Learning Music Theory

8/7/2019 Learning Music Theory

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Learning Music Theory. The Beginning

author:slash_pwns date: 10/06/2005 category:for beginners

Updated: 07.16.2008

Table of Contents:

1.0 - Introduction1.1 - Where to start?1.2 - The first 10 thing to learn

2.0 - What intervals and steps are2.1 - Interval guide2.2 - Steps2.3 - Tones and semi-tones

3.0 - Understanding the Chromatic scale4.0 - The Major scale4.1 - Triads

5.0 - The Circle of Fifths and Key Signatures Introduction5.1 - The Circle of Fifths5.2 - Key Signatures - How they work

6.0 - Chord Construction6.1 - Extending6.2 - Altering6.3 - Suspended Chords6.4 - Inversions

7.0 - The meaning of 'Diatonic' and what it does7.1 - Diatonic in chords7.2 - Diatonic in scales7.3 - E# and B# DO exist

8.0 - Finding out what chords are in what key

9.0 - Natural Minor, Harmonic Minor, Melodic Minor scales Introduction9.1 - Natural Minor Scale9.2 - Harmonic Minor Scale9.3.0 - Melodic Minor Ascending9.3.1 - Melodic Minor Descending9.4 - What chords do these scales go with?

10.0 - The Modes of the Major scale Introduction10.1 - Using the intervals10.2 - Using the Steps10.3 - Using the modes over chords

11.0 - Applying #1-9 on the guitar Introduction11.1 - Applying 'What Intervals and Steps are'11.2 - Applying 'Understanding the Chromatic Scale'11.3 - Applying 'The major scale and Triads'11.4 - Applying 'Natural Minor, Harmonic Minor and Melodic Minor Scales'11.5 - Applying 'The Modes of the Major scale'

1.0 - Introduction.

So you've seen people talking their heads off about "Lydian sharp 11 dominant 9" and

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you have no idea what they're talking about, or maybe you're interested in starting tolearn music theory. Well, it's a great choice to come this route, as theory can makeyour music excel to great heights, and it lets you know what you're doing, and why. Ichose to learn music theory because I wasn't much of a song writer and wanted mymusic to sound good. Plus, on the forums on this site, I would visit "Musicians Talk"

and not know what was going on. So I've learned quite a bit and have prepared thislist for you, someone new to music theory, or someone who needs a nice refresher. Inthis lesson, you will need no knowledge of previous theory, but you will need to knowthat the notes only go to G and what sharps (#) and flats (b) are. Also keep in mindyou might see parts from other lesson I have written, as I can copy from them all Iwant, but if I didnt write the lesson, I will link to it. Have fun!

1.1 - Where to start?Since I am an avid believer of not using steps, except for the major scale, you aregoing to have to learn what intervals are, and what steps are. Once you have learnedhow to get the major scale, all the #9, and b7 will come into the clear and becomeunderstandable. The major scale is the basis of which pretty much all chords andscales are derived from. If you've ever heard "1 3 5" or "1 2 b3 4 5 b6 b7 1" you willknow that those 'formulas' are in relation to the major scale.

1.2 - The first 10 things to learn.This is a list for easy reference, and everything is explained down the in this article. 1,being the first thing to learn, etc.

01. What Intervals and Steps are02. Understanding the Chromatic Scale03. The major scale04. The Circle of Fifths and Key signatures.05. Chord Construction06. The meaning of 'Diatonic' and what it does07. Finding out what chords are in what key

08. Natural Minor, Harmonic Minor and Melodic Minor Scales09. The Modes of the Major scale10. Applying 1-9 on the guitar

I will go into each and every one of these so you, the beginner can understand them.

2.0 - What Intervals and Steps are.First, I'll start with intervals and steps, as they are critical in learning how everythingworks, and they help you understand the major scale, and almost everything on thislist. And interval is the space between one note and another. When you see 1 2 3 4 56 7 1, those are intervals. Learning intervals is very important when learningeverything in this article, because I dislike steps. I will get into that more in the stepssection.

2.1 - Interval guide.This is an easy reference chart to look at for naming intervals. This example is in thekey of C, for simplicity, but can be applied to any root note to find the intervals of thatkey.

Interval | Name | Note.(In C)-----------------------------------------------1 | Unison (root note) | Cb2 | Minor Second | Db2 | Major Second | D#2 | Augmented Second | D#b3 | Minor Third | Eb3 | Major Third | E

4 | Perfect Fourth | F#4 | Augmented Fourth | F#


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b5 | Diminished Fifth | Gb5 | Perfect Fifth | G#5 | Augmented Fifth | G#b6 | Minor Sixth | Ab6 | Major Sixth | A#6 | Augmented Sixth | A#bb7 | Diminished Seventh | Bbbb7 | Minor Seventh | Bb7 | Major Seventh | B8 | Unison (Octave higher) | Cb9 | Minor Ninth | Db9 | Major Ninth | D#9 | Augmented Ninth | D#------------------------------------------------

etc.

The intervals repeat, where 2 = 9, 3 = 10, 4 = 11, etc. Notice that you're adding 7 toget the octave higher interval. For those who dont know what an octave is: An octave

is the same exact note only played higher. Ex. Middle C on a piano, and the next C,going higher are an octave apart. Just like b9 is an octave higher than b2.

When dealing with intervallic inversions (more on that later, this needs to be said inthe interval section) you need to know a couple things. You have 4 perfect intervals.Unison, Fourth, Fifth, and Octave. A perfect interval inverts to a perfect interval, andwhen you ad the interval numbers together, you will always get 9. So if you know a P4inverts to another perfect interval, you know (9-4 = 5, P inverts to P) so a P4 invertsto a P5. Same thing with unison. Unison inverts to the octave. The other intervals (2,3, 6, 7) are either minor or major, and a major interval inverts to a minor one, andvice versa. So with your formula, you can find that a minor third inverts to a majorsixth (3 + 6 = 9). Then an augmented interval inverts to a diminished interval. Aperfect interval goes right to diminished when its flattened, and all intervals go right

to augmented when sharpened. An inverted interval is the same as a normal intervalbut instead of going up the chart (1-b2, ex) you are going down. Heres a chart foryour inversions.

P1 - P8m2 - M7M2 - m7m3 - M6M3 - m6P4 - P5A4 - D5

D7 - A2

P = Perfectm = MinorM = MajorD = DiminishedA = Augmented

Some intervals aren't used as much as others, but still exist. b10 is still an acceptablename, but will more commonly be call #9. 9ths, 11ths, and 13ths are used more oftenthan their enharmonic (Enharmonic- Same note; different name) siblings.

2.2 - Steps, 2.3 - Tones And Semi-Tones.Steps. These are what many beginners use to form scales and the such, but heres

what I'm going to do. I'll explain the steps and show you how to use them, but its upto you whether you use steps or intervals. A choice! Steps can identify how far two


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notes are apart and they can (if you must) form scales. There are two common typesof steps. A whole step and a half step. A whole step (Indicated by the letter 'W') whichis two frets. E - F# is a whole step. I've seen people who think E-F is a whole step. Itis not. Two frets! This makes a half step self explanatory. It's one fret. E-F, G-G# andhalf steps apart. This will all make sense after reading the section just below, 3. 0-

Understanding the Chromatic scale. Right now steps might seem a little pointless butthey play a big part in the next section.

Tones and semitones are the same as steps, just with a different name. I use stepsthroughout, but you can think of them as tones throughout:

T = Tone = Whole stepS = Semitone = Half Step

3.0- Understanding the Chromatic scale.The Chromatic is very simple and easy to understand but it is important and it's veryhelpful to know. It makes it a breeze to memorize the notes on the fret board, andjust know notes in general. The Chromatic scale is a series of 12 notes starting from

any note (doesnt matter which one... You could use D# for all I care) and going up byhalf steps. Ex. Playing any open string, and preceding to play each note, going up byone fret each time will give you a chromatic scale. But... Theres a catch! Not everynote has a sharp/flat between them. This applies to all the notes except between B - Cand E - F. There is nothing between B - C and E - F. Your chromatic scale (in C) is:

C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C

Remember the enharmonic notes! D# is enharmonic to Eb. It is indicated with a '/'.

Know it inside and out, as you should. Very important stuff. As short of a section thistakes, it is just as important as the others.

4.0 - The Major Scale.Possible the most important thing here. Everything from chords to scales is derivedfrom the major scale. You can even use the major scale when soloing and writing, asits a normal scale too. It's just more important. The formula, in steps for the majorscale is W W H W W W H. You apply that in any key (I'm using C again) and you getthe major scale.

C D E F G A B CW W H W W W H

Notice how those notes fit right into the formula? Lets try it with E.

E F# G# A B C# D# E

W W H W W W H

Apply that to any note you want to find its major scale.

You must know this. Memorize the WWHWWWH however you want, and once youknow the major scales (Wait for Circle Of Fifths, it helps) everything is dramaticallyeasier.

4.1 - Triads.Triads are three note chords. I'm going to slip this in before chord construction whileyou're hot of the press of the major scale. I'll also teach you the way to make chordswith intervals (as that how they're done). There are 4 types of triads. Major, Minor,Augmented, Diminished. They are each different in formation and sound different.

Four different formulas... Easy to remember, ok?


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Major- 1 3 5

Minor- 1 b3 5

Augmented- 1 3 #5

Diminished- 1 b3 b5***

Major triads are unaltered. You take the first, third and fifth notes of the major scale.The major chord you want (F, for example) is the scale you use. F uses F major Scale,C uses C major scale, etc... In C you have C E G, in F you have F A C, and so on.Another way to say this is "Root, Major Third, and Perfect Fifth"

Minor Triads are like the major triads, in that you do the same thing to form themexcept you lower the third by one half step. In C you get C Eb G, E is E G B, and soon. Another way to say it is "Root, Minor Third, and Perfect Fifth"

Augmented Triads follow the same rule for creating them. You always use the major

scale to make chords. Always. Same as the major triad, but you're raising the fifth bya half step. In C, C E G#, A is A C# E#. Augmented Triads can be said as "Root, MajorThird, and Augmented Fifth". Augmented triads are stacked major thirds.

Diminished Triads, like all the other ones are based off the major scale. You arelowering the third AND the fifth in the formula. In C it is C Eb Gb, A is A C Eb.Diminished Triads are "Root, Minor Third, and Diminished Fifth". Remember how I saidAugmented Triads were stacked major thirds? Well, diminished triads are stackedminor thirds. This knowledge will come in handy in the chord construction section.

5.0 - The Circle Of Fifths And Key Signatures Introduction.The Circle of fifths (Short form - Co5) is a tool to help you with major scales and KeySignatures. In this section I'll show you the Co5, how it works, the actual circle, andIll move on to key signatures, explaining what they are and what they do. The Co5 isa must know for all theory beginners because it helps you identify major scales, and itbecomes easy to play in key.

5.1 - The Circle Of Fifths.The CoF (or Co5) is your tool to find what notes are in what key. This is very useful tome and many other people, but if you dont want to use it, and can remember all themajor scales another way, thats fine. As long as you know the info its all good. Asyou move clockwise from C, you go up a fifth. This is the Circle of Fifths:


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Notice how G is a perfect fifth from C, B is from E, etc... You dont really have tomemorize this but it does help. If you can picture a fifth interval in your head (thinkpower chords) then this isnt hard to memorize at all.

Starting at the top, at C there are no sharps or flats. As you turn clockwise (To G) youadd 1 sharp to the key signature, until you get to F#. Same with going to F. You addone flat to the key signature. How do you know what sharp or flat to add? Well, hereis the order:

Sharps: F C G D A E BFlats: B E A D G C F

Sharps to the left, and flats to the right. So if we know D has two sharps, then we lookat the line here. F# and C# are the sharps in the key of D. Now take Eb. We knowfrom the Co5 that it has 3 flats, and the line tells us the first 3 flats are B, E and A. Sowe know Eb had Bb, Eb, and Ab in it. This is what helps you will the major scales.Since we know D has F# and C#, we then know D major scale is D E F# G A B C# D.In Eb, we know it would be Eb F G Ab Bb C D Eb. You can do this for every key. Takeany note off there, find how many flats or sharps it has, then look at the line to seewhat flats or sharps it has. That way you can find the major scale of any key.

The key with the most sharps in its key signature is C#. For flats, its Cb. Notice howthose scales are directly opposite each other in the CoF. Likewise, the scales with onesharp/flat, G and F, are opposite each other. The same applies to D and Bb.Another interesting aspect of the CoF is that the notes the furthest apart are always atritone apart. C is a tritone away from Gb and F#, Db and C# are a tritone away fromG, etc. This relationship should reinforce the concept that a tritone is right in themiddle of the octave.

What about minor keys you ask? Heres a simple trick: Look at the above picture ofthe circle of fifths side ways, starting from A. A is the relative minor to C.

Same rules apply. Dm has 1 flat, and it is B, so we know Dm scale is D E F G A Bb CD. More on minor scales later.

5.2 - Key Signatures. How they work.Key signatures make reading music much easier, and they tell what key the song is in.


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Key signatures help when composing pieces also.

In your key signature say you have a Bb, and an Eb. From Co5 you know thats thekey of Bb major. All notes throughout the piece that are B and E are to be played asBb and Eb. This makes writing music easier, so you dont have to use so many

accidentals (accidentals- sharps and flats). You wont find key signatures so much onconventional TAB, but on sheet music and Power Tabs, and even Guitar Onetranscriptions there are key signatures. So, with your Bb and Eb in the key signature,all B's and E's are to be played as Bb and Eb throughout, unless there is a natural sign(Google the natural sign- I cant type it).

With Co5, you know what flats are in what key signature. Heres a list, with bothsharps and flats, for easy reference.

C major- No flats/sharpsG major- F#D major- F# C#A major- F# C# G#E major- F# C# G# D#B major- F# C# G# D# A#F# major- F# C# G# D# A# E#C# major- F# C# G# D# A# E# B#*****************************C major- No flats/sharpsF major- BbBb major- Bb EbEb major- Bb Eb AbAb major- Bb Eb Ab DbDb major- Bb Eb Ab Db GbGb major- Bb Eb Ab Db Gb CbCb major- Bb Eb Ab Db Gb Cb Fb

6.0 - Chord Construction.Heres how you make chords. Chord construction is very important is you've everwanted to make a chord, or learn more chords and not known how. Lets get right intoit. Since you already know your 4 triads:

Major - 1 3 5

Minor - 1 b3 5

Augmented - 1 3 #5

Diminished - 1 b3 b5

Thats great. Because that is the beginning of chord construction. You already knowthe basics of it, but I'll teach you how to alter them and extend them to get the chordsyou want for your own playing.

6.1 - Extending.This how you can make other chords that are different from your triads. All you reallydo is extend your triads in this section, and then we'll alter them in the next section.I'll give you some formulas for extended chords here.

_7 (dominant 7th): 1 3 5 b7

maj7 (major 7th) : 1 3 5 7

m7 (minor 7th) : 1 b3 5 b7


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Those are your 3 most common extensions, and they can go even farther, but herssome examples.

C7 : C E G Bb

Cmaj7: C E G B

Cm7 : C Eb G Bb

Now we can extend those to 9, 11, and 13. You must have a 7th degree in the scale tocall it _maj9, or _11, because the 7th tone is what 'supports' the further extensions.Without the 7th degree (b7, or 7) your 9, 11, or 13 degrees become an 'add chord'...Add chords explained in the next section!

_9 : 1 3 5 b7 9_11: 1 3 5 b7 (9) 11_13: 1 3 5 b7 (9) (11) 13

The numbers in brackets represent the optional notes. You can still have G13 withoutthe 9 and 11. Also, every chord where the fifth is unaltered, or needed, it can beomitted.

_maj9 : 1 3 5 7 9_maj11: 1 3 5 7 (9) 11_maj13: 1 3 5 7 (9) (11) 13

_m9 : 1 b3 5 b7 9_m11: 1 b3 5 b7 (9) 11_m13: 1 b3 5 b7 (9) (11) 13

What about the diminished and augmented triads? Can you extend them too? Yes.

_7 ( = dim): 1 b3 b5 bb7.

These notes are all a minor third away from each other, until you extend more.

_9 : 1 b3 b5 bb7 9_11: 1 b3 b5 bb7 (9) 11_13: 1 b3 b5 bb7 (9) (11) 13

_+7 (+ = aug): 1 3 #5 b7_+9 : 1 3 #5 b7 9_+11 : 1 3 #5 b7 (9) 11_+13 : 1 3 #5 b7 (9) (11) 13

Remember, those are all in relation to the major scale, and the 9 is enharmonic to the2, etc... They dont have to be an octave higher, because you shouldnt name a chord_7(add2) because the 2nd is better named as a 9, making _9.

6.2 - Altering.This is how you can make your chords suit your needs, and also in this section as wellas altering, I'll show you some other extended chords that could be considered'altered'. Most alterations explain themselves. If the name says Em7b5, then youknow its an Em7, with a b5. The construction for that would be 1 b3 b5 b7. Somecommon alterations you'll see are:

b5


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#5b6b9#9#11b13

With those you can produce chords like E7#9, Fmaj7(#11), Cmaj7#5, Bm7(b9), etc...But remember if your alteration is a b5, your formula changes to 1 3 b5, not 1 3 5 b5.Some not so common chords that can still sound good.

_m/maj7 (aka m/M7, its minor/major seventh. A minor triad with major seventh) 1 b35 7_m7b5 (It looks altered, and it is, but its best name is _half diminished, or ) 1 b3b5 b7.

Use alterations as you please, but remember, they're probably going to put you out ofkey.

Another part in altering - add chords. When you see Cadd9 or C(9) that is an addchord. Not to be confused with a dominant chord, the note is in (brackets). You canadd:

2...94..116..13

They are enharmonic, remember!

6.3 - Suspended Chords.Suspended chords are neither minor nor major. Suspended means you take the 3rdout and replace it with a 2nd or a 4th. There are 3 common types of suspendedchords:

_sus2 : 1 2 5_sus4 : 1 4 5_sus (aka _7sus4): 1 4 5 b7

You can do crazy things, like _9sus4, which would leave you with 1 2 4 5 b7 9, butyou have to use common sense to figure those out. C9sus4 can also be named asGm11. The name you choose will depend on the context the chord is used in. Notmuch to say about these, but remember they are chords too, just they arent minor,or major.

6.4 - Inversions.Inversions are slighter harder than what we've been doing, but are easy to remember.Inversion means that you don't use the root, or the 1 as the bass note of the chord.For instance C/E can be labelled differently.

When working with inversions its good to know the intervals of the chords already. AFirst Inversion is when the 3rd of the chord is the bass note. C, with the base note E(or C/E) can be called C, in the first inversion. When the 5th tone is the bass note, wehave a second inversion. C/G is C in the second inversion. When the 7th tone is thebass note, we have a third inversion. Guess what happens when the 9th tone is thebass note? Fourth inversion.

C (first inversion): E G CC (2nd inversion) : G C EC7 (3rd inversion) : Bb C E G


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etc.

7.0 - The Meaning Of 'Diatonic' And What It Does.'Diatonic' means that in a 7 tone scale, such as the major scale, you use each note (A-G, with a sharp or flat) only once. Thats why you dont see C major scale as C D Fb FG A B B#. Diatonic also means you follow the formula. In a 7 chord the formula is 1

b3 b5 bb7. The tones (in C) are C Eb Gb Bbb. That is diatonic. You dont have C D#F# A, because that doesnt follow the formula. Sure, it has the same sound and youcan't tell the difference without knowing, but it helps you organize tones, and help youfigure out a chord or a scale without having much trouble.

7.1 - Diatonic In Chords.As explained above, diatonic formulas apply to chords. If it says 1 3 5, then you'reusing the 1, 3 and the 5, not the 1, 3 and the bb6. Chords are given specific formulasfor a reason! So use 'em. It'll help you out down the road and organize your thoughts.

7.2 - Diatonic In Scales.Yes! It's everywhere! You look at the scale formula (Again, the formula is there for areason), say its 1 b3 #5 b7 (random) then you have (in C) C Eb G# Bb, not C D# G#

A#, or any of the like. There for a reason. Using diatonic in scales is very importantwhen trying to make your own scales, and finding out what one is. As you can tellfrom this section, I'm a fan of diatonic stuff. You should be too

7.3 - E# And B# Do Exist!C'mon, you couldnt have though they didnt exist. They are perfectly valid notes, andare common place in scales. When you were reading the Co5 part and wondered whatI was doing with the E# and B#... Well, they are used for diatonic purposes. Take theC# major scale for example: C# D# E# F# G# A# B# C#. You cant put C# D# F F#G# A# C C#, because it is not diatonic!

8.0 - Finding Out What Chords Are In What Key.This lesson is all about finding out what chords fit into what key. In this lesson theauthor (SilentDeftone) tells you that finding the diatonic triads in each key will tellwhat chords are in what key. This is true, but I'm going to expand on 'diatonic' here.Diatonic can also mean that a specific piece fits into one key exactly. Example, a songthat uses the notes A F# G E C fits diatonically into the key of Em, or G major. Readthrough that lesson as it explains this section to a great extent, but since I actuallyhave to do something, here is a list of universal formulas for chords and extensions.This is what you get if you go through that lesson all the way. In the key of C:

Cmaj7Dm7Em7Fmaj7G7

Am7Bm7b5

And beyond...

Cmaj9Dm9Em7(b9)Fmaj9G9Am9Bm7(b5, b9)

Further:
http://www.ultimate-guitar.com/lessons/chords/what_chords_are_in_what_key_and_why.htmlhttp://www.ultimate-guitar.com/lessons/chords/what_chords_are_in_what_key_and_why.html


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Cmaj11Dm11Em11(b9)Fmaj9(#11)G11Am11Bm11(b5, b9)

And to 13ths!

Cmaj13Dm13Em11(b9, b13)Fmaj13(#11)G13Am13Bm11(b5, b9, b13)

9.0 - Natural Minor, Harmonic Minor, Melodic Minor Scales Introduction.These new scales are all minor scales. They sound different from the major scale thatyou already know in that they have a minor tonality. They sound darker and can beused in more of a rock context. The natural minor scale is the most commonly used inrock, etc. and is probably the easiest to play. Harmonic minor is my personal favouritescale and is rather different. It can sound classical, eastern, or whatever. YngwieMalmsteen (Shredder. Check out some of his music) is even known to use this scale alot. Melodic minor is the least common from what I've seen, but it is still awesome. Itcan be used in jazz, or even in place of the major scale, for a little dissonance.

9.1 - Natural Minor Scale.This scale is more commonly called the 'minor scale' but I find it helpful to call it thenatural minor scale, because somewhere in history way back, 'minor' could mean any

of the 3 minor scales here... or something like that.The formula for the minor scale is 1 2 b3 4 5 b6 b7 1. The formulas for scales are thesame as chords as chords, in the way that they are compared to the major scale. If 12 3 4 5 6 7 1 is the major scale, without any alterations, then 1 2 b3 4 5 b6 b7 1 hasa lowered 3rd (Every minor scale has a b3. Thats what makes it minor), sixth andseventh. So you can apply this formula to any key... I'll use C for example.

C major: C D E F G A B CIntervals: 1 2 3 4 5 6 7 1

C minor: C D Eb F G Ab Bb CIntervals: 1 2 b3 4 5 b6 b7 1

See the pattern? Apply that to any key you want! In A, for example.

A major: A B C# D E F# G# AIntervals: 1 2 3 4 5 6 7 1

A minor: A B C D E F G AIntervals: 1 2 b3 4 5 b6 b7 1

Any major scale you apply that to will get you the minor scale (for that key). For youstep loving people, heres the minor scale in steps.

W H W W H W W

In A:


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A B C D E F G AW H W W H W W

etc.

9.2 - Harmonic Minor Scale.This is my personal favourite scale. It has a classical vibe about it, and can sound veryeastern. It all depends on how you use it. Remember, you dont use anything until youknow all this! There is a specific section for applying these ideas to guitar!

Heres your Harmonic minor formula: 1 2 b3 4 5 b6 7 1. Not very different from thenatural minor is it? Only the 7th is brought back up to a major seventh, from a minorone. The b6 - 7 is a very cool interval. It gives you a nice eastern vibe, and in thesteps watch out! Applying it to C:


C Harm. Minor: C D Eb F G Ab B CIntervals: 1 2 b3 4 5 b6 7 1

By now, you're not completely new to theory, so you can apply it to any major scaleyou want, and do it for yourself. You learn much better when you see the results foryourself. For steps, I have to introduce a new step! Its the WH step. Its a whole stepAND a half step. Or a whole half step!

Harmonic Minor: W H W W H WH H

C D Eb F G Ab B CW H W W H WH H

Play around with that. See how you like it.9.3.0 - Melodic Minor - Ascending.The melodic minor is really two scales. The reason- I dont know... I think I mighthave at one time. Another thing to do with ancient times, and the such. This is theascending version. Next section (I've made them sub sections, if you notices I put anextra number for the table of contents: p) is the descending melodic minor. Themelodic minor isnt always melodic. You can make it sound horrible, but its at yourown disposal. You melodic minor formula: 1 2 b3 4 5 6 7 1. Very simple one here...Just lower the third.

C major : C D E F G A B CIntervals: 1 2 3 4 5 6 7 1

C Mel. Minor: C D Eb F G A B CIntervals : 1 2 b3 4 5 6 7 1

This scale is rather simple. And now on to the descending melodic minor! Here areyour steps: W H W W W W H.

9.3.1 - Melodic Minor - Descending.I'll cut right to chase here. Formula: 1 2 b3 4 5 b6 b7 1. Look familiar eh? Well, thatsbecause it is. The descending Melodic minor is the same as the natural minor scale.This acts as a leading tone, just going down. Why this was done requires a brief lessonon the history of minor scales.

Old musicians had the natural minor scale and its b7 tone. Singers found this


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awkward to sing, so they raised it to a natural 7. This created the harmonic minorscale. However, the minor third interval between the b6 and 7 was awkward to sing aswell, so they raised the b6 to 6 and created the melodic minor scale. However, whendescending, the 6 did not pull strongly to the 5. They decided that when descending,the note should be lowered back down to b6. However, this created that awkward

interval between 7 and b6 again, so they lowered the 7 to b7 as well, and that is thesame pattern as the natural minor scale.

Please do not refer to a descending natural minor lick as a melodic minor lick. Inpractice, modern music often used the ascending pattern for the melodic minor scaleboth ascending and descending.

In C:


C Desc. Mel. Minor: C D Eb F G Ab Bb CIntervals: 1 2 b3 4 5 b6 b7 1

Your step formula: W H W W H W W

9.4 - What chords do these scales go with?Its always nice to know what goes with what, isnt it? Natural minor goes with somenormal chords, but the melodic and harmonic minor fit into some different ones.

Natural minor- minor, m7, m9, m11, m11(b13). It fits well into minor chordprogressions and works in almost any style of music. You'll find this scale mostly inmetal, rock, and it fits over power chords in a rock/metal song. Ex. Using each root'sminor scale in a G5 D5 E5 A5 progression works in a rock scenario.

Harmonic minor- this can go with m/maj7 chords, because of the b3 and major 7th.This doesnt quite fit a lot of chords perfectly, but is still applicable in place where theminor scale would be used. If you use a E5 F5 G5 E5 progression (key of Am) you canchange it to suit the (A) harmonic minor, by making it E5 F5 G#5 E5.

Melodic Minor- Melodic Minor- Pretty much the same as harmonic minor, it is a lessdark alternative. You would not use it over a m/maj7b13 chord, due to the 6/b6 clash.

10.0 - Modes of the Major scale Introduction.Modes are a quite a challenge for most people, from what I've seen. They really arentthat hard, and I'm going to do 2 different sections for these. One for intervals (myway) and one with steps (different way). The intervals will be from my lesson "Modeswith Mode dictionary", which as it says in the title, has a mode 'dictionary'. All themodes in for all the major scales. Choose which way (intervals or steps) you like bestand go for that. I find steps hinder your ability to recall the formula right away... Soyou arent saying, "Was it WWHWWWH or WHWWWHW?" while the intervals havedifferent formulas for each, and will help you down the road when you want to find themodes of other scales, like the harmonic minor, or melodic minor.

10.1 - Using The Intervals.Heres how we go with the intervals. I of course recommend this method, but do whatsuits you better, and remember you can always change your mind and come back tothe other way. A mode is just an alteration of a major scale. Here are the names of all7 modes, and the formulas for them:

Ionian - 1 2 3 4 5 6 7 1

Dorian - 1 2 b3 4 5 6 b7 1


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Phrygian - 1 b2 b3 4 5 b6 b7 1

Lydian - 1 2 3 #4 5 6 7 1

Mixolydian - 1 2 3 4 5 6 b7 1

Aeolian - 1 2 b3 4 5 b6 b7 1

Locrian - 1 b2 b3 4 b5 b6 b7 1

Wondering where those intervals came from? Well after you work them out, the notescorrespond to the intervals, as the formulas suggest. Take Dorian mode. In C, it is C DEb F G A Bb C. If you look at the intervals between the notes:

C D Eb F G A Bb C1-21 - b3

1 - 41 - 5

etc.

You remember how to get the scales, so you can use C as your example.

Ionian - C D E F G A B C. Ionian mode is also the major scale. Theres one mode youknow already! Pronounce (EYE-OWN-EE-IN)

Dorian - C D Eb F G A Bb C. Dorian mode is very good for jazz, and is a minor mode.Pronounce (DORE-EE-IN)

Phrygian - C Db Eb F G Ab Bb C. Phrygian is rather Spanish sounding and is a minormode. Pronounce (FRIJ-EE-IN)

Lydian - C D E F# G A B C. This is the closest mode to the major scale, it is a majormode. Pronounce (LID-EE-IN)

Mixolydian - C D E F G A Bb C. This on is also close to the major scale, kind of bluesy,and is a major mode. Pronounce (MIX-O-LID-EE-IN)

Aeolian - C D Eb F G Ab Bb C. Also known as the minor scale (natural). Two modesyou know! Pronounce (EH-O-LEE-IN)

Locrian - C Db Eb F Gb Ab Bb C. Very dark and evil sounding, this is a DIMINISHEDscale. Pronounce (LOW-CREE-IN)

10.2 - Using The Steps.Heres how the steps work: See if you can find the pattern.

W W H W W W H W W H W W W H W W H W W W H W W H W W W H

Ionian:W W H W W W HDorian: W H W W W H WPhrygian: H W W W H W WLydian: W W W H W W HMixolydian: W W H W W H WAeolian: W H W W H W WLocrian: H W W H W W W

Those are your step formulas. Just take the first step and throw it on the end. Thelong one at the top is the major scale repeated. You can think of a mode as playing a

scale starting on a different note.


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C D E F G A B CW W H W W W H

C D Eb F G A Bb CW H W W W H W

C Db Eb F G Ab Bb CH W W W H W W

C D E F# G A B CW W W H W W H

C D E F G A Bb CW W H W W H W

C D Eb F G Ab Bb CW H W W H W W

C Db Eb F Gb Ab Bb C

H W W H W W W

10.3 - Using The Modes Over Chords.Ionian - Ionian mode is just the name for the major scale. It has no alterations madeto it. Play this mode over Major chords, Maj7, Maj6.

Dorian- Dorian mode has a flattened third and seventh (b3 and b7) making it ideal form7 chords. You can also use Dorian mode for m6 chords. Dorian mode is often used injazz styles.

Phrygian- Phrygian mode has a lowered second, third, sixth, and seventh. Phrygianhas a Spanish feel to it so you can Play it over Spanish progressions or heavymetal/rock riffs with a b2.

Lydian- Lydian mode's only alteration is a raised fourth (#4) making it very close tothe major scale. The #4 makes it a good chord to use for Maj7#11 chords, but canalso be used over maj7 chords.

Mixolydian- The only alteration in Mixolydian mode is the lowered seventh (b7). Thismakes it perfect for dominant 7th chords. This mode can be used in blues, jazz oreven country.

Aeolian- Aeolian mode, a.k.a. the minor scale has a b3, b6 and b7. (All minor scaleshave a b3). Aeolian mode works over minor chords, and can be used as a substitutefor Dorian mode, by using it over m7 chords.

Locrian- Locrian mode has a b2, b3, b5, b6 and b7. Locrian mode is very darksounding. It fits a m7b5 chord perfectly.

|-----7-10--10-7------8-|-(8)--8------------8---------|-------8-10-----------||---8------------8h10---|--------10-----------10------|-8--10------10-8s6--5-||-9---------------------|-----------10-9-7-------10-9-|----------------------||-----------------------|-----------------------------|----------------------||-----------------------|-----------------------------|----------------------||-----------------------|-----------------------------|----------------------|


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|---8-7-5---8-7---8-7-|---8-7-10b12----||-6-------6-----6-----|-6--------------||---------------------|----------------||---------------------|----------------||---------------------|----------------||---------------------|----------------|

|-10-8-7-10-8-7----------------------------------------------||---------------10-8----10-8---------------------------------||--------------------10------10-9-7----9-7-------------------||-----------------------------------10-----10-9-7----9-7-----||-------------------------------------------------10-----10--||------------------------------------------------------------|

|-----------------------------------------------7-8-10-8----||------------------------------------------8-10-------------||-----------------------------------7-9-10------------------|

|----------------------------7-9-10-------------------------||-8-7----8-7----------7-8-10--------------------------------||-----10-----10-8-7-8---------------------------------------|

Thats built completely off the C major scale and triads, in the key of C. You can evenrepeat it!

11.0 - Applying #1-9 on the guitar Introduction.This is the section where you apply all your new knowledge to the guitar. I'll put ineverything that I feel needs to be applied. The ones being left out are: Circle Of Fifths,The meaning of 'diatonic', and finding what chords are in what key. You're going toneed your guitar for this section! All these examples will be in TAB form.

11.1 - Applying What Intervals And Steps Are.First, I'll do intervals. All TAB examples are in standard tuning.

|------||------||------||------||------||-0-1--|

In the key of E, E - F is a b2, or a minor second. All these interval examples are in Emajor.

|------||------||------||------||------||-0-2--|

E-F# is a 2, or major second interval.

|------||------||------||------|

|------||-0-3--|


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E-G is a b3, or a minor third.

|------||------|

|------||------||------||-0-4--|

E-G# is a 3, or major third.

|------||------||------||------||------||-0-5--|

E-A is a 4, or major fourth.

|------||------||------||------||------||-0-6--|

E-Bb is a b5, or diminished fifth.

|------|

|------||------||------||------||-0-7--|

E-B is a 5, or a perfect fifth.

|------||------||------||------||------|

|-0-8--|

E-C is a #5, or an augmented fifth.

|------||------||------||------||------||-0-9--|

E-C# is a 6, or a major sixth.

|------|


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|------||------||------||------||-0-10-|

E-D is a b7, or minor seventh.

|------||------||------||------||------||-0-11-|

E-D# is a 7, or major seventh.

|------|

|------||------||------||------||-0-12-|

E-E is unison, or an octave.

Now for steps.

|------||------||------||------|

|------||-0-1--|

E-F is a half step (H)

|------||------||------||------||------||-0-2--|

E-F# is a whole step (W)

|------||------||------||------||------||-0-3--|

E-G is a whole + half step (WH)

11.2 - Applying Understanding The Chromatic Scale.So you know your chromatic scale, and how it works, but just to drive it home, heresthe chromatic scale in TAB:


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|-------------------------------||-------------------------------||-------------------------------||-------------------------------||-------------------------------||-0-1-2-3-4-5-6-7-8-9-10-11-12--|

Thats just one octave, starting on E, there is much more of it. Here it is playeddifferently.

|----------------------------||----------------------------||----------------------------||---------------------0-1-2--||-----------0-1-2-3-4--------||-0-1-2-3-4------------------|

By now, you should fully understand the chromatic scale.

11.3 - Applying The Major Scale And Triads.In this section I'm going to give you examples of the major scale, by TAB-ing it out inall the keys for you, and then examples of triads starting on strings 6, 5, 4 and 3.Here are your major scales:

Ab (Ab Bb C Db Eb F G Ab):|-----------------------------4--||-------------------------6-8----||-------------------5-6-8--------||-------------5-6-8--------------||-------4-6-8--------------------||-4-6-8--------------------------|

A (A B C# D E F# G# A):|-----------------------------5--||-------------------------7-9----||-------------------6-7-9--------||-------------6-7-9--------------||-------5-7-9--------------------||-5-7-9--------------------------|

Bb (Bb C D Eb F G A Bb):|----------------------------------6--||-----------------------------8-10----||----------------------7-8-10---------||---------------7-8-10----------------|

|--------6-8-10-----------------------||-6-8-10------------------------------|

B (B C# D# E F# G# A# B):|----------------------------------7--||-----------------------------9-11----||----------------------8-9-11---------||---------------8-9-11----------------||--------7-9-11-----------------------||-7-9-11------------------------------|

C (C D E F G A B C):|---------------------------------------8--|

|---------------------------------10-12----||-------------------------9-10-12----------|


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|-----------------9-10-12------------------||---------8-10-12--------------------------||-8-10-12----------------------------------|

Db (Db Eb F Gb Ab Bb C Db):|-----------------------------------------9--||-----------------------------------11-13----||--------------------------10-11-13----------||-----------------10-11-13-------------------||---------9-11-13----------------------------||-9-11-13------------------------------------|

D (D E F# G A B C# D):|-------------------------------------------10--||-------------------------------------12-14-----||----------------------------11-12-14-----------||-------------------11-12-14--------------------||----------10-12-14-----------------------------||-10-12-14--------------------------------------|

Eb (Eb F G Ab Bb C D Eb):|-------------------------------------------11--||-------------------------------------13-15-----||----------------------------12-13-15-----------||-------------------12-13-15--------------------||----------11-13-15-----------------------------||-11-13-15--------------------------------------|

E (E F# G# A B C# D# E):|-----------------------------0--||-------------------------2-4----||-------------------1-2-4--------|

|-------------1-2-4--------------||-------0-2-4--------------------||-0-2-4--------------------------|

F (F G A Bb C D E F):|-----------------------------1--||-------------------------3-5----||-------------------2-3-5--------||-------------2-3-5--------------||-------1-3-5--------------------||-1-3-5--------------------------|

Gb (Gb Ab Bb Cb Db Eb F Gb):

|-----------------------------2--||-------------------------4-6----||-------------------3-4-6--------||-------------3-4-6--------------||-------2-4-6--------------------||-2-4-6--------------------------|

G (G A B C D E F# G):|-----------------------------3--||-------------------------5-7----||-------------------4-5-7--------||-------------4-5-7--------------||-------3-5-7--------------------|

|-3-5-7--------------------------|


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Triads:

Major

R = RootT = Major ThirdF = Perfect Fifth

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|---|---|---|---|D|-|---|-F-|---|---|---|A|-|---|---|---|-T-|---|E|-|---|---|---|---|-R-|

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|-F-|---|---|---|D|-|---|---|---|-T-|---|A|-|---|---|---|---|-R-|E|-|---|---|---|---|---|

e|-|---|---|---|---|---|B|-|---|---|-F-|---|---|G|-|---|---|---|-T-|---|D|-|---|---|---|---|-R-|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

e|-|---|---|-F-|---|---|B|-|---|---|---|---|-T-|G|-|---|---|---|---|-R-|

D|-|---|---|---|---|---|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

Minor:

R = RootT = Minor ThirdF = Perfect Fifth

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|---|---|---|---|

D|-|---|-F-|---|---|---|A|-|---|---|-T-|---|---|E|-|---|---|---|---|-R-|

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|-F-|---|---|---|D|-|---|---|-T-|---|---|A|-|---|---|---|---|-R-|E|-|---|---|---|---|---|

e|-|---|---|---|---|---|B|-|---|---|-F-|---|---|

G|-|---|---|-T-|---|---|D|-|---|---|---|---|-R-|


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A|-|---|---|---|---|---|E|-|---|---|---|---|---|

e|-|---|---|-F-|---|---|B|-|---|---|---|-T-|---|G|-|---|---|---|---|-R-|D|-|---|---|---|---|---|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

Augmented:

R = RootT = Major ThirdF = Augmented Fifth

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|---|---|---|---|

D|-|---|---|-F-|---|---|A|-|---|---|---|-T-|---|E|-|---|---|---|---|-R-|

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|---|-F-|---|---|D|-|---|---|---|-T-|---|A|-|---|---|---|---|-R-|E|-|---|---|---|---|---|

e|-|---|---|---|---|---|B|-|---|---|---|-F-|---|

G|-|---|---|---|-T-|---|D|-|---|---|---|---|-R-|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

e|-|---|---|---|-F-|---|B|-|---|---|---|---|-T-|G|-|---|---|---|---|-R-|D|-|---|---|---|---|---|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

Diminished:

R = RootT = Minor ThirdF = Diminished Fifth

e|-|---|---|---|---|---|B|-|---|---|---|---|---|G|-|---|---|---|---|---|D|-|-F-|---|---|---|---|A|-|---|---|-T-|---|---|E|-|---|---|---|---|-R-|

e|-|---|---|---|---|---|

B|-|---|---|---|---|---|G|-|-F-|---|---|---|---|


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D|-|---|---|-T-|---|---|A|-|---|---|---|---|-R-|E|-|---|---|---|---|---|

e|-|---|---|---|---|---|B|-|---|-F-|---|---|---|G|-|---|---|-T-|---|---|D|-|---|---|---|---|-R-|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

e|-|---|-F-|---|---|---|B|-|---|---|---|-T-|---|G|-|---|---|---|---|-R-|D|-|---|---|---|---|---|A|-|---|---|---|---|---|E|-|---|---|---|---|---|

So theres you basic triads, and combining those major scales and triads, I'll make youa nice mini solo!

~~ ~~~~~~~~ ~ ~ ~|-----7-10--10-7------8-|-(8)--8------------8---------|-------8-10-----------||---8------------8h10---|--------10-----------10------|-8--10------10-8s6--5-||-9---------------------|-----------10-9-7-------10-9-|----------------------||-----------------------|-----------------------------|----------------------||-----------------------|-----------------------------|----------------------||-----------------------|-----------------------------|----------------------|

~ ~~~~~|---8-7-5---8-7---8-7-|---8-7-10b12----||-6-------6-----6-----|-6--------------||---------------------|----------------||---------------------|----------------||---------------------|----------------||---------------------|----------------|

|-10-8-7-10-8-7----------------------------------------------||---------------10-8----10-8---------------------------------||--------------------10------10-9-7----9-7-------------------||-----------------------------------10-----10-9-7----9-7-----||-------------------------------------------------10-----10--||------------------------------------------------------------|

|-----------------------------------------------7-8-10-8----||------------------------------------------8-10-------------||-----------------------------------7-9-10------------------||----------------------------7-9-10-------------------------||-8-7----8-7----------7-8-10--------------------------------|

|-----10-----10-8-7-8---------------------------------------|


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Thats built completely off the C major scale and triads, in the key of C. You can evenrepeat it!

11.4 - Applying Natural Minor, Harmonic Minor And Melodic Minor Scales.This one will be broken down into three sections. One for Natural Minor, one forharmonic minor and one for melodic minor. And then I'll give you another mini solo!

Natural Minor.First off, I'll give you a box pattern. I'm not a huge fan of these but they are good forbeginners.

R = Rooto = other note (2, b3, 4, 5, b6, b7)

e|-|-R-|---|-O-|-O-|---|B|-|-O-|-O-|---|-O-|---|G|-|-O-|---|-O-|---|---|D|-|-O-|---|-R-|---|-O-|A|-|-O-|---|-O-|-O-|---|

E|-|-R-|---|-O-|-O-|---|

From that you can find minor scales.

Em|-----------------------------0-2-3--||-----------------------0-1-3--------||-------------------0-2--------------||-------------0-2-4------------------||-------0-2-3------------------------||-0-2-3------------------------------|Am|-----------------------------5-7-8--|

|-----------------------5-6-8--------||-------------------5-7--------------||-------------5-7-9------------------||-------5-7-8------------------------||-5-7-8------------------------------|

etc. Just follow the box pattern.

Harmonic Minor.I'll just do the same thing. Box pattern and tabs.

e|-|-R-|---|-O-|-O-|---|B|-|-O-|-O-|---|---|-O-|G|-|-O-|---|-O-|---|---|D|-|---|-O-|-R-|---|-O-|A|-|-O-|---|-O-|-O-|---|E|-|-R-|---|-O-|-O-|---|

E Harmonic Minor|-----------------------------0-2-3--||-----------------------0-1-4--------||-------------------0-2--------------||-------------1-2-4------------------||-------0-2-3------------------------||-0-2-3------------------------------|

A Harmonic minor

|-----------------------------5-7-8--||-----------------------5-6-9--------|


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|-------------------5-7--------------||-------------6-7-9------------------||-------5-7-8------------------------||-5-7-8------------------------------|

Melodic Minor:

e|-|-R-|---|-O-|-O-|---|B|-|-O-|---|-O-|---|-O-|G|-|-O-|---|-O-|---|---|D|-|---|-O-|-R-|---|-O-|A|-|-O-|---|-O-|---|-O-|E|-|-R-|---|-O-|-O-|---|

E Melodic Minor|-----------------------------0-2-3--||-----------------------0-2-4--------||-------------------0-2--------------||-------------1-2-4------------------|

|-------0-2-4------------------------||-0-2-3------------------------------|

A Melodic minor|-----------------------------5-7-8--||-----------------------5-7-9--------||-------------------5-7--------------||-------------6-7-9------------------||-------5-7-9------------------------||-5-7-8------------------------------|

Now for the mini solo.

4/4||--12h13p12--------------------------------12h13-16h17p16h17p16h17p|||o----------15p13p12-----------------12h13-------------------------|||--------------------14p13-----13h14-------------------------------|||--------------------------15--------------------------------------|||o-----------------------------------------------------------------|||------------------------------------------------------------------|

|-16p13p12-------------12h13-16h17p16h17p16h17p16-13p12------------------------------||----------13p12h13h15----------------------------------15p13------------------------||-------------------------------------------------------------

14p13------------------||-------------------------------------------------------------------14p12----14p12---||-------------------------------------------------------------------------14---------||------------------------------------------------------------------------------------|

|---------------------------------------------12--17-16-17-13-17-16-----|||----------------------------13-------13-0-15--------------------------o|||-----------------------------------------------------------------------|

||-12h14p10h12h14p10h12h14h15----


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14h15-----------------------------------|||----------------------------------------------------------------------o|||-----------------------------------------------------------------------||

11.5 - Applying 'the Modes Of The Major Scale'.Check out "Modes With Mode Dictionary", under scales for all the modes tabbed out. Inthis section I'll give you the box patterns for the modes so you can move themaround.

Ionian.e|-|-R-|---|-O-|---|-O-|B|-|---|---|-O-|---|-O-|G|-|---|-O-|-O-|---|-O-|D|-|---|-O-|-R-|---|-O-|A|-|-O-|---|-O-|---|-O-|E|-|-R-|---|-O-|---|-O-|

Dorian.e|-|-R-|---|-O-|-O-|---|B|-|-O-|---|-O-|-O-|---|G|-|-O-|---|-O-|---|---|D|-|-O-|---|-R-|---|-O-|A|-|-O-|---|-O-|---|-O-|E|-|-R-|---|-O-|-O-|---|

Phrygian.e|-|-R-|-O-|---|-O-|---|B|-|-O-|-O-|---|-O-|---|G|-|-O-|---|-O-|---|---|

D|-|-O-|---|-R-|-O-|---|A|-|-O-|---|-O-|-O-|---|E|-|-R-|-O-|---|-O-|---|

Lydian.e|-|-R-|---|-O-|---|-O-|B|-|---|---|-O-|---|-O-|G|-|---|-O-|---|-O-|-O-|D|-|---|-O-|-R-|---|-O-|A|-|---|-O-|-O-|---|-O-|E|-|-R-|---|-O-|---|-O-|

Mixolydian.e|-|-R-|---|-O-|---|-O-|B|-|---|---|-O-|-O-|---|G|-|---|-O-|-O-|---|-O-|D|-|-O-|---|-R-|---|-O-|A|-|-O-|---|-O-|---|-O-|E|-|-R-|---|-O-|---|-O-|

Aeolian.e|-|-R-|---|-O-|-O-|---|B|-|-O-|-O-|---|-O-|---|G|-|-O-|---|-O-|---|---|D|-|-O-|---|-R-|---|-O-|A|-|-O-|---|-O-|-O-|---|E|-|-R-|---|-O-|-O-|---|
http://www.ultimate-guitar.com/lessons/scales/modes_with_mode_dictionary.htmlhttp://www.ultimate-guitar.com/lessons/scales/modes_with_mode_dictionary.html


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Locrian.e|-|-R-|-O-|---|-O-|---|B|-|---|-O-|---|-O-|---|G|-|-O-|---|-O-|-O-|---|D|-|-O-|---|-R-|-O-|---|A|-|-O-|-O-|---|-O-|---|E|-|-R-|-O-|---|-O-|---|

No mini solo for this one, I'd just be repeating myself.

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