Guitar Ots 3

Guitar On the Spot III
Commanding the Code
Jesse Hunt
Copyright 2006 On the Spot Publishing
All Rights Reserved
Commanding the Code
Jesse Hunt
Copyright 2006 On the Spot Publishing
All Rights Reserved
Introduction
Dear Friend,
In Guitar On the Spot II - Expanding the Code you learned how to use the notes in
between the code (the expanded code) to add more flavor to your songs and solos.
In Guitar On the Spot III - Commanding the Code youll discover how to use six new
codes within the expanded code to set different moods for your songs.
When you learn these new codes it becomes way easier to mix keys and keep track of
where your song is going.
In Part I youll discover the difference between happy keys and sad keys and
how to add variety to your songs by mixing these two types of keys.
In Part 2 youll set different moods for your songs by using the different codes.
Then youll learn how to change moods in the middle of your song by switching
between codes. After you discover these new codes, youll start to notice how
musicians use them in their songs and this will make it easier for you to figure
out how to play those songs.
Part 3 summarizes this book in one diagram called Jesses Detailed BIG Picture.
If you have any questions or comments please e-mail me at:

guitaronthespot@hotmail.com. Id love to hear from you.
Have fun!
Jesse
3 GUITAR ON THE SPOT III - COMMANDING THE CODE

Commanding the Code
CONTENTS
Introduction - Note from Jesse 2
PART 1
ADD VARIETY TO YOUR SONGS
BY MIXING KEYS
Chapter 1 -
How to Switch Keys in the Middle of Your Song 6
Chapter 2 -
Happy Keys and Sad Keys 9
Chapter 3 -
How to Mix Chords From Different Keys 19
Chapter 4 -
How to Make Up Solos in Sad Keys 26
Chapter 5 -
How Make Up Songs, Solos and Riffs Using
Jesses BIG Picture for Sad Keys 40
Chapter 6 - Sad Key Variations 50
PART 2
DISCOVER THE SEVEN MOODS
Chapter 7 - Explore Seven Different Worlds of Songs 54

Chapter 8 - The Seven Moods 62
Chapter 9 - Change Moods in the Middle of Your Songs 83
Chapter 10 - How to Make Up Solos In Different Moods 88
Chapter 11 - How to Make Up Songs, Solos and Riffs in Different Moods
Using Jesses Seven BIG Pictures for Moods 106
PART 3
JESSES DETAILED BIG PICTURE
Chapter 12 - Jesses Detailed BIG Picture 123

Part 1
Add Variety To Your

Songs By Mixing Keys
CHAPTER
How to Switch Keys in the
1 Middle of Your Song
SWITCHING KEYS
There are two common ways to switch keys in

the middle of a song:
1. Switch keys abruptly.
2. Use a common chord shared between two keys to link them.
Switching keys abruptly is easy. Just start playing in a different key and then
decide if you like the change.
Using a chord to link to two keys creates a smooth transition.
In the next example, youll use the chords G Major and E minor to switch
between the keys of D and C. You can see how these two chords are in both
keys in Jesses Easy Chord Chart (from Guitar On the Spot - Understanding
the Code) on the next page.

SWITCH KEYS BY USING COMMON CHORDS
Use G Major and E minor to link the keys of D and C

in a song. See Jesses Easy Chord Chart below.
The next page shows you an example that switches keys using these chords.
Jesses Easy Chord Chart

The Seven Chords in Five Major Keys
I IIm IIIm IV V VIm VIIo

X01230 X13421 X13421 XX0 1 3 2 023100 134111 1 2 3 1XX
Key of A
2 fr 4 fr 4 fr
A Major B minor C#/DH minor D Major E Major F#/GH minor G#/AH diminished
X32010 XX0 2 3 1 023000 134211 210003 X02310 X1243X
Key of C
C Major D minor E minor F Major G Major A minor B diminished
XX0 1 3 2 023000 134111 210003 X01230 X13421 X1243X
Key of D
2 fr 4 fr
D Major E minor F#/GH minor G Major A Major B minor C#/DH diminished
X12341
023100 134111 134111 X01230 (X 1 3 3 3 X) X13421 XX1 2 4 3
Key of E
4 fr 4 fr
E Major F#/GH minor G#/AH minor A Major B Major C#/DH minor D#/EH diminished
210003 X02310 X13421 X32010 XX0 1 3 2 023000 1 2 3 1XX
Key of G
2 fr
G Major A minor B minor C Major D Major E minor F#/GH diminished
HOW TO SWITCH KEYS IN THE MIDDLE OF YOUR SONG 7

SWITCH KEYS FROM D TO C AND BACK TO D
Heres a chord progression that switches keys from

D to C and then back to D by using common chords
Example 1.1 - Switching Keys
Key
of D I VIm IIIm IV
XX 0 1 3 2 X1 3 4 2 1 134111 210003
2 fr
(V of Key of C)
D Major B minor F#/Gb minor G Major
Key
of C I VIm IV IIIm
X3 2 0 1 0 X0 2 3 1 0 134211 023000
(IIm of Key of D)
C Major A minor F Major E minor
Notice that G Major is Chord IV in the key of D and Chord V in the key of C, so
you can use it to link the two keys.
Notice also that E minor is Chord IIIm in the key of C and Chord II in the key of
D so you can use it to link the two keys also.

CHAPTER
Happy Keys and Sad Keys
2
HAPPY KEYS AND SAD KEYS
In Guitar On the Spot - Understanding the Code, you learned all about the
Major scale and Major keys. In this chapter youll learn about a new type of
key called a minor key that uses a different code, the minor scale.
There are two types of keys:
1. Major keys - Happy keys

2. Minor keys - Sad keys
Look at the two groups of chords below. The first group of chords is in the
key of G Major. The second group of chords is in the key of G minor.
Play the two examples on the next page so you can hear the difference
between Major keys and minor keys.
Chords in the Key of G Major

X12341 X12341
134211 134111 134111 (X 1 3 3 3 X) (X 1 3 3 3 X) X13421 X1243X
3 fr 5 fr 7 fr 3 fr 5 fr 7 fr 9 fr
Chords in the Key of G Minor

Im IIo HIII IVm Vm HVI HVII
X12341 X12341
134111 1 2 3 1XX 134211 X13421 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X)
G minor A diminished A#/BH Major C minor D minor D#/EH Major F Major
HAPPY KEYS AND SAD KEYS 9

MAJOR AND MINOR KEYS
Play these two examples to hear the difference

between Major keys and minor keys
Major keys have a bright and happy sound.
Example 2.1 - Key of G Major
I IV V I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
3 fr 3 fr 5 fr 3 fr
G Major C Major D Major G Major
Minor keys have a dark and sad sound.
Example 2.2 - Key of G Minor
Im IVm Vm Im
134111 X1 3 4 2 1 X1 3 4 2 1 134111
3 fr 3 fr 5 fr 3 fr
G minor C minor D minor G minor

THE MINOR SCALE
To figure out the notes in a minor key, you use

the minor scale
Heres the minor scale step pattern:
Minor Scale Step Pattern

Whole Half Whole Whole Half Whole Whole
Step Step Step Step Step Step Step
1 2 3 4 5 6 7 1
To make the minor scale easy to remember, you can compare it to the
Major scale. When you do this, youll notice that its the Major scale with
a H3, H6 and H7.
Minor Scale Compared to Major Scale

1 2 H3 3 4 5 H6 6 H7 7 1
Heres the minor scale rewritten in terms of the Major scale:
Minor Scale
1 2 H3 4 5 H6 H7 1
Just remember: 1, 2, H3, 4, 5, H6, H7. The example on the next page shows you how
to use the minor scale to figure out the notes in the key of G minor.

Example 2.3
FIGURE OUT NOTES IN THE KEY OF G MINOR
1 PICK a Minor Key

Pick a minor key for your song by choosing any note to start the minor scale
on. For example pick the key of G minor.
Start on
Note G 1
A# C# D# F# G# A# C# D# F# G#
A BH B C DH D EH E F GH G AH A BH B C DH D EH E F GH G AH
2 FIGURE OUT the Notes in that Minor Key

Circle the rest of the notes in that key by following the minor scale pattern of
whole and half steps. Circle the rest of the notes in the key of G minor.
Minor Scale
1 2 H3 4 5 H6 H7 1
A# C# D# F# G# A# C# D# F# G#
Notes in the Key of G Minor
1 2 H3 4 5 H6 H7 1
A# D#
G A BH C D EH F G

THE CHORDS IN ANY MINOR KEY
To figure out the chords in any minor key, you

use the minor scale chord pattern
Heres the chord pattern:
The Minor Scale Chord Pattern
Notes 1 2 H3 4 5 H6 H7 1
Minor Scale Im IIo HIII IVm Vm HVI HVII Im

Chord Pattern
minor dim Major minor minor Major Major

chord chord chord chord chord chord chord
The chords based off of notes 1, 4 and 5, are minor chords (Im, IVm, and Vm).
The chords based off of notes H3, H6 and H7 are Major chords (HIII, HVI, and HVII).
The chord based off of note 2 is a diminished chord (IIo).
Ill explain how to determine which chords are which types in the next chapter. The
diagram below shows you how to use this chord pattern to figure out the chords in
the key of G minor.
Minor scale 1 2 H3 4 5 H6 H7 1
G# A# C# D# F#
Notes in G minor G AH A BH B C DH D EH E F GH G
Minor Chord Pattern Im IIo HIII IVm Vm HVI HVII Im
minor dim Major minor minor Major Major

chord chord chord chord chord chord chord
A# D#
Chords in G minor Gm Ao BH Cm Dm EH F

THE CHORDS IN THE KEY OF G MINOR
You can create chord diagrams and play these chords by using the steps
you learned in Chapter 8 of Guitar On the Spot - Understanding the Code.
Here they are again:
Remember the 3 steps:
1. Choose a Chord Shape

2. Anchor the Chord Shape on the Root Note
3. Play the Chord
Heres a chord diagram for each chord:

X12341 X12341
134111 1 2 3 1XX 134211 X13421 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X)

RELATIVE KEYS
Every Major key has a relative minor key that

shares the same notes and chords
The relative minor key of G Major is E minor. Notice below that the key of G
Major has the same notes and chords as the key of E minor, but in a different
order. E minor is Chord VIm in the key of G Major and G Major is Chord HIII in
the key of E minor.
This is because the minor scale looks exactly the same as the Major scale if
you started on note 6. See the next page
Key of G Major
Major scale 1 2 3 4 5 6 7 1
G# A# C# D# F#
Notes in G Major G AH A BH B C DH D EH E F GH G
Major Scale
Chord Pattern I IIm IIIm IV V VIm VIIo I
F#o
Chords in G Major G Am Bm C D Em GH G
=
Key of E Minor
F# G# A# C# D#
Notes in E minor E F GH G AH A BH B C DH D EH E
Minor Scale
Chord Pattern Im IIo HIII IVm Vm HVI HVII Im
o
F#
Chords in E minor Em GH G Am Bm C D Em

RELATIVE KEYS
The minor scale looks exactly the same as

the Major scale from note 6 to note 6.
Major Scale Note 6 to 6 = Minor Scale
6 7 1 2 3 4 5 6
Major scale note 6 to note 6

=
1 2 H3 4 5 H6 H7 1
Minor scale
This also means that the minor scale chord pattern is exactly the same as the
Major scale chord pattern from Chord VIm to Chord VIm.
Minor Scale Chord Pattern
Notes 6 7 1 2 3 4 5 6
Chord VIm VIIo I IIm IIIm IV V VIm
Pattern
Major Scale Chord Pattern
Chord VIm to Chord VIm
=
Notes 1 2 H3 4 5 H6 H7 1
Chord Im IIo HIII IVm Vm HVI HVII Im
Pattern
Minor Scale Chord Pattern

RELATIVE KEYS
The only way to tell which key your song is in

is by knowing which chord or note your song
centers around

210003 X02310 XXX3 2 1 X32010 XX0 1 3 2 023000 1 3 4 2XX
G Major A minor B minor C Major D Major E minor F#/GH dim
If your song centers around Chord I, or note 1, its in the Major key also known
as the Ionian mode.
Song Centered Around Chord I - Its in G Major
I V IV I
210003 XX 0 1 3 2 X3 2 0 1 0 210003
G Major D Major C Major G Major
If your song centers around Chord VIm, or note 6, its in the minor key. Also
known as the Aeolian mode.
Song Centered Around Chord VIm - Its in E Minor

VIm V IV VIm
023000 XX 0 1 3 2 X3 2 0 1 0 023000
E minor D Major C Major E minor

SAME SONG, DIFFERENT ROMAN NUMERALS
You can write the second chord progression on the previous page in two ways:
1. Using the roman numerals from the key of G Major, where E

minor is Chord VIm. Just like the second chord progression on
the previous page.
Song Centered Around Chord VIm - E Minor

VIm V IV VIm
023000 XX 0 1 3 2 X3 2 0 1 0 023000
or
2. Using the roman numerals from the key of E minor, where
E minor is Chord Im.
Same Song Centered Around Chord Im - E Minor
Im HVII HVI Im
023000 XX 0 1 3 2 X3 2 0 1 0 023000
They are the same chords with different roman numerals.
At first, its easier to think of E minor as Chord VIm in the key of G Major, but
eventually its more beneficial to think of E minor as Chord Im in the key of E
minor so you can mix chords from different keys. Youll learn how to do that in
the next chapter.

CHAPTER
How to Mix Chords From
3 Different Keys
CHOOSE FROM MORE THAN SEVEN CHORDS
When you get bored of choosing from only seven

chords in one key, you can start mixing chords
from different keys
Many times youll start playing a song written by someone and youll notice that
the chords in it are not in the same key, so youll wonder as I did, Where are
these other chords coming from, how did this songwriter know to choose these
chords?
What youll probably find out is that they are mixing the chords from a Major key,
with the chords from a minor key.
For example, theyll mix the chords in the key of G Major with the chords in the
key of G minor. These keys are related because G is the main note in each key.
Read on to see some examples.
HOW TO MIX CHORDS FROM DIFFERENT KEYS 19

COMPARE THE KEY OF G MAJOR AND G MINOR
Take a look at the chords in G Major and G minor

X12341 X12341
134211 134111 134111 (X 1 3 3 3 X) (X 1 3 3 3 X) X13421 X1243X

X12341 X12341
134111 1 2 3 1XX 134211 X13421 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X)

MIX THE KEYS OF G MAJOR AND G MINOR
Heres a chord progression that mixes chords from

the Key of G Major and the Key of G minor
Example I-HIII-HVII-IV
I HIII HVII V
Example 9.1 - I-HIII-HVII-IV in the Key of G
I HIII HVII IV
X1 2 3 4 1 X1 2 3 4 1
134211 134211 (X 1 3 3 3 X) (X 1 3 3 3 X)
3 fr 6 fr 8 fr 3 fr
G Major A#/BH Major F Major C Major

Heres another example that mixes chords from the

Key of G Major and the Key of G minor
Example Im-IVm-HVII-VIIo
Im IVm HVII VIIo
Example 9.2 - Im-IVm-HVII-VIIo in the Key of G
Im IVm HVII VIIo

X1 2 3 4 1
134111 X1 3 4 2 1 (X 1 3 3 3 X) X1 2 4 3X
3 fr 3 fr 8 fr 9 fr
G minor C minor F Major F#/GH diminished

Heres another example
Example I-IV-IVm-I
I IV IVm I
Example 9.3 - I-IV-IVm-I in the Key of G
I IV IVm I
X1 2 3 4 1
134211 (X 1 3 3 3 X) X1 3 4 2 1 134211
3 fr 3 fr 3 fr 3 fr
G Major C Major C minor G Major

Example I-HVI-IV-HVI
I HVI IV HVI
Example 9.4 - I-HVI-IV-HVI in the Key of G
I HVI IV HVI
X1 2 3 4 1 X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) (X 1 3 3 3 X)
3 fr 6 fr 3 fr 6 fr
G Major D#/EH Major C Major D#/EH Major

Example Im-HVII-IV-Im
Im HVII IV Im
Example 9.5 - Im-HVII-IV-Im in the Key of G
Im HVII IV Im
X1 2 3 4 1 X1 2 3 4 1
134111 (X 1 3 3 3 X) (X 1 3 3 3 X) 134111
3 fr 8 fr 3 fr 3 fr
G minor F Major C Major G minor
Mixing chords from Major and minor keys opens up many more options for your
song writing. I hope these five examples have given you a solid introduction to
mixing keys.

CHAPTER
How to Make Up Solos
4 in Sad Keys
SOLO USING THE MINOR SCALE
You can use the minor scale to solo over

songs in sad sounding minor keys
Minor Scale
1 2 H3 4 5 H6 H7 1
The minor scale is 1, 2, H3, 4, 5, H6, H7.
The next page shows you the 5 minor scale patterns on the guitar neck.
This chapter shows you some examples using the minor scale and some
soloing tips.

THE 5 MINOR SCALE PATTERNS
The 5 Minor Scale Patterns
1 2 H3 4 5 H6 H7 1
5 H6 H7 1 2 H3 4 5 H6
2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1
1 2 H3
5 H6 H7
2 H3 4
H7 1
4 5 H6
1 2 H3
Pattern 1
2 H3 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
Pattern 2
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
H7 1
4 5 H6
Pattern 3
5 H6 H7
2 H3 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
Pattern 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
H7 1
Pattern 5
HOW TO MAKE UP SOLOS IN SAD KEYS 27

SOLO USING THE MINOR PENTATONIC SCALE
You can also use a stripped down version of the

minor scale called the minor pentatonic scale
Minor Pentatonic Scale
1 H3 4 H6 H7 1
The minor pentatonic scale is 1, H3, 4, H6, H7. Its the same as the minor scale
without notes 2 and 5. Its easier to start using the minor pentatonic scale first.
The next page shows you the 5 minor pentatonic scale patterns on the guitar neck
followed by an example of how to make up a solo using the minor scale.

THE 5 MINOR PENTATONIC SCALE PATTERNS
The 5 Minor Pentatonic Scale Patterns
1 H3 4 5 H7 1
5 H7 1 H3 4 5
H3 4 5 H7 1 H3
H7 1 H3 4 5 H7
4 5 H7 1 H3 4
1 H3 4 5 H7 1
1 H3
5 H7
H3 4
H7 1
4 5
1 H3
Pattern 1
H3 4
H7 1
4 5
1 H3
5 H7
H3 4
Pattern 2
4 5
1 H3
5 H7
H3 4
H7 1
4 5
Pattern 3
5 H7
H3 4
H7 1
4 5
1 H3
5 H7
Pattern 4
H7 1
4 5
1 H3
5 H7
H3 4
H7 1
Pattern 5

Example 4.1
MAKE UP SOLOS IN MINOR KEYS
1 CREATE
a Back-Up
Song in Any
Create a Back-Up Song
Minor Key! Im HVII HVI Im

023000 XX 0 1 3 2 X3 2 0 1 0 023000
Create a back-up
song and record it.
This example is in
the key of E minor.
2 ANCHOR
Scale Pattern
a
on the Root Note

Anchor Note 1 on the Root Note
Minor Scale
of that Key! Pattern 1
1 2 H3
5 H6 H7
Anchor note 1 of a 2 H3 4
minor scale pattern on H7 1
4 5 H6
the root note of that 1 2 H3
key.
Anchor
Note 1 on E
Anchor note 1 of 3rd 5th 7th 9th 12th
Pattern 1 of the minor 1 2 H3
5 H6 H7
scale on note E H3 4
because the back-up H7 1 2
4 5 H6
song is in the key of E E 2 H3
minor. 1
E minor scale
3 MAKE UP
a Solo! Solo Up and Down the Neck
3rd 5th 7th 9th 12th
Once youve anchored Pattern 1E 1 2 H3 4 5 H6 H7 1 2 H3
1, you can branch off into all the 2B 5 H6 H7 1 2 H3 4 5 H6 H7

3G H3 4 5 H6 H7 1 2 H3 4
other patterns. Remember the 4D H7 1 2 H3 4 5 H6 H7 1
notes in each pattern overlap. 5A 4 5 H6 H7 1 2 H3 4 5 H6
6E E 2 H3 4 5 H6 H7 E 2 H3
You can play any notes in this
1
scale over your back-up song E minor scale
and they will sound good.

Example 4.2
MAKE UP SOLOS THAT FOLLOW YOUR SONG
Soloing Tip:
To make your solo follow the song:
Emphasize the numbered note of the chord thats

currently being played
As the chords change, you change the numbered note that you emphasize.
Example 4.2 - Emphasize the Number of Each Chord
Im HVII HVI Im
023000 XX 0 1 3 2 X3 2 0 1 0 023000
When
Chord Im
is being
played,
emphasize E minor D Major C Major E minor
note 1
E 4 H7 H3 5 1 1 1 H7 1 1
H6 H6
1
2 5 1 4 2 1 1
H3 H6 H7 H3 H7 H6
3rd 3rd 3rd 3rd 3rd
2
E minor Emphasize Emphasize Emphasize Emphasize

scale Note 1 Note H7 Note H6 Note 1

THE 7 MINOR KEY CHORD FORMULAS
Soloing Tip:
To make up solos with more than one note at a time:

Emphasize the numbered notes in the chord formula of
the chord thats currently being played
Just like Major keys, each one of the seven chords in a minor key: Im, IIo, HIII, IVm,
Vm, HVI and HVII, has a chord formula that tells you which notes are in each chord.
Here are the seven minor key chord formulas:
The 7 Minor Key Chord Formulas

Chord Chord Formula
Chord Im 1 H3 5
Chord IIo 2 4 H6
Chord HIII H3 5 H7
Chord IVm 4 H6 1
Chord Vm 5 H7 2
Chord HVI H6 1 H3
Chord HVII H7 2 4
If youre soloing when Chord Vm is being played, emphasize notes 5, H7 and 2 of

the minor scale.
You can play more than one note at a time in your solos by playing notes 5 and
H7 at the same time or notes 5 and 2 at the same time, or all three notes, 5, H7
and 2 at the same time.

Example 4.3
SOLO WITH MORE THAN ONE NOTE AT A TIME
When you solo, emphasize the numbered notes in

each chord formula
As the chords change, you change the numbered notes that you emphasize.
When Chord Im is being played in the example below, emphasize notes 1, H3

and 5, when Chord HVII is being played emphasize notes H7, 2 and 4, and when
Chord HVI is being played, emphasize notes H6, 1 and H3.
This makes it really easy to make up great solos without ever knowing
the names of the notes youre playing!
Example 4.3 - Emphasize the Numbers in Each Chord
Im HVII HVI Im
023000 XX 0 1 3 2 X3 2 0 1 0 023000
When
Chord Im
is being
played,
emphasize E minor D Major C Major E minor
notes 1, H3, 5
E 4 H7 H3 5 1 1 H3 5 1 4 H7 1 H3 1 1 H3 5 1
H6 H6
1
2 5 1 4 2 5 1 2 4 2 1 5 1
H3 H6 H7 H3 H3 H3 H7 H3 H6 H3 H3 H3
3rd 3rd 3rd 3rd 3rd
2 2
E minor Emphasize Emphasize Emphasize Emphasize

scale Notes 1, H3, 5 Notes H7, 2, 4 Notes H6, 1, H3 Notes 1, H3, 5

CREATING THE MINOR KEY CHORD FORMULAS
To create the minor key chord formulas, you just

skip every other number
You use the same leap frog pattern that you used in Chapter 13 of Guitar On the
Spot - Understanding the Code when you figured out the Major key chord formulas.
The table below shows you all of the minor key chord formulas. This is called
harmonizing the minor scale.
The Seven Minor Key Chord Formulas
Chord Leap Frog Every Other Number Chord Formula
Chord Im 1 2 H3 4 5 1 H3 5
Chord IIo 1 2 H3 4 5 H6 2 4 H6
Chord HIII 1 2 H3 4 5 H6 H7 H3 5 H7
Chord IVm 1 2 H3 4 5 H6 H7 1 4 H6 1
Chord Vm 1 2 H3 4 5 H6 H7 1 2 5 H7 2
Chord HVI 1 2 H3 4 5 H6 H7 1 2 H3 H6 1 H3
Chord HVII 1 2 H3 4 5 H6 H7 1 2 H3 4 H7 2 4
The next part of this chapter shows you why Chords Im, IVm and Vm are
minor chords, Chords HIII, HVI and HVII are Major chords and why Chord IIo is a
diminished chord.

THE SPACING DETERMINES THE CHORD TYPE
The spacing between the notes determines the

type of chord
You can see the similarities and differences between the chords in a minor key
by lining them up and looking at the spacing between their notes. The spaces are
actually frets.
The Seven Minor Key Chord Formulas
Chord Note Spacing Chord Formula
Chord Im 1 2 H3 4 5 1 H3 5
Chord IIo 2 H3 4 5 H6 2 4 H6
Chord HIII H3 4 5 H6 H7 H3 5 H7
Chord IVm 4 5 H6 H7 1 4 H6 1
Chord Vm 5 H6 H7 1 2 5 H7 2
Chord HVI H6 H7 1 2 H3 H6 1 H3
Chord HVII H7 1 2 H3 4 H7 2 4

THE MINOR CHORDS
Chords Im, IVm and Vm are minor chords because

their note spacing follows the definition of a minor
chord
Notice that all of the notes line up in the figure below.
Minor Chords - Im, IVm and Vm
Chord Im
1 H3 5 1 2 H3 4 5
Chord IVm
4 H6 1 4 5 H6 H7 1
Chord Vm
5 H7 2 5 H6 H7 1 2
same same
spacing spacing
minor
Definition
1 H3 5 1 2 H3 4 5

THE MAJOR CHORDS
Chords HIII, HVI and HVII are Major chords because

their note spacing follows the definition of a Major
chord
Major Chords - HIII, HVI and HVII
Chord HIII
H3 5 H7 H3 4 5 H6 H7
Chord HVI
H6 1 H3 H6 H7 1 2 H3
Chord HVII
H7 2 4 H7 1 2 H3 4
same same
spacing spacing
Major
definition
1 3 5 1 2 3 4 5

THE DIMINISHED CHORD
Chord IIo is a diminished chord because its note

spacing follows the definition of a diminished chord
Diminished Chord - IIo
Chord IIo
2 4 H6 2 H3 4 5 H6
same same
spacing spacing
diminished
definition
1 H3 H5 1 2 H3 4 H5
JESSES BIG PICTURE FOR MINOR KEYS
You can create a minor key version of Jesses

BIG Picture
Using the 5 minor scale patterns and the minor key chord formulas you can
create a minor key version of Jesses BIG Picture, just like you did for Major
keys in Chapter 10 of Guitar On the Spot - Understanding the Code. This way
you can see how the chords are hidden within the scale. See the next page.
The next chapter shows you an example of how to make up songs, solos and
riffs in the key of B minor using this minor key version of Jesses BIG Picture.

Jesses BIG Picture
Minor Key Version
Minor Scale
1 2 H3 4 5 H6 H7 1
5 H6 H7 1 2 H3 4 5 H6
2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5

1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
5 H6 H7 H7 1 1 2 H3 2 H3 4 4 5 H6
2 H3 4 4 5 H6 5 H6 H7 H7 1 1 2 H3
H7 1 1 2 H3 2 H3 4 4 5 H6 5 H6 H7
4 5 H6 5 H6 H7 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
1 1 H3 2 H3 X 5 1 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
X 2 X 2 4 3 4 H6 1 H6 X
1 H6 X 4 2 4 2 4 3 4 H6
Chord II o 3 2 4 1 4 H6 2 H6 X 4 2
X 3 2 1 2 4 3 4 H6 2 H6
2 4 H6 4 4 H6 2 H6 X 2 2 1 2 4
2 2 1 2 4 X 4 H6 X H6 X
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord H III
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
X 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H6 2 H6 3 1 X 1 4 4
X 1 4 4 1 4 H6 X H6 X H6
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X 2 X 2 4 5 1 5 H7 X H7
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord H VI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 1 H3
3 1 23 1 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 1 H3 X H3
X 1 H3 XX H3 34 H6 1 H6 X 1
(
(
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

CHAPTER
How to Make Up Songs,
5 Solos and Riffs Using Jesses
BIG Picture for Sad Keys
JESSES BIG PICTURES FOR MINOR (SAD) KEYS
You can make up songs, solos and riffs in minor

(sad) keys using the minor key version of Jesses
BIG Picture
Read on to see an example.

Jesses BIG Picture
Minor Key Version
Minor Scale
1 2 H3 4 5 H6 H7 1
5 H6 H7 1 2 H3 4 5 H6
2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1

1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
5 H6 H7 H7 1 1 2 H3 2 H3 4 4 5 H6
2 H3 4 4 5 H6 5 H6 H7 H7 1 1 2 H3
H7 1 1 2 H3 2 H3 4 4 5 H6 5 H6 H7
4 5 H6 5 H6 H7 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
1 1 H3 2 H3 X 5 1 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
X 2 X 2 4 3 4 H6 1 H6 X
1 H6 X 4 2 4 2 4 3 4 H6
Chord IIo 3 2 4 1 4 H6 2 H6 X 4 2
X 3 2 1 2 4 3 4 H6 2 H6
2 4 H6 4 4 H6 2 H6 X 2 2 1 2 4
2 2 1 2 4 X 4 H6 X H6 X
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord H III
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
X 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H6 2 H6 3 1 X 1 4 4
X 1 4 4 1 4 H6 X H6 X H6
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X 2 X 2 4 5 1 5 H7 X H7
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord H VI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 1 H3
3 1 23 1 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 1 H3 X H3
X 1 H3 XX H3 34 H6 1 H6 X 1
(
(
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 41

MAKE UP SONGS USING JESSES BIG PICTURE
To make up songs, solos and riffs using Jesses

BIG Picture for minor keys just follow 3 steps:
1 PICK a
Minor Key!
2 SELECT
Chords From
that Key!
3 PLAY Your
Song, Solo
or Riff!
The next page shows you an example of how to make up songs, solos and riffs
in the key of B minor using Jesses BIG Picture for minor keys.

Example 5.1
MAKE UP SONGS, SOLOS AND RIFFS
1 PICK a Minor Key!
Pick any minor key for your song and anchor note 1 of the minor scale. Then
pick a pattern of the minor scale to use to make up your song. There is no back-
up song to play along with because you are creating the song.

Minor Scale
1 2 H3 4 5 H6 H7 1
Pick the key 5 H6 H7 1 2 H3 4 5 H6
of B minor 2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1
Anchor 3rd 5th 7th 9th 12th

note 1 of the 1E
2B
minor scale 3G
on the note B. 4D
5A
F# G# A# C# D# F#
6E F GH
G AH
A BH
B C DH
D EH
E F GH
G
1

1E 4 5 H6 H7 1 2 H3 4 5 H6
2B 1 2 H3 4 5 H6 H7 1 2 H3
3G H6 H7 1 2 H3 4 5 H6 H7
4D H3 4 5 H6 H7 1 2 H3 4
5A H7 1 2 H3 4 5 H6 H7 1
6E 4 5 H6 H7 B 2 H3 4 5 H6
B minor scale
Pick a 1E
2B
4
B
5
2
H6
H3
H7
4
B
5 H6
2 H3
H7
4
B
5
2
H6
H3
pattern of the 3G H6 H7 B 2 H3 4 5 H6 H7
4D H3 4 5 H6 H7 B 2 H3 4
minor scale. 5A H7 B 2 H3 4 5 H6 H7 B
Pick Pattern 1 6E 4 5 H6 H7 B 2 H3 4 5 H6
of the B minor
Pattern 1
scale.
7th 9th 2
1 2 H3
5 H6 H7 B 4 H7 H3 5 1
=
7th
2 H3 4
Rotate the H7 1
H6
pattern from 4 5 H6 2 5 1 4 2
9th
B 2 H3
horizontal to H3 H6 H7 H3
vertical. B minor Scale

Pattern 1 B minor Scale
Pattern 1

Example 5.1 - continued
2 SELECT Select Chords

Chords from Select
Minor Chord Im Chord HVI Chord HVII Chord HVII
key
that Key! chords 1st Chord 2nd Chord 3rd Chord 4th Chord
Select chords from the minor key version of Jesses BIG Picture. Then look up
each chord diagram in the pattern that you picked in Step 1. In this example, I picked
Pattern 1.
Jesses BIG Picture
Minor Key Version
1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
5 H6 H7 H7 1 1 2 H3 2 H3 4 4 5 H6
2 H3 4 4 5 H6 5 H6 H7 H7 1 1 2 H3
H7 1 1 2 H3 2 H3 4 4 5 H6 5 H6 H7
4 5 H6 5 H6 H7 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
1 1 H3 2 H3 X 5 1 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 3 1
X 2 X 2 4 3 4 H6 1 H6 X
1 H6 X 4 2 4 2 4 3 4 H6
Chord IIo 3 2 4 1 4 H6 2 H6 X 4 2
X 3 2 1 2 4 3 4 H6 2 H6
2 4 H6 4 4 H6 2 H6 X 2 2 1 2 4
2 2 1 2 4 X 4 H6 X H6 X
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord HIII
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
X 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H6 2 H6 3 1 X 1 4 4
X 1 3 4 1 4 H6 X H6 X H6
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X 2 X 2 3 5 1 5 H7 X H7
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord HVI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 1 H3
3 1 23 1 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 1 H3 X H3
X 1 H3 XX H3 34 H6 1 H6 X 1
(
(
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord HVII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

3 PLAY Your
Song, Solo
or Riff!
Play your song, solo or riff by looking up each chord that
you selected in the minor key version of Jesses BIG
Picture and playing the numbered notes in each chord
all at once or individually. Or mix them with the other
notes of the minor scale to create interesting riffs.
Make Up A Song
Make up a chord progression by strumming each chord.
Make Up A Solo
Use this chord progression as your back-up song and make up a solo by playing the
B minor scale and emphasizing the numbered notes in each chord formula.
Make Up A Riff
Make up riffs by alternating between strumming each chord, playing the notes in
each chord individually, and playing the notes in the B minor scale. Get the rhythm
going first by strumming the chords. Then slowly start to mix in the individual notes.
Play Your Song

Play the
Numbered Chord Im Chord HVI Chord HVII Chord HVII
Notes in 1 H3 5 H6 1 H3 H7 2 4 H7 2 4
Each Chord
1 3 4 1 1 1 X 4 3 1 2 1 XX 1 2 4 3 XX 1 2 4 3
2 2 2
B 4 H7 H3 5 1 1 H3 5 1 1 H3 1 4 H7 4 H7
7th 7th 7th 7th 7th
H6 H6
2 5 1 4 2 5 1 1 2 4 2 2 4 2
9th 9th 9th 9th 9th
H3 H6 H7 H3 H3 H3 H 3 H6 H3 H7 H7
B Minor 1st Chord 2nd Chord 3rd Chord 4th Chord

Scale
Pattern 1

FIGURE OUT THE NOTE AND CHORD NAMES
You can figure out the names of the notes and

chords in your song
Previous Example
Chord Im Chord HVI Chord HVII Chord HVII

1 H3 5 H6 1 H3 H7 2 4 H7 2 4
1 3 4 1 1 1 X 4 3 1 2 1 XX 1 2 4 3 XX 1 2 4 3
2 2 2
B 4 H7 H3 5 1 1 H3 5 1 1 H3 1 4 H7 4 H7
7th
H6 H6
2 5 1 4 2 5 1 1 2 4 2 2 4 2
9th
H3 H6 H7 H 3 H3 H3 H 3 H6 H3 H7 H7

Scale
Pattern 1
See the next page.

Example 5.2
FIGURE OUT THE CHORD NAMES
1 PICK a Key for Your Song

In the previous example you picked the key of B minor, so start the minor scale on B.
Pick the Key

of B minor
A# C# D# F# G# A# C# D# F# G#
2 FIGURE OUT the Notes in that Key

Circle the rest of the notes in that key by following the minor scale pattern of
whole and half steps. Circle the rest of the notes in the key of B minor. These
are the root notes for the chords in this key.
Minor Scale
1 2 H3 4 5 H6 H7 1
A# C# D# F# G# A# C# D# F# G#
3 FIGURE OUT the Chords in that Key
Use the minor chord pattern to figure out the chords in the key of B minor.
Chords in the Key of B minor
C# D# F# G# A#
Notes in B minor B C DH D EH E F GH G AH A BH B
Minor Chord Pattern Im IIo HIII IVm Vm HVI HVII Im

C#o F#
Chords in B minor Bm DH D Em GH m G A Bm

4 LOOK at the Roman Numeral of

Chord in Your Song
Each
Previous Example
Chord Im Chord HVI Chord HVII Chord HVII

1 H3 5 H6 1 H3 H7 2 4 H7 2 4
1 3 4 1 1 1 X 4 3 1 2 1 XX 1 2 4 3 XX 1 2 4 3
2 2 2
B 4 H7 H3 5 1 1 H3 5 1 1 H3 1 4 H7 4 H7
7th
H6 H6
2 5 1 4 2 5 1 1 2 4 2 2 4 2
9th
H3 H6 H7 H 3 H3 H3 H 3 H6 H3 H7 H7

Scale
Pattern 1
5 LOOK UP the Name of Each Chord
Chords in the Key of B minor
Im IIo HIII IVm Vm HVI HVII Im

C#o F#
Bm DH D Em GH m G A Bm

6 WRITE in the Name of Each Chord
Previous Example with Chord Names

Chord Im Chord H VI Chord H VII Chord H VII
1 H3 5 H6 1 H3 H7 2 4 H7 2 4
1 3 4 1 1 1 X 4 3 1 2 1 XX 1 2 4 3 XX 1 2 4 3
2 2
1 H3 5 1 1 H3 1 4 H7 4 H7
2 H6
B 4 H 7H 3 5 1 5 1 1 2 4 2 2 4 2
7th
H6 H3 H3 H3H6 H3 H7 H7
2 5 1 4 2
9th
H3H6 H 7H 3
B minor G Major A Major A Major
Scale
Pattern 1

CHAPTER
Sad Key Variations
6
VARIATIONS OF THE MINOR SCALE
You can also make up solos in minor keys using

two variations of the minor scale called the
harmonic and melodic minor scales
All minor scales have a H3. For comparison, heres the main minor scale youve
been using known as the natural minor scale.
Natural Minor Scale
1 2 H3 4 5 H6 H7 1
Natural Minor Scale
The harmonic minor scale is the same as the minor scale, but note H7 is now 7. It
is raised a half step (one fret). This makes the scale really want to resolve to note 1.
Harmonic Minor Scale
1 2 H3 4 5 H6 7 1
Harmonic Minor Scale
The melodic minor scale is the same as the harmonic minor scale, but note H6 is now
6. It is raised a half step (one fret). This makes the transition between note 6 and
note 7 smoother. Traditionally, youre supposed to play note 6 when youre playing up
the scale and note H6 when youre playing down the scale, but you dont have to.
Melodic Minor Scale
1 2 H3 4 5 6 7 1
Melodic Minor Scale

THE 5 HARMONIC MINOR SCALE PATTERNS
The 5 Harmonic Minor Scale Patterns
7 1 2 H3 4 5 H6 7 1
5 H6 7 1 2 H3 4 5 H6
2 H3 4 5 H6 7 1 2 H3
7 1 2 H3 4 5 H6 7
4 5 H6 7 1 2 H3 4
7 1 2 H3 4 5 H6 7 1
7 1 2 H3
5 H6
2 H3 4
7 1
4 5 H6
1 2 H3
Pattern 1
2 H3 4
7 1
4 5 H6
1 2 H3
5 H6 7
2 H3 4
Pattern 2
4 5 H6
1 2 H3
5 H6 7
2 H3 4
7 1
4 5 H6
Pattern 3
5 H6 7
2 H3 4
7 1
4 5 H6
1 2 H3
5 H6 7
Pattern 4
7 1
4 5 H6
1 2 H3
5 H6 7
2 H3 4
7 1
Pattern 5
SAD KEY VARIATIONS 51

THE 5 MELODIC MINOR SCALE PATTERNS
The 5 Melodic Minor Scale Patterns
7 1 2 H3 4 5 6 7 1
5 6 7 1 2 H3 4 5
2 H3 4 5 6 7 1 2 H3
6 7 1 2 H3 4 5 6 7
4 5 6 7 1 2 H3 4
7 1 2 H3 4 5 6 7 1
7 1 2 H3
5 6
2 H3 4
6 7 1
4 5
1 2 H3
Pattern 1
2 H3 4
6 7 1
H3 4 5
7 1 2
5 6
2 H3 4
Pattern 2
H3 4 5
7 1 2
5 6
2 H3 4
6 7 1
H3 4 5
Pattern 3
5 6
2 H3 4
6 7 1
H3 4 5
7 1 2
5 6
Pattern 4
6 7 1
H3 4 5
7 1 2
5 6
2 H3 4
6 7 1
Pattern 5

Part 2
Discover The
Seven Moods
CHAPTER
Explore Seven Different
7 Worlds of Songs
THE SEVEN MODES AND THEIR CHORDS
In Chapter 11 of Guitar On the Spot II - Expanding

the Code you created different moods by centering
your songs around different chords
When you did this in each example you were playing in one of the following seven
modes: (you use different modes to create different moods)
G Ionian
A Dorian
B Phrygian
C Lydian
D Mixolydian
E Aeolian
F#/GH Locrian
These seven modes all have the same notes and chords as the key of G Major. The
only difference is which note or chord the song centers around.
To make it easier to hear the difference between the modes, this chapter compares
some examples using the different modes of G. Each of these modes has a different
set of notes and chords. You already compared G Ionian mode (G Major mode) and
G Aeolian mode (G minor mode) in Chapter 3.
Here are all the modes of G and the keys that they belong to:
G Ionian has the same notes and chords as the Key of G Major
G Dorian has the same notes and chords as the Key of F Major
G Phrygian has the same notes and chords as the Key of D#/EH Major
G Lydian has the same notes and chords as the Key of D Major
G Mixolydian has the same notes and chords as the Key of C Major
G Aeolian has the same notes and chords as the Key of A#/BH Major
G Locrian has the same notes and chords as the Key of G#/AH Major
The secret to using modes is to re-number the chord youre centering around as
Chord I and re-number the rest of the chords from there. This makes it easy to
switch between modes in the middle of a song. Youll do that in a later chapter.
Right now just play these examples to hear the difference between the seven
modes. All of these examples are variations of a I-IV-V-I chord progression.

G IONIAN MODE (G MAJOR MODE)
Here are the chords in G Ionian mode (G Major mode)
Chords in G Ionian Mode (G Major Mode)

X12341 X12341
134211 134111 134111 (X 1 3 3 3 X) (X 1 3 3 3 X) X13421 X1243X
Heres an example in G Ionian mode (G Major mode).
Example 7.1 - G Ionian Mode (G Major Mode)
I IV V I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
3 fr 3 fr 5 fr 3 fr
G Major C Major D Major G Major
EXPLORE SEVEN DIFFERENT WORLDS OF SONGS 55

G DORIAN MODE
Here are the chords in G Dorian mode
Chords in G Dorian Mode

Im IIm HIII IV Vm VIo HVII
X12341 X12341
134111 134111 134211 (X 1 3 3 3 X) X13421 X1243X (X 1 3 3 3 X)
G minor A minor A#/BH Major C Major D minor E diminished F Major
Heres an example in G Dorian mode.
Example 7.2 - G Dorian Mode
Im IV Vm Im
X1 2 3 4 1
134111 (X 1 3 3 3 X) X1 3 4 2 1 134111
3 fr 3 fr 5 fr 3 fr
G minor C Major D minor G minor

G PHRYGIAN MODE
Here are the chords in G Phrygian mode
Chords in G Phrygian Mode

Im HII HIII IVm Vo HVI HVIIm
X12341
134111 134211 134211 X13421 X1243X (X 1 3 3 3 X) 134111
1 fr
3 fr 5 fr 6 fr 3 fr 5 fr 8 fr
G minor G#/AH Major A#/BH Major C minor D diminished D#/EH Major F minor
Heres an example in G Phrygian mode.
Example 7.3 - G Phrygian Mode
Im IVm Vo Im
134111 X1 3 4 2 1 X1 2 4 3X 134111
3 fr 3 fr 5 fr 3 fr
G minor C minor D diminished G minor

G LYDIAN MODE
Here are the chords in G Lydian mode
Chords in G Lydian Mode

I II IIIm #IVo V VIm VIIm
X12341
134211 134211 134111 X1243X (X 1 3 3 3 X) X13421 X13421
G Major A Major B minor C#/DH diminished D Major E minor F#/GH minor
Heres an example in G Lydian mode.
Example 7.4 - G Lydian Mode
I #IVo V I
X1 2 3 4 1
134211 X1 2 4 3X (X 1 3 3 3 X) 134211
3 fr 4 fr 5 fr 3 fr
G Major C#/DH diminished D Major G Major

G MIXOLYDIAN MODE
Here are the chords in G Mixolydian mode
Chords in G Mixolydian Mode

I IIm IIIo IV Vm VIm HVII
X12341 X12341
134211 134111 1 2 3 1XX (X 1 3 3 3 X) X13421 X13421 (X 1 3 3 3 X)
G Major A minor B diminished C Major D minor E minor F Major
Heres an example in G Mixolydian mode.
Example 7.5 - G Mixolydian Mode
I IV Vm I
X1 2 3 4 1
134211 (X 1 3 3 3 X) X1 3 4 2 1 134211
3 fr 3 fr 5 fr 3 fr
G Major C Major D minor G Major

G AEOLIAN MODE (G MINOR MODE)
Here are the chords in G Aeolian mode (G Minor

mode)
Chords in G Aeolian Mode (G Minor Mode)

X12341 X12341
134111 1 2 3 1XX 134211 X13421 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X)
Heres an example in G Aeolian mode (G Minor mode).
Example 7.6 - G Aeolian Mode (G Minor Mode)
Im IVm Vm Im
134111 X1 3 4 2 1 X1 3 4 2 1 134111
3 fr 3 fr 5 fr 3 fr
G minor C minor D minor G minor

G LOCRIAN MODE
Here are the chords in G Locrian mode
Chords in G Locrian Mode

Io HII HIIIm IVm HV HVI HVIIm
X12341 X12341
1 2 3 1XX 134211 134111 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X) 134111
1 fr
G diminished G#/AH Major A#/BH minor C minor C#/DH Major D#/EH Major F minor
Heres an example in G Locrian mode.
Example 7.7 - G Locrian Mode
Io IVm HV Io
X1 2 3 4 1
1 2 3 1 XX X1 3 4 2 1 (X 1 3 3 3 X) 134211
3 fr 3 fr 8 fr 3 fr
G diminished C minor C#/DH Major G Major

CHAPTER
The Seven Moods
8
THE SEVEN MOODS
The seven modes (moods) you learned about in the

previous chapter each have a scale
You can think of these seven modal scales in two ways:
1. As part of the Major scale each starting on a different note.

2. As an entirely new stand alone scale
1. Here they are as part of the Major scale:
Ionian Scale (Major Scale)
1 2 3 4 5 6 7 1
Dorian Scale
2 3 4 5 6 7 1 2

THE SEVEN MODES
Phrygian Scale
3 4 5 6 7 1 2 3
Lydian Scale
4 5 6 7 1 2 3 4
Mixolydian Scale
5 6 7 1 2 3 4 5
THE SEVEN MOODS 63

THE SEVEN MODES
Aeolian Scale (Minor Scale)
6 7 1 2 3 4 5 6
Locrian Scale
7 1 2 3 4 5 6 7

THE SEVEN MODES
2. Here they are as entirely new stand alone scales:

I created these stand alone scales by re-numbering the notes. Read on to see an
example of how I did this.
1 2 3 4 5 6 7 1
=
1 2 3 4 5 6 7 1
Ionian scale
Dorian Scale
2 3 4 5 6 7 1 2
=
1 2 H3 4 5 6 H7 1
Dorian scale
THE SEVEN MOODS 65

THE SEVEN MODES
Phrygian Scale
1 2 3 4 5 6 7 1
=
1 H2 H3 4 5 H6 H7 1
Phrygian scale
Lydian Scale
4 5 6 7 1 2 3 4
=
1 2 3 #4 5 6 7 1
Lydian scale

THE SEVEN MODES
Mixolydian Scale
1 2 3 4 5 6 7 1
=
1 2 3 4 5 6 H7 1
Mixolydian scale
1 2 3 4 5 6 7 1
=
1 2 H3 4 5 H6 H7 1
Aeolian scale
THE SEVEN MOODS 67

THE SEVEN MODES
Locrian Scale
1 2 3 4 5 6 7 1
=
1 H2 H3 4 H5 H6 H7 1
Locrian scale
At first, its easier to think of each modal scale as part of the Major scale, but
eventually its more beneficial to think of each modal scale as a stand alone
scale so you can switch and mix modes in the middle of a song. Youll learn
how to do that in a later chapter.

THE DORIAN MODE
To write each modal scale as an entirely new

stand alone scale as I just did, you compare it to
the Major scale and then re-number the notes
For example, heres the Dorian scale step pattern:
Dorian Scale Step Pattern
Whole Half Whole Whole Whole Half Whole

2 3 4 5 6 7 1 2
To make the Dorian scale easy to remember, you can compare it to the
Major scale, then re-number it in terms of the Major scale. When you do
this, youll notice that its the Major scale with a H3 and a H7.
Dorian Scale Compared to Major Scale

1 H2 2 H3 3 4 H5 5 H6 6 H7 7 1
Heres the Dorian scale rewritten in terms of the Major scale:
Dorian Scale
1 2 H3 4 5 6 H7 1
Dorian scale
You do the same thing to create all the stand alone modal scales on the
previous pages. Then you can use them to figure out the notes in any mode.
The next page shows you how to figure out the notes in any mode.
THE SEVEN MOODS 69

Example 8.1
FIGURE OUT THE NOTES IN G DORIAN MODE
1 PICK a Mode
Pick a mode for your song. For example pick G Dorian mode. Start the
Dorian scale on the note G.
Start on
Note G 1
A# C# D# F# G# A# C# D# F# G#
2 FIGURE OUT the Notes in that Mode

Circle the rest of the notes in the mode by following the scale pattern of whole
and half steps. Circle the rest of the notes in the G Dorian mode.
Dorian Scale
1 2 H3 4 5 6 H7 1
A# C# D# F# G# A# C# D# F# G#
The Notes in G Dorian Mode
1 2 H3 4 5 6 H7 1
A#
G A BH C D E F G

THE MODAL CHORD PATTERNS
To figure out the chords in any mode you just use

the chord pattern for that mode
The chord patterns for each mode come from the Major scale chord pattern.
You simply re-number the chords.
Notes 1 2 3 4 5 6 7 1
Major Scale I IIm IIIm IV V VIm VIIo I
Chord Pattern
The next few pages show you the chord patterns for each mode.
THE SEVEN MOODS 71

IONIAN SCALE CHORD PATTERN
Ionian Scale Chord Pattern
Notes 1 2 3 4 5 6 7 1
Chord I IIm IIIm IV V VIm VIIo I
Pattern
Chord I to Chord I
=
Notes 1 2 3 4 5 6 7 1
Chord I IIm IIIm IV V VIm VIIo I
Pattern
Ionian Scale Chord Pattern

DORIAN SCALE CHORD PATTERN
Dorian Scale Chord Pattern
Notes 2 3 4 5 6 7 1 2
Chord IIm IIIm IV V VIm VIIo I IIm
Pattern
Chord IIm to Chord IIm
=
Notes 1 2 H3 4 5 6 H7 1
Chord Im IIm HIII IV Vm VIo HVII Im
Pattern
Dorian Scale Chord Pattern
THE SEVEN MOODS 73

PHRYGIAN SCALE CHORD PATTERN
Phrygian Scale Chord Pattern
Notes 3 4 5 6 7 1 2 3
Chord IIIm IV V VIm VIIo I IIm IIIm
Pattern
Chord IIIm to Chord IIIm
=
Notes 1 H2 H3 4 5 H6 H7 1
Chord Im HII HIII IVm Vo HVI HVIIm Im
Pattern
Phrygian Scale Chord Pattern

LYDIAN SCALE CHORD PATTERN
Lydian Scale Chord Pattern
Notes 4 5 6 7 1 2 3 4
Chord IV V VIm VIIo I IIm IIIm IV
Pattern
Chord IV to Chord IV
=
Notes 1 2 3 #4 5 6 7 1
Chord I II IIIm #IVo V VIm VIIm I
Pattern
Lydian Scale Chord Pattern
THE SEVEN MOODS 75

MIXOLYDIAN SCALE CHORD PATTERN
Mixolydian Scale Chord Pattern
Notes 5 6 7 1 2 3 4 5
Chord V VIm VIIo I IIm IIIm IV V
Pattern
Chord V to Chord V
=
Notes 1 2 3 4 5 6 H7 1
Chord I IIm IIIo IV Vm VIm HVII I
Pattern
Mixolydian Scale Chord Pattern

AEOLIAN SCALE CHORD PATTERN
Aeolian Scale Chord Pattern
Notes 6 7 1 2 3 4 5 6
Chord VIm VIIo I IIm IIIm IV V VIm
Pattern
Chord VIm to Chord VIm
=
Notes 1 2 H3 4 5 H6 H7 1
Chord Im IIo HIII IVm Vm HVI HVII Im
Pattern
Aeolian Scale Chord Pattern
THE SEVEN MOODS 77

LOCRIAN SCALE CHORD PATTERN
Locrian Scale Chord Pattern
Notes 7 1 2 3 4 5 6 7
Chord VIIo I IIm IIIm IV V VIm VIIo
Pattern
Chord VIIo to Chord VIIo
=
Notes 1 H2 H3 4 H5 H6 H7 1
Chord Io HII HIIIm IVm HV HVI HVIIm Io
Pattern
Locrian Scale Chord Pattern

SUMMARY - ALL OF THE MODAL SCALES
Summary - Here are all of the modal scales:
1 2 3 4 5 6 7 1
Ionian scale
1 2 H3 4 5 6 H7 1
Dorian scale
1 H2 H3 4 5 H6 H7 1
Phrygian scale
1 2 3 #4 5 6 7 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale
1 2 H3 4 5 H6 H7 1
Aeolian scale
1 H2 H3 4 H5 H6 H7 1
Locrian scale
THE SEVEN MOODS 79

MINOR AND MAJOR FAMILIES
Modal scales with a H3 belong to the minor family
Minor Family
1 2 H3 4 5 6 H7 1
Dorian scale
1 H2 H3 4 5 H6 H7 1
Phrygian scale
1 2 H3 4 5 H6 H7 1
Aeolian scale
Modal scales with a normal 3 belong to the Major

family
Major Family
1 2 3 4 5 6 7 1
Ionian scale
1 2 3 #4 5 6 7 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale

FIGURE OUT CHORDS IN G DORIAN MODE
Figure out the chords in G Dorian mode using

the Dorian chord pattern
The Chords in G Dorian Mode
Dorian scale 1 2 H3 4 5 6 H7 1
G# A# C# D# F#
Notes in G Dorian G AH A BH B C DH D EH E F GH G
Dorian Chord Pattern Im IIm HIII IV Vm VIo HVII Im

o
A# D#
Chords in G Dorian Gm Am BH C Dm EH F Gm
The Chords in G Dorian Mode
Im IIm HIII IV Vm VIo HVII Im

A# D#o
Gm Am BH C Dm EH F Gm
THE SEVEN MOODS 81

FIGURE OUT CHORDS IN G DORIAN MODE
You can create chord diagrams for the chords in

G Dorian mode
Just follow the steps you learned in Chapter 8 of Guitar On the Spot - Understanding
the Code. Here they are again:
1. Choose a Chord Shape

2. Anchor the Chord Shape on the Root Note
3. Play the Chord

X12341 X12341
134111 134111 134211 (X 1 3 3 3 X) X13421 X1243X (X 1 3 3 3 X)
The next chapter shows you the seven modes of G and how to switch
between them.

CHAPTER
Change Moods in the
9 Middle of Your Songs
THE MODES OF G
You can change moods in the middle of your song

by switching modes
Well look at some examples that switch between the different modes of G. Here
are the seven modes of G again.
Chords in G Ionian Mode (G Major Mode)

X12341 X12341
134211 134111 134111 (X 1 3 3 3 X) (X 1 3 3 3 X) X13421 X1243X

X12341 X12341
134111 134111 134211 (X 1 3 3 3 X) X13421 X1243X (X 1 3 3 3 X)
CHANGE MOODS IN THE MIDDLE OF YOUR SONGS 83

THE MODES OF G
Chords in G Phrygian Mode

Im HII HIII IVm Vo HVI HVIIm
X12341
134111 134211 134211 X13421 X1243X (X 1 3 3 3 X) 134111
1 fr
G minor G#/AH Major A#/BH Major C minor D diminished D#/EH Major F minor
Chords in G Lydian Mode

I II IIIm #IVo V VIm VIIm
X12341
134211 134211 134111 X1243X (X 1 3 3 3 X) X13421 X13421
G Major A Major B minor C#/DH diminished D Major E minor F#/GH minor
Chords in G Mixolydian Mode

I IIm IIIo IV Vm VIm HVII
X12341 X12341
134211 134111 1 2 3 1XX (X 1 3 3 3 X) X13421 X13421 (X 1 3 3 3 X)
G Major A minor B diminished C Major D minor E minor F Major

THE MODES OF G
Chords in G Aeolian Mode (G Minor Mode)

X12341 X12341
134111 1 2 3 1XX 134211 X13421 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X)
Chords in G Locrian Mode

Io HII HIIIm IVm HV HVI HVIIm
X12341 X12341
1 2 3 1XX 134211 134111 X13421 (X 1 3 3 3 X) (X 1 3 3 3 X) 134111
1 fr
G diminished G#/AH Major A#/BH minor C minor C#/DH Major D#/EH Major F minor

CHANGE FROM DORIAN TO IONIAN MODE
Heres an example with the verse in Dorian mode

and the chorus in Ionian mode
Dorian and Ionian modes
Verse:
Dorian Im IV Vm IV
mode
Chorus:
Ionian I V VI IV
mode
Example 9.1 - G Dorian and G Ionian modes
Im IV Vm IV
X1 2 3 4 1 X1 2 3 4 1
134111 (X 1 3 3 3 X) X1 3 4 2 1 (X 1 3 3 3 X)
Verse: 3 fr 3 fr 5 fr 3 fr
G Dorian
mode
G minor C Major D minor C Major
I V VIm IV
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) X1 3 4 2 1 (X 1 3 3 3 X)
Chorus: 3 fr 5 fr 7 fr 3 fr
G Ionian
mode
G Major D Major E minor C Major
Notice that the verse is dark because Dorian mode is in the minor family and the
chorus is brighter because Ionian mode is in the Major family.
To make the transition between modes smooth, you can use a transition chord
that is in both modes. Notice that the last chord in the verse and the chorus is
Chord IV, which is in both Ionian and Dorian mode. This is the transition chord.

CHANGE FROM MIXOLYDIAN TO AEOLIAN MODE
Heres an example with the verse in Mixolydian

mode and the chorus in Aeolian mode
Mixolydian and Aeolian modes
Verse:
Mixolydian I IV HVII I
mode
Chorus:
Aeolian Im HVI IVm HVII
mode
Example 9.2 - G Mixolydian and G Aeolian modes
I IV HVII I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
Verse: 3 fr 3 fr 8 fr 3 fr
G Mixolydian
mode
G Major C Major F Major G Major
Im HVI IVm HVII

X1 2 3 4 1 X1 2 3 4 1
134111 (X 1 3 3 3 X) X1 3 4 2 1 (X 1 3 3 3 X)
Chorus: 3 fr 6 fr 3 fr 8 fr
G Aeolian
mode
G minor D#/EH Major C minor F Major
Notice in this example that when you switch from the verse to the chorus there is
no transition chord. You just abruptly switch from Chord I, G Major, to Chord Im,
G minor. However, when you switch from the chorus back to the verse you use
Chord HVII, F Major, which is a transition chord because its in both Mixolydian
and Aeolian mode.

CHAPTER
How to Make Up Solos In
10 Different Moods
THE MODAL SCALES
You use the modal scales to solo over songs in

each mode (mood)
This chapter shows you the 5 scale patterns for each mode and an example of
how to make up solos in G Mixolydian mode.
1 2 3 4 5 6 7 1
Ionian scale
1 2 H3 4 5 6 H7 1
Dorian scale
1 H2 H3 4 5 H6 H7 1
Phrygian scale
1 2 3 #4 5 6 7 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale
1 2 H3 4 5 H6 H7 1
Aeolian scale
1 H2 H3 4 H5 H6 H7 1
Locrian scale
THE 5 IONIAN SCALE PATTERNS
The Ionian Scale
7 1 2 3 4 5 6 7 1
5 6 7 1 2 3 4 5
2 3 4 5 6 7 1 2
6 7 1 2 3 4 5 6
3 4 5 6 7 1 2 3 4
7 1 2 3 4 5 6 7 1
7 1 2
5 6
2 3 4
6 7 1
3 4 5
7 1 2
Pattern 1
2 3 4
6 7 1
3 4 5
7 1 2
5 6
2 3 4
Pattern 2
3 4 5
7 1 2
5 6
2 3 4
6 7 1
3 4 5
Pattern 3
5 6
2 3 4
6 7 1
3 4 5
7 1 2
5 6
Pattern 4
6 7 1
3 4 5
7 1 2
5 6
2 3 4
6 7 1
Pattern 5
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 89

THE 5 DORIAN SCALE PATTERNS
The Dorian Scale
1 2 H3 4 5 6 H7 1
5 6 H7 1 2 H3 4 5
2 H3 4 5 6 H7 1 2 H3
6 H7 1 2 H3 4 5 6 H7
4 5 6 H7 1 2 H3 4
1 2 H3 4 5 6 H7 1
1 2 H3
5 6 H7
2 H3 4
6 H7 1
4 5
1 2 H3
Pattern 1
2 H3 4
6 H7 1
4 5
1 2 H3
5 6 H7
2 H3 4
Pattern 2
4 5
1 2 H3
5 6 H7
2 H3 4
6 H7 1
4 5
Pattern 3
5 6 H7
2 H3 4
6 H7 1
4 5
1 2 H3
5 6 H7
Pattern 4
6 H7 1
4 5
1 2 H3
5 6 H7
2 H3 4
6 H7 1
Pattern 5

THE 5 PHRYGIAN SCALE PATTERNS
The Phrygian Scale
1 H2 H3 4 5 H6 H7 1 H2
5 H6 H7 1 H2 H3 4 5 H6
H3 4 5 H6 H7 1 H2 H3
H7 1 H2 H3 4 5 H6 H7
4 5 H6 H7 1 H2 H3 4
1 H2 H3 4 5 H6 H7 1 H2
1 H2 H3
5 H6 H7
H3 4
H7 1 H2
4 5 H6
1 H2 H3
Pattern 1
H3 4
H7 1 H2
4 5 H6
1 H2 H3
5 H6 H7
H3 4
Pattern 2
4 5 H6
1 H2 H3
5 H6 H7
H3 4
H7 1 H2
4 5 H6
Pattern 3
5 H6 H7
H3 4
H7 1 H2
4 5 H6
1 H2 H3
5 H6 H7
Pattern 4
H7 1 H2
4 5 H6
1 H2 H3
5 H6 H7
H3 4
H7 1 H2
Pattern 5

THE 5 LYDIAN SCALE PATTERNS
The Lydian Scale
7 1 2 3 #4 5 6 7 1
#4 5 6 7 1 2 3 #4 5
2 3 #4 5 6 7 1 2
6 7 1 2 3 #4 5 6
3 #4 5 6 7 1 2 3
7 1 2 3 #4 5 6 7 1
7 1 2
#4 5 6
2 3
6 7 1
3 #4 5
7 1 2
Pattern 1
2 3
6 7 1
3 #4 5
7 1 2
#4 5 6
2 3
Pattern 2
3 #4 5
7 1 2
#4 5 6
2 3
6 7 1
3 #4 5
Pattern 3
#4 5 6
2 3
6 7 1
3 #4 5
7 1 2
#4 5 6
Pattern 4
6 7 1
3 #4 5
7 1 2
#4 5 6
2 3
6 7 1
Pattern 5

THE 5 MIXOLYDIAN SCALE PATTERNS
The Mixolydian Scale
1 2 3 4 5 6 H7 1
5 6 H7 1 2 3 4 5
2 3 4 5 6 H7 1 2
6 H7 1 2 3 4 5 6 H7
3 4 5 6 H7 1 2 3 4
1 2 3 4 5 6 H7 1
1 2
5 6 H7
2 3 4
6 H7 1
3 4 5
1 2
Pattern 1
2 3 4
6 H7 1
3 4 5
1 2
5 6 H7
2 3 4
Pattern 2
3 4 5
1 2
5 6 H7
2 3 4
6 H7 1
3 4 5
Pattern 3
5 6 H7
2 3 4
6 H7 1
3 4 5
1 2
5 6 H7
Pattern 4
6 H7 1
3 4 5
1 2
5 6 H7
2 3 4
6 H7 1
Pattern 5

THE 5 AEOLIAN SCALE PATTERNS
The Aeolian Scale
1 2 H3 4 5 H6 H7 1
5 H6 H7 1 2 H3 4 5 H6
2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1
1 2 H3
5 H6 H7
2 H3 4
H7 1
4 5 H6
1 2 H3
Pattern 1
2 H3 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
Pattern 2
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
H7 1
4 5 H6
Pattern 3
5 H6 H7
2 H3 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
Pattern 4
H7 1
4 5 H6
1 2 H3
5 H6 H7
2 H3 4
H7 1
Pattern 5

THE 5 LOCRIAN SCALE PATTERNS
The Locrian Scale
1 H2 H3 4 H5 H6 H7 1 H2
H6 H7 1 H2 H3 4 H5 H6
H3 4 H5 H6 H7 1 H2 H3
H7 1 H2 H3 4 H5 H6 H7
4 H5 H6 H7 1 H2 H3 4 H5
1 H2 H3 4 H5 H6 H7 1 H2
1 H2 H3
H6 H7
H3 4 H5
H7 1 H2
4 H5 H6
1 H2 H3
Pattern 1
H3 4 H5
H7 1 H2
4 H5 H6
1 H2 H3
H6 H7
H3 4 H5
Pattern 2
4 H5 H6
1 H2 H3
H6 H7
H3 4 H5
H7 1 H2
4 H5 H6
Pattern 3
H6 H7
H3 4 H5
H7 1 H2
4 H5 H6
1 H2 H3
H6 H7
Pattern 4
H7 1 H2
4 H5 H6
1 H2 H3
H6 H7
H3 4 H5
H7 1 H2
Pattern 5

Example 10.1
MAKE UP SOLOS USING MODES
1 CREATE
a Back-Up
Song in Any
Create a Back-Up Song
Mode! I HVII IV I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
Create a back-up 3 fr 8 fr 3 fr 3 fr
song and record it. G Major F Major C Major G Major
This example is in
G Mixolydian mode.
2 ANCHOR a
Scale Pattern
on the Root Note
Mixolydian Scale
of that Mode! Pattern 1
1 2
5 6 H7
Anchor note 1 of a 2 3 4
modal scale pattern 6 H7 1
3 4 5
on the root note of 1 2
that mode. Anchor
Note 1
on G
Anchor note 1 of 3rd 5th 7th 9th 12th
Pattern 1 of the 1
1E 1 2
5
2B 5 6 H7
Mixolydian scale 3G 2 3 4
on note G because 4D 6 H7 1
5A 3 4 5
the back-up song is 6E F F#
G 2
in G Mixolydian. GH
1
G Mixolydian scale
3 MAKE UP
a Solo! Solo Up and Down the Neck
Once youve anchored Pattern 1 6 H7 1 2 3 4 5 6 H7
2 3 4 5 6 H7 1 2 3 4
1, you can branch off into all the 3 1 2 3 4 5 6 H7 1 2
other patterns. Remember the 4 5 6 H7 1 2 3 4 5 6
notes in each pattern overlap. 5 2 3 4 5 6 H7 1 2 3
6 6 H7 G 2 3 4 5 6 H7
You can play any notes in this 1
scale over your back-up song
G Mixolydian scale
and they will sound good.

Example 10.2
MAKE UP SOLOS THAT FOLLOW YOUR SONG
Soloing Tip:
To make your solo follow the song:
Emphasize the numbered note of the chord thats currently being played.
As the chords change, you change the numbered note that you emphasize.
Example 10.2 - Emphasize the Number of Each Chord
I HVII IV I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
When
Chord I 3 fr 8 fr 3 fr 3 fr
is being
played,
emphasize G Major F Major C Major G Major
note 1
3 6 2 3 2 6 3
G 4 H7 5 1 1 5 1 4 H7 1 4 1 1 5 1
3rd 3rd 3rd 3rd 3rd
1 3 3 3
2 5 1 4 6 2 5 1 2 2 4 2 1 4 6 5 1 2
5th 5th 5th 5th 5th
H7 H7
G Mixolydian Emphasize Emphasize Emphasize Emphasize

scale Note 1 Note H7 Note 4 Note 1

THE 7 MIXOLYDIAN MODE CHORD FORMULAS
Soloing Tip:
To make up solos with more than one note at a time:

Emphasize the numbered notes in the chord formula of
the chord thats currently being played
Just like Major and minor keys, each one of the 7 chords in any mode has a chord
formula that tells you which notes are in each chord.
For example, here are the Mixolydian mode chord formulas:
The 7 Mixolydian Mode Chord Formulas

Chord Chord Formula
Chord I 1 3 5
Chord IIm 2 4 6
Chord IIIo 3 5 H7
Chord IV 4 6 1
Chord Vm 5 H7 2
Chord VIm 6 1 3
Chord HVII H7 2 4
If youre soloing when Chord Vm is being played, emphasize notes 5, H7 and 2 of

the Mixolydian scale. You can play more than one note at a time in your solos
by playing notes 5 and H7 at the same time or notes 5 and 2 at the same time,
or all three notes, 5, H7 and 2 at the same time.

Example 10.3
SOLO WITH MORE THAN ONE NOTE AT A TIME
When you solo, emphasize the numbered notes in

each chord formula
As the chords change, you change the numbered notes that you emphasize.
When Chord I is being played in the example below, emphasize notes 1, 3 and
5, when Chord HVII is being played emphasize notes H7, 2 and 4, and when
Chord IV is being played emphasize notes 4, 6 and 1.
This makes it really easy to make up great solos without ever knowing
the names of the notes youre playing!
Example 10.3 - Emphasize the Numbers in Each Chord
I HVII IV I
X1 2 3 4 1 X1 2 3 4 1
134211 (X 1 3 3 3 X) (X 1 3 3 3 X) 134211
When
Chord I 3 fr 8 fr 3 fr 3 fr
is being
played,
emphasize G Major F Major C Major G Major
notes 1, 3, 5
3 6 2 3 2 6 3
G 4 H7 5 1 1 5 1 4 H7 1 4 1 1 5 1
3rd 3rd 3rd 3rd 3rd
1 3 3 3
2 5 1 4 6 2 5 1 2 4 2 1 4 6 5 1
5th 5th 5th 5th 5th
H7 H7
G Mixolydian Emphasize Emphasize Emphasize Emphasize

scale Notes 1, 3, 5 Notes H7, 2, 4 Notes 4, 6, 1 Notes 1, 3, 5

THE MIXOLYDIAN MODE CHORD FORMULAS
To create the chord formulas in any mode, you just

skip every other number
You use the same leap frog pattern that you used when you figured out the Major
and minor key chord formulas.
The table below shows you all of the Mixolydian mode chord formulas. This is
called harmonizing the Mixolydian scale.
The Seven Mixolydian Mode Chord Formulas
Chord Leap Frog Every Other Number Chord Formula
Chord I 1 2 3 4 5 1 3 5
Chord IIm 1 2 3 4 5 6 2 4 6
Chord IIIo 1 2 3 4 5 6 H7 3 5 H7
Chord IV 1 2 3 4 5 6 H7 1 4 6 1
Chord Vm 1 2 3 4 5 6 H7 1 2 5 H7 2
Chord VIm 1 2 3 4 5 6 H7 1 2 3 6 1 3
Chord HVII 1 2 3 4 5 6 H7 1 2 3 4 H7 2 4
The next part of this chapter shows you why Chords I, IV and HVII are Major chords,
Chords IIm, Vm, and VIm are minor chords and why Chord IIIo is a diminished
chord.

THE SPACING DETERMINES THE CHORD TYPE
The spacing between the notes determines the

type of chord
You can see the similarities and differences between the chords in the
Mixolydian mode by lining them up and looking at the spacing between their
notes. The spaces are actually frets.
The Seven Mixolydian Key Chord Formulas
Chord Note Spacing Chord Formula
Chord I 1 2 3 4 5 1 3 5
Chord IIm 2 3 4 5 6 2 4 6
Chord IIIo 3 4 5 6 H7 3 5 H7
Chord IV 4 5 6 H7 1 4 6 1
Chord Vm 5 6 H7 1 2 5 H7 2
Chord VIm 6 H7 1 2 3 6 1 3
Chord HVII H7 1 2 3 4 H7 2 4

MAJOR CHORDS IN MIXOLYDIAN MODE
Chords I, IV and HVII are Major chords because their

note spacing follows the definition of a Major chord
Major Chords - I, IV and HVII
Chord I
1 3 5 1 2 3 4 5
Chord IV
4 6 1 4 5 6 H7 1
Chord HVII
H7 2 4 H7 1 2 H3 4
same same
spacing spacing
Major
definition
1 3 5 1 2 3 4 5

MINOR CHORDS IN MIXOLYDIAN MODE
Chords IIm, Vm and VIm are minor chords because

their note spacing follows the definition of a minor
chord
Minor Chords - IIm, Vm and VIm
Chord IIm
2 4 6 2 3 4 5 6
Chord Vm
5 H7 2 5 H6 H7 1 2
Chord VIm
6 1 3 6 H7 1 2 3
same same
spacing spacing
minor
definition
1 H3 5 1 2 H3 4 5

THE DIMINISHED CHORD IN MIXOLYDIAN MODE
Chord IIIo is a diminished chord because its note

spacing follows the definition of a diminished chord
Diminished Chord - IIIo
Chord IIIo
3 5 H7 3 4 5 6 H7
same same
spacing spacing
diminished
definition
1 H3 H5 1 2 H3 4 H5
JESSES BIG PICTURE FOR MIXOLYDIAN MODE
You can create a Mixolydian mode version of

Jesses BIG Picture
Using the 5 Mixolydian scale patterns and the Mixolydian mode chord
formulas you can create a Mixolydian mode version of Jesses BIG Picture,
just like you did for Major and minor keys.
This way you can see how the chords are hidden within the scale. See the
next page.

Jesses BIG Picture
Mixolydian Mode Version
Mixolydian Scale
1 2 3 4 5 6 H7 1
5 6 H7 1 2 3 4 5
2 3 4 5 6 H7 1 2
6 H7 1 2 3 4 5 6 H7
3 4 5 6 H7 1 2 3 4
1 2 3 4 5 6 H7 1

1 2 2 3 4 3 4 5 5 6 H7 6 H7 1
5 6 H7 6 H7 1 1 2 2 3 4 3 4 5
2 3 4 3 4 5 5 6 H7 6 H7 1 1 2
6 H7 1 1 2 2 3 4 3 4 5 5 6 H7
3 4 5 5 6 H7 6 H7 1 1 2 2 3 4
1 2 2 3 4 3 4 5 5 6 H7 6 H7 1
)
1 1 3 3 1 3 5 1X 5 4X 1
1 5 4 1 2 1 43 3 11 3 5
Chord I 2 3 2 3 5 1 5 33 1 11 1
4 1 1 1 3 3 23 3 5 11 5
1 3 5 3 3 5 X 5 4 1 11 1 23 3
1 1 X 3 X 3 5 XX 5 34 1
(
X 2 1 2 4 2 4 X 6 1 6
X 6 1 6 4 2 3 2 4 2 4
Chord IIm 1 2 4 1 4 3 6 1 6 4 2
1 6 4 2 1 2 4 2 4 3 6
2 4 6 2 4 3 6 X 6 4 2 1 2 4
4 2 1 2 4 X 4 X 6 X 6
X X 2 X 3 5 3 5 H7 1 H7
3 5 H7 1 H7 X 4 3 4 3 5
Chord III o 4 3 3 3 5 1 5 H7 2 H7 X
2 H7 X 3 3 1 3 5 3 5 H7
3 5 H7 1 3 5 4 5 H7 2 H7 X 2 3
X 2 3 1 3 5 X 5 H7 X H7
)
1X 1 4X 4 1 4 3 6 1 6 1
43 6 11 6 1 1 1 4 4 2 4
Chord IV 33 4 11 4 2 6 2 6 1 1 1
23 6 1 11 1 4 4 1 4 3 6
4 6 1 11 4 23 6 3 6 1 X 1 4 4
XX 1 34 4 1 4 X 6 X 6 1
(
X 2 X 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X H7 X 2 4 5 1 5 H7 X H7
2 1 X 3 1 3 X 6 1 6 1
4 6 3 6 1 2 1 X 3 1 3
Chord VIm 3 3 1 3 4 6 1 6 1 1 1
1 6 1 2 1 3 3 1 3 4 6
6 1 3 X 3 4 6 1 6 1 2 1 3 3
X 1 X 3 X 3 4 6 1 6 1
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

CHAPTER
How to Make Up Songs,
11 Solos and Riffs in Different
Moods Using Jesses Seven
BIG Pictures for Moods
JESSES BIG PICTURES FOR MODES (MOODS)
You can create a different version of Jesses BIG

Picture for each mode (mood)
Using the scale patterns and the chord formulas you can create seven different
versions of Jesses BIG Picture.
Youve already created three of the seven BIG Pictures: the Mixolydian mode
version in the previous chapter, the Ionian mode version, which is the same as the
original Major key version of Jesses BIG Picture and the Aeolian mode version
which is the same as the minor key version of Jesses BIG Picture.
The next seven pages contain Jesses BIG Picture for each mode. There is also an
example of how to make up songs, solos and riffs in C Dorian mode at the end of
this chapter.

JESSES BIG PICTURE FOR IONIAN MODE
Jesses BIG Picture
Ionian Mode (Major Key) Version
7 1 2 3 4 5 6 7 1
5 6 7 1 2 3 4 5
2 3 4 5 6 7 1 2
6 7 1 2 3 4 5 6
3 4 5 6 7 1 2 3 4
7 1 2 3 4 5 6 7 1

7 1 2 2 3 4 3 4 5 5 6 6 7 1
5 6 6 7 1 7 1 2 2 3 4 3 4 5
2 3 4 3 4 5 5 6 6 7 1 7 1 2
6 7 1 7 1 2 2 3 4 3 4 5 5 6
3 4 5 5 6 6 7 1 7 1 2 2 3 4
7 1 2 2 3 4 3 4 5 5 6 6 7 1
)
1 1 3 3 1 3 5 1X 5 4X 1
1 5 4 1 2 1 43 3 11 3 5
Chord I 2 3 2 3 5 1 5 33 1 11 1
4 1 1 1 3 3 23 3 5 11 5
1 3 5 3 3 5 X 5 4 1 11 1 23 3
1 1 X 3 X 3 5 XX 5 34 1
(
X 2 1 2 4 2 4 X 6 X 6
X 6 1 6 4 2 3 2 4 2 4
Chord IIm 1 2 4 1 4 3 6 1 6 4 2
1 6 4 2 1 2 4 2 4 3 6
2 4 6 2 4 3 6 X 6 4 2 1 2 4
4 2 1 2 4 X 4 X 6 X 6
1 7 X 3 1 3 5 2 5 X 7
2 5 X 7 1 7 4 3 3 3 5
Chord IIIm 4 3 1 3 5 1 5 3 7 1 7
3 7 1 7 4 3 1 3 5 2 5
3 5 7 1 3 5 2 5 3 7 X 7 4 3
X 7 4 3 1 3 5 X 5 X 7
)
1X 1 4X 4 1 4 3 6 1 6 1
43 6 11 6 1 1 1 4 4 2 4
Chord IV 33 4 11 4 2 6 2 6 1 1 1
23 6 1 11 1 4 4 1 4 3 6
4 6 1 11 4 23 6 3 6 1 X 1 4 4
XX 1 34 4 1 4 X 6 X 6 1
(
(
)
1 7 2 1X 2 4X 5 1 5 3 7
2 5 43 7 11 7 2 1 2 4 5
Chord V 1 2 33 5 11 5 2 7 2 7 2
3 7 23 7 2 11 2 4 5 1 5
5 7 2 4 5 11 5 23 7 3 7 2 X 2
X 7 2 XX 2 34 5 1 5 X 7
(
2 1 X 3 1 3 X 6 1 6 1
4 6 3 6 1 2 1 X 3 1 3
Chord VIm 3 3 1 3 4 6 1 6 1 1 1
1 6 1 2 1 3 3 1 3 4 6
6 1 3 X 3 4 6 1 6 1 2 1 3 3
X 1 X 3 X 3 4 6 1 6 1
X 7 2 3 2 4 1 4 X X 7
X 4 7 4 7 2 3 2 4 1 4
Chord VII o 1 2 4 2 4 X 4 7 3 7 2
3 7 1 7 2 3 2 4 2 4 X
7 2 4 2 4 X 2 7 1 7 2 4 2 4
1 7 2 X 2 4 X 4 X 2 7
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 107

JESSES BIG PICTURE FOR DORIAN MODE
Jesses BIG Picture
Dorian Mode Version
Dorian Scale
1 2 H3 4 5 6 H7 1
5 6 H7 1 2 H3 4 5
2 H3 4 5 6 H7 1 2 H3
6 H7 1 2 H3 4 5 6 H7
4 5 6 H7 1 2 H3 4
1 2 H3 4 5 6 H7 1

1 2 H3 2 H3 4 4 5 5 6 H7 6 H7 1
5 6 H7 6 H7 1 1 2 H3 2 H3 4 4 5
2 H3 4 4 5 5 6 H7 6 H7 1 1 2 H3
6 H7 1 1 2 H3 2 H3 4 4 5 5 6 H7
4 5 5 6 H7 6 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 5 6 H7 6 H7 1
1 1 H3 2 H3 X 5 X 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
X 2 1 2 4 2 4 X 6 1 6
X 6 1 6 4 2 3 2 4 2 4
Chord IIm 1 2 4 1 4 3 6 1 6 4 2
1 6 4 2 1 2 4 2 4 3 6
2 4 6 2 4 3 6 X 6 4 2 1 2 4
4 2 1 2 4 X 4 X 6 X 6
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord HIII
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
(
)
1X 1 4X 4 1 4 3 6 1 6 1
43 6 11 6 1 1 1 4 4 2 4
Chord IV 33 4 11 4 2 6 2 6 1 1 1
23 6 1 11 1 4 4 1 4 3 6
4 6 1 11 4 23 6 3 6 1 X 1 4 4
XX 1 34 4 1 4 X 6 X 6 1
(
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H6 2 H7 3 2 X 2
X 2 X 2 4 5 1 5 H7 X H7
3 1 H3 1 H3 X X 6 X 6 1
4 6 4 6 1 3 1 H3 1 H3 X
Chord VI o 2 H3 X 4 6 3 6 1 1 1 H3
1 6 1 3 1 H3 2 H3 X 3 6
6 1 H3 X 2 6 1 6 1 4 1 H3 2 H3
X 1 H3 X H3 X 2 6 1 6 1
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord HVII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

JESSES BIG PICTURE FOR PHRYGIAN MODE
Jesses BIG Picture
Phrygian Mode Version
Phrygian Scale
1 H2 H3 4 5 H6 H7 1 H2
5 H6 H7 1 H2 H3 4 5 H6
H3 4 5 H6 H7 1 H2 H3
H7 1 H2 H3 4 5 H6 H7
4 5 H6 H7 1 H2 H3 4
1 H2 H3 4 5 H6 H7 1 H2

1 H2 H3 H3 4 4 5 H6 5 H6 H7 H7 1 H2
5 H6 H7 H7 1 H2 1 H2 H3 H3 4 4 5 H6
H3 4 4 5 H6 5 H6 H7 H7 1 H2 1 H2 H3
H7 1 H2 1 H2 H3 H3 4 4 5 H6 5 H6 H7
4 5 H6 5 H6 H7 H7 1 H2 1 H2 H3 H3 4
1 H2 H3 H3 4 4 5 H6 5 H6 H7 H7 1 H2
1 1 H3 2 H3 X 5 1 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
)
1 H2 3 4 1 4 H6 1X H6 4X H2
1 4 2 43 11
Chord H II
H6 H2 H2 4 4 H6
2 4 2 4 H6 1 H6 33 H2 11 H2
4 H2 1 H2 3 4 23 4 H6 11 H6
H2 4 H6 3 4 H6 X H6 4 H2 11 H2 23 4
1 H2 X 4 X 4 H6 XX H6 34 H2
(
(
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord H III
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
1 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H6 2 H6 3 1 X 1 4 4
X 1 4 4 1 4 H6 X H6 X 1
1 H2 X X 5 X 5 H7 3 H7 H2
4 5 H7 3 H7 H2 1 H2 X 4 5
Chord V o X 4 5 3 5 H7 1 H7 H2 2 H2
3 H7 H2 2 H2 X 3 5 1 5 H7
5 H7 H2 2 5 1 5 H7 4 H7 H2 2 H2 X
X H2 X 2 5 1 5 H7 X H7 H2
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord H VI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 1 H3
3 1 23 1 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 1 H3 X H3
X 1 H3 XX H3 34 H6 1 H6 X 1
(
2 H2 X 4 X 4 X H7 1 H7 H2
4 3 2 X 1
Chord H VIIm
H7 H7 H2 H2 4 4
3 4 1 4 4 H7 1 H7 H2 1 H2
1 H7 H2 2 H2 3 4 1 4 4 H7
H7 H2 4 X 4 4 H7 1 H7 H2 2 H2 3 4
X H2 X 4 X 4 4 H7 1 H7 H2

JESSES BIG PICTURE FOR LYDIAN MODE
Jesses BIG Picture
Lydian Mode Version
Lydian Scale
7 1 2 3 #4 5 6 7 1
#4 5 6 7 1 2 3 #4 5
2 3 #4 5 6 7 1 2
6 7 1 2 3 #4 5 6
3 #4 5 6 7 1 2 3
7 1 2 3 #4 5 6 7 1

7 1 2 2 3 3 #4 5 #4 5 6 6 7 1
#4 5 6 6 7 1 7 1 2 2 3 3 #4 5
2 3 3 #4 5 #4 5 6 6 7 1 7 1 2
6 7 1 7 1 2 2 3 3 #4 5 #4 5 6
3 #4 5 #4 5 6 6 7 1 7 1 2 2 3
7 1 2 2 3 3 #4 5 #4 5 6 6 7 1
)
1 1 3 3 1 3 5 1X 5 4X 1
1 5 4 1 2 1 43 3 11 3 5
Chord I 2 3 2 3 5 1 5 33 1 11 1
4 1 1 1 3 3 23 3 5 11 5
1 3 5 3 3 5 X 5 4 1 11 1 23 3
1 1 X 3 X 3 5 XX 5 34 1
(
)
)
4X 2 1 2 3 #4 1 #4 6 1X 6
11 #4 6 1 6 4 2 2 2 43 #4
Chord II 11 2 2 #4 2 #4 6 1 6 33 2
11 6 4 2 1 2 3 #4 23 #4 6
2 #4 6 23 #4 3 #4 6 X 6 4 2 11 2
34 2 1 2 X #4 X #4 6 XX 6
(
(
1 7 X 3 1 3 5 2 5 X 7
2 5 X 7 1 7 4 3 3 3 5
Chord IIIm 4 3 1 3 5 1 5 3 7 1 7
3 7 1 7 4 3 1 3 5 2 5
3 5 7 1 3 5 2 5 3 7 X 7 4 3
X 7 4 3 1 3 5 X 5 X 7
1 1 X X #4 X #4 6 3 6 1
4 #4 6 3 6 1 1 1 X 4 #4
Chord #IVo X 4 #4 3 #4 6 1 6 1 2 1
3 6 1 2 1 X 3 #4 1 #4 6
#4 6 1 2 #4 1 #4 6 4 6 1 2 1 X
X 1 X 2 #4 1 #4 6 X 6 1
)
1 7 2 1X 2 4X 5 1 5 3 7
2 5 43 7 11 7 2 1 2 4 5
Chord V 1 2 33 5 11 5 2 7 2 7 2
3 7 23 7 2 11 2 4 5 1 5
5 7 2 4 5 11 5 23 7 3 7 2 X 2
X 7 2 XX 2 34 5 1 5 X 7
(
2 1 X 3 X 3 X 6 1 6 1
4 6 3 6 1 2 1 X 3 1 3
Chord VIm 3 3 1 3 4 6 1 6 1 1 1
1 6 1 2 1 3 3 1 3 4 6
6 1 3 X 3 4 6 1 6 1 2 1 3 3
X 1 X 3 X 3 4 6 1 6 1
1 7 2 2 2 X #4 1 #4 X 7
1 #4 4 7 3 7 2 2 2 X #4
Chord VIIm 1 2 3 #4 1 #4 4 7 1 7 2
4 7 1 7 2 2 2 3 #4 1 #4
7 2 #4 3 #4 X #4 4 7 1 7 2 2 2
1 7 2 X 2 X #4 X #4 4 7

Jesses BIG Picture
Mixolydian Mode Version
Mixolydian Scale
1 2 3 4 5 6 H7 1
5 6 H7 1 2 3 4 5
2 3 4 5 6 H7 1 2
6 H7 1 2 3 4 5 6 H7
3 4 5 6 H7 1 2 3 4
1 2 3 4 5 6 H7 1

1 2 2 3 4 3 4 5 5 6 H7 6 H7 1
5 6 H7 6 H7 1 1 2 2 3 4 3 4 5
2 3 4 3 4 5 5 6 H7 6 H7 1 1 2
6 H7 1 1 2 2 3 4 3 4 5 5 6 H7
3 4 5 5 6 H7 6 H7 1 1 2 2 3 4
1 2 2 3 4 3 4 5 5 6 H7 6 H7 1
)
1 1 3 3 1 3 5 1X 5 4X 1
1 5 4 1 2 1 43 3 11 3 5
Chord I 2 3 2 3 5 1 5 33 1 11 1
4 1 1 1 3 3 23 3 5 11 5
1 3 5 3 3 5 X 5 4 1 11 1 23 3
1 1 X 3 X 3 5 XX 5 34 1
(
X 2 1 2 4 2 4 X 6 1 6
X 6 1 6 4 2 3 2 4 2 4
Chord IIm 1 2 4 1 4 3 6 1 6 4 2
1 6 4 2 1 2 4 2 4 3 6
2 4 6 2 4 3 6 X 6 4 2 1 2 4
4 2 1 2 4 X 4 X 6 X 6
X X 2 X 3 5 3 5 H7 1 H7
3 5 H7 1 H7 X 4 3 4 3 5
Chord III o 4 3 3 3 5 1 5 H7 2 H7 X
2 H7 X 3 3 1 3 5 3 5 H7
3 5 H7 1 3 5 4 5 H7 2 H7 X 2 3
X 2 3 1 3 5 X 5 H7 X H7
)
1X 1 4X 4 1 4 3 6 1 6 1
43 6 11 6 1 1 1 4 4 2 4
Chord IV 33 4 11 4 2 6 2 6 1 1 1
23 6 1 11 1 4 4 1 4 3 6
4 6 1 11 4 23 6 3 6 1 X 1 4 4
XX 1 34 4 1 4 X 6 X 6 1
(
X 2 X 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X H7 X 2 4 5 1 5 H7 X H7
2 1 X 3 1 3 X 6 1 6 1
4 6 3 6 1 2 1 X 3 1 3
Chord VIm 3 3 1 3 4 6 1 6 1 1 1
1 6 1 2 1 3 3 1 3 4 6
6 1 3 X 3 4 6 1 6 1 2 1 3 3
X 1 X 3 X 3 4 6 1 6 1
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

JESSES BIG PICTURE FOR AEOLIAN MODE
Jesses BIG Picture
Aeolian Mode (Minor Key) Version
1 2 H3 4 5 H6 H7 1
5 H6 H7 1 2 H3 4 5 H6
2 H3 4 5 H6 H7 1 2 H3
H7 1 2 H3 4 5 H6 H7
4 5 H6 H7 1 2 H3 4
1 2 H3 4 5 H6 H7 1

1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
5 H6 H7 H7 1 1 2 H3 2 H3 4 4 5 H6
2 H3 4 4 5 H6 5 H6 H7 H7 1 1 2 H3
H7 1 1 2 H3 2 H3 4 4 5 H6 5 H6 H7
4 5 H6 5 H6 H7 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 H6 5 H6 H7 H7 1
1 1 H3 2 H3 X 5 1 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
X 2 X 2 4 3 4 H6 1 H6 X
1 H6 X 4 2 4 2 4 3 4 H6
Chord II o 3 2 4 1 4 H6 2 H6 X 4 2
X 3 2 1 2 4 3 4 H6 2 H6
2 4 H6 4 4 H6 2 H6 X 2 2 1 2 4
2 2 1 2 4 X 4 H6 X H6 X
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord H III
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
X 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H6 2 H6 3 1 X 1 4 4
X 1 4 4 1 4 H6 X H6 X H6
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H7 2 H7 3 2 X 2
X 2 X 2 4 5 1 5 H7 X H7
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord H VI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 1 H3
3 1 23 1 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 1 H3 X H3
X 1 H3 XX H3 34 H6 1 H6 X 1
(
(
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

JESSES BIG PICTURE FOR LOCRIAN MODE
Jesses BIG Picture
Locrian Mode Version
Locrian Scale
1 H2 H3 4 H5 H6 H7 1 H2
H6 H7 1 H2 H3 4 H5 H6
H3 4 H5 H6 H7 1 H2 H3
H7 1 H2 H3 4 H5 H6 H7
4 H5 H6 H7 1 H2 H3 4 H5
1 H2 H3 4 H5 H6 H7 1 H2

1 H2 H3 H3 4 H5 4 H5 H6 H6 H7 H7 1 H2
H6 H7 H7 1 H2 1 H2 H3 H3 4 H5 4 H5 H6
H3 4 H5 4 H5 H6 H6 H7 H7 1 H2 1 H2 H3
H7 1 H2 1 H2 H3 H3 4 H5 4 H5 H6 H6 H7
4 H5 H6 H6 H7 H7 1 H2 1 H2 H3 H3 4 H5
1 H2 H3 H3 4 H5 4 H5 H6 H6 H7 H7 1 H2
X 1 H3 3 H3 H5 1 H5 X X 1
X 4 1 4 1 H3 3 H3 H5 1 H5
Chord I o 1 H3 H5 2 H5 X 4 1 3 1 H3
3 1 1 1 H3 3 H3 H5 2 H5 X
1 H3 H5 2 H5 X 2 1 1 1 H3 4 H3 H5
1 1 H3 X H3 H5 X H5 X 2 1
)
1 H2 3 4 1 4 H6 1X H6 4X H2
1 4 2 43 11
Chord H II
H6 H2 H2 4 4 H6
2 4 2 4 H6 1 H6 33 H2 11 H2
4 H2 1 H2 3 4 23 4 H6 11 H6
H2 4 H6 3 4 H6 X H6 4 H2 11 H2 23 4
1 H2 X 4 X 4 H6 XX H6 34 H2
(
(
X H3 1 H3 H5 2 H5 X H7 X H7
X 1 4 3 2
Chord H IIIm
H7 H7 H3 H3 H5 H5
1 H3 H5 1 H5 3 H7 1 H7 4 H3
1 H7 4 H3 1 H3 H5 2 H5 3 H7
H3 H5 H7 2 H5 3 H7 X H7 4 H3 1 H3 H5
4 H3 1 H3 H5 X H5 X H7 X H7
1 1 X 4 1 4 H6 2 H6 X 1
2 H6 X 1 1 1 4 4 3 4 H6
Chord IVm 4 4 1 4 H6 1 H6 3 1 1 1
3 1 1 1 4 4 1 4 H6 2 H6
4 H6 1 1 4 H3 2 H6 3 1 X 1 4 4
X 1 4 4 1 4 H6 X H6 X 1
)
1X H2 4X H5 1 H5 3 H7 1 H7 H2
43 11 1 4 2
Chord H V
H7 H7 H2 H2 H5 H5
33 H5 11 H5 2 H7 2 H7 H2 1 H2
23 H7 H2 11 H2 4 H5 1 H5 3 H7
H5 H7 H2 11 H5 23 H7 3 H7 H2 X H2 4 H5
XX H2 34 H5 1 H5 X H7 X H7 H2
(
(
)
1 1 H3 1X H3 4X H6 1 H6 3 1
2 43 11 1 4
Chord H VI
H6 1 1 H3 H3 H6
1 H3 33 H6 11 H6 2 1 2 H3 H3
3 1 23 H3 H3 11 H3 4 H6 1 H6
H6 1 H3 4 H6 11 H6 23 1 3 5 H3 X H3
X H 3z H3 XX H3 34 H6 1 H6 X 1
(
2 H2 X 4 1 4 X H7 1 H7 H2
4 3 2 X 1
Chord H VIIm
H7 H7 H2 H2 4 4
3 4 1 4 4 H7 1 H7 H2 1 H2
1 H7 H2 2 H2 3 4 1 4 4 H7
H7 H2 4 X 4 4 H7 1 H7 H2 2 H2 3 4
X H2 X 4 X 4 4 H7 1 H7 H2

MAKE UP SONGS USING JESSES BIG PICTURES
To make up songs, solos and riffs using any of

Jesses Seven BIG Pictures just follow 3 steps:
1 PICK
Mode!
a
2 SELECT
Chords From
that Mode!
3 PLAY Your
Song, Solo
or Riff!
The next page shows you an example of how to make up songs, solos and riffs
in C Dorian Mode using Jesses BIG Picture for Dorian Mode.

Example 11.1
1 PICK a Mode!
Pick any mode for your song and anchor note 1 of that modal scale. Then pick
a pattern of that modal scale to use to make up your song. There is no back-up
song to play along with because you are creating the song.

Dorian Scale
1 2 H3 4 5 6 H7 1
Pick C Dorian 2
5
H3
6
4
H7
5
1
6
2
H7
H3
1
4
2
5
H3
Mode. 6 H7 1 2 H3 4 5 6 H7
4 5 6 H7 1 2 H3 4
1 2 H3 4 5 6 H7 1
Anchor
note 1 of the 3rd 5th 7th 9th 12th
1E
Dorian scale 2B
on the note C. 3G
4D
5A
F# G# A# C# D# F#
6E F GH
G AH
A BH
B C DH
D EH
E F GH
G
1

1E 4 5 6 H7 1 2 H3 4 5
2B 1 2 H3 4 5 6 H7 1 2
3G 5 6 H7 1 2 H3 4 5 6 H7
4D 2 H3 4 5 6 H7 1 2 H3 4
5A 6 H7 1 2 H3 4 5 6 H7 1
6E 4 5 6 H7 C 2 H3 4 5
C Dorian scale

1E 4 5 6 H7 C 2 H3 4 5
2B C 2 H3 4 5 6 H7 C 2
Pick a 3G 5 6 H7 C 2 H3 4 5 6 H7
4D 2 H3 4 5 6 H7 C 2 H3 4
pattern of the 5A 6 H7 C 2 H3 4 5 6 H7 C
Dorian scale. 6E 4 5 6 H7 C 2 H3 4 5
Pick Pattern 4
Pattern 4
of the C Dorian
scale. 5
3rd
6
5th
H7
6
2 H3 4 5 C 4 H7 2 5
=
3rd
6 H7 1 H3
4 5
Rotate the C 2 H3 6 2 5 1 6
5th
5 6 H7
pattern from H7 H3 4 H7
horizontal to C Dorian Scale

Pattern 4 C Dorian Scale
vertical.
Pattern 4

Select Chords
2 SELECT
Chords from
that Mode!
Select
Chords
from
Dorian
Chord Im
1st Chord
Chord HVII
2nd Chord
Chord IV
3rd Chord
Chord Im
4th Chord
Mode
Select chords from

that mode. Then look up each chord diagram in the pattern that you picked in Step 1.
In this example, I picked Pattern 4. When you select chords from modes you usually
center your song around Chord I. Centering your song around a chord is the whole
concept of modes. If you picked a chord other than Chord I, your song would be in a
different mode. Jesses BIG Picture
Dorian Mode Version
1 2 H3 2 H3 4 4 5 5 6 H7 6 H7 1
5 6 H7 6 H7 1 1 2 H3 2 H3 4 4 5
2 H3 4 4 5 5 6 H7 6 H7 1 1 2 H3
6 H7 1 1 2 H3 2 H3 4 4 5 5 6 H7
4 5 5 6 H7 6 H7 1 1 2 H3 2 H3 4
1 2 H3 2 H3 4 4 5 5 6 H7 6 H7 1
1 1 H3 2 H3 X 5 X 5 X 1
1 5 4 1 3 1 H3 2 H3 X 5
Chord Im 1 H3 3 5 1 5 4 1 1 1 H3
4 1 1 1 H3 2 H3 3 5 1 5
1 H3 5 3 5 X 5 4 1 1 1 H3 2 H3
1 1 H3 X H3 X 5 X 5 4 1
X 2 1 2 4 2 4 X 6 1 6
X 6 1 6 4 2 3 2 4 2 4
Chord IIm 1 2 4 1 4 3 6 1 6 4 2
1 6 4 2 1 2 4 2 4 3 6
2 4 6 2 4 3 6 X 6 4 2 1 2 4
4 2 1 2 4 X 4 X 6 X 6
)
)
4X H3 1 H3 3 5 1 5 H7 1X H7
11 1 4 2 43
Chord H III
5 H7 H7 H3 H3 5
11 H3 2 5 2 5 H7 1 H7 33 H3
11 H7 4 H3 1 H3 3 5 23 5 H7
H3 5 H7 23 5 3 5 H7 X H7 4 H3 11 H3
34 H3 1 H3 X 5 X 5 H7 XX H7
(
(
)
1X 1 4X 4 1 4 3 6 1 6 1
43 6 11 6 1 1 1 4 4 2 4
Chord IV 33 4 11 4 2 6 2 6 1 1 1
23 6 1 11 1 4 4 1 4 3 6
4 6 1 11 4 23 6 3 6 1 X 1 4 4
XX 1 34 4 1 4 X 6 X 6 1
(
X 2 1 2 X 5 1 5 H7 2 H7
3 5 H7 2 H7 X 2 1 2 4 5
Chord Vm 1 2 4 5 1 5 H7 1 H7 3 2
2 H7 3 2 1 2 4 5 1 5 H7
5 H7 2 4 5 1 5 H6 2 H7 3 2 X 2
X 2 X 2 4 5 1 5 H7 X H7
3 1 H3 1 H3 X X 6 X 6 1
4 6 4 6 1 3 1 H3 1 H3 X
Chord VI o 2 H3 X 4 6 3 6 1 1 1 H3
1 6 1 3 1 H3 2 H3 X 3 6
6 1 H3 X 2 6 1 6 1 4 1 H3 2 H3
X 1 H3 X H3 X 2 6 1 6 1
)
3 2 1 2 4 1X 4 4X H7 1 H7
4 2 43 11 1
Chord H VII
H7 H7 2 2 4 4
2 2 4 1 4 33 H7 11 H7 2 2
1 H7 3 2 23 2 4 11 4 4 H7
H7 2 4 X 4 4 H7 11 H7 23 2 3 2 4
X 2 X 2 4 XX 4 34 H7 1 H7
(

3 PLAY Your
Song, Solo
or Riff!
Play your song, solo or riff by looking up each chord that
you selected in the Dorian mode version of Jesses BIG
Picture and playing the numbered notes in each chord
all at once or individually. Or mix them with the other
notes of the Dorian scale to create interesting riffs.
Make Up A Song
Make up a chord progression by strumming each chord.
Make Up A Solo
Use this chord progression as your back-up song and make up a solo by playing the
C Dorian scale and emphasizing the numbered notes in each chord formula.
Make Up A Riff
Make up riffs by alternating between strumming each chord, playing the notes in
each chord individually, and playing the notes in the C Dorian scale. Get the rhythm
going first by strumming the chords. Then slowly start to mix in the individual notes.
Play Your Song

Play the
Numbered Chord Im Chord HVII Chord IV Chord Im
Notes in 1 H3 5 H7 2 4 4 6 1 1 H3 5
Each Chord 321114
X1342X (4 3 1 1 1 X) XX1 2 4 3 X1342X
6 6
5 C 4 H7 2 5 5 1 5 4 H7 2 1 4 5 1 5
3rd 3rd 3rd 3rd 3rd
H3 H3 H3
6 2 5 1 6 5 1 2 6 1 6 5 1
5th 5th 5th 5th 5th
H7 H3 4 H7 H3 H7 4 H7 4 H3
C Dorian 1st Chord 2nd Chord 3rd Chord 4th Chord

Scale
Pattern 4

FIGURE OUT THE NOTE AND CHORD NAMES
You can figure out the names of the notes and

chords in your song
Name the Chords in the Previous Example
Chord Im Chord HVII Chord IV Chord Im

1 H3 5 H7 2 4 4 6 1 1 H3 5
321114
X1342X (4 3 1 1 1 X) XX1 2 4 3 X1342X
6 6
5 C 4 H7 2 5 5 1 5 4 H7 2 1 4 5 1 5
3rd 3rd 3rd 3rd 3rd
H3 H3 H3
6 2 5 1 6 5 1 2 6 1 6 5 1
5th 5th 5th 5th 5th
H7 H3 4 H7 H3 H7 4 H7 4 H3

Scale
Pattern 4
See the next page.

Example 11.2
1 PICK a Mode for Your Song

In the previous example you picked C Dorian mode, so start the Dorian scale on C.
Pick C Dorian
Mode
A# C# D# F# G# A# C# D# F# G#
2 FIGURE OUT the Notes in that Mode

Circle the rest of the notes in that mode by following the scale pattern of whole
and half steps. Circle the rest of the notes in C Dorian mode. These are the
root notes for the chords in this mode.
Dorian Scale
1 2 H3 4 5 H6 H7 1
A# C# D# F# G# A# C# D# F# G#
3 FIGURE OUT the Chords in that Mode

Use the Dorian chord pattern to figure out the chords in C Dorian Mode.
Chords in C Dorian Mode

Dorian scale 1 2 H3 4 5 6 H7 1
C# D# F# G# A#
Notes in C Dorian C DH D EH E F GH G AH A BH B C
Dorian Chord Pattern Im IIm HIII IV Vm VIo HVII Im

D# A#
Chords in C Dorian Cm Dm EH F Gm A o
BH Cm

4 LOOK at the Roman Numeral of

Chord in Your Song
Each
Previous Example

1 H3 5 H7 2 4 4 6 1 1 H3 5
321114
X1342X (4 3 1 1 1 X) XX1 2 4 3 X1342X
6 6
5 C 4 H7 2 5 5 1 5 4 H7 2 1 4 5 1 5
3rd 3rd 3rd 3rd 3rd
H3 H3 H3
6 2 5 1 6 5 1 2 6 1 6 5 1
5th 5th 5th 5th 5th
H7 H3 4 H7 H3 H7 4 H7 4 H3

Scale
Pattern 4
5 LOOK UP the Name of Each Chord
The Chords in C Dorian Mode
Im IIm HIII IV Vm VIo HVII Im

D# A#
Cm Dm EH F Gm Ao BH Cm

6 WRITE in the Name of Each Chord
Previous Example with Chord Names

1 H3 5 H7 2 4 4 6 1 1 H3 5
321114
X1342X (4 3 1 1 1 X) XX1 2 4 3 X1342X
6 6
5 C 4 H7 2 5 5 1 5 4 H7 2 1 4 5 1 5
3rd 3rd 3rd 3rd 3rd
H3 H3 H3
6 2 5 1 6 5 1 2 6 1 6 5 1
5th 5th 5th 5th 5th
H7 H3 4 H7 H3 H7 4 H7 4 H3
C Dorian A#
Scale C minor BH Major F Major C minor
Pattern 4
1st Chord 2nd Chord 3rd Chord 4th Chord
TIME TO PUT IT ALL TOGETHER
Now its time to put it all together

The next chapter puts it all together into one diagram called Jesses Detailed
BIG Picture.

Part 3
Jesses Detailed
BIG Picture
CHAPTER
Jesses Detailed BIG
12 Picture
Jesses Detailed BIG Picture shows you all the notes

and all the chord formulas from all the modes so you
can just look at one diagram and rock
Now that you know the Major scale and all the modes, you can mash them all together
into one diagram. So now the guitar looks like one huge code. Its the Major scale with
all the inbetween notes. The Expanded code.
Below the code I made a table that shows you all the chord formulas from all the
modes. So now when you make up a song, solo or riff you just pick a key by starting
the code on any note. Then play any of the chords in the table by playing the
numbered notes in their chord formula.
Now youve got a lot more chords to choose from.
Congratulations! Thats It! I hope you enjoyed this course as much as I enjoyed
creating it. I expect to hear your songs soon!
Sincerely,
Jesse
JESSES DETAILED BIG PICTURE 123

Jesses Detailed BIG Picture
7 1 H2 2 H3 3 4 H5 5 H6 6 H7 7 1
H5 5 H6 6 H7 7 1 H2 2 H3 3 4 H5 5
2 H3 3 4 H5 5 H6 6 H7 7 1 H2 2 H3
6 H7 7 1 H2 2 H3 3 4 H5 5 H6 6 H7
3 4 H5 5 H6 6 H7 7 1 H2 2 H3 3 4
7 1 H2 2 H3 3 4 H5 5 H6 6 H7 7 1
25 Chords To Use
Major minor diminished
Chord I Chord Im Chord Io

1 3 5 1 H3 5 1 H3 H5
Chord HII
H2 4 H6
Chord II Chord IIm Chord IIo

2 #4 6 2 4 6 2 4 H6
Chord HIII Chord HIIIm

H3 5 H7 H3 H5 H7
Chord IIIm Chord IIIo

3 5 7 3 5 H7
Chord IV Chord IVm

4 6 1 4 H6 1
Chord HV Chord #IVo

H5 H7 H2 #4 6 1
Chord V Chord Vm Chord Vo

5 7 2 5 H7 2 5 H7 H2
Chord HVI
H6 1 H3
Chord VIm Chord VIo

6 1 3 6 1 H3
Chord HVII Chord HVIIm

H7 2 4 H7 H2 4
Chord VIIm Chord VIIo

7 2 #4 7 2 4

Guitar Ots 3

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Guitar Ots 3

Uploaded by

Copyright:

Available Formats

Guitar On the Spot III

Commanding the Code

If you have any questions or comments please e-mail me at:

3 GUITAR ON THE SPOT III - COMMANDING THE CODE

Introduction - Note from Jesse 2

Chapter 7 - Explore Seven Different Worlds of Songs 54

Chapter 12 - Jesses Detailed BIG Picture 123

4 GUITAR ON THE SPOT III - COMMANDING THE CODE

Add Variety To Your

There are two common ways to switch keys in

Using a chord to link to two keys creates a smooth transition.

6 GUITAR ON THE SPOT III - COMMANDING THE CODE

Use G Major and E minor to link the keys of D and C

Jesses Easy Chord Chart

I IIm IIIm IV V VIm VIIo

X32010 XX0 2 3 1 023000 134211 210003 X02310 X1243X

XX0 1 3 2 023000 134111 210003 X01230 X13421 X1243X

D Major E minor F#/GH minor G Major A Major B minor C#/DH diminished

210003 X02310 X13421 X32010 XX0 1 3 2 023000 1 2 3 1XX

G Major A minor B minor C Major D Major E minor F#/GH diminished

HOW TO SWITCH KEYS IN THE MIDDLE OF YOUR SONG 7

Heres a chord progression that switches keys from

Example 1.1 - Switching Keys

8 GUITAR ON THE SPOT III - COMMANDING THE CODE

There are two types of keys:

1. Major keys - Happy keys

Chords in the Key of G Major

G Major A minor B minor C Major D Major E minor F#/GH diminished

Chords in the Key of G Minor

G minor A diminished A#/BH Major C minor D minor D#/EH Major F Major

HAPPY KEYS AND SAD KEYS 9

Play these two examples to hear the difference

Major keys have a bright and happy sound.

Example 2.1 - Key of G Major

G Major C Major D Major G Major

Minor keys have a dark and sad sound.

Example 2.2 - Key of G Minor

G minor C minor D minor G minor

10 GUITAR ON THE SPOT III - COMMANDING THE CODE

To figure out the notes in a minor key, you use

Minor Scale Step Pattern

Minor Scale Compared to Major Scale

Heres the minor scale rewritten in terms of the Major scale:

HAPPY KEYS AND SAD KEYS 11

1 PICK a Minor Key

2 FIGURE OUT the Notes in that Minor Key

Notes in the Key of G Minor

12 GUITAR ON THE SPOT III - COMMANDING THE CODE

To figure out the chords in any minor key, you

The Minor Scale Chord Pattern

Minor Scale Im IIo HIII IVm Vm HVI HVII Im

minor dim Major minor minor Major Major

The chord based off of note 2 is a diminished chord (IIo).

Chords in the Key of G Minor

Minor Chord Pattern Im IIo HIII IVm Vm HVI HVII Im

minor dim Major minor minor Major Major

HAPPY KEYS AND SAD KEYS 13

Remember the 3 steps:

1. Choose a Chord Shape

Heres a chord diagram for each chord:

Chords in the Key of G Minor

G minor A diminished A#/BH Major C minor D minor D#/EH Major F Major

14 GUITAR ON THE SPOT III - COMMANDING THE CODE

Every Major key has a relative minor key that