Eric Branner

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The Blackforrest Guitar CompanionA boiled-down players guide

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Index

Part I Intro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 How to use this book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Part II Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Tuning the Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Learning the Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Fretboard Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Whole Steps & Half Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 BC/EF Rule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Circle of 5ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Part III Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Open chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Open 7ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Power chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Barre chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Suspended chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Moveable 7th & 9th Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Diminished Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Augmented Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Inversions & Slash Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Arpeggio shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Part IV Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Chromatic Scales & Patterns . . . . . . . . . . . . . . . . . . . . . . . . . 45 Major Scale Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Three notes per string Major shapes . . . . . . . . . . . . . . . . . 47 The CAGED System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Major & Minor Pentatonics . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Major & Minor Blues Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Harmonic Minor Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Melodic Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Diminished & Whole Tone Scales . . . . . . . . . . . . . . . . . . . 65

Part V Parting Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

IntroThe Blackforrest Guitar Companion is a reference book

for all students of the guitar. In my experience teaching,

Ive noticed that the majority of aspiring musicians

detest method books and the vigorous study of arbitrary

melodies in the public domain. However, learning

the necessary chords, scales, intervals, theory, and

techniques to play favorite tunes are embraced whole-

heartedly. Music is music regardless of genre. The same

notes, chords, and rhythms are found in rock, folk, jazz,

classical, metal, bluegrass, and of course polka. The

information included in this book should eventually be

mastered by any student of the guitar. This is a great

tool to keep in your case or on your music stand. If youre

looking for the right scale to rip a blues solo, or if youre

looking for that perfect chord to complete your first

song, its all right here. Ive purposely left out teaching

rhythm, note reading, and technique. Those will be

addressed in later volumes. I hope this book supports

the guitar nerd that rests in all of us. What an amazing

instrument we play.

Happy shredding.

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BioEric Branner has been teaching and performing music for over fifteen years. He has taught at the American Music School, Holy Names Academy, and is the owner/operator of Blackforrest Music Studios. His enthusiasm for guitar and studying music has versed him classical, blues, rock, metal, shred, bluegrass, and fingerstyle guitar idioms. His teaching philosophy is meeting each student where they presently are on their musical journey, and inspiring them to love the instrument enough to pursue it further. He lives in Seattle with his wife Alyson, his daughter Edith, son Huck and an old black lab named Forrest.

Photo: Deborah Semer

This is a functional reference book for guitar. There are sections

on Theory, Chords, Scales, and Arpeggios. This book does not

address rhythm, note reading, or techniquewe will get to that in

later volumes! You dont need to read music to get the concepts.

You do need to understand the basics architecture of the guitar as

well as tablature, chord charts, and scale charts. Everyones mind

learns in a different manner, some people think in geometries on

the fretboard, others see numbers represented frets. Ive tried to

present the information in a way that will leave an impression.

Lets get to it

How to use this book (you should probably read this)

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Watch for this symbol throughout the book where well discuss ideas of how to help your playing, or explain a concept in more detail.

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The guitar is a fretted instrument with six strings. Steel string, nylon string, and electric all share the same fundamental construction. However, each has its own strengths and stylistic adornments.

The Basics

Get a Set Up! Find a good guitar tech and let them work their magic on your guitar. A set up consists of adjusting the action, (the height of the strings from the fretboard), setting the neck truss rod if necessary, and any other adjust-ments a guitar needs to play well. A well adjusted guitar makes a huge difference in ease of playing.

Nylon String (fig 1.1) often called the classical or spanish guitar, these instruments usually have wider necks to facilitate finger picking in the right hand. The nylon strings also create a more pianistic tone that is the standard for classical guitar. Also used in folk, flamenco, jazz, and Latin music.

Steel String Acoustic (fig 1.2) steel strings have a brighter tone, and are played with a picks or with fingers. They are used for folk, rock, blues, jazzand are most often the songwriters main accompaniment.

Electric (fig 1.3) electric guitars come in two basic styles, solid body and semi-hollow body. The electric guitar that most people imagine is the solid body, such as a strat or a Les Paul style. Electrics rely on pickups to amplify sound, so they dont need the resonant body that an acoustic has. Electrics are the mainstay of most amplified music such as rock, metal, blues, jazz, etc.

Electric or Acousticwhich should I start with? The age old question. Most parents assume that their children should start on acoustic to build strong fingers, and not blow the roof off of the house with an electric guitar. Although thats a fine approach to learning, I encourage students of all ages to start on either acoustic or electric, depending on musical interests and goals. The