III
..
Diaton Diatonic ic Chords Chords diatonic chords. chords. Major Chor Chords ds with within in a give given n key key are are call called ed diatonic Major and mino minorr chor chords ds are comp compos osed ed of thre threee note notes, s, and and the the thre threee-no note te chor chords ds are called triads. The numeric numerical al relation relationshi ship p betwee between n the notes notes of these these triad triadss is 1-3-5. 1-3-5. For For exam exampl ple, e, to build build a C Major Major cho chord rd,, we sta start rt on C (1), (1), add add the the thir third d note note in the the C Majo Majorr scale scale,, E, and and then then the the fift fifth, h, G. Ther Theref efor oree the the note notess in a C Major Major chor chord d are are C, E and and G.
If we now now build build chor chords ds star startin ting g on each each note note of the the C Major Major scal scale, e, here here is wha whatt we get get::
~
§
§
§
§
§
§
I-Cmajor .11-Ominor.III-Eminor.IV -Fmajor. v- Gmajor.VI-Aminor.VII-Bdiminished. Gmajor.V I-Aminor.VII-Bdiminished.
We nee need d not not be con conce cerrned ned with with the the B dim dimin inis ishe hed d chor chord d now, ow, as didimini minish shed ed chor chords ds are are hard hardly ly used used at all in rock rock music music and and ther theref efor oree are are not not emph emphas asiz ized ed in thi thiss book book.. If you you cons constr truc uctt tria triads ds con contain tainin ing g only only the the note notess of the the scale cale upon upon any any majo majorr scal scale, e, you will get the same same patt patter ern n of chor chords ds.. The The patt patter ern n look lookss like like this this:: '1
Major Scale Chords
Major
11 mInor
111 minor
IV
V
Major
Major
VI minor minor
VII dimini diminishe shed d
Here Here is the the impo import rtan ance ce of this this form formul ula: a: Know Knowin ing g the the note notess of any any majo majorr scal scalee allo allows ws you you to cons constr truc uctt the the basi basicc chor chords ds in that that key! key! Try Try buil buildi ding ng the the chor chords ds of some some keys keys I have have alre alread ady y used used in thi thiss book book,, such as G, F, A, D and E. See wh what you com come up wi with; play them; see see if they they soun sound d "rig "right ht"" or "wron "wrong. g."" Remem Remembe ber, r, the the 11,III 11,III and VI chor chords ds are are alway alwayss minor and and the the I, IV IV and and V cho chords rds are are alwa always ys Major, when you you are are work workin ing g with within in majo majorr keys keys..
Chord Chord Progre Progressi ssion on As I ment mentio ione ned d earl earlie ier, r, some some chor chords ds seem seem to "go "go tog toget ethe her" r" more more natnatural urally ly than than othe others rs.. This This sect sectio ion n will will help help you you to unde unders rsta tand nd the the reas reason onss why this is so so. Th The basic cho chord in any any key is the the "key chord" its itself elf, chord. The called called the tonic or the I chord. The next next most most impo import rtan antt chor chord d in a key key is the the chor chord d whic which h is bui built lt on the the fift fifth h step step of the the key; key; this this V cho chord rd is calle called d the the dominant and and usua usuall lly y lead leadss back back to the the I cho chord rd (the (the ton tonic). ic). This This V-I V-I prog progre ress ssio ion n is the the basi basiss for for most most musi musicc in the West Wester ern n worl world. d. Very Very ofte often n the the V cho chord rd has a fo fourth urth note note add added to it, it, this this note note bein being g the the four fourth th note note in the the majo majorr scal scale. e. For For examp example le,, in the the key key of C Maj Major or,, the V ch chord is a G; ad adding ing an F note to the the G mak makees it a G7 (the V7 chor chord) d).. The The third third most most impor importa tant nt chor chord d in a key key is call called ed the the sub-dominant or the the IV ch chord. ord. Toge Togeth ther er with with the the toni tonicc and and the the domi domina nant nt,, the the subsub-do domi mina nant nt roun rounds ds out out the the thre threee basi basicc chor chords ds in any any key. key. Thous Thousan ands ds of song songss have have been been writ writte ten n usin using g only only these these thre threee chor chords ds..
3~ -...
3'.
--.
'~ '\
~~
Transposing Now Now that that you you know know abou aboutt scal scales es and and keys keys and diat diaton onic ic chor chords ds,, tran transsposi posing ng beco become mess a ver very y simp simple le ma matt tter er.. Let' Let'ss look look at the the foll follow owin ing g chor chord d prog progre ress ssio ion, n, in the the key key of G Majo Major. r.
r
Em in
G
, , u
,
"
,
,
1.#.#""#
,
Am in
,
,
""
1""".#.#1""#
F
D7
"".
"'.#°1
Noti Notice ce that that the the prog progre ress ssio ion n begi begins ns on the the I ccho hord rd (G), (G), goes goes to to the the III III (miinor (m nor), E mino minor, r, then then to the the 11(min 11(minor or), ), A min mino or. Then Then it go goes to an an F Major Major,, whic which h is out and then then to the the V7 chor chord d out of the the key key of G Major, and (D7) (D7).. Ifwe Ifwe want want to tran transp spos osee this this prog progre ress ssio ion n to the the key key ofE ofE Majo Major, r, the firs firstt chor chord d woul would d be an an E (the (the I cho chord rd), ), then then a,rC a,rC~ mino minorr (111 (111),t ),the hen n an F# minor minor (11) (11),th ,then en a D Majo Major, r, and and fina finall lly y a B7 (the (the V7 chor chord) d).. Sinc Sincee the the rela relati tion onsh ship ip betw betwee een n the the G and and F cho chord rdss in the the orig origin inal al prog progre ress ssio ion n is use this this same same rela relati tion onsh ship ip in fin findi ding ng that that in the the down down a whole whole step step,, we use key of E Major, the chord corresponding to the F Major in the first prog progre resssion ion is a D Majo ajor-on r-onee whol wholee step tep down down fr from E. In gen gener eral al,, when when tran transp spos osin ing g from from one one key key to anot anothe her, r, find find out out what what chor chord d inte interv rval alss are are used used in the the orig origin inal al prog progre ress ssio ion n and and then then appr appry y this this formu ormulla to the the new new ser series ies of chor chords ds.. If you you are are writi riting ng out out the the music usic,, reme rememb mber er to not notat atee the the prop proper er key key sign signat atur ure. e.
Rolli Rolling ng
40
Ron Wood Wood with with Joe Joe Wals Walsh h of the the Eagles Stone Stone Ron
..
Basic
Chord Progressions
Now Now that that you you know know how how to tran transp spos osee from from one one key to anot anothe her, r, we will will go over some some basi basicc progre progressi ssions ons;; once once you you have have master mastered ed these these in the the give given n key, key, you shou should ld tran transp spos osee and and play play them them in other other keys keys.. 1- IVIV- V7
Star Starts ts on the the I cho chord rd of the the key key (the (the toni tonic) c),, goes goes to the the four fourth th and and then then to the the fift fifth. h. For For examp example le,, G-CG-C-D7 D7..
1- 11- V7
Agai Again, n, star starts ts on the the toni tonic, c, move movess to the the 11ch 11chor ord d (whi (which ch is a mino minorr chor chord) d) and and then hen to the the fif fifth. th. For For exam exampl ple, e, A-Bmin-E7.
I-VI-II-V7
Toni Tonic, c, sixt sixth h (m (min inor or), ), seco second nd (m (min inor or)) and and fift fifth, h, such such as C-Amin-Dmin-G7.
You You can see that that the the firs irst and and secon econd d prog progre resssion sionss are are almo almosst the the same same.. In gene genera ral, l, you you can can subs substi titu tute te a II chor chord d for for a IV chor chord d (and (and vice vice-vers versa) a) in most most prog progre ress ssio ions ns.. For For exampl example, e, E-AE-A-B7 B7 bec becom omes es E-F# E-F# minmin-B B when when an F# min chord chord is subs substi titu tute ted d for for the the A chor chord. d. Here Here are are exam exampl ples es of thes thes~ ~ vari variou ouss prog progre ress ssio ions ns,, and and some some more more in addit additio ion. n. Re Reme memb mber er,, the the Roma Roman n nume numera rals ls abov abovee the the staf stafff refe referr to pos posit itio ions ns,, not not chor chords ds.. I.IV.V7 The quar quarte terr-no note te trip tripllet at the the end end of this this rhyth hythm m is play played ed in two two beat beatss: thr three quar quarte terr notes otes writ writte ten n as a tri trip plet, let, or two two quar quarte terr note notess. D ta+a2
it
VA
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It
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41
G f
+
+
2
+
3
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4
v
1""1
v
1""1
----
-----
I-II-V7 The The G13cho G13chord rd is a subs substi titu tuti tion on
mc
C
Droin
r\
1\
41
V C6
Croaj7
....
S
s'"
....
for for G7. G7. Droin Droin (addE) (addE)III III G 13 If-
S
:/
8
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-
,
s
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s s
S S 1"'1
-
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v .
s
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8
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S
V
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s
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S
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I-II-IV.V7 The The B9 chor chord d is a sub subst stit itut utio ion n
for for B7.
,
IX
F#min7
S
S
S
s
s
S
~ s
s
s
S
s
S
SS
~ s
S
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42
s
S
S
S
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SS
ss
s
ss
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s s
s s
I.VI.ll.V7 D t
+
2
+
3
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s
s
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s
8
S
S
S
S
8
S
S
8
S
VII Bmin' Bmin'
VI Bbmin Bbmin " +
8
s
---
8
S
S
S
S
8
S
S
s
S
S
S
S
S
s
S
8
8
SS
S
S
S
S
S
S
S
S
S
A9
Emin 7 ~
V
~
Y ~
S
S
S
S
S
S
S
8
Y ~
Y ~
s
S
V
~
Y
S
S
S
S
S
S
~
V
~
V
VI
S
S
S
8
88
S
S
S
VI.IV.V V Csus Csus4 4 .\
ID B~sus4 Bb
VDmin
,.........
5;::.;; S
VI.U.v The A minor
and and D7 in the the last last meas measur uree of the the rhyt rhythm hm are are pass passin ing g chor chords ds to brin bring g you you from from B~ back back to G min minor or..
III Gmin ~
y
7
:> ~
I F
Cmin V ~
~
V
Fsus Fsus4 4 F7
Bb
Amin7D7
:>
43
-
"
-------
-
...
-------
Playi Playing ng Rhyt Rhythm hm Guitar"
~ .......
~
~
If you you have have real really ly lear learne ned d the the ma mate teri rial al pres presen ente ted d in the the prec preced edin ing g page pages, s, you you now now have have enou enough gh tech techni nica call know knowle ledg dge, e, theo theore reti tica call unde underrstan standi ding ng and and faci facili lity ty in play playin ing g rhyt rhythm hm styl styles es to be able able to play play rhyt rhythm hm guit guitar ar with with othe otherr musi musici cian ans. s. But But what what if you you get get toge togeth ther er with with a dru drummmer, me r, bass assist ist and horn playe layerr and and they say, ay, "OK, let' let'ss do "Get "Get Ba Back ck"" (by the Beatles) in G?" What What do you do? How How do you you begin? begin? This This chapte chapterr doing g it . . . play will will focu focuss on the the prac practi tica call aspe aspect ctss of doin playin ing g rhyt rhythm hm guit guitar ar..
Some Some Points Points to Consid Consider er When hen I pl play rhy rhythm thm 1. 2. 3. 4.
guitar itar,,
I try to mak makee wha what-I t-I am playi layin ng
Inter Interes esti ting ng and and plea pleasi sing ng to the the ear, ear, so it soun sounds ds good good.. Rele Re leva vant nt to the the song song,, so it soun sounds ds righ right. t. In touc touch h with with the the othe otherr musi musici cian ans' s' play playin ing, g, so we soun sound d toge togeth ther er.. Stea Stead dy and and even ven with ith resp respec ectt to the the time ime of the musi musicc, so ever every ythin thing g soun sounds ds tigh tight. t.
You You may be wond wonder erin ing, g, "Wha "Whatt is an 'in 'inte tere rest stin ing' g' rhyt rhythm hm?" ?",, or "How "How can can I play lay 'in 'in tou touch' ch' with ith the the other her playe layers rs?" ?" Well, ell, the there are quite uite a few few musi musica call vari variab able less whic which h can can be alt alter ered ed to acc accom ompl plis ish h thes thesee ends ends.. You You can can play play eith either er full full or par parti tial al chor chords ds in var vario ious us posi positi tion onss and and ininvers versio ions ns,, use use upst upstro roke kess or down downst stro roke kess and and comb combin inat atio ions ns of both both,, play play loud louder er or sof softe ter, r, vary vary your your tone tone from from bass bass to tre trebl blee (and (and vary vary your your tone tone withi thin a song song), play lay in a flu fluid or cho choppy ppy sty style, le, use vari arious ous rhy rhythm thm tech techni niqu ques es (lik (likee play playin ing g arpe arpegg ggio ioss or mute muted d bass bass riff riffs) s),, use use subs substi titu tuti tion on chor chords ds,, and and play play eigh eighth th-n -not ote, e, sixt sixtee eent nthh-no note te or trip triple lett patt patter erns ns.. It is your your job as a rhyt rhythm hm guit guitar aris istt to call call upon upon all all of your your know knowle ledg dgee and and experiment in orde orderr to crea create te the the rhyt rhythm hm whic which h soun sounds ds best best for for a par par-ticu ticula larr tune tune..
Crea Cr eati ting ng the the Rhyt Rhythm hm Let' Let'ss look look at "Get "Get Ba Back ck", ", in G Maj Major or.. You, You, the the bass bassis istt and and drum drumme merr are all all rea ready to go, go, plu plug gged ged in, tune tuned d up, and the the drum rumme merr cou counts nts off "1-2-3 -2-3-4 -4." ." Righ ight away you know know the the tempo (spe (speed ed)) the the song song will will be played ayed at, the the time time sign signaature ture (1 or comm commo on time time), ), and and you you know now the key key (G Majo Major) r).. At this this poin pointt I will will assu assume me that that you you know know the the chan change gess to the the song song.. Sinc Sincee "Get "Get Ba Back ck"" is a rock rock song song on the the "har "hard" d" side side,, try try to get get a powe powerf rful ul rhyt rhythm hm soun sound d (see (see the the earl earlie ierr chap chapte terr on Powe Powerr Chor Chords ds). ). Firs Firstt try try a quar quarte terr-no note te patt patter ern; n; this this one one is a rhyt rhythm hm riff riff bui built lt arou around nd the the basi basicc chan change gess to the the song song,, G-CG-C-G. G. illG
(C)
JJ
G
(C)
G
(C)
G
--
I-
(C)
v C !!:
.
A. ..
ft
'!.
Y
!:
G
III G (C)
I
I
I
."
Csus4 C L.
I
-
"( I I
I
44
..
""
(C)
..
""
~
Well, Well, it sounds sounds OK but not really really right; therefore therefore your group probably probably won' won'tt soun sound d tog toget ethe herr-li like ke a ban bandd-if if you you pla play y this this rhyt rhythm hm.. Ther Theree is nothin nothing g actual actually ly bad abou aboutt this this rhythm rhythm;; the idea or germ germ for an interinteresti esting ng rhyt rhythm hm is ther there, e, but but it doesn doesn't 't quite quite ma make ke it yetyet-it it need needss work. work. What's What's missing? missing? What's What's wrong? First, First, you might might notice that this rhythm has no "botto "bottom" m" to it. Let's Let's try try someth something ing in a lower octave octave,, on the the bass bass strings. G ,.,
,.,
,.,
c
,.,
::>
::>
G
::>
::>
::>
What What a differ differen ence ce!! Now Now we've we've got the basi basicc soun sound d down. down. But ther theree doesn't doesn't seem to be any energy energy or drive or life life to the rhythm. rhythm. Let's double up on the the rhyt rhythm hm,, usin using g eigh eighth th note notess inste instead ad of quar quarte terr note notes, s, and see see how that that sounds sounds..
c
illG ,.,
V
,.,
v,.,
V,.,
V
G
Look at how much progress ess has been een made by jus just chan chang ging two two vari variab able les: s: the the tona tonali lity ty of the the chor chord d and and the the rhyt rhythm hm patt patter ern. n. Now Now let' let'ss chan change ge two two more: more: use use only only dow downs nstr trok okes es inst instea ead d of alte altern rnat atin ing g pick pickin ing g and and slap slap-d -dam amp p the the seco second nd and and four fourth th beat beatss of each each me meas asur ure. e. Also Also,, play play the the C cho chord rd in the the eigh eighth th pos positio ition n (it' (it'ss easi easier er to dow downs nstr trok okee it ther there) e).. IIIGt
+ ,.,
,.,
2
+ 3
+ +4 4
,.,
,.,
,.,
s
,.,
VIIIC
+ ,.,
G
, ., .,
::> 8
::> 8
::> S
8
s
s
s
s
::> S
::> S
s
s
45
.......
G ill 1 ,.,
c~= -. "' " ,~ Now Now this thisi~ i~q9 q9:s :s r~.Y r~.Y"' "'g: g:re reat atLA LAp. p.d d if "You "Yourr dr"l dr"lmm mmer er pappe pappens ns to bo play playin ing g a "rol "rolli ling ng"" rhyt rhythm hm,, as Ring Ringo o RtaI RtaI'r 'r does does on on the the reco record rd,, this this next next rhyt rhythm hm patt patter ern n will will comp comple leme ment nt his his play playin ing. g. Then Then you you ~can ~can alte altern rnat atee betw betwee een n this this rhyt rhythm hm and and the the prev previo ious us one one to furt furthe herr vary vary your your soun sound. d. + 2 ,., ,., ,.,
~
+ ,., ,.,
,., ,., ,., ,., ( or )'" )'"
V
,.,
,.,
V
s
s
s
. s
s
s
s
Once Once again again,, play playin ing g grea greatt rhyth hythm m guit guitar ar is not not ma magi gic! c! You You can can see see that by systemat you you can can crea create te inte intere rest stiing, ng, solid olid systematic ic experim experimenta entatio tion n rhythms.
NowobviouslyI NowobviouslyI can't can't take you throug through h the changes changes and and rhythms rhythms to
~
ever every y rock rock song song you you migh mightt enco encoun unte ter. r. What What you you have have lear learne ned d from from the the prec preced edin ing g exam exampl plee ("Ge ("Gett Ba Back ck") ") is that that gett gettin ing g the the "rig "right ht"" rhyt rhythm hm for a song song has has a lot lot to do do wit with h expe experrimen imenta tati tion on.. The more more you you play play,, and and play play with with othe others rs,, the the more more valu valuab able le expe experi rien ence ce you you will will gain gain.. The The more more expe experi rien ence ce you you have have,, the the less less you you will will have have to expe experi rime ment nt in ord order er to get get a good good rhy rhyth thm m part part;; you you will will intui intuiti tive vely ly know know what what will will sound sound good good and and what what won' won't. t.
Jammi mming: Varying Your Rhyt Rhythm hm Play Playin ing g With Within in a Pr Prog ogre ress ssio ion n Some Someti time mess you you will will get get toge togeth ther er with with othe otherr musi musici cian anss and and inst instea ead d of playi playing ng a comp comple lete te song song,, you you will will jus justt "jam "jam"" over over a serie seriess of chan changes ges.. This This kind kind of play playin ing g is lot lotss of fun fun and and can can be very very inst instru ruct ctiv ive, e, sinc sincee you you can can pick pick up rhy rhyth thms ms and and riff riffss from from the the othe otherr play player erss from from list listenin ening g to what what they they are are doin doing. g. On the the othe otherr hand hand,, some some jams jams can can get get very very bori boring ng if ever everyo yone ne keep keepss play playin ing g the the same same thin thing g over over and and over over agai again, n, As a rhyt rhythm hm guit guitar aris ist, t, you you can chan change ge your your play playin ing g subtl ubtly y to vary vary the sound even if the bassist and drummer are are repetitious in their play playin ing. g. Of cour course se,, if the the othe otherr play player erss chan change ge what what they they are are play playin ing g to com compl plem emen entt your your vari variat atio ions ns,, you you will will be free free to expe experi rime ment nt even even more more.. Let' Let'ss look look at a I-IV I-IV-V -V7 7 pro progr gres essi sion on in the the key key ofG ofG ma majo jorr-aa very very basi basicc patt patter ern n with with whic which h you you are alre alread ady y fami famili liar ar..
c
G
re""
,
,
,
,
If you you wer were jamm jammin ing g migh mightt be a me medi dium um-r -roc ock k as follows.
I
".I"
.I
.I
.I
I
".I"
D9 .I
"
"
I
".I".
.I
"
.I
'1
on the the abov abovee prog progre ress ssio ion, n, your your fir first rhyt rhythm hm feel feel bas based ed on a synco syncopa pate ted d eigh eighth th-n -not otee patte pattern rn,, '
46
-
