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 (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.

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.

In my opinion, the language of music is every bit as important as the mechanics of music. Understanding the theory behind one’s musical movement is essential to the tonal quality of the movement itself. When performing, outcome is everything. It’s all about the sound and how all the melodic and harmonic structures work together within a given tonality.

Very rarely in years past, have Pop/Rock players utilized the advanced principles of traditional minor key signatures. This is primarily due to the more simplistic tonalities used in Pop/Rock, i.e., triads, power chords and the almost exclusive use of diatonic major key signatures (of course, Jazz and very progressive music is exempt).

By understanding and utilizing minor principles, the guitarist will develop a much broader canvas on which to paint a musical picture. Therefore, this particular article is preparation for future articles. In the next few articles we will utilize the Natural Minor Scale (NM, sometimes referred to as, the Pure Minor Scale), the Harmonic Minor Scale (HM), the Melodic Minor Scale (MM), and the Jazz Melodic Minor Scale (JMM), and more.

All of these scales, as well as several variations, are utilized in minor key signatures. We will also utilize specific harmonic structure (chords) that are specific to each minor tonality along with special usage chords, altered chords, and extended chords. Needless to say, a good solid mechanical facility is necessary in order to voice these scales and chords.

There are two very important issues which must be addressed when approaching the subject of minor key signatures.

First, an essential goal of a minor key signature is to differ or contrast with a major key signature. A minor tonality, in my humble opinion, sounds best when removed from any resemblance of its corresponding major key signature.

Secondly, deciding which scale to use (MM, HM, JMM, NM) and whether or not to play in Relative or Parallel minor is an important decision to make. For example, if a player was instructed to play in the key of A Minor, Relative to C Major, which scale would he or she use? HM, MM, NM, or JMM?

To make matters even more complicated, each scale individually has its own unique tonality (specific chords, etc.) The same potential problems pertain to Parallel Minor keys.

The next few articles contain language, theory, and mechanical demands that presume your knowledge of related subject matter. If the reader does not understand the basics of this subject matter, then please learn it.

In summation, each major key signature has two minor key signatures: Relative Minor and Parallel Minor. Any of the scales; HM, MM, NM, or JMM can be utilized in both Relative and Parallel Minor. Each scale, whether played Relative or Parallel has its own unique tonality (chords, chord groups, scales and scale formulas).

Until next time practice, practice, practice.

© 2011 Michael E. Fletcher. All Rights Reserved Worldwide.

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.

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.

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.

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.

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.

At first glance this article might tend to seem a bit intimidating. However, I can assure you that it’s true intent is to help those who might be in need of a different perspective regarding their career in the music industry. This article is, however, intended to offer the reader a very sobering and hard-hitting view of some of the realities surrounding the music industry (past, present, and most likely, the future). Further, while encouragement and positive reinforcement are valuable tools in attempting to further one’s education and decision-making process, there are some individuals, based on their decision-making process who, In my humble opinion, are deserving of a good swift kick in the pants (so-to-speak). This article is, perhaps, one of those moments for some readers. Of course, this conclusion is based upon my own subjective opinion, and presented with the utmost respect for all of the hard-working artists, bands and musicians who truly desire to succeed in their chosen field.

First, for the sake of premise, let’s roll the film backwards for a moment to the point right before Dorothy was struck in the head, passed out, and her house began to spin towards the Land of Oz. Remember, she had been wishing for someplace far, far away because nobody seemed to understand her in Kansas. Dorothy was about to have her wish granted.

As an artist, guitarist, or an original band, does this sound familiar? Are you wishing for someplace far, far away? Someplace where everyone will appreciate your music, your thoughts, and your creativity? Where is that place? Could it be New York? Could it be Hollywood or Nashville? For Dorothy, her belief that the grass would be greener on the other side, was about to change her life forever and transport her to a place far, far away.

I sometimes wish that I had Five Dollars for everyone who took some type of life-changing action based upon their belief that the grass would be greener on the other side. However, this is part of what makes life interesting isn’t it? Every decision that each of us make in life comes with certain consequences. Those consequences are sometimes good and sometimes not-so-good. Free will in decision making is a wonderful thing. However, free will with wisdom as it’s foundation is even more wonderful when making a decision. Once again, this conclusion is based upon my own subjective opinion. However, at this juncture, I really don’t think that Dr. Phil would disagree with me on this point.

As you will remember, and In the end, Dorothy realized something very, very important; there’s no place like home. Her success, and happiness was right there in Kansas all the time; all of the ingredients for success were right in front of her. I liken this story to the stories of many original artists and bands throughout the world. Many seem to re-live Dorothy’s story over and over again. Some might believe that if they were somewhere over the rainbow, their chances of making-it in the music industry would be greatly enhanced. For very few artists and original bands, this holds true. However, for the many, the opposite applies.

Let’s travel to Oz together for a moment and take a closer look at the streets that many believe to be paved in Gold. So..clunk yourself in the head (or have one of your band-mates clunk you), start spinning, and let’s begin our journey together. Let me be the first to welcome you to Munchkin Land (aka) Tinseltown.

Ah, Hollywood. The lights, the cameras, the action. Here, one will always be able to find a movie script (budding screen-play writer) in the making, a songwriter, an upcoming guitarist, artist, actor, band and a million other things that ordinarily wouldn’t be found back home in Kansas. Soon after one’s arrival, the Munchkins will be swarming all around. They’ll want to get a good look at the new Kid in town.

At first, The new Kid in town will naturally be impressed with all of the attention. The Munchkins will waste no time in explaining how things work in Munchkin Land. In fact, the Munchkins will explain exactly what is needed in order to make-it in Munchkin Land.  Rush-rush here, rush-rush-there, fire the Bass guitar, it’s run-run-run, jump-jump-jump, in the Merry old Land of Oz. By the way, the Munchkins will demand that new demos are needed. Therefore, the new Kid will, most likely, be faced with the proposition and expense of re-recording those demos he was so proud of. The Munchkins will insist that this is the right way to go, and the right thing to do, and guess what? The new Kid will probably agree with them. After all, it is Munchkin Land and who would know better what to to do, other than the Munchkins themselves?

The new Kid in town will spend many hours, months, and perhaps even years becoming familiar with Munchkin Land and the ways of the Munchkins. The schedule when first arriving in Munchkin Land is generally run, run, run and jump, jump, jump. There is much to see, many Munchkins to meet. There are Munchkin meetings, Munchkin luncheons, Munchkin industry parties, and many Munchkin showcases to attend and perform at.

The pace will eventually accelerate. The months and years will pass as the new Kid continuously attempts to prove to the Munchkins that he is worthy of their support. Eventually, he will muster the courage to knock on a few doors of the influential Munchkins. The new Kid wants, more than anything, to become an artist signed to the acclaimed…Munchkin Records label. Munchkin Records must be the place where the grass is greener. Everyone, according to almost all of the Munchkins in Munchkin Land, would do anything just to be signed by Munchkin Records.

Most of us know that, in a perfect world, if the head decision-maker at Munchkin Records actually answered the door when the new Kid knocked, listened to the new Kid’s material and band, then signed the new Kid to a multi-million dollar deal, this story would be over right here and now. However, it is more than likely that this is the point where this story actually begins. At least it is for the new Kid.

As time progresses, the new Kid will probably begin to wonder if he made a mistake by coming to Munchkin Land. He’ll begin to miss those he left behind in Kansas. He’ll remember the days back in Kansas when his regional fans loved him for his music and knew him as just plain old Kid. Finally, the new Kid will  begin to think that Munchkin Land might not be the place where the grass is greener after all. “There must be a place where the grass is greener”, he’ll exclaim. “There must be an Emerald City somewhere”.

Enter the Lollipop Guild. The Lollipop Guild reside in a city located just west of Munchkin Land. It is known  throughout Oz as Munchkin Hills. Rumor has it that not many dare to enter Munchkin Hills. Only the bravest of all can travel there. This is where one is sure to meet the producers, arrangers, label representatives, executive producers, agents, managers, and other music industry types that will surely have the answer as to how to make-it in the music industry.

The new Kid will, most likely, find that the Lollipop Guild will insist that the Munchkins were absolutely wrong. The Lollipop Guild employs their own set of rules and ways of doing things. In addition, the Guild will insist that it is their rules, that now must be followed! Otherwise, one might be banished to the Haunted Forest, never to be heard from again. The new Kid, excited and renewed in his determination, has finally found the place where the grass is greener. Or, so he thought.

As time passed (much time), the new Kid found himself adding more string lines, re-writing material, attending more industry parties, discussing more record deals, publishing deals, soundtracks, etc. However, to his dismay, nothing solid was materializing. Eventually, the new Kid began to think once more of how good things were back in Kansas.

Alas, and while the new Kid had learned much in Oz, he realized that he just wanted to go home. He began to understand that everything he thought was available to him in Oz, was also available to him back home in Kansas. And then it hit him! The grass was always green in Kansas! In fact, it was the greenest grass of all. It was Emerald City all along. With that, the new Kid clicked his metronome three times, and began to chant…”there’s no place like home’. The rest, as they say, is history.

O.K. We’ve just taken a fantasy journey together. However, how much is fact and how much is fiction? In my opinion, you’ve just taken the initial steps in living your dream in Oz. Some might disagree with this scenario. However, I’ll bet you a free trip to Oz that there are thousands upon thousands of artists and original bands that have made this journey and lived this scenario. In fact, I know hundreds of them personally. Further, I speak as a survivor and permanent resident of Oz. In other words, I was one of the lucky ones.

If after all of this,  you’ve enjoyed the journey thus far, then, by all means, come to Oz. If not, then what’s next? New York, Chicago, and Nashville are other far away lands. I say this just in case Kansas is still not cutting it for you and you still believe that the grass must be greener somewhere else. For some, the journey will indeed pay off eventually (whole different story). Once again, for the many, it will not.

For you, the original band or artist, there are plenty of answers right  at your fingertips. If you’ll take the time (and wisdom) to analyze your goals, there may be no reason for you to travel to Oz. That is of course, unless you’re on a sight-seeing tour. Let me explain.

The music industry has changed dramatically over the past few years. The days when almost any artist or any song would be signed are over. Those days are gone, gone, gone. It is not a kinder, gentler music industry. The golden industry days of the 60′s, 70′s and 80′s are far behind us now. Everything is different. Just look around. The automobiles have changed, computers have changed, the value of a dollar has changed, politics have changed. Even you have changed. It’s a whole new world out there. Is it any wonder that the music industry would also change through the years? Nothing lasts forever. Change is inevitable.

In order to effectively examine one’s musical career goals, one must possess a realistic view of his/her own circumstances, the short and long-term goals, and the music industry itself.  An accurate deductive thought process, coupled with pure honesty, is the best and only policy when your life is involved in a life-changing decision.

Dorothy and the new Kid became so frustrated with everything and everyone, despite constant encouragement by their friends, family and fans, that they decided to throw the baby out with the bath water. In short, the answers were staring them both in the face all the time. They just didn’t recognize it. Neither Dorothy or the new Kid took the time to really think things out. They just wanted out of Kansas. Remember, there are always consequences for every decision made. Let’s examine one more consequence pertaining to the new Kid’s journey

Let’s compile a simple tally of likely expenses incurred as a result of the new Kid’s trip to Oz. For the sake of argument, let’s presume that the new Kid only  spent five years (reasonable amount of time) in Munchkin Land. These days, a one-bedroom apartment in Munchkin Land will cost approximately $1,200.00 per month (very conservative for Munchkin Land). Therefore, rent alone will cost (over a five year period) approximately $72,000.00. Presuming the new Kid needed to eat, let’s figure at least $100.00 per week for food (conservative). That totals $24,000.00 (over a five year period). Gas for the new Kid’s vehicle should cost approximately $50.00 per week (remember, run,run, run and jump, jump, jump.). Therefore, the new Kid would spend at least $12,000.00 on gas alone (low-ball figure). How about social money? Drinks and entertainment anyone? Figure on $100.00 per week. That’s an additional $24,000.00 (over five years). In addition, clothing costs could reach at least $500.00 per month. How could anyone think of presenting themselves in anything less than Munchkin clothing? Therefore, figure on approximately $30,000.00 in clothing over five years. There will also be copyright costs, arrangements, recording, copyist costs, musicians, etc.

Let’s do a quick tally on the basic costs thus far. The rock-bottom cost thus far is approximately $162,000.00. This is really a shoe-string budget, based on one person only, and by using my personal cost anaysis. Although, I suppose two could squeak by for five years on this budget (very difficult).

Now, let’s take a close look at that cost of $162,000.00. First, it is highly probable that there is still no record deal in sight. Perhaps not even a prospective deal. Perhaps an additional $25,000.00 is owed in attorney fees. Personally, I know of no self-respecting attorney in Munchkin Land who will work for any amount less than $200.00-$500.00 per hour. Who knows what the circumstances and collateral expenses might be for you? Just be aware that, In Munchkin Land, the costs will rack up very quickly. By the way, don’t forget utilities.

$162,000.00. This is not a lot of money for some. However, for some original bands and artists attempting to live the dream, it’s a lot of money. So, is there a plan in place to cover these costs? Don’t avoid answering this question! How will these costs be covered? Is securing a day Gig in beautiful Munchkin Land and living the dream at night and on the weekends part of the plan?

How are the costs in Kansas being covered? By working a day Gig or playing Top-40 Gigs exclusively? Certainly, robbing banks is not an option. In other words, what was the new Kid doing differently in Munchkin Land that he wasn’t already doing in Kansas? Ah! This is a very interesting question, which deserves a very introspective answer. Further, there’s only one person who can answer the question. That would be you. Because only you can answer that question, please allow me to dig just a little deeper.

Why do you play music? What drives you? What is your goal? Is it so that others will hear your music? If so, how many others? Is it money? How much money? Is it fame that you seek? Do you want the world to know your face? These are very important questions that must be addressed in order to establish a step-by-step plan of accomplishment.

I could go on and on and on, but why? The reader must have a good idea of what to expect in Oz by now (not for all, but for many). For some, I’m sure they will still be interested in making the journey to Munchkin Land. Once again, this is what makes life interesting. Rest assured, the Munchkins will be waiting. That’s right, the Scarecrow will be there to help brainstorm the perfect label/publishing deal. The Tin Man will be there to collect the majority of royalties. The Cowardly Lion will be there to turn and run, just when he’s needed the most. Does all of this sound exciting? At least it’s something to think about while loading the Van and preparing for the big trip.

With all of this said, let’s examine some options that good old Kansas could provide as an alternative. Yes, I’m aware that for some, the prospect of Oz is still more exciting, but let’s at least take a look at some of the options.

Believe it or not, I’ll bet that there is just as much talent in Kansas as there is in Oz. In fact, I know there is. There are talented producers, arrangers, managers, musicians and independent labels right in your own back yard, or in close proximity. There are probably several professional recording studios in your area. Some of these talented individuals might even be transplants from Oz. I’ll bet that everything that you need to live and fulfill your musical dream is right in front of your face. Just like Dorothy discovered, it was all right there to begin with.

These days, millions of artists have taken control of their own careers by opening their own record label, publishing company, etc. Thanks to digital distribution companies and on-line music stores, an artist can release a CD in over 130 countries in less than six weeks. What’s even more important is that millions and millions of listeners (buyers) are now purchasing songs from on-line music stores. This is one reason that the music industry has changed. The public no longer is forced to purchase an entire CD just to hear the one or two songs that they want to purchase.

The cost? The master recording of your song or CD, some professional art work, and knowledge of the industry (publishing, copyright law, performing rights, etc.). This is very inexpensive to do if one knows what to do. No more waiting for that major label deal. In fact, if done right, the majors will be calling you (see next article).

Promoting yourself as an artist or artist group is extremely easy to do these days and very inexpensive. Promotion is essentially important to market your band or song. Therefore, a reasonable budget is necessary for this purpose. With the correct promotion and digital release capability, the world could very quickly become your playground. All of this, without the necessity to leave Kansas (at least not yet).

Everything I just spoke of will cost less than $5,000.00. Way less! With all of the technology available to musicians today, one is able to record in his/her own home recording studio and produce the song or CD all the way to a glass master (ready for airplay and manufacturing, if this is your desire).

It doesn’t matter whether you have twenty songs for release or a single song release, you’re able to proceed further than ever before in the music industry. All of this while maintaining and retaining all rights and control of your product (material and your original band).  Think of it this way, for between $5,000.00-$50,000.00 you could literally promote yourself or your band right on to the national scene. The possibilities are limitless.

What’s that you’re saying? $5,000.00-$50,000.00 sounds like a lot of money? Wait a minute! Wasn’t it you (the new Kid), who just a few minutes ago, was about to spend $162,000.00 in Oz, with the possibility of no record deal or release whatsoever? Wasn’t it you who was about to leave all of your friends, fans, wives, family, and pets behind in Kansas? How soon we forget.

Does all of this mean that it’s impossible to make-it in Oz. Of course not. However, 99.9% (give a little, take a little) will not. For those who would enjoy playing the odds based on this percentage, please, feel free to proceed. Keep your eyes open for falling houses though. Remember, the good old music industry days are gone. Oz has changed.

What would you think if I told you that there is a way to tour when you want to tour, release when you want to release, and record when you want to record. In other words, you can live your musical dream and own everything, including the decisions regarding your career. Well, there is a way. In the next article of this series, I’ll explain how to set it all in motion. If you believe that the shortest distance between two points is a straight line, then please join me next time and we’ll get down to business. The business of music.

Until then, be thankful that you’re back in Kansas. There might not be a need for you to follow the yellow-brick road, at least not yet. Remember, there really is no place like home.

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