When I was a kid, I’d listen to music and wonder, why is this chord progression so much more satisfying than that one? Now I know the answer: secondary dominants, chords that temporarily change the key in a logical-sounding way. If you want to take your songwriting in a more sophisticated direction, you definitely want to get hip to secondary dominants.
I studied music theory for a good long time before it dawned on me that you can read the major scale right off the circle of fifths. Here’s the C major scale on the circle. The red notes are the ones in the scale and the grey ones are the ones outside the scale. The red notes correspond to the white keys on the piano, and the grey notes to the black keys.
The circle of fifths trick works for all the major scales, not just C. Pick any note on the circle and think of it as the root. The note immediately counterclockwise from the root will be the fourth of the key. The five notes going clockwise from the root are the fifth, second, sixth, third and seventh of the key respectively. The other five notes will be the ones you omit — the “black keys.”
The blues is a good entry path for beginner guitarists. If you learn the standard fifteen chords and the blues scale, you’ll be well on your way. However, there’s one crucial piece of additional music vocabulary you need to do the blues justice, and that’s diminished chords.
To make a diminished chord, you start on any note, go up a minor third, then another, then another. Here are the notes in C diminished — the scale tones are in red.
Here are some good guitar fingerings for diminished chords.
Diminished chords are highly symmetrical, which gives them a peculiar property. The circle above shows C diminished, but the same notes also make Eb, F# and A diminished. The only difference between these four chords is their respective bass notes. This symmetry means that there are only four diminished chords total. The diagrams below show what I mean. On the left is the circle of fifths; on the right is the circle of half-steps. Each square is a diminished chord.
Minor keys are way more complicated than major keys. But the effort is worth it; all that complexity gives a richer array of expressive possibility.
The best place to start with minor keys, paradoxically, is with the major scale modes. The pitches in C major are the same as the ones in A natural minor. If you think of A as home base rather than C, you get a bunch of useful chords and scales.
The C major scale is the foundation that the rest of western music theory sits on. If you master it, you get a bunch of cool chords and scales for free, along with a window into a huge swath of our musical culture.
How to form the scale
Imagine an ice cube tray with twelve slots, one for each note in the western tuning system, labeled like so:
C C# D D# E F F# G G# A A# B
To make the C major scale, you just remove all the ice cubes with # in their names, like so:
C [ ] D [ ] E F [ ] G [ ] A [ ] B
Here’s a graphic representation of the C major scale. Scale tones are in red, the notes you skip are gray. Continue reading
Expanding on a post about blues basics.
When you’re first learning to improvise, it’s daunting to be confronted with all the scales. Fortunately, there’s one scale that sounds good in any situation: the blues scale. It’s a universal harmonic solvent. I haven’t encountered a chord progression yet that didn’t fit with the blues scale. It works in blues, of course, but it also sounds terrific in rock, country, jazz, reggae, funk and much else.
How to play the blues scale
The blues scale is the minor pentatonic with a note added, the sharp fourth/flat fifth. The C blues scale is C, Eb, F, F#, G, Bb. Here it is in standard music notation:
The blues scale is easy to play on guitar. Your index finger plays the root on the E string, so to play C blues, put your index on the eighth fret.
Since I’m teaching the twelve-bar blues to some guitar students, I figured I’d put the lessons in the form of a blog post. Blues is a big topic and this isn’t going to be anything like a definitive guide. Think of it more as a tasting menu.
Blues is a confusing term. You probably have some idea of what blues is, but it’s surprisingly hard to define it specifically. There are many songs with the word “blues” in the title that aren’t technically blues at all, like “Lovesick Blues” by Hank Williams. John Lee Hooker was the living embodiment of blues, but a lot of his best-known songs aren’t technically blues either.
Meanwhile, there are quite a few songs using the blues form that you might not think to identify as blues. Two examples: “Shuckin’ The Corn” by Flatt and Scruggs, and the theme from the sixties Batman TV show.
So what exactly is blues?
I’ve picked up some new guitar students lately, so I’m once again doing a lot of explaining what a tritone is and why people should care. Whenever I find myself explaining something a lot, I like to encapsulate it as a blog post. So here we go.
A tritone is the interval between the notes C and F#. It’s also known as the flat fifth or sharp fourth. It’s two minor thirds, three whole steps, six half steps, or half an octave. On the piano, count six keys up or down. On guitar, count six frets.
The tritone is the heart of the entire western tonal system. The clearest way to define the key center of a piece of music is to look at how tritones create tension and resolve it. Tritones are also central to the sound of the blues, from which most of the music I like flows.
Hip-hop isn’t usually big on chord progressions, but “Empire State Of Mind” by Jay-Z and Alicia Keys has an awesome set of changes.
Because Alicia Keys was involved, I thought she might have written the chord progression. But no, it’s built from samples of the intro to “Love On A Two-Way Street” by The Moments.
Most beginner guitarists start by learning the same fifteen chords, usually called the “standard fifteen.” I’ve also heard them called the open chords because they make use of open strings and are thus easy to play:
A A7 Am
D D7 Dm
E E7 Em
It’s not much good to just memorize the standard fifteen chords without musical context. It’s better to learn them grouped together into keys, so you can hear how they relate to each other. Family Guy explains how this works using the key of G. I apologize for the filthiness of the opening joke, but then it actually turns into a good music theory lesson.