Guitar Music Theory Lessons - Desi Serna show

Guitar Music Theory Lessons - Desi Serna

Summary: This podcast features free audio guitar lessons that teach practical concepts of music theory to modern guitar players. Learn how scales, chords, progressions, modes, and more get applied to the fretboard and familiar music. This material is suitable for intermediate level players on up and can be followed on either an acoustic or electric guitar. It is recommended that you begin with the first episode uploaded on June 6, 2007 (What Is Guitar Theory?), and then follow the lessons in order from there. Taught by Desi Serna author of the books Fretboard Theory, Fretboard Theory Volume II, Guitar Theory For Dummies, and Guitar Rhythm and Technique For Dummies, plus several video programs. Visit the Guitar-Music-Theory.com website to sign up for free book and DVD previews. This Podcast was created using www.talkshoe.com

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  • Artist: Desi Serna
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Podcasts:

 37. Guitar Rhythm and Technique For Dummies Audio Track 1 | File Type: audio/mpeg | Duration: 03:57

If you want to improve your timing, sharpen your technique, or get inspired by new ideas, then my new book, Guitar Rhythm and Technique For Dummies, is just want you need! This book, which I authored for the famous For Dummies brand by Wiley, gets into the details of time signatures, note values, slash notation, strum patterns, articulations, picking mechanics, finger picking, harmonics, slide guitar, whammy bars, alternate tunings, and more. There are lessons suitable for guitar players of all levels including beginner, intermediate, and advanced. Customers also get access to online audio tracks and video clips. This podcast episode is the first audio track. To learn more about the book and see where it can be purchased, go to: http://www.guitar-music-theory.com/guitar-rhythm-and-technique-for-dummies/

 36. Blues Guitar Theory For Dummies | File Type: audio/mpeg | Duration: 03:01

Blues music doesnâ??t always follow the rules of traditional music theory and harmony. Specifically, you find minor 3rds applied to major chords, and progressions that switch keys on each chord instead of staying in one parent major scale. For example, letâ??s say that youâ??re playing over a G major chord, which in blues-based music would likely be played as G7 or G9, maybe even a G13. Because the chord is major, you play the G major pentatonic over it. But another option is to play G minor pentatonic. The minor 3rd in the minor pentatonic scale clashes with the major 3rd in the chord, but this is what we know and love as the blues sound. You can even mix both the major and minor pentatonic scales, getting a series of notes that are use in many blues and rock and roll songs such as Chuck Berryâ??s â??Johnny B. Goodeâ?? and Jimi Hendrixâ??s â??Red House.â?? Adding in a b5th from the so-called blues scale increases your note choices even more and allows for chromatic lines that are common in country and jazz. Blues songs are typically based on what appears to be a 1 4 5 chord progression, but since each chord is some form of dominant 7th, each chord is actually a V chord from a different major scale. Blues players usually opt for a minor pentatonic scale played over the whole progression, but other options include incorporating the major pentatonic or switching scales on each chord. The influence of blues music on popular music is widespread. You hear blues elements in music styles such as rock, alternative, heavy metal, country, folk, and jazz. This free guitar lesson is based on Guitar Theory For Dummies Chapter 15. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 34. Modal Scales For Dummies | File Type: audio/mpeg | Duration: 01:43

The major scale has seven degrees, and technically any one of them can function as the tonal center, or primary pitch, of the scale. The sound and feel of the scale changes depending on which scale degree is heard as the starting point. When you play the major scale over music that centers on the first scale degree and chord, you create the sound of Ionian mode, which is better known as the plain major scale. Think any song based on a standard I-IV-V type chord progression, like "Wonderful Tonight" by Eric Clapton, which uses the notes and chords of the G major scale, centering on the first scale degree and chord, G. When you play the very same notes and patterns over music that centers on the 2nd degree and chord of the major scale, you produce Dorian mode, a type of jazzy minor scale. Think "Oye Como Va" by Santana, which uses notes and chords drawn from the G major scale, but centering on the second degree, A, and chord, Am. And so it is that each scale degree produces a different sound when itâ??s used as the tonal center of a piece of music. Each mode has its own Greek name. In all the seven modes in the major scale are called Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Playing modal scales doesnâ??t require you to learn new patterns, only that you know how to properly apply major scale patterns. And guitar players usually prefer to apply modes right inside of familiar pentatonic boxes. This free guitar lesson is based on Guitar Theory For Dummies Chapter 13, Playing in Modes and Using Modal Scale Patterns. Learn more about the book and watch a free video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 33. Major Scale Patterns For Dummies | File Type: audio/mpeg | Duration: 02:02

The major scale is a seven-step scale. When played ascending, it sounds like "Do, Re, Me..." Descending, it sounds like "Joy to the World..." It is perhaps the most important tonal element in all of music. You use it for building chords, measuring intervals, charting chord progressions, and playing melodies and harmony. The same patterns that are used to play the major scale are also used for the minor scale and all the modes. Many songs feature melodies, riffs, lead guitar solos, and bass lines that are based in major scale patterns. For example, "Friend of the Devil" by Grateful Dead features the G major scale played backward. The chorus to "Wild World" by Cat Stevens features the C major scale played backward. "La Bamba" by Los Lobos runs up and down the C major scale. The opening riff to "Crazy Train" by Ozzy Osbourne uses the notes from the A major scale, but focuses on the 6th degree, F#, making the F# minor scale. "Smells Like Teen Spirit" by Nirvana has a melody and guitar solo based in the F minor scale, which draws its notes from the Ab major scale. The notes of the major scale are located all over the fretboard. A good way to get started with using the scale is to learn it as five patterns in five different positions. You then connect these five patterns to cover the whole neck. This free guitar lesson is based on Guitar Theory For Dummies Chapter 12. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 32. Pentatonic Scale Patterns For Dummies | File Type: audio/mpeg | Duration: 02:27

Guitar players use pentatonic scale patterns to play riffs, solos, melodies, and bass lines. You hear this scale and its variations used on acoustic guitar songs like "Wish You Were Here" by Pink Floyd, electric guitar songs like "My Girl" by The Temptations, and even bass guitar songs like "Money" by Pink Floyd. The pentatonic is used as both a major and minor scale. You get to know the pentatonic scale by mapping out its notes on the fretboard. The pentatonic notes make five box-shaped patterns that you play one position at a time. Aside from being useful for playing musical parts, the pentatonic scale patterns can help you improve finger strength, coordination and dexterity as well as help you develop alternate picking technique. The pentatonic scale is one of the most widely used scales among guitar players. If you're serious about honing your chops and playing popular music, then you want to start working with pentatonic patterns. This free guitar lesson is based on Guitar Theory For Dummies Chapter 11. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 31. Passing Chords For Dummies | File Type: audio/mpeg | Duration: 01:35

Passing Chords To connect chords that are a whole step apart or more, composers often use passing chords, which use some of the pitches in between a key's chords. One example is a chromatic passing chord, which simply moves in half step motion between two chords as heard in "I'm a Man" by The Spencer Davis Group (G-F#-F-E). Diminished Chords Another type of passing chord is a diminished chord. Diminished chords sound very dissonant and unstable by themselves, almost unusable. But when placed between the right chords, they make complete sense. Just listen to "Friends in Low Places" by Garth Brooks for a good example. The verse uses the chords A-A#dim-Bm-E. Augmented Chords Sometimes an augmented chord functions as a passing chord, bridging the gap between chords with chromatic half-step movement as heard in "Crying" by Roy Orbison. This song features the chord changes D-Daug-G-Gm-D-A7. Guitar Theory In music, it's important to not only learn the chords that belong to a key, but the different types of passing chords that can be played in between them. This free guitar lesson is based on Guitar Theory For Dummies Chapter 10. Learn more about the book and watch a video trailer at: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 22. Guitar Theory For Dummies | File Type: audio/mpeg | Duration: 12:17

In addition to my own self-published guitar series, Fretboard Theory, I have authored a book for the world-renowned For Dummies series (a Wiley brand) titled Guitar Theory For Dummies. This podcast episode features one of the bonus audio tracks from the book, details about the book, and a play-along backing track in A Dorian mode. You can learn more about Guitar Theory For Dummies by visiting: http://www.guitar-music-theory.com/guitar-theory-for-dummies/

 21. Playing Pedal Point and Pedal Tones | File Type: audio/mpeg | Duration: 18:15

A pedal point in music is a sustained or repeated note sounded against chord progressions and melodies. Pedal points are also called pedal tones and simply, pedals. The term originates from organ music where the player sustains a low tonic or dominant pitch with the foot pedals allowing them to easily play chords and melodies above this note on the keyboards. Pedal points can add new chord tones to basic chord changes. This technique can help make a harmonically richer sound and musical texture. It can also create harmonic tension that increases a chord progression's push back to the tonic, lending a sense of excitement to the music. Sometimes the pedalled notes are added to a chord's shape; sometimes the pedals are played by other instruments. Bass players will often pedal the tonic or dominant pitch, or play a melodic figuration that supports a set of chord changes. The pedal point technique is a signature feature of both U2 and Blink 182. Learn about some of their songs plus others in my guitar theory podcast episode 21. This information comes from the book Fretboard Theory Volume II Chapter 10. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 20. Using Harmonic Minor Scale Patterns | File Type: audio/mpeg | Duration: 39:11

I introduced the harmonic minor scale to you in a previous podcast episode where we looked at dominant function and minor chord progressions with a V7 chord. In this, the 20th episode of my guitar theory podcast, you work with harmonic minor scale patterns used in improvisation. This includes a review of building the harmonic minor scale, plus using pentatonic lead patterns in harmonic minor and outlining V7 chords with arpeggios. This information comes from the book Fretboard Theory Volume II Chapter 9. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 19. Chord Tone Soloing (Outlining Chords and Progressions) | File Type: audio/mpeg | Duration: 46:59

In this free guitar lesson you learn how to use CAGED arpeggio patterns to target chord tones while using pentatonic lead patterns. Specifically, you will target the root, third and fifth of each chord as you work through a progression. Targeting chord tones helps you to connect scales more closely to their related chords, as well as outline a particular chord progression. You will intentionally be emphasizing each note of the chord, creating a lead line that relates to the music. This approach is sometimes better than just randomly playing scales through a set of changes. You can apply this outlining technique to improvising, as well as to composing guitar solos, riffs, melodies and bass lines. This information comes from the book Fretboard Theory Volume II Chapter 8. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 18. Lead Patterns With Major Scales and Modes | File Type: audio/mpeg | Duration: 57:59

In the last podcast episode I explained how you may narrow your focus down from pentatonic scales that cover the complete neck to smaller sections like the lead patterns and riff boxes that many players commonly use. In this, the 18th episode of my guitar theory podcast, I demonstrate how to use these same lead patterns for major scales and modes. I also cover a little theory on how the pentatonic scale relates to the major scale. This information comes from the book Fretboard Theory Volume II Chapter 7. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 17. Pentatonic Lead Patterns | File Type: audio/mpeg | Duration: 35:53

When it comes to using the pentatonic scale to play melodies, riffs, lead guitar solos, and bass lines, it's not necessary to utilize every position or every part of every pattern. Most guitar players, including some of the most famous ones, favor only a few particular sections of these different patterns that work well together. When viewed together, these sections are sometimes called â??lead patterns.â?? Lead patterns make it easier for you to keep track of the root note of a chord, shift from position to position, duplicate licks in different registers, and use the first three, and strongest fingers of your fretting hand. You will also be able to find your way around the neck better, becoming more proficient at what you play as you narrow your focus to a few essential patterns. In the 17th episode of Desi Sernaâ??s Guitar Theory podcast, you get to know two lead patterns, each one having a major and a minor form. This information comes from the book Fretboard Theory Volume II Chapter 6. Sign up for a free preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 16. Chromatic Passing Chords, Diminished and Augmented | File Type: audio/mpeg | Duration: 42:46

In the 16th episode of Desi Sernaâ??s guitar theory podcast you learn how the spaces between chords are filled with passing chords. This includes a discussion on chromatic passing chords, diminished chords and augmented chords. This will help you understand chords that seem to neither belong to the parent key nor to be borrowed from another one. You will learn how to compose chord changes with chromatic half step movement and voice leading. This information comes from the book Fretboard Theory Volume II Chapter 5. Download a free book preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 15. Key Changes, Borrowed Chords and Circle of Fifths | File Type: audio/mpeg | Duration: 57:20

In an earlier guitar theory podcast episode you learned about chord progressions and how to play by numbers. Although a great approach to many songs, you may have realized that not all of them fit into this system of numbered barre chord patterns. In this free guitar lesson you are going to learn why. Here you will look at several related topics including: modulation, key changes, modal interchange, borrowed chords, and the circle of fifths, also known as the circle of fourths. This information comes from the book Fretboard Theory Volume II Chapter 4. Download a free book preview at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

 14. Dominant function and harmonic minor chord progressions | File Type: audio/mpeg | Duration: 49:07

In episode 14 of Desi Sernaâ??s guitar theory podcast you learn about dominant function and using dominant seventh chords. This includes instruction on secondary dominants, voice leading and harmonic minor chord progressions. This music theory information is helpful for playing popular rock music plus jazz and country guitar styles. This free guitar lesson is based on the book Fretboard Theory Volume II that can be previewed for free at: http://guitar-music-theory.com/fretboard-theory/fretboard-theory-volume-ii/

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