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The harmonized fretboard (guitar)

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Navigate Your Fretboard


Books

New Lessons
G G

Introduction
Introduction to the fretboard series
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G G

The notes on the guitar


G

Part 1 - Major scales


G-major in Open Position and Major Box 1 E-major and F-major in Major Box 3 Major Box 6, C-major, G-major and A-major open Connecting Major Box 5 and 6, C-major Major Box 7, C-major, G-major and G-major open Connecting Box 6 and 7 - C-major Closing the Major Box, C-major and G-major Practising the Major Scale
G

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Major Box 3B - GG-major in Major Box 2 major and D-major in Open Position F-major in Open Position and in Major Box 2 E-major in Open Position Major Box 4 - G-major and C-major in Open Position Connecting Box 3 and 4 - G-major

Open C Tuning Silent Night in Open C Tuning Minor Blues Reading Music Lesson 3 Reading Music Reading Chords Blues Turnarounds A Chord Excercise - jazzy 7th chords Open Chords

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Major Box 5, G-major, G-major in Major Box 3 C-major and Bb-major open Retailers: Connecting Box 1, 2 and 3 - G-major Connecting Major Box 4 and 5, G-major

Minor pentatonic and blues scales, from the Blues Guitar series
The minor pentatonic scale - a simplified blues scale in A The "Blue notes" - the blues scale in A If you like the site, give me your vote: Blues scale in E Pentatonic boxes in all positions, A and E Minor pentatonic scale in Open D tuning Minor pentatonic scale in Open G tuning

Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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The harmonized fretboard (guitar)

Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

Scales: Locrian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Locrian

Part 2 - Intervals
Intervals - introduction Fifths - harmonic, horizontal Fifths - harmonic, vertical Fifths - melodic Fourths - harmonic, horizontal Fourths - harmonic, vertical Fourths - melodic Thirds - Basci Shapes Thirds - harmonic, horizontal Thirds - harmonic, vertical Thirds - melodic Sixths - harmonic, horizontal Sixths - harmonic, vertical Sixths - melodic Sevenths - harmonic, horizontal Sevenths - harmonic, vertical Sevenths - melodic Octaves - harmonic, horizontal Octaves - harmonic, vertical Octaves - melodic

Chord positions (triads)


Major triads, root position Minor triads, root position Diminished triads, root position Augmented triads Sus4 triads, root position Sus4 triads, 1st inversion Sus4 triads, 2nd inversion Major triads, 1st inversion Minor triads, 1st inversion Diminished triads, 1st inversion Major triads, 2nd inversion Minor triads, 2nd inversion Diminished triads, 2nd inversion

Scales harmonized in triads


Harmonized scales with Triads Root 1. inv 2. inv C C C C#/Db C#/Db C#/Db D D D D#/Eb D#/Eb D#/Eb E E E F F F F#/Gb F#/Gb F#/Gb G G G G#/Ab G#/Ab G#/Ab A A A Bb Bb Bb B B B

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The harmonized fretboard (guitar)

Scales harmonized with 7th chords


Harmonized scales with 7th chords Root 1. inv 2. inv 3-inv C C#/Db D D#/Eb E F F#/Gb G G#/Ab A Bb B

Chord arpeggios (scalar)


Triads 7th chords 9th chords 11th chords 13th chords

Sonic positions
Further references Ls:G1 1999-09
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Navigating the Fretboard - guitar scales etc

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Introduction to the Guitar Fingerboard series


Books No matter what kind of music you play: If you want to go beyond the very beginners level, you have to know the fingerboard. Scales, intervals and chord shapes should become second nature. You do not have time to think where to put your finger when you are playing. This series is designed to help you learn how to navigate the fingerboard. Compared to the keyboard, the guitar fingerboard does not seem to have the same kind of logic. We do not have black and white keys, and the same note can be found in many different positions. In practise this means that it takes more time to learn the basics, and the learning curve is steep in the beginning. But the guitar have one great advantage over the keyboard: All postitions that do not include open strings are moveable! Once you have learned how to play a scale, or a sequence of closed chord positions in one key, you have learned them in all 12 keys. If you learn to play seven "scale boxes", then you have learned how to play major, all pentatonic scales and all modal scales in all 12 keys all over the fingerboard. If the learning curve is a bit steeper and longer compared to other instruments, the reward is much higher. Harmonic minor and melodic minor are a bit more difficult to finger, as you have to break out of the boxes. And there are some more exotic scales that may be a bit harder to play. But again you have learned all keys if you have learned one. When playing scales, be sure to play in an even tempo. Use a metronome, a drum machine or a backing track. Your audience will get sea sick if you are not able to keep a steady rhythm. Concentrate on precision and tone, not on speed. Speed will come eventually, and you will be able to play clean and with a good tone at high speed. If you concentrate on speed, then you will end up playing sloppy. Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Navigating the Fretboard: The major scale - Major Box 1, G-major

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Book of the Month January 2005

The major scale - Major Box 1 and open postition G-major


Even though many guitar players in idioms like jazz, rock, blues and country often use other scales than the major scale, the major scale is nevertheless the basic point of reference. You should of course continue to use your pentatonic scales, blues scales, dorian scales, mixolydian scales, etc., just as you are using them now. But if you want to expand and deepen you knowledge, then you should start learning the major scale and build from there. And if you do not know what a pentatonic scale, a blues scale, a dorian scale, a mixolydian scale or any other scale is, don't worry. They will be covered, and they will be cross-referenced with the corresponding lessons on harmony.

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Practising scales
New: Blues Guitar lessons in PDF format. Bestsellers New Books Newsletter 1. Use a metronome, a drum machine and keep a steady beat. Your playing should not sound like a cassette player on low batteries. 2. Take it easy and play slow. Do it right before you try to do it fast. You should concentrate on getting a good and clean tone, not on speed. Speed will come eventually. If you start too fast, you might end up as someone playing sloppy at a high speed. But it will never sound good.

If we should cover general theory, or play keyboard, we would have started with the key of C, because it has no sharps or flats. It is just the white keys on the keyboard. But Gmajor is a better starting key for scale practise on a guitar. G-major has one # (sharp), for those of you who are interested in this kind of knowledge (you should be!). It has the notes G-A-B-C-D-E-F#-(G). To get an introduction to scales in general, go to my series on Music Theory. Here we concentrate on how to play them. I give you the G-scale in open position first. It is good to know, even if it is not moveable -- or more precise: We have not made it moveable yet..

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On the guitar, we play scales in "boxes", "forms", "position", or what you prefer to call them. I call them Boxes, and since there are many scales, I refer to a box for a major scale as Major Box. It is common practise to refer to them with numbers, but there is no standard for what should be No 1, No 2, etc. So don't be too confused if you come across other numberings than mine. The first one is of course Major Box No 1. The numbers in this diagram indicates the note number in the scale, and not the fingering. R=Root note, 2=2nd note, etc. Use your first finger on the 2nd fret, the middle finger on the 3rd fret, the ring finger on 4th fret and the little finger (4th finger) on 5th fret. Some of you might have trouble getting the 4th finger to work properly. It is only due to lack of practise. Because the finger is weak and not used to work independent of the other fingers, many guitar players do not use it. And by not using the finger, you make sure that it will stay weak. It is one of the many short cuts that does not pay of in the long run. If your little finger is weak, you have to put it to work and give it some exercise. When playing scales in positions like this, your hand should stay in the same position. Your fingers shall move, not your hand.

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Navigating the Fretboard: The major scale - Major Box 1, G-major

The following is the G-major scale played within Major Box 1.

You can go down to F# on 2nd fret 6th string, and up to A on 5th fret 1st string without changing position and moving your hand. But I decided to to include just the two octaves from G to g'. Playing scales up and down does not produce interesting music - and it will not become more interesting just by playing the scale faster. You should practise many scale based licks or patterns. First play only the first five notes up from each of the scale notes. For this and the following examples, you will need the Free Finale Viewer to be able to use the files. Play chunks of four notes, starting on each note of the scale. You will play up a fourth.

Play the same notes, but going down.

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Navigating the Fretboard: The major scale - Major Box 1, G-major

When playing such scale exercises, experiment with rhythm and phrasing. You may find some nice and useful licks hidden in these scale exercises. I have put togehter various scale exercises for you to use when practising.

Scale Excercises for Box 1, G-major

Back to Main Box 1, G-major page

Thirds* 4 notes, Thirds - Part 1 * 4 notes, Thirds - Part 2 * 5 notes, Fifths * 6 notes, Fifths part 1 * 6 notes, Fifths part 2 * 6 notes, Fifths part 3 * 6 notes, Fifths part 4 * 6 notes, Fifths part 5 * Chained four note groups * Sixths and Sevenths * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * Triplets * The Long Wave * G-major is a very popular key in bluegrass and other playing styles where you will use a lot of open strings in your solos. So you should practise G-major in open position as well.

Scale Excercises for G-major, open

Back to G-major, Basic page

* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page. Another way to practise scales is to play melodies. Choose melodies that you know very well, that is solid major and that has no chromatic notes outside the scale. I have chosen Oh Susannahas an illustration. Oh Susannah(Finale file) Try to play it one octave down, to practise these scale notes as well. Oh Susannah one octave down(Finale file) Other songs you might use are Yankee Doodle, Jingle Bells, Silent Night, Sound Of Music, Ob-la-di Ob-la-da, Hey Judeand With A Little Help From My Friends, just to mention a few. In these melodies, you play only notes from the scale. The melodies will usually start at one of the notes from the root chord. In G, this is of course the G-chord, which has the notes G-D-B.

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Navigating the Fretboard:

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Book of the Month January 2005

The major scale - Major Box 3, E-major and F-major


This lesson is included to remind you that these positions are moveable. So far we have played E-major in open position (which really is box 2), and we have played F-major in open position and box 2. Here you have these two scales in box 3. If you have any problems in understaning how to connect box 2/open and box 3 in these keys, you have to go back to the previous lesson.

E-major
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F-major

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I have include one exercise for each of these keys in box 3.

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Book of the Month January 2005

The major scale - Major Box 6, C-major, G-major and Amajor open

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Scale Excercises for G-major, Box 6

Back to Box 6 page

Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *

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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major

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Book of the Month January 2005

The major scale - Major Box 2, G-major


The next box might be a bit hard to play, as it requires some finger stretching. Some have bigger hands than others. But you will eventually be able to stretch your left hand fingers more. It just takes practise. As all these positions are moveable, you might practise this box at another key in a higher position, where there is a shorter distance between the frets. If you start from 8th fret instead of 3rd, you will play in the key of C. But we will stick to G-major, and then make it even worse by going down to F-major in the next lesson. As this box spans five frets and we have only four fingers available at our fretting hand, we cannot stick to the rule of using one finger for each fret. Our first finger will have to do most of the work, and cover the two lowest frets - fret 3 and 4 if we play in G-major. Then 2nd finger takes care of 5th fret, 3rd finger play 6th fret - which in practise mean that the 3rd finger has nothing to do unless we throw in a chromatic note or two. Our 4th finger play the 7th fret. Notice that you can play the same high 5th note (D in G-major) in two positions. It is hard to play in this position. It is not the box you will use very much, as it give you only one extra note, compared to Major Box 1 (the high B at 1st string, 7th fret). But it is a passing position when you start to climb ut the fretboard. If you don't know it, then it will be hard to play smooth and fluent up and down the fretboard. Without further comments, we play the same kind of exercises as we did with Major Box 1. You should be able to transfer the exercises from box 1 to box 2, so I will only give you a few examples now. First of all it is the G-major scale.

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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major

Scale Excercises for Box 2, G-major

Back to Main Box 2, G-major page

* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.

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Book of the Month January 2005

The major scale - Major Box 3B, G-major and open D-major
Box 3B is a variation of Box 3. Instead of going down one fret on 3rd and 4th string, we go up on 4th and 5th string to reach the same notes. The disadvantage of Box 3 is that there is a position shift in this box. The disadvantage of Box 3B is a long stretch. Which one to prefer depend on what your are playing.

G-major
As always, we start with the key of G-major. As for Box 3, we find the root on the 4th string.
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And then we go up and down the G-major scale, covering the whole range of this playing position.

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D-major open
The Box 3B is the one to use when you play D-major in open position.

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And we go on with the full range of notes. As the lowest string is open, we cannot come deeper without retuning the guitar. To get that deep D, it is often nice to tune to Dropped D tuning when playing in D. But here we stay in standard tuning.

It should not be too difficult to transfer the exercises from Box 3 to Box 3B, so I will not give you any exercises in G-major this time. But I will give you some in D-major, open position.

Scale Excercises for D-major, Open position

Back to Box 3B page

Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *

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Book of the Month January 2005

The major scale - Connecting Major Box 5 and 6, C-major


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Book of the Month January 2005

The major scale - F-Major in Box 2 and in open position


This is to a very large extent the same lesson as the previous. Everything is just moved down one note (two frets), to F-major. There are at least two reasons for doing this: To illustrate that these positions are moveable, and to remind you that you have to play the scales in all keys. Now you have two boxes and two keys. You should also know the open position F-major scale. I give you only the box and the scale, and then you should be able to figure out the rest. Notice the relation between these two boxes.

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F-major Open position First we play the F-major scale in Box 2.

F-major Box 2

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Then you can play the same scale in open position.

Scale Excercises for Box 2, F-major

Back to Main Box 2, F-major page

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* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.

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Book of the Month January 2005

The major scale - Major Box 4, G-major


G-major
Box 4 is the next in line, starting from the 7th fret if we are in the key of G. We start with the G-major scale.

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The next is all the notes that are available within Box 4.

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Scale Excercises for G-major, Box 4

Back to Box4 page

Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *

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Book of the Month January 2005

The major scale - Major Box 7, C-major, Gmajor and G-major open
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Scale Excercises for G-major, Box 7

Back to Box7 page

Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *

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Book of the Month January 2005

The major scale - E-major in open position


We continue our journey down the neck through various keys. E-major in open position is really the same as Major Box 2, except that we play the lowest positions on open strings. When you have the box and the scale, you should have no trouble in figuring out all the other exercises.

Scale Excercises for E-major, open


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Back to E-major, Open page

* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.

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Book of the Month January 2005

The major scale - Connecting Box 3 and 4, Gmajor


As Box 3 already has a move down the neck when shifting from 5th to 4th string, it is not easy to get an upward movement from this positions. So if you are on your way up the neck, you should use Box 3B rather than Box 3. So in the examples, i use the Box 3B fingering. I will remind you that some general points about shifting positions are discussed a little more in depth in the lesson on Connecting box 1, 2 and 3. And you should not forget that where to shift depends on what you are playing. A fingering that works well in a scale exercise may not work as good in acutal music, so you have to figure it out for your favorite phrases.

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Book of the Month January 2005

The major scale - Connecting Box 6 and 7 - Cmajor


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Book of the Month January 2005

The major scale - Major Box 3, G-major


Now it is time for a new box, and we go back to our favorite key for scale exercises: Gmajor. Now you see why I prefer to start with G-major in Box 1: It has the root on the lowest string and on the top string, an spans two octaves between these root notes. Major Box 3 has the disadvantage that you cannot reach the low root on the 6th string - the G on 3rd fret as long as we are in G-major. You can of course change position, and in real playing you will do that. We can start from the root two frets below the box, which means starting in Major Box 2 (or 1) on the lower string, and change to when playing on the higher strings. We will come back to that in the next lesson.

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It is a bit tricky to play this box, as you have to change position. If you start from the bottom, you start with the first finger on 5th fret, 6th string (assuming that you are in G-major). When you play the 4th fret on the 4th string you move your first finger down one fret. I prepare for that by using the 4th finger on 7th fret, 5th string, instead of the third finger. When going up to 5th fret when you are reaching the 2nd string, you use your first finger on 2nd sting, fifth fret. When coming down, I use 4th finger on 3rd string, 7th fret, and then again first finger on fifth fret, fifth string. These position shifts makes some of the exercises surprisingly hard to play. Sometimes it easier to strech up to 9th fret instead of going down to the 4th, which gives you what I call the Box 3B position. I will come to that in the next lesson. But we cannot say that one position is better than the other - it depends on the passage you are playing. So you have to learn them both. For the exercises, I have chosen to stay within the box. But I do not want to loose the sense of being in Gmajor, so I always start and end on the root note (or root chord). In this box there is only one continous scale from G to G:

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To cover all the notes from the G-major scale, playable within this box, I have extended the scale as far up and as far down as you can reach. But I start and end on the root note.

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Scale Excercises for Box 3, G-major

Back to Main Box 3, G-major page

* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.

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Book of the Month January 2005

The major scale - Major Box 5, G-major, C-major and Bbmajor open
Books In Box 5, the root is on the 5th and the 3rd string. The lowest reachable note is the fifth note on the 6th string, and the highets is the sixth note on the 1st string.

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Scale Excercises for G-major, Box 5

Back to Box5 page

Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *

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Book of the Month January 2005

The major scale - Closing the Major Box, C-major and G-major
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Book of the Month January 2005

The major scale - Connecting Major Box 1, 2 and 3, G-major


When you have been playing these boxes for a while, you might start to ask "How do I get out of here?" You may want to get to a higher position to reach higher notes, or to a lower position to reach lower notes. Or you might just want to go the another position that is better for a certain passage. You have to connect the boxes and move between them. And you should be able to shift position without interupting the flow of music. Your audience should not hear that your are shifting position, unless the sound of a slide is exactly what you want.

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As long as you stay within a box, we can say that this is the right way to finger the scale. When moving between boxes, there are no such set rules. But: If there is a rest in the music, then it is a good oportunity to shift position. Even i a fast solo, it will give you the split second you need for a quick move without interfering with the music. Often there are no rests to use for position shifts. You have to shift while playing. The easiest way is to slide from one position to another. But your audience will hear the slides, so you should not choose this solution unless you want them to hear the slide. (OK, sometimes the alternative is worse if you do not have the proper technique, but you should be able to make these shifts without sliding.) If you slide, you have several choices. The first is if you want to pick the note you slide into, or if you will just let it ring from the attack before the slide. If you pick the note it will be stronger, and of course weaker if you do not pick it. The next choice is if you want to slide into a strong note, or out from the strong note. If you slide into a down beat, the slide sounds as some kind of a pick up note. If you do not pick the down beat that you are sliding into, then you will break the rhythm and get some kind of a syncopation which might be OK. If you slide from a down beat, the note you slide into will sound more like a passing tone. If you do not pick it, it will be weaker. But it will not change the rhythm. If you slide from one position to another, where to do it is more a question of what fits the music than what fits the fingering. Technically it does not really matter where in the boxes you put your slides. Experiment with sliding from one box to another. Choose different notes, try to pick and not to pick the note you are sliding into, and try sliding into and out from down beats. And listen to the different sounds. Then we come to shifting positions without sliding, and then it is time to discuss technique. On this page I will present the G-major scale over two octaves. I have indicated the fingering under the tablature. The first example is box 2 and box 3. They fit together so nicly that you hardly notice that you are changing position. In the other example I have included box 1. You will find more examples if you go to the exercises.

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Box 2 and box 3 combined. As box 2 and box 3 overlap, I have indicated the overlaping by puting the new box in parenthesis where the overlap starts.

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Box 1, box 2 and box 3 combined. Go to the exercises for more examples.

Scale Excercises for connecting Box 1, 2 and 3, Gmajor

Back to Main Connecting Box 1 2 and 3, G-major page

* Scale - Connecting Box 1, 2 and 3 * Thirds - Connecting Box 1, 2 and 3 * Thirds i wave form - Connecting Box 1, 2 and 3 *

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Book of the Month January 2005

The major scale - Connecting Major Box 4 and 5, G-major

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Practising the Major Scale


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Dorian mode - Box 1


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Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode - Box 2


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Book of the Month January 2005

Dorian mode - Box 3


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode - Box 4


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode - Box 5


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode - Box 6


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode - Box 7


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Dorian mode- Box 1 - Exercise 1 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 2 - Exercise 1 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 3 - Exercise 1 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 4 - Exercise 1 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 7 - Exercise 1 - Thirds


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 2 - Exercise 2 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 3 - Exercise 2 - Thirds


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 4 - Exercise 2 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 5 - Exercise 2 - Thirds


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Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Dorian mode- Box 6 - Exercise 2 - Thirds


Books

Scales: Dorian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i) Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Dorian Mode

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Dorian mode- Box 7 - Exercise 2 - Thirds

Scales: Dorian Mode

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Navigating the Fretboard: Dorian Mode

Box 1 Ex 1 Ex 2

Box 2 Ex 1 Ex 2

Box 3 Ex 1 Ex 2

Box 4 Ex 1 Ex 2

Box 5 Ex 1 Ex 2

Box 6 Ex 1 Ex 2

Box 7 Ex 1 Ex 2

Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)

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Navigating the Fretboard: Phrygian mode

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Book of the Month January 2005

Phrygian mode - Box 1


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Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Book of the Month January 2005

Phrygian mode - Box 2


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Navigating the Fretboard: Phrygian mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian mode

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Book of the Month January 2005

Phrygian mode - Box 3


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Navigating the Fretboard: Phrygian mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian mode

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Book of the Month January 2005

Phrygian mode - Box 4


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Navigating the Fretboard: Phrygian mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian mode

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Book of the Month January 2005

Phrygian mode - Box 5


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Navigating the Fretboard: Phrygian mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian mode

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Book of the Month January 2005

Phrygian mode - Box 6


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Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Book of the Month January 2005

Phrygian mode - Box 7


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Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Phrygian mode- Box 1 - Exercise 1 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Phrygian mode- Box 2 - Exercise 1 - Thirds


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Navigating the Fretboard: Phrygian Mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Phrygian mode- Box 3 - Exercise 1 - Thirds


Books

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Navigating the Fretboard: Phrygian Mode

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Phrygian mode- Box 4 - Exercise 1 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Phrygian mode- Box 5 - Exercise 1 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Navigating the Fretboard: Phrygian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Phrygian mode- Box 6 - Exercise 1 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Fretboard Navigation

Phrygian mode- Box 7 - Exercise 1 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Fretboard Navigation

Phrygian mode- Box 1 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Phrygian mode- Box 2 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Phrygian mode- Box 3 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Phrygian mode- Box 4 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Phrygian Mode

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Fretboard Navigation

Phrygian mode- Box 5 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Phrygian mode- Box 6 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Phrygian mode- Box 7 - Exercise 2 - Thirds


Books

Scales: Phrygian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Phrygian mode.

Progressions: The "Spanish" progression

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Navigating the Fretboard: Lydian mode

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Book of the Month January 2005

Lydian mode - Box 1


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

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Book of the Month January 2005

Lydian mode - Box 2


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

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Book of the Month January 2005

Lydian mode - Box 3


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Navigating the Fretboard: Lydian mode

Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

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Book of the Month January 2005

Lydian mode - Box 4


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Navigating the Fretboard: Lydian mode

Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

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Book of the Month January 2005

Lydian mode - Box 5


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Lydian

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Theory: Modal, Lydian

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Theory: Modal, Lydian

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Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 1 - Exercise 1 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Scales: Lydian Mode


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Scales: Lydian Mode


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 1 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 2 - Exercise 2 - Thirds


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Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 1 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 4 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 5 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 6 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Lydian mode- Box 7 - Exercise 2 - Thirds


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Scales: Lydian Mode


Box 1 Ex 1 Ex 2 Theory: Modal, Lydian Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Mixolydian mode - Box 1


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Theory: Modal, Mixolydian

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Theory: Modal, Mixolydian

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Theory: Modal, Mixolydian

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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Theory: Modal, Mixolydian

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Scales: Mixolydian Mode


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Theory: Modal, Mixolydian

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Theory: Modal, Mixolydian

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Mixolydian mode- Box 3 - Exercise 1 - Thirds


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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Mixolydian mode- Box 1 - Exercise 1 - Thirds


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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Mixolydian mode- Box 6 - Exercise 1 - Thirds


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Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Fretboard Navigation

Mixolydian mode- Box 7 - Exercise 1 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 1 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 2 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 1 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 4 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 5 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 6 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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University of Oslo NRCCL

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Navigating the Fretboard: Mixolydian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Mixolydian mode- Box 7 - Exercise 2 - Thirds


Books

Scales: Mixolydian Mode


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Modal, Mixolydian

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Navigating the Fretboard: Mixolydian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 1


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Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 2


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Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 3


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Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 4


Books

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Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 5


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Navigating the Fretboard: Aeolian Mode

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 6


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Navigating the Fretboard: Aeolian Mode

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Book of the Month January 2005

Aeolian mode (natural minor) - Box 7


Books

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Navigating the Fretboard: Aeolian Mode

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

Theory: Natural minor

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 1 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 2 - Exercise 1 - Thirds


Books

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Navigating the Fretboard: Aeolian Mode

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 3 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 4 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 5 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 6 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 7 - Exercise 1 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

Olav Torvund's Guitar Pages

Fretboard Navigation

Aeolian mode (natural minor) - Box 1 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

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Fretboard Navigation

Aeolian mode (natural minor) - Box 2 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Fretboard Navigation

Aeolian mode (natural minor) - Box 3 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Fretboard Navigation

Aeolian mode (natural minor) - Box 4 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Fretboard Navigation

Aeolian mode (natural minor) - Box 5 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Aeolian Mode

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Fretboard Navigation

Aeolian mode (natural minor) - Box 6 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Fretboard Navigation

Aeolian mode (natural minor) - Box 7 - Exercise 2 - Thirds


Books

Scales: Aeolian Mode (Natural Minor)


Box 1 Ex 1 Ex 2 Theory: Natural minor Box 2 Ex 1 Ex 2 Box 3 Ex 1 Ex 2 Box 4 Ex 1 Ex 2 Box 5 Ex 1 Ex 2 Box 6 Ex 1 Ex 2 Box 7 Ex 1 Ex 2

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Navigating the Fretboard: Aeolian Mode

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Navigating the Fretboard: Locrian mode

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Book of the Month January 2005

Locrian mode - Box 1


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Scales: Locrian Mode


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Scales: Locrian Mode


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Scales: Locrian Mode


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Intervals - introduction
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Navigating the Fretboard: Intervals - Major Thirds, the Basic Shapes

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Book of the Month January 2005

Intervals - Major Thirds, the Basic Shapes


Intervals - Minor Thirds, the Basic Shapes Books There are two kind of thirds: Major thirds and Minor thirds. Go to the Thirds lesson in the Theory series for a discussion of these two kind of thirds. For each of the thirds, there are two basic fingerings. One fingering applies to the string pairs 6-5, 5-4, 4-3 and 2-1, and one fingering that apply to the string pair 3-2. If we include open strings, the Major Third is fingered like this:

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Notice that the interval between the 3rd and 2nd string is a major third, meaning that we can play both strings open. It should be easy to figure out how you can make these shapes moveable:

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You also have to know the Minor third fingerings. More on Thirds
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Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes

Fretboard: Scale, 3rd, Fretboard: Scale, 3rd, Fretboard: Scale, 3rd,

Harmonized Horizonatal Harmonized Vertical Part 1 Harmonized Vertical Part 2

Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2

Intervals - Minor Thirds, the Basic Shapes

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Intervals - Harmonic Sevenths, played horizontally


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Intervals - Harmonic Fifths (including Diminished Fifth/Tritone), played horizontally


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Book of the Month January 2005

Intervals - Harmonic Thirds, played horizontally.


Intervals - Minor Thirds, the Basic Shapes Books Usually you will not play a scale or a harmonized scale horisontally. But it easier to see the relationships between the intverals when played like this. So for this reason, I will start with 5 scales played horizontally, with the major third in open position, and continuing with closed positions. Make sure that you really listen to these intervals The first is F-major, played on the 6th and 5th strings. Intervals - Harmonic Thirds, played vertically - Part 1

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The next is Bb-major, played on the 5th and 4th string.

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When we move up to 4th and 3rd string, we will be in Eb-major.

As the interval between the 3rd an 2nd string is a major third, we can start with both strings open in Gmajor.
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And finally we are in C-major on the two top strings.

Now, go on to play these harmonized scales vertically. More on Thirds


G

Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes

Fretboard: Scale, 3rd, Fretboard: Scale, 3rd, Fretboard: Scale, 3rd,

Harmonized Horizonatal Harmonized Vertical Part 1 Harmonized Vertical Part 2

Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2

Intervals - Minor Thirds, the Basic Shapes

Intervals - Harmonic Thirds, played vertically - Part 1

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Intervals - Harmonic Sevenths, played vertically


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Intervals - Harmonic Fifths (including Diminished Fifth/Tritone), played vertically


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Intervals - Harmonic Thirds, played vertically - Part 1


Intervals - Harmonic Thirds, played horizontally Books Intervals - Harmonic Thirds, played vertically - Part 2

Box 1 and 2, G-major


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We start in Box 1, G-major. As you can see, we have to break out of the boxes to play these thirds, as we cannot play two notes at the same time on one string. We can go down, as will mean including some open strings in this box:

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Retailers: The next will give us the same notes, but with different fingerings. We go up the neck instead of down. What we are doing is actually combining box 1 and box 2.

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The next group, still in G-major, is based on box 3 and 4.

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We can move this down 5 frets, and we get into D-major.

More on Thirds

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Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes

Fretboard: Scale, 3rd, Fretboard: Scale, 3rd, Fretboard: Scale, 3rd,

Harmonized Horizonatal Harmonized Vertical Part 1 Harmonized Vertical Part 2

Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2

Intervals - Harmonic Thirds, played horizontally

Intervals - Harmonic Thirds, played vertically - Part 2

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Book of the Month January 2005

Intervals - Melodic Sevenths


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http://www.torvund.net/guitar/Fingerboard/35-intervals_melodic_sevenths.asp10.01.2005 01:26:04

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Book of the Month January 2005

Intervals - Melodic Fifths (including Diminished Fifth/Tritone)


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http://www.torvund.net/guitar/Fingerboard/23-intervals_melodic_fifths.asp10.01.2005 01:26:05

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Book of the Month January 2005

Intervals - Melodic Thirds


Gutiar Scale Exercises in G-major, Box 1 - Thirds
Intervals - Harmonic Thirds, played vertically - Part 2 Books

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Now we play the thirds melodic. If you think you have seen these excercises before, it might be because you have been playing some of the scale exercises.

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More on Thirds
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Theory: Intervals - Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes

Fretboard: Harmonized Scale, 3rd, Horizonatal Fretboard: Harmonized Scale, 3rd, Vertical Part 1 Fretboard: Harmonized Scale, 3rd, Vertical Part 2

Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2

Intervals - Harmonic Thirds, played vertically - Part 2

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Olav Torvund

University of Oslo NRCCL

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Book of the Month January 2005

Intervals - Harmonic Octaves, played horisontally


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http://www.torvund.net/guitar/Fingerboard/36-intervals_harmonic_octaves_horisontally.asp10.01.2005 01:26:08

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Book of the Month January 2005

Intervals - Harmonic Fourths (including Augmented Fourths/Tritone), played horizontally


Books

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http://www.torvund.net/guitar/Fingerboard/24-intervals_harmonic_fourths_horisontally.asp10.01.2005 01:26:09

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Book of the Month January 2005

Intervals - Harmonic Sixths, played horizontally


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http://www.torvund.net/guitar/Fingerboard/30-intervals_harmonic_sixths_horisontally.asp10.01.2005 01:26:11

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Book of the Month January 2005

Intervals - Harmonic Octaves, played vertically


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http://www.torvund.net/guitar/Fingerboard/37-intervals_Octaves_vertically.asp10.01.2005 01:26:12

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Book of the Month January 2005

Intervals - Harmonic Fourths (including Augmented Fourths/Tritone), played vertically


Books

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http://www.torvund.net/guitar/Fingerboard/25-intervals_fourths_vertically.asp10.01.2005 01:26:13

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Book of the Month January 2005

Intervals - Harmonic Sixths, played vertically


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Olav Torvund

University of Oslo NRCCL

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http://www.torvund.net/guitar/Fingerboard/31-intervals_sixths_vertically.asp10.01.2005 01:26:15

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Book of the Month January 2005

Intervals - Melodic Octaves


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http://www.torvund.net/guitar/Fingerboard/38-intervals_melodic_Octaves.asp10.01.2005 01:26:16

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Book of the Month January 2005

Intervals - Melodic Fourths (including Augmented Fourth/Tritone)


Books

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Olav Torvund

University of Oslo NRCCL

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http://www.torvund.net/guitar/Fingerboard/26-intervals_melodic_fourths.asp10.01.2005 01:26:17

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Olav Torvund's Guitar Pages

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Book of the Month January 2005

Intervals - Melodic Sixths


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Happy Traum: Blues Guitar

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Olav Torvund

University of Oslo NRCCL

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http://www.torvund.net/guitar/Fingerboard/32-intervals_melodic_sixths.asp10.01.2005 01:26:19

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