two sharps should immediately conjure up an Ionian tonality as the all-important tonal center (remember to think in diatonic terms). Once in the spirit of Ionian, all substitution principles are very easy to employ. As an advanced guitarist, these principles will offer your listener several interesting musical alternatives. This is the fun part of musicianship, regardless of instrument.

As you know, ii is a great substitute for IV, and the reverse also holds true. In other words IV will substitute for ii. The Dorian and Lydian substitution principles add tremendous color to your solo approach or chord application. Let’s examine the Dorian (ii) and Lydian (IV) as pure scales and scale tones. In fact, let’s harmonize each scale with it’s substitution partner and examine the musical effect that each one has on the other.

For the sake of simplicity in explanation, let’s examine Dorian and Lydian in the key of no sharps and no flats. The Dorian yields the following notes: D-E-F-G-A-B-C-D. Lydian yields F-G-A-B-C-D-E-F. By harmonizing Lydian with Dorian we arrive at the following: D over F, E over G, F over A, G over B, A over C, B over D, C over E, and D over F. I won’t waste your time by explaining the interval relationships between each combination of harmonized notes. However, as I’m sure the advanced guitarist will know, all of these relationships are diatonic. Thus, we end up with a wonderful harmonization of two completely different, yet diatonic, scales. This results in a perfectly harmonized solo line (if you so choose to create a harmonized solo line) and a bonus for your listener.

By superimposing Lydian over Dorian, we create an entirely different sound (look at the interval relationship) using the same notes: F over D, G over E, A over F, B over G, C over A, D over B, E over C, and F over D. Once again, we arrive at a harmonization with the potential to add great interest to your guitar solo, vocal line, string line, keyboard line, and so on.

The ii-IV substitution principle, as described above, is also available for chord substitution. For example, the ii minor chord will substitute for the IV major chord. The reverse also holds true; the IV major chord will substitute for the ii minor chord.

Let’s assume a IV, V, vi progression in the key of no sharps and no flats. Look at the ii minor chord as eventually substituting for the IV major chord. Also try the reverse (IV major chord substituting for the ii minor chord). Place the ii minor chord on top of the IV major chord (poly-chord effect). Place the IV major chord over the ii minor chord. As you know, the possibilities are endless here.

Another great substitution principle is the V-vii min 7b5 (Mixolydian and Locrian). As pure scale tones, these two modes, when harmonized, offer a very unique sound (unexpected). Once again, and in the spirit of Ionian, let’s take a quick look at the harmonization aspects of Mixolydian and Locrian (for both chord and scale substitution).

The Mixolydian yields G-A-B-C-D-E-F-G (key of no sharps, no flats). Locrian yields B-C-D-E-F-G-A-B. By superimposing the Mixolydian scale over the Locrian scale we arrive at G over B, A over C, B over D, C over E, D over F, E over G, F over A, and G over B. Look at the intervals ( all diatonic 3rds) (diatonic 6ths when inverted). As a side-bar issue, it’s really important to understand chord quality, interval relationships and inversions of intervals. I say this just-in-case you’re not an advanced guitarist, and reading this article against my strongest advice. Remember, this article is intended for the advanced guitarist, not for the beginning or intermediate guitarist. Why? Because I’m cutting-to-the-chase with most of the theory here. The advanced guitarist understands the concepts in this article; many of the less experienced players might not.

Now, let’s superimpose the Locrian scale over the Mixolydian scale. The resulting scale tone combinations are: B over G, C over A, D over B, E over C, F over D, G over E, A over F, and B over G. Look at the intervals again (all diatonic 6ths). This is a very unique sound. Try it next time you need to harmonize a V-Mixolydian scale or a vii-Locrian scale. The V substitutes for the vii and the vii substitutes for the V. This also occurs with the V chord and the vii chord. Each one can substitute for the other. There are many times that instead of voicing a G7 chord (key of no sharps, no flats) in a progression, I’ll opt to substitute a Bmi7b5 chord in the place of the G7 chord. It sounds great! At the very least, I’ll run a Locrian scale over the Mixolydian chord (or the reverse). The point here, especially for the advanced guitarist, is to always strive to utilize substitution principles for added musical color. By the way, don’t forget the poly-chord effect by stacking the two chords described herein.

In future articles, I’ll address the more difficult aspects regarding harmonization and substitution principles. As we all know, diatonic relationships are simple to understand. Chromatic relationships are more involved theoretically, and demand an intense analysis and understanding between the two concepts (diatonic vs. chromatic).

Learning to play better guitar is a choice that we all must make for ourselves. It’s a personal decision. Remember, however, that no matter how advanced and professional we are as players, there’s always room for more experience and advancement. My advice to everyone, at every level, is to keep on learning. This will lead to progression. Progression is our friend.

©2009 Michael E. Fletcher. All Rights Reserved Worldwide.

Learning guitar chords, guitar scales, music theory, and guitar lessons all come with the territory of becoming a better guitar player. For some, this can become a tedious task. For others, the process of learning the guitar is an adventure. The issue for many, is how to make the journey of learning and practicing the guitar an enjoyable one.

Learning guitar scales is the only way for one to gain knowledge of melodic structure on the guitar fingerboard. Practicing scales develops left and right hand control, picking technique and awareness of factors such as strength and endurance. If one ever expects to engage in long melodic guitar solos, then practicing scales is the only vehicle to that end.

How often and how long should one practice playing guitar scales? It depends. Beginners should practice for at least one half hour to one hour daily. Experienced players should practice their scales at least one or two hours per day. How about the advanced professional players? Believe it or not, some guitarists practice five, six, and even seven hours per day (myself included, when performance is pending).

All of the information referenced above, also applies to learning and practicing guitar chords. New strength and endurance is realized as a result of dedicated practice of guitar chords. The left and right hands use muscles uniquely different from those utilized and developed by practicing and playing guitar scales. This is all part of necessary development as a guitarist. Guitar chords are essential in gaining awareness of harmonic structure on the guitar fingerboard. When melody meets harmony, beautiful music occurs. However, the real trick is the nexus between the two. Enter the dragon; music theory.

As a guitar instructor (35 years), I would approximate that at least 80% of all of my students (intermediates and professional players) become very nervous when they take the plunge into learning music theory. Especially music theory designed exclusively for the guitar. Perhaps they were confused in the past when confronted with the college blackboard. I’ll bet many readers remember sitting in music class and wondering what the professor meant by all of those chalk marks and symbols that were drawn on the blackboard. This for many, was very intimidating. Further, many can not make the transition between the blackboard and the guitar fingerboard. I have great news. It’s really not difficult at all. In fact, theory is simple when presented and taught in a logical, step-by-step manner. Therein lies the problem. There aren’t many guitar lessons or guitar instructors available that have a professional and contemporary approach for someone who desires to advance their guitar skills and knowledge of music theory.

Are guitar lessons essential? Once again, it depends. We’ve all heard the stories of certain guitar players who rose to the top of the charts without ever taking a guitar lesson earlier in life. This is my favorite type of success story. Why? Because whenever an individual listens and follows his/her inner calling, it’s always a good thing. Many would call it faith (myself included). Others would call it luck (myself included). Some would insist that it is a result of education (myself included). Further, there are those that would call it hard work (myself included). One thing is for sure; there is no magic wand involved here. Mastering any instrument requires a burning desire and an absolute commitment to achieve a desired result.

It really doesn’t matter what your level of musicianship is. What matters is defining your goals as a guitarist. Is your desire, as a guitarist, to be able to play a few songs around the campfire(or wherever)? If so, any local music store will provide you with a guitar instructor who can help you attain that goal. Do you envision yourself playing for thousands of fans in a major concert arena? If so, then seek out the type of educational resources that will help you to achieve that particular level of musicianship and knowledge of music theory. Be very accurate with your goals and desires. Don’t waste time. Life is short. Live it.

No matter what your goal as a guitarist, it all starts with the practice of guitar chords and guitar scales. Remember, a good foundation is essential. Become strong as a player. Educate yourself. Believe me, your audience will appreciate your hard work.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

This article presumes that the reader is familiar with several different types of guitar scales, and has a good working knowledge of guitar chords (triads and extended chords). Further, this article presumes that the reader is familiar with some basic music theory (key signatures, chord and scale function within a key signature, etc.).

In general, guitar scales and guitar chords are a must-know for every guitar player. The depth of each player’s knowledge is relative only to the desire of each individual guitarist. For example, some guitarists can play a few guitar scales and guitar chords, but have no desire to truly understand the music theory behind those scales and chords. Other guitarists thrive on scale and chord construction, diatonic and chromatic relationships, and usage (including substitution principles).

This article is intended for the intermediate and professional guitarist. It is also intended for the advanced beginner who has decided to advance to intermediate and then on to professional levels of proficiency.

Learning and practicing guitar scales is essential to one’s growth on the instrument. If one truly desires to learn to play guitar, then guitar scales must become part of the learning process. Of course, the exception is for the campfire type of guitarist. Playing a few songs at the beach doesn’t require an in-depth study of guitar scales.

As the title of this article suggests, one can practice guitar scales and have fun with music theory at the same time. In fact, if one is practicing correctly, recognition of music theory should be occurring simultaneously along with the mechanical practice. Let’s play a game with guitar scales and music theory. This is an easy game to play, yet extremely profound in application.

First, we must establish the foundation for the game. Therefore, we’ll utilize the major scale along with it’s construction and function within a diatonic tonality. Further, and in the spirit of simplicity, the C major scale will be referenced for explanation purposes.

The C major scale (diatonic scale) consists of eight notes (scale tones) to the octave. For example, C (1)-D (2)-E (3)-F (4)-G (5)-A (6)-B (7)-C (8) represent the notes and degrees of the C major scale. In theory, these notes are represented as I-II-III-IV-V-VI-VII-VIII or I (VIII always means I). All of these notes and numbers represent the players in our upcoming game.

The purpose of the game is simple. However, an explanation for playing the game is appropriate in order for one to fully understand the essence of the game.

Years ago, one of my students asked me how many different ways the major scale could be played. At the time, I was teaching in Hollywood California. I instructed my student to go grab the Los Angeles phone book (sitting on top of an amplifier in my recording studio), and bring the phone book to me. Baffled, my student complied with my request. I opened the phone book and asked my student what the population of Los Angeles was. Of course, the answer is millions of people. Millions of people results in millions of telephone numbers. Hence, the name of the game is Playing The Phone Book.

The rules of the game are as follows. The numbers of any telephone number are matched with the corresponding degree of the major scale. For example, the telephone number 576-3321 would translate into playing the following notes V-VII-VI-III-III-II-I or G-B-A-E-E-D-C (5-7-6-3-3-2-1). When the number 9 is encountered, it means to skip to the next note. When a Zero is encountered, it means to repeat the previous note or command. When the number 8 is encountered, it means the same as the number 1. How would you play the phone number 236-5431? How about 652-3800? How about 871-9056?

How many phone books would you suppose exist in the United States? How many phone numbers would you suppose exist in the United States? How many different ways (presuming you understand the phone book game) do you think the notes of the major scale can be played? Millions! That’s right, millions.

By playing the phone book, one develops an awesome awareness of note location and note function. There are hundreds of variations of this game that I teach to my willing students (for scales, chords, and substitution principles). The results are staggering for both fingerboard awareness and knowledge of music theory.

The next time you find yourself with a little time on your hands, pick up the phone book and play it. However, be ready to receive a few strange looks from your loved ones and friends when you attempt to explain your actions. That’s also a part of the game. You know, it’s called consequence. Just kidding! Have a great time playing the phone book.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

For those of you who have been following my series on guitar modes, you already know that I don’t waste words when it comes to explaining the theory and application surrounding each mode. However, keep-in-mind that there is rich history surrounding each mode. When you have time, research the history. I think you’ll find it very interesting.

Thus far, my approach to explaining the modes is more contemporary. This is done intentionally, as not to confuse the reader with different historic views and applications. However, in the future, I will build on what I’ve already explained in the entire series. Once again, this is intentional. Why? Foundation! It’s important that the reader develop a strong foundation in understanding the modes in their purest forms. Thereafter, more in-depth theory will become easier to understand.

The Phrygian Mode is created by lowering the 2nd degree of the Aeolian Mode, resulting in a very dark musical effect. It’s all about color (see previous articles).

In order for a true Phrygian tonality to emerge, study the following Phrygian Mode elements (essential to Phrygian.

1.) The Tonic note must utilized (established).

2). The minor 3rd scale step (b3rd) must be used to establish a minor scale quality.

3) The b2 (lowered 2nd) scale tone must be used because it is the characteristic sound of Phrygian.

Remember, The Phrygian Mode is a specific type of minor scale. It’s tonality is unique. In addition, Phrygian chords and Phrygian chord progressions are also unique. Study the following Phrygian chord elements.

1.) The Tonic I mi chord must always be established.

2.) The bVII mi chord, the bII MA chord, and the V dim. chords should be used for Phrygian flavor.

Phrygian Sale Tones (E Phrygian): E-F-G-A-B-C-D-E

Phrygian Chord Progressions:

1.) Imi (Emi) progressing to the bVII mi (Dmi), progressing back to the tonic Imi (Emi). Emi-Dmi-Emi.

2.) Imi (Emi) progressing to the bIIMa (FMa), progressing back to the Imi tonic (Emi). Emi-FMa.

3.) Imi (Emi) progressing to the IVmi (Ami), progressing to the bVIImi (Dmi), back to Imi (Emi). Emi-Ami-Dmi-Imi.

4.) Imi (Emi), to bIIMA (FMa), to bVIImi (Dmi), to Imi (Emi). Emi-FMa-Dmi-Emi.

The Phrygian chord progressions referenced above are great progressions against the Phrygian Mode.

As explained earlier, there are other Phrygian applications. For example, The Phrygian Dominant Scale is created by raising the 3rd degree of the Phrygian Scale as we studied above. Many Spanish-Flamingo players alternate these two scales when employing a Flamingo style. In fact the Phrygian Dominant Scale is also referred to as the Spanish Gypsy Scale.

From here, the theory gets thicker and thicker. It is not the goal of this article to create confusion for the reader. The goal is to offer a quick and easy approach to understanding the Phrygian Mode. The quicker the understanding of Phrygian theory, the quicker one can execute performance. Once again, this is exactly why a solid foundation and understanding is so important. Knowledge is power. Please folks, never forget that. Knowledge is power!

For those of you who, for one reason or another, have been putting off your progression through education,,,please stop this go-nowhere procrastination. Education is the vehicle to musical power. Don’t take this lightly!

Make this year, the year that nothing will stop you from progressing as a guitarist. There is absolutely no reason that should prevent you from becoming a better guitarist. He who hesitates is bossed! Remember that. If you don’t take care of yourself…who will?

©2009 Michael E. Fletcher. All Rights Reserved Worldwide.

For those of you who have followed my series on guitar modes, thank you for all of the positive feedback. It’s really heart-warming to know that many readers are eager to learn, and are open to new ways of looking at, and approaching the guitar and music theory. Once again, thank you for your support.

The Lydian Mode is created or formed by raising the fourth degree of the major scale by one-half step. This creates a very bright sound. As you may or may not know, each guitar scale and/or guitar chord has it’s own color. The color ranges from dark to bright. Minor scales are darker whereas major scales are brighter. The same applies to guitar chords. It is the color of a scale or chord that evokes a desired emotion from the listener.

Since the Lydian Mode is bright in color, it will evoke a bright or light emotion from the listener. Musicians are like painters. We use color to evoke emotion.

Like all other guitar modes, there are certain, specific, and essential elements necessary in order to fully establish and effectively utilize the Lydian Mode.

First, the tonic or root note of the Lydian Mode must be established. In other words, if one is to establish the “F” Lydian Mode, the the “F” note must be used. It is the tonic note, or tonal center.

Secondly, the major third scale step must be used. It is the major third scale step that creates the bright major sound.

Last, but not least, the raised fourth degree of the Lydian Mode must be used. This is an essential element (characteristic) of the Lydian Mode. Don’t leave home without it.

There are also essential chord characteristics (elements) that must also be established in order to play true Lydian chord progressions. Unlike previous modes that we have discussed in previous articles, there are some very important general rules that must be followed when utilizing the Lydian Mode and Lydian chord progressions.

First, the #IV dim. chord should always be excluded from the Lydian progression. For example, for the “F” Lydian tonality, one should avoid the B dim. triad (#IV dim.). Also, the V7 is not available in or for an authentic Lydian progression.

The I MA chord (the Tonic chord), must always be established and one of the other strong characteristic Lydian chords should always be utilized (II MA or VII mi.).

The strongest Lydian chord progression is the I Ma progressing to the V Ma, then progressing back to the tonic I Ma.

Therefore, the best and strongest Lydian progressions are as follows and are applicable to the “C” Lydian tonality:

1). I Ma-C, II MA-D, I Ma-C. 2). I Ma-C, VI mi-A mi, II Ma-D, I Ma-C. 3). I Ma-C, III mi-E mi, II Ma-D, I Ma-C. 4). I Ma-C, VI mi-A mi, VII- B mi, I Ma-C.

The preceding examples of Lydian chord progressions are very strong Lydian chords and deliver the best results when thinking in terms of strict Lydian application.

The reader will notice that, once again, triads are used in all of my examples regarding modal chord progressions. This is for very good reason. Triads are basic chords which contain the essential elements for each mode (see previous articles on modes). Extended chords have a tendency to conflict with strict modal application. It’s best to use triads. This way, any extended modal scale tones will act, in essence, as passing tones, and will cause less conflict in a strict modal application.

Can one use extended chords in a strict modal application? Yes and no. We’ve already discussed the best applications as dictated and expected by the so-called strict theorists. However, music is a system of sound. When it comes to sound, almost anything is fair game these days. It’s all about you, the listener, and the color of music. What portrait are you attempting paint? What do you want to convey to the listener? These are questions that only you can answer. Whatever your answer, play and create wisely. Remember, it’s not in your best interest to confuse your audience. Keep things simple.

Be sure to view previous articles regarding different modes and applications. I’m sure that you’ll find value in those writings. Until next time.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.