Prepare yourself and you will be able to come up with ideas on the

fly. You will rule the neck in due time.

You will sound professional simply by using time-tested progressions.
www.mikesoca.com.
Mike Socarras Copyright August 2016
Contents
My Story
Bio
Foremost
Songwriting
The Major and Minor (Aeolian) Scale Understanding
the Roman Numerals
Roman Numeral Recap
Major Keys
Minor Keys
Musical Keys. Things You Should Know…
How I Laid Out the 24 Keys:
Strong Progressions Within a Key
How to Get to the Next Best Chord Within a Key
Chords and Triads in a Key
How to Build Chords (Triads) in a Key
Chord Building examples:
The Benefits of Learning Everything You Just Read…
Power Chords, Triads and & 7th Chords Inside a Key
7th Chords Inside a Key (A Major) Notes
Motivation
How to Read Tab and Chord Charts
Tips on Learning the Chord Shapes
Very Important
Songwriting and Progression Types
More Ideas
The chords in order of the scale using Guitar Pro 6
Format
Extra Assignments (Optional)
What’s to Come
C Major
Chords in the Key of C - Same as A Minor (The Relative Minor Key)
A Minor
Chords in the Key of Am - Same as C Major (The Relative Major Key)
F Major
Chords in the Key of F - Same as D Minor (The Relative Minor Key)
D Minor
Chords in the Key of D Minor - Same as F Major (The Relative Major Key)
Bb Major
Chords in the Key of Bb Major - Same as G Minor (The Relative Minor Key)
G Minor
Chords in the Key of G Minor - Same as Bb Major (The Relative Major Key)
Eb Major
Chords in the Key of Eb Major - Same as C Minor (The Relative Minor Key)
C Minor
Chords in the Key of C Minor - Same as Eb Major (The Relative Major Key)
Ab Major
Chords in the Key of Ab Major - Same as F Minor (The Relative Minor Key)
F Minor
Chords in the Key of F Minor - Same as Ab Major (The Relative Major Key)
Db Major
Chords in the Key of Db Major - Same as Bb Minor (The Relative Minor Key)
Bb Minor
Chords in the Key of Bb Minor - Same as Db Major (The Relative Major Key)
F# Major
Chords in the Key of F# Major - Same as D# Minor (The Relative Minor Key)
Eb Minor
Chords in the Key of Eb Minor - Same as Gb Major (The Relative Major Key)
B Major
Chords in the Key of B Major - Same as G# Minor (The Relative Minor Key)
G# Minor
Chords in the Key of B Major - Same as G# Minor (The Relative Minor Key)
E Major
Chords in the Key of E Major - Same as C# Minor (The Relative Minor Key)
C# Minor
Chords in the Key of C# Minor - Same as E Major (The Relative Major Key)
A Major
Chords in the Key of A Major - Same as F# Minor (The Relative Minor Key)
F# Minor
Progressions in the Key of F#m - Same as A Major (The Relative Major Key)
D Major
Chords in the Key of D - Same as B Minor (The Relative Minor Key)
B Minor
Chords in the Key of Bm - Same as D Major (The Relative Major Key)
G Major
Chords in the Key of G - Same as E Minor (The Relative Minor Key)
E Minor
Chords in the Key of Em - Same as G Major (The Relative Major Key)
My Story
So I was 16. Bored. Looking for some excitement in life. What do I find?
Nothing. The next year changed everything for me I found Rock Music.
So I mentioned it to my parents that I wanted to do music. You can
imagine the look on their faces. Although I’ve had a pretty good life, rock
music was never heard in my home. Neither was salsa or any other type
of music. Im not sure what this means but what I do know is that when I
heard those electric guitars coming across the tv screen or blaring across
the radio, It did something to me. It moved me. It caused the blood in my
veins to flow a little faster than normal.

I don’t know but if you ask me rock and roll is one of the greatest genres
on this planet. Now I know that everyone won’t agree but I think the
majority would say that Rock is a huge and very successful genre and will
probably never go away. Since then, Ive branched into other genres and
mostly I stick to the hard and the heavy but more on the instrumental
side these days. I also listen to a lot of classical music, my favorite being
Stravinsky, Schumann and Shostakovich.

Ive written this book to help you learn what I tried to figure out for myself
over the long, long years. I thought I could do it all myself and that was
total bullshit. It just took eons. Thats all it did. It made my progress slow.
Very slow. So once I found rock, I didn't exactly go out and get a guitar
until much, much later. I started playing at 19, the year I got OUT of high
school. I wrote the shittiest piece of music ever. Really. So I figured I’d
better learn how to write a song or I’m doomed.

I never really liked covers. Covers are songs that are already out there. I
liked them in the sense of listening to them but they really didn't get my
attention when it came to music. I wanted to be creative. I wanted to
write. I wanted to create. And so I did. I’m the same today. I just get
bored playing covers. I do analyze them however. I listen for certain
things such as the movement of the chords, the section in the songs, the
melodies, the solos…basically anything that I would like to be heard
in my music is what I listen for. Structure of the songs is something I
pay a lot of attention to.

basically anything that I would like to be heard in my music is

what I listen for. Structure of the songs is something I pay a lot of
attention to.
I get a high from writing music. The writing process, which is one you're
going to have to learn, is the greatest journey ever taken if you have
music inside you. A short while after my first guitar, me and my friends
got together to start a band and soon after, we all had instruments. We
would jam out at full volume inside of a shed. We called it “The Shed.”
Those days were the best days of my life. Hands down. We would go
bond, crank some heavy metal while driving the streets of Miami, Florida.
Speakers roaring in our ears. Then we would go into the house like
hungry animals, and ready to go to “the Shed.” It was an actual shed with
actual tools in there but we made it into a jam room. Drums, amps,
microphones and a whole lotta sound filled the tiny shed.. but we made it
happen.

Now its your turn to make it happen. To go on a musical adventure of

your own. The chords are laid out for you. All you have to do is pick up
your instrument and start making “some of your own noise.”

The fact is that my writing wasn't great when I started, I needed help,
and so I got some. Lots of it too. In the years after the band I kept
learning everything I could about chords and progressions, mostly which
ones sounded good with each other. But thats not the point I'm trying to
make. The point is that most people are simply afraid to bare their own
soul. In other words they are too afraid to let anyone listen to the music
inside them. Honestly Ive never understood this, because since Day 1,
I’ve always written original stuff. I knew that I would suck. (At first).
Thats why I wrote hundreds upon hundreds of ideas. Sketches, if you
will.
Lyrics would come to me from nowhere and I would have practice
sessions at my parents house for hours usually every night or every other
night. I was terrified of anyone hearing me but I didn't care. I wrote those
suckers and played with everything I had. I persevered and played the
same riffs over and over and over, probably a hundred times or more,
until I got them down and was able to record them. This I later learned
(absurd amount of repetition) is the name of the game. It’s simply what it
takes to learn songs.

Ive tried to make songs that don’t work, work. Ive tried to make songs
that work, not work, on purpose. Ive tried to make songs that I thought
worked, work, but Ive failed at those too. The more you write, the more
you fail. But the more you fail, the closer you are to writing a good
progression and even a good song. The closer you are to writing
something great.
Succeeding with songwriting meant that something moved me about the
song I was writing. When I listen back, I wanna be able to count on the
fact that I’m gonna FEEL something when I hear it. Ive always gotten a
good review of my lyrics and of my rhythm guitar playing. I cant say that
about my singing, but I’m not really worried about that. I’m mostly
worried about getting the music that festers in my soul out of my
system.
In the band we wrote songs together. We meshed song riffs together to
make some songs that really rocked. So if you have friends that are
interested in songwriting as you are, I highly recommend you writing
something together.
If you happen to write a song and you want to show it to me just send it
straight to my email. I’d love to hear it. Make sure its original. That its all
you. I wanna hear what’s inside YOU personally.
Bio
Michael Socarras is a Cuban- American born guitar player, songwriter
and now composer. He has a certificate in songwriting, from Berklee Music
Online. He has a track on a compilation album called Destination 12 which
he participated in with musicians from all over the world. He also has a
bachelors in Music Business and has been trained to teach guitar.
He has studied with Master Teacher, Guitarist and Virtuoso George Bellas.
You can find him at www.GeorgeBellas.com.

He is always working on music. He is also studying composing from

George Bellas and Eric Benaim. His own, undying thirst for more musical
knowledge, especially on composition keeps him awake every night until
the wee hours of the morning.
Michael Socarras is also a teacher and has taught guitar to hundreds of
students going on 7 years now. He also teaches piano. He has done this
on his own and with the help of other guitar teachers around the world.
You can visit his website at www.GuitarLessonsinmiami.com or his
blog at www.mikesoca.com where you will find more free lessons and
articles on playing guitar.

He writes music pretty frequently and makes sure he practices on a daily

basis. He is well versed in theory, technique, songwriting and
composition. An album should be released soon with some of his original,
instrumental songs. Stay tuned as he has an endless amount of creativity
and compositions to release to the public in the years to come.

You can reach him at myk82178@hotmail.com for any questions,

comments or concerns about this book or about studying with him.
Foremost
This is an ACTION book. This is a LIFETIME book. You can use it for the
rest of your life. You must take ACTION and APPLY what you learn here.
Everything has been laid out for you. Now its up to you to take the
ACTION. You cannot simply read and browse through it and expect to
learn something. You will learn by DOING. By WRITING MUSIC.

Here are some things you should do.

Record the progressions.
Use them in a song of yours thats already halfway through. Get used
to this Very powerful habit called RITUALS. For me it’s a Ritual. I use
this stuff all the time whether its for practice or for an actual tune. Im
always figuring progressions.
Figure out the ones you like.
Write them on paper, or a word document and save it on your
computer for reference. I have one simply called “Progressions” and
they range from easy to classical style harmony. This helps me when I’m
feeling stuck on writing something fresh and also with memorization. I
can see the whole scale from start to finish in my head. You should aim
for this as well. The less you have to think, the more time you have to
write and freely express yourself.
Put a single song section together.
Try and combine 2 or more sections.
Come up with an entire song including an intro, a verse, chorus and a
bridge. Each of these sections can use the same chords with different
dynamics and different order. You can also use progressions from the
relative major or minor key.
Make sure you do some of these exercises don’t leave it to chance.
Don’t close your eyes and pray that the music will somehow come to you
in the middle of an inspirational moment. Solve the issue by knowing
what chords you can use.
Songwriting
When it comes to songwriting there are many forms you can use. For this
book we are going to keep it simple.
Verse Chorus/ Verse Chorus/ Bridge/ Chorus twice
That’s it. Just one form. The purpose of this book is not so much to write
entire songs but to have Engaging, High Quality Chord Progressions
within your song sections.

First come up with a Verse then a change, something different, known as

your (Chorus). It can be all in the same tempo and but you want to
change up your rhythm for each section. You can then simply repeat the
same thing over. For the bridge you can write a different progression and
for the Chorus twice at the end you repeat the chorus you had originally
written. So all in all for a song you have 3 song sections with some being
repeated. 3 different chord progressions.

The Major and Minor (Aeolian) Scale

CDEFGABC
ABCDEFG
The Minor scale has 3 forms. NATURAL, HARMONIC AND MELODIC.

THIS BOOK ONLY DEALS WITH THE NATURAL MINOR SCALE.

THE HARMONIC AND MELODIC MINOR SCALE AND CHORDS ARE NOT
USED IN THIS BOOK. WE ARE SOLELY LEARNING THE NATURAL MINOR
SCALE AND ITS DIATONIC CHORDS. (CHORDS WITHIN THE NATURAL
MINOR SCALE.)

I FEEL THIS IS THE BEST WAY TO GET STARTED AS LEARNING THIS

SCALE WILL HELP SOLIDIFY YOUR CHORD WRITING SKILLS SO THAT
WHEN YOU DO GET TO THE HARMONIC AND MELODIC FORMS OF THE
MINOR SCALE YOU ARE SOMEWHAT CAPABLE OF WRITING A SONG.

THE MINOR SCALE SIMPLY STARTS FROM THE 6TH DEGREE.

MAJOR SCALE FORMULA: W W H W W W H

MINOR SCALE FORMULA: W H W W H W W

Understanding the Roman Numerals
What is the Roman Numeral Numbering System?

The Roman Numeral numbering system is simply a system where you use
numbers to help you navigate through a key and pick out the chords you
want to use. There are 12 notes in Western Music. 7 of those notes make
up each musical key.

The Roman numerals therefore, are very simply, the 7 notes.

Capital Roman Numerals = Major Chords, and Lowercase Roman

Numerals = Minor Chords.

Lowercase Roman Numerals with a circle next to them = Diminished

Chords

Major and Minor describe the quality of the sounds you hear in music.
They can describe a single chord or an entire operatic piece. Major simply
means happy and bright and Minor simply means sad, or dark. Its that
simple. Once you are well versed with the Roman Numerals you can
instantly write chord progressions without a guitar or any other
instrument in your hand.
Here is an example: 1 4 5 6 5 4 5 1

This means you are to play the first, fourth, fifth, sixth, fifth,
fourth, fifth and first chord of whatever key you choose. In that
order.
The Roman numerals however, will tell you if they are in a major or minor
key. This can get complicated so we will stop here for now but basically
the Roman Numerals is a way to write whether those chords above are
major, minor, or diminished.

When I was at one of my jobs in the past, I would take a piece of pencil
and a sheet of paper and would write out the chord progressions to my
songs as well as my lyrics. If you're in the same position I suggest you do
the same. It will make your days go by much quicker. When you think
about your job now, songwriting will be part of it as you slowly ease out of
it into something you love to do. ;)
Roman Numeral Recap

The Roman numerals therefore, are very simply, the 7 notes.

Capital Roman Numerals = Major Chords
Lowercase Roman Numerals = Minor Chords.
Lowercase Roman Numerals with a circle next to them = Diminished

Chords
This is how you figure out which chords are major, which chords are minor
and which chords are diminished. Memorize the Roman Numerals on the
following pages. Once for the Major keys and once for the Minor Keys. I
explain this concept further in the subsequent pages.

On the left hand side of the following pages are the (chord scales) for
that particular key. A chord scale is simply the 7 notes of the key with
chords (built) off of each note. I want you to do an exercise right now
that will go a long way. Its hard work but very beneficial like anything
worthwhile.

Exercise:
Write out the 7 chords on paper to all the Major Keys …
… and then their Relative minor keys.
Schedule another time this same week to do it again.

They are all listed below but I want you to ACTUALLY write them down
yourself.

* Take this exercise Seriously.*

Example: The first scale is A Major.
So for example:
Write the scale out…A Bm CGm D E FGm GGo A…and from
there write out the relative minor scale which starts on
the 6th degree…(FGm).
For FGm write… FGm GGo A Bm CGm D E FGm etc… Do it for all 24 keys.
Don’t skimp.
Major Keys

You will now see how to tell which scale degree gives you a major
chord, which one gives a minor chord and which ones gives you a
diminished chord.

Chord Scale Roman Numerals

A - B - C# - D - E - F# - G# I - ii - iii – IV - V - vi - viio

B - C# - D# - E - F# - G# - A# I - ii - iii - IV - V - vi - viio

C-D-E-F-G-A-B I - ii - iii - IV - V - vi - viio

D - E - F# - G - A - B - C# I - ii - iii - IV - V - vi - viio

E - F# - G# - A - B - C# - D# I - ii - iii - IV - V - vi - viio

F - G - A - Bb - C- D - E I - ii - iii - IV - V - vi - viio

G - A - B - C - D - E - F# I - ii - iii - IV - V - vi - viio

Ab - Bb - C - Db - Eb - F - G I - ii - iii - IV - V - vi - viio

Bb - C - D - Eb - F - G - A I - ii - iii - IV - V - vi - viio

Db - Eb - F - Gb - Ab - Bb - C I - ii - iii - IV - V - vi - viio

Eb - F - G - Ab - Bb - C - D I - ii - iii - IV - V - vi - viio
FG - GG - AG - B - CG - DG - EG I - ii - iii - IV - V - vi - viio

Notice how the Roman Numerals on the right hand side ALWAYS stay the
same.

They NEVER, EVER, EVER change.

FG - GG - AG - B - CG - DG - EG I - ii - iii - IV - V - vi - viio
Minor Keys
You will now see how to tell which scale degree gives you a major
chord, which one gives a minor chord and which ones gives you a
diminished chord.

Scale Roman Numerals

A-B-C-D-E-F-G i - iio - III - iv - v - VI - VII

B - C# - D - E - F# - G - A i - iio - III - iv - v - VI - VII

C - D - Eb - F - G - Ab - Bb i - iio - III - iv - v - VI - VII

D - E - F - G - A - Bb - C i - iio - III - iv - v - VI - VII

E - F# - G - A - B - C - D i - iio - III - iv - v - VI - VII

F - G - Ab - Bb - C - Db - Eb i - iio - III - iv - v - VI - VII

G - A - Bb - C - D - Eb - F i - iio - III - iv - v - VI - VII

G# - A# - B - C# - D# - E# - F# i - iio - III - iv - v - VI - VII

Bb - C - Db - Eb - F - Gb - Ab i - iio - III - iv - v - VI - VII

C# - D# - E - F# - G# - A - B i - iio - III - iv - v - VI - VII

Eb - F - Gb - Ab - Bb - Cb - Db i - iio - III - iv - v - VI - VII

F# - G# - A - B - C# - D - E i - iio - III - iv - v - VI - VII

Notice how the Roman Numerals on the right hand side ALWAYS
stay the same. They NEVER, EVER, EVER change.

In a future book they will when we talk about Harmonic and Melodic
Minor Keys. For now we are using the Natural Minor Scale only for this
book.
Musical Keys. Things You Should Know…
The previous musical keys were laid out with each scale tone that pertains
to that key.

A key is a series of 7 pitches in which we take from the 12 notes of music

also known as the Chromatic Scale.

If you notice in major keys the (I IV V), are all major chords.

In the minor keys (i iv v) – are all minor chords.

A dim chord means a diminished chord. It has a flat fifth (H5), which
means the 5th tone of that chord is brought down a half step.

If you notice the diminished chords are all the 7th (vii) chords in the
major keys and the 2nd (ii) chords in the minor keys.

A third analysis you can pick apart is that in the major keys all the 2nd,
3rd and 6th chords are minor. In Minor keys the 3rd, 6th and 7th are all
Major chords. You can use any of the chords listed for a key to create a
progression, section or entire piece of music.

Also notice that each key you are in determines the (I), or (i) chord. For
example, each time you change a key the I chord changes, in A Major
the I chord is A, in B Major the I chord is B, and so on…

Same goes for the Minor Keys. The i chord (notice how its lowercase) in A
Minor is Am. The i chord in B Minor is Bm. Depending on which key you
choose, that key will be your Tonality. (the place where you will derive all
of your sounds from).
How I Laid Out the 24 Keys:
I used the Circle of Fourths. In other words, I used the Circle of Fifths
going Counter Clockwise. The reason I did this is because I like the way a
progression sounds using intervals of 4th’s versus 5th’s. The Circle of
Fifths is for another book. Simply know that I went from right to left. I
then added the Relative Minor key right after it. In this way you can see
that the chords are the same exact chords ordered in a different way.
Specifically starting from the 6th degree of the Major Scale gives you the
Relative Minor Key. I think this is the easiest way to understand the
concept of having 24 keys.

Major Keys and their Relative Minor Keys. You can also do this backwards
by Using the Minor Keys and then listing the Relative Major Keys.

The Layout for the book is as follows:

C Major and its Relative Minor Key A Minor are the first 2 keys I show you.
F Major, D Minor are next.
Bb Major, G Minor.
Eb Major, C Minor.
Ab Major, F Minor.
Db Major, Bb Minor
F# Major, Eb Minor - here the enharmonic equivalent is Gb but for spelling
purposes we will use F# Major.

B Major, G# Minor. - here the enharmonic equivalent of Ab Minor is G#

Minor and will use G# Minor for spelling purposes that you do not have to
worry about right now.

E Major, C# Minor
A Major, F# Minor
D Major, B Minor
G Major, E Minor

C Major, A Minor - here we are back to the beginning. There you have
the 24 Keys.
Strong Progressions Within a Key
Strength and Domination.
So why write strength and domination above? 2 reasons actually.

Not only are these words cool and provoke emotion just by reading them.
They are also used to describe certain movements in music such as a V7 -
I resolution. Although many different chord progressions are possible
within a key a lot of them follow a pattern. The strongest chord
progressions (the ones that allow for the most feel or (emotion)..are
considered the strongest. They take you on a journey so to speak more
than other chords would.

The GOAL of a progression is (usually) to come back to the I chord.

Although it doesn’t have to, you can count on it sounding good.

If you learn and internalize by applying the following stuff, you can
manipulate your music to sound as good as possible… if not better and
better each time. Thats exactly what we’re after here… to sound as
good as possible. To make your songs sound STRONG, with STRONG and
POWERFUL Resolutions. (a resolution is like the end of your journey
whether its long or short)
So again the GOAL of a progression (a progression in any key is TO
RETURN TO the first (I) chord.

“I want a weak sounding song,” was said, by NO ONE, ever.

The Authentic Cadence or the Perfect Authentic Cadence, is the strongest
way to approach a I chord. This is simply going from the 5th chord to the
1st chord. This subject matter is not for this book. Simply learn the
progressions and have fun writing songs.
How to Get to the Next Best Chord Within a Key

Here are some STRONG ways to get to the other chords within a key. The

strongest way to approach a V chord is from a ii chord. (Try Dm to G.)

The strongest way to approach a viio is from a IV chord. (Try F to Bdim.)

The strongest way to approach a IV is from I. (C to F.)

More examples: I IV viio I = C F Bo C.

Although this progression is not the strongest by any means we arrive at

the subsequent chords with a bit of strength behind them. Try this
progression out on your own before continuing.

To get to the ii chord you can precede it by the vi chord. (Am - Dm)

To get to vi - go from iii. (Em - Am)

To get to iii go from viio. (Bo - Em)

Since I is the MAIN chord of the scale it can go to ANY chord.

Example:

I vi IV V I - or - I ii V I - or - I viio I IV I Imaj7 etc…

DOMINATION

Dominant chords - V and viio - STRONGEST chords leading to I.

Pre-Dominant chords ( since they come before the dominants) are ii or

IV.
Chords and Triads in a Key
Every chord (or triad) is made up of 3 or more notes and I’ll show you an
easy way how to come up with the notes of each chord below. Chord
tones are simply the notes contained in each chord. The notes used to
build a chord.Remember this. There are 2 or 3 notes to each chord in this
book. There can be more but like I said before you wont see that in this
particular book.

For this ENTIRE book we will focus solely on chords with 2-4
notes.Chords with 2 notes are called Diads or Power Chords depending
on which degree you use.
If you use the 1st and 5th degree of the chord you have a power chord.

If you use the 1st and the 3rd degree you have a diad. Di meaning 2
and standing for 2 notes.

Tri stands for 3 as in tripod and thats why we call chords (triads). They
have 3 notes.

7th chords contained in this book have 4 notes. (the 1st, 3rd, 5th and
7th.)

In order to make it easy to find each of the chord tones in a chord you
MUST know the scale. This is why I told you to do the exercise before.
You will understand how to navigate through a key much, much easier.
Without knowing this it’s like a ship without a rudder. You’ll end up
somewhere of course, but you wont know where.
All the scales are on a previous page. Go back and do the exercise if you
haven't done it. If you don’t do all the keys, don’t worry, no one will know.
Except you.
 How to Build Chords (Triads) in a Key
A scale degree is simply a note. The scale degrees of the key of A Major
are - A B C# D E F# and G#.

The above notes make up the scale of A Major. (7 notes). Each note (aka
tone, pitch or scale degree) has chords that can be built off of it.

How to build chords:

Write the scale down.

Pick a note (any note aka scale degree), now skip a note and pick
that note, and then skip a note one more time and pick that note. You
should now have 3 notes. You also just built your first chord. I'll show
you what I mean.
Lets Pick A. In A Major the first chord is A Major. So we will have a Major
chord. Go back and reference the chart if you need to. There is no shame
in doing so. Seriously. Now simply pick the A note, skip a note and write
the next note down, then skip the next note, and write that note down.
You now have your A Major chord tones. Aka (A Major) Triad.

You should have - (A C# and E) No matter which of those 3 notes you

play first, you are still playing an A Major triad. (chord) You can also build
chords with visual patterns of the scale on the neck but you wouldn’t know
what chords you’re playing all the time. Its better to study this stuff until
you understand it not from a visual perspective but from a memorization
standpoint.

Chord Building examples:

Example #2:

Lets start from B. Write the scale down down. B C# D# E F# G# A

Start from B. Skip the C# and write down the next note (D#). Skip the E
note and write down F#. You now have a B Minor TRIAD. 3 Notes.
(B D F#)
Example #3: remember to use the scale above. Write it down as many
times as you have to.
Lets do C# Minor. (C# E G#)
Example 4:
D Major = D F# A
Chord Building examples continued

Example 5:
E Major = E G# B
Example 6:
F# Minor = F# A C#
Example 7:
G# Diminished = G# B D
The Benefits of Learning Everything You Just Read…
This knowledge can be used for several things of which I now reveal to
you. You will be able to…

1.Figure out the chords for yourself without having to use chord charts,
EVER. (you MUST know the notes on the fretboard for this.)

2.Figure out different fingerings for each chord. (again you MUST know
the notes on the fretboard for this.)

3. You will be able to come up with better riffs and grooves

4. You will be able to solo and improvise more easily

5.You will be able to create melodies and melodic ideas as well as chord
melodies

So as you can see its very useful to know this stuff since music is made
up of arguably, 2 things.

Melody, and Harmony.

Some like to throw Rhythm in there. But I like to keep it simple since
rhythm is kind of a given.
The next chapter will explain Power Chords.
 Power Chords, Triads and & 7th Chords Inside a Key
Power chords sound powerful, thus the name. They only have 2 scale
degrees.

A power chord has an interval of a Perfect 5th. Also written as P5. The first
note and the 5th note. An easy way to figure these out is to use the
method described above for building chords. Only this time you leave the
3rd out of it.
So again.
Write out the scale. Then write out the first note. Then simply move up to
the 5th note above that note and this will give you your Power chord.
These notes can be repeated and they would still be Power chords.

For example:
A E A E or A A A E A
Power chords are written with a 5 after it as you will see in the chord
charts. For example:
A5 B5 C#5 D5 E5 F#5 all belong to the key of A Major and are all Power
Chords. The G# cannot have a power chords because from G# to D is not
a Perfect 5th (P5) it is a Diminished or flat 5th (b5) or Tritone aka TT. It
simply is a diminished chord. You will see them in the charts as F5(b5) for
example.
How to Figure Out the Power Chords.
A B C# D E F# G#
First note = A
5th Note = E

You now have an A5 power

chord. B5 = First note = B, 5th Note
= F# C#5 = First note = C#, 5th
Note = G# and so on…
 7th Chords Inside a Key (A Major)

How to Figure Out the 7th Chords.

A B C# D E F# G#

Simply follow the advice above. A 7th chord is pretty much the same as a
triad. Simply add the 7th note above that note (or the note behind it in
the scale) and you have a 7th chord.

Now there are 3 types of 7th chords we will be dealing with.

1. Major 7th chords

2.Dominant 7th chords

3.Minor 7th chords.

The first chord and fourth chord in a major key can have Major 7th
chords. The 5th chord (Dominant chord of the key) is called a Dominant
7th chord because it has a b7 aka as Flat 7.

A C# E G# - the 7th is only a half step away thats why its a Major 7th.
To figure out the 7th Chords in a key. Use the same formula as before.
Pick the 1st, 3rd, 5th and 7th note.

FORMULA: Pick any note, then skip and pick that one, skip again and
pick that one, then simply skip one last time and pick that note.

If you started from A. You should now have A C# E and G#.

Ok now lets move on to the types of progressions that exist. This is the
cool part!
Notes
Ive laid out the chords in order of the scale using Guitar Pro 6 Format. You
will see them in what are called Chord scales.

Theres no sense in learning random chords as this just delays the time in
which you will actually play a song. To learn a chord on its own is
meaningless. Its like living on the earth with no one else around. It goes
nowhere. It leads you nowhere.

Thats why its especially important that:

1. you either learn cover songs or,
2. you write your own songs. Learning your own progressions. Learning
your own songs will do wonders for your theory.
Learning cover songs will too but only if you know what you are playing or
figure out what you are playing.
Sometimes I repeat shapes to engrain it in your mind.
Some shapes you will have to skip around.
Some shapes you might have to arpeggiate.

Motivation
In order to figure out the circle of fourths progression for example you will
have to use your head and a piece of paper. The chords are laid out for
you there is no sense in me doing any more for you as this will cause you
to depend and rely on books all the time for your information.

This should not be the case. A book should be a guide and ultimately your
number one reliance should be upon your MIND.

There is nothing more powerful than your mind so don’t doubt it. Don’t
doubt the abilities of your mind. If you do you are only cheating yourself
because most of the brain goes untapped as far as potential goes, for
entire lifetimes. What I mean to say is that most of us go to our graves
with our music still in us.

Don’t be one of them. Write some songs and get them out there. Make
them the best you possibly can. Don’t worry about the critics. You will
write some stinkers no doubt. But this is the only way to improve your
craft.
Mozart’s pieces that were bad…of course we never heard them because he
was developing his craft to release the good ones. All the sketches he
made never saw the light of day. Phil Anselmo once said to write a song a
day. What a concept. Imagine that. Do you think his songs contain some
bad progressions or some bad lyrics or some bad riffs? How about
Dimebag? Im sure of it. But I guess we’ll never know. God Bless that Riff
Master Guitar God for all those riffs that made us want to pick up and play
the guitar better.

How to Read Tab and Chord Charts

Tablature (or Tab)

Tablature has 6 lines just like the guitar has 6 strings. The top
line on the sheet is the 1st string of your guitar, which is the
furthest away from you. The lowest line on the sheet is the 6th
string, the one closest to your chest.

1. When you see a number on one of the lines it means that you
will press down on that fret. Frets are what divide your guitar.
Usually guitars have 21 or 22 frets although some have more
or less depending on the make and model.
2. If for example you see a 1 on the top line, this means that you
will press down on fret 1 on the first string. (Your high E string)

3. If there is a 3 on the first line you would press down on the

3rd fret but still the first string.

4. If there is a 1 on the second line then you would press down

on the first fret but on the second string.

5. When you see a number to the right of another number it

means that you play that note after the one you just played.

6. You only play notes at the same time when you see numbers
on top of each other just as you would when reading a staff.
Notes spread out in a linear fashion are played one after the
other and notes on top of each other are called chords and are
played at the same time.
Tips on Learning the Chord Shapes
Sometimes I repeat shapes to engrain it in my mind.

Some shapes you will absolutely not get and will have to repeat endlessly. Do
it anyway and remember that what you do now will soon be like a warmup for
you.

Some shapes skip around the neck. This is to keep it interesting and see all
the possibilities across the neck from Frets 1-12. Frets 1-12 are used only
because the shapes repeat in the same exact shape 12 frets higher. For
example fret 3 is the same as fret 15 (one octave higher).

With some shapes you will have to get creative and use the flesh of the inside
of your fingers to mute other strings because some of the shapes skip strings
and the string in between must sometimes be muted.

You can add any notes from the scale to any of the chords for
more interesting sounds.

Interesting is subjective though. You can sound interesting with simple chords
and a complex melody or vice versa so don’t overthink it too much.

Some shapes repeat in other keys. This is so that you make connections in
your mind as to how the keys work. There are only 12 notes in Western Music
but the possibilities are nearly endless. When you start making connections as
to which shapes can be played the same on any part of the neck, things will
go much easier for you.

Most of all use your ear. If it sounds good to your ear… it probably is.

Some will require you to stretch quite a bit. Persevere. Keep coming back to
it. Don’t forget about the chord if you like it. It will get easier the more you
try.
 Very Important

There are…

No rules Except to Use Your Ears.

If it sounds bad its bad, if it sounds good its good.

Don’t overthink or overcomplicate this.

This is a surefire way to Procrastination.

Use Your Ears. Keep studying and you will learn as you go.

The ONLY limit is your… IMAGINATION!!!

Imagine it, then create it.

 Songwriting and Progression Types

Simple Progression Examples You Can Use All Day Long

I IV V - Major Key progression

i iv v - Minor Key progression
I ii vi V - Major Key progression
ii V I - Major Key progression
iio V i - Minor version of a 2, 5 1 progression
I ii V I - aka 1 2 6 5 progression in a Major key
i iio v i - Minor Key progression 1 7 5 1
I ii vi V I - aka 1 2 6 5 1
I viio iii vi V I - Major Key progression etc…
I iii iv
I ii iii IV V
IV
I vi V IV - minor is i VI v iv
I iii vi ii V I
I vi iii IV V I
I vi IV V
i VI iv v
Now, remember if you don’t understand this stuff go back and study the
Roman Numeral System.

Pachelbel’s Canon Progression

The progression = I V vi iii IV I IV V. If you took this minor then it

wouldn't be pachelbel but you can still do it. You’d have - i v VI III iv i iv
v. Play these progressions in several keys. They sound really cool.
Circle of 4th’s Progressions

The progressions = I IV viio iii vi ii V. Circle of 4th’s - always stronger

than 5th’s progression because of the V - I Cadence. (Unless 5th’s
progressions are altered by adding a V before the I after the IV.)

Minor Key

i iv VII III VI iio v - the V can be used hear to sound more classical and
have a stronger cadence. (stronger pull to the root note of chord i by use
of the leading tone)

Circle of 5th’s
The progressions = I V ii vi iii viio IV I - the cadence here (IV I) is not as
strong as V I so you can add a V after IV to get a stronger sounding
cadence.

12 Bar Blues Progressions

I I I I - IV IV I I - V IV I V

I7 I7 I7 I7 I7 I7 I7 I7 - IV7 IV7 I7 I7 - V7 IV7 I7 V7

Example in A Major - A A A A - D D A A - E D A E

A7 A7 A7 A7 - D7 D7 A7 A7 - E7 D7 A7 E7

Example in A Minor - Am Am Am Am - Dm Dm Am Am - Em Dm Am
Em
… and with 7th chords. Am7 Am7 Am7 Am7 - Dm7 Dm7 Am7 Am7 - Em7
Dm7 Am7 Em7
More Ideas
Straight Down the Scale Progressions =

I - vii0 - vi - V - IV - iii - ii - I

Example in C = C - Bo - Am - G - F - Em - Dm - C

Descending Bass Line Progressions = (aka circle progression in 5ths)

I - V - ii - vi - iii - vii0 - IV - I
C - G - Dm - Am - Em - Bdim - F - C

Remember - You can double any chord, play it for more than one
measure or play the chord with the same root in 3 different ways. You can
mix the power chord with the seventh chord and the triads. In fact you’d
probably spice things up by doing so.

I - I - I - I - vi - vi - IV - IV - V - V7 - I - I

Thats an example of using the same chord over multiple measures. The I
chord is used for 4 measures, the vi chord for 2 as well as the IV chord.
Then comes the V for 1 measure, the V7 for 2 measures and finally the I
for 2 measures.

There are ENDLESS Possibilities and that’s why the journey one can
experience by studying music is so wonderful and amazing.

How to use the Progression Types

1. Refer to the Roman Numeral Chart.
2. Match the chords in the Key.
3. Write, write, write. Write for the garbage can as they say (meaning
you wont use any of it until you come across something you like…
The chords in order of the scale using Guitar Pro 6 Format
The first key up is C Major.
Then its relative Minor.
Then a perfect fourth up from the C, thus following the Circle of Fourths.
C Major
Chords in the Key of C - Same as A Minor (The Relative Minor Key)
The Notes in the C Major Scale are as follows:

CDEFGAB
Progression Examples:

1. C5 A5 F5 G5

2. Am G C C or…Am7 G7 C Cmaj7

3. Cmaj7 G7 F Fmaj7 C

4. C5 D5 E5 F5 then (F5 E5 D5 G5 C5)

5. Cmaj7 Em7 Am G G7

6. Em F Am Dm G C

7. Cmaj7 Dm7 G7 C

8. C F Bdim Em Am Dm G7 C

Listening examples:
Arabeske in C, Op. 18 by Robert Schumann Bolero by Maurice Ravel

Assignment: Infinite songs have been created in this key. Come up with
a chord progression, one that you think you’ve never heard before. The
more you write, the more your own unique voice will want to come out.
A Minor
Chords in the Key of Am - Same as C Major (The Relative Major
Key) The Notes in the A Minor Scale are as follows:

ABCDEFG
Progression Examples:
1. Am C F Em G F Em Em7 Am

2. Am G F Em

3. Am7 Dm Fmaj7 Em Em7

4. Am Dm Em F Em Em7

5. Am Dm Bm7b5 Em7

6. Am Em7 Dm Cmaj7 Bdim Em7 Am

7. Dm Em7 Am F G Em7 Am

8. Am Dm G7 C F Bdim Em
Note: You can easily use a progression from C Major to modulate to and
then you can come back into an Am progression (same one or even a new
one) You can do this with every single key’s relative minor chords.
Example:
A B
Am Em Dm Em F Dm Em Am / C F G Am Dm F G7 C / Am Em Dm A
Em F Dm Em Am

Listening examples:
Etude 'Winter Wind' - Frederic Chopin
Caprice no.5 by Niccolo Paganini
Assignment: Play through the above progressions without pausing
in between.
Chords in the Key of F Major
Chords in the Key of F - Same as D Minor (The Relative Minor Key)
The Notes in the F Major Scale are as follows:

F G A BH C D E
Progression Examples:

1. F C Dm Bb C C7

2. F Bb Am Edim Dm Gm C7

3. Fmaj7 Bbmaj7 C C7

4. F Bb Am Dm7 Bb C7

5. F5 F5 Bb5 Bb5 D5 C5

6. Gm Gm7 C7 Fmaj7

7. F Dm C F Bb C Dm C

8. F C Gm Dm Am Em7b5 Bb7 F

I like F Major because its the relative of a very dark key - D Minor. Its also
the Parallel key (Same root note) as F Minor.

Listening examples:
String Quartet in F…Opus 96 - “American”- By Antonin Dvorak
String Quartet No. 3 in F major, Op. 73 Movement 4 – Adagio, Dmitri
Shostakovich
String Quartet No. 3 in F major, Op. 73 Movement 1 – Allegretto, Dmitri
Shostakovich
String Quartet in F major Op 99. (Adagio Affettuoso) - Maurice Ravel
“Autumn” The Four Seasons – Antonio Vivaldi

Assignment: Pick a progression. Then, for the next section, pick a

progression from either D minor or F minor and combine the two. Should
sound pretty cool. If not, it only means you are using the wrong chords. Try
switching them around and making them work.
Chords in the Key of D Minor
Chords in the Key of D Minor - Same as F Major (The Relative Major Key)

The Notes in the D Minor Scale are as follows:

D E F G A Bb C

Progression Examples:
1. Dm7 Bbmaj7

2. Dm Am Bbmaj7 Am7

3. Dm Gm Am Edim C Dm

4. Dm7 Am7 Dm7 Am7 etc…

5. Dm Bb Bb/D Gm Am Am7

6. Dm Gm/D Dm Gm

7. Dm C F Bb C Dm C

8. Dm Am Edim Bb F C Gm (circle of 5ths)

Drop D tuning here works very well.

Listening examples:
J. S. Bach's entire The Art of Fugue is in D minor.
Mozart’s Requiem Mass in D Minor.
Film composer Hans Zimmer is one of the most prominent users of the
key of D minor in modern times. Many of his well-known scores were
written in the key, notable examples including Gladiator, The Dark Knight,
Pirates of the Caribbean, and The Da Vinci Code. - Wikipedia

Assignment: Lower your low E String to a D and play some power chords
by holding down the bottom 3 strings on frets 3, 5, 6, 8 and 10 as well as
the 3 bottom strings played open. Experiment grooving and riffing with
these chords.
Chords in the Key of BH Major
Chords in the Key of BH Major - Same as G Minor (The Relative Minor
Key)
The Notes in the Bb Major Scale are as follows:
Bb C D Eb F G A
Progression Examples:

1. Bb Bbmaj7 Eb F Gm

2. Bbmaj7 F Eb F7 Bb Gm F

3. Bb5 Eb5 F5

4. Bb Dm F Adim G F

5. C5 F5 Bb5

6. Bb Gm7 Dm7 Eb F7

7. Ebmaj7 F Bbmaj7 F7 Bb

8. Bb Eb Adim Dm Gm F

BH Major is a Key where you have to start thinking a little more. Because
of the 2 flats it contains composing and writing in this key makes it a little
bit harder. …But not if you really know your notes on your guitar. If you
do, you can have lots of fun with the flat keys as they are not so popular
amongst us guitar players because of how they are positioned on the
neck.

Listening examples
Rondo in B-flat for Violin and Orchestra (Mozart)
String Quartet No. 5 (Shostakovich)
Symphony No. 5 (Prokofiev)

Assignment: Play through the progressions, and learn the BH Major Scale
which is also G Minor. Record some chords and begin to melodies over
them. You can never start improvising too early. Starting now will work
wonders for your ear, and playing ability.
Chords in the Key of G Minor
Chords in the Key of G Minor - Same as Bb Major (The Relative
Major Key)
The Notes in the G Minor Scale are as follows:

G A Bb C D Eb F
Progression Examples:

1. Gm F Eb Bb Adim Gm

2. G5 D5 Eb5 F5 G5 F5 G5 D5

3. Dm Eb F Gm Gm7

4. Gm7 Cm7 Dm7

5. Gm Cm Dm Dm7

6. Gm Bb F Gm

7. Adim Dm Dm7 Gm7 Gm

8. Gm Cm F Bb Eb A Dm

An easy way to figure out the scales for the relative MINOR key is to
simply take the Major Scale BH C D EH F G A, and copy and paste the first
five notes after the A. So you now should have G A BH C D EH F. Which is
the G Minor scale. You can do this for every single key.

Listening examples
The_Four_Seasons_(Vivaldi) Summer, RV315 - Antonio Vivaldi
Symphony No. 40 – Wolfgang Amadeus Mozart
Symphony no. 7 in G Minor by Scarlatti
Assignment: Learn the G minor Scale on a single string. (the 3rd
String). Improvise 5 short, 1 bar melodies, writing down each one. Do
not venture out from this string. Stay on the 3rd string. This will
give you motives that you can develop later on.
EH Major
Chords in the Key of Eb Major - Same as C Minor (The Relative
Minor Key)
Notes in the Eb Major Scale are as follows:

EH F G AH BH C D
Progression Examples:
1. EH AH Cm BH7
2. EH Cm7 BH

3. EH BH7

4. EH5 AH5 G5

5. Fm Fm7 BH7 EH

6. EH Ddim Cm7 BH7

7. EH Cm7 Fm BH7

8. EH AH Ddim Gm7 Cm7 Fm BH7

Mix this key with Cm (relative minor) and you can get some really cool
sounds. In fact, you can do this with all of the keys.

Listening examples
Franz Schubert - Impromptu in Eb Op. 90 no.2 by Franz Schubert
Concerto in Eb Major by Franz Liszt
Overture to the Magic Flute - by Mozart
Paganini’s 14th Caprice

Assignment: Write 5 new progressions in this key on paper. Play through

those as well. This will make you more comfortable playing around in this
key. Its a tough one that stumps guitar players all the time.
C Minor
Chords in the Key of C Minor - Same as Eb Major (The Relative Major Key)
The Notes in the C Minor Scale are as follows:

C D EH F G AH BH

Progression Examples:
1. Cm AH Ddim Gm7
2. Cm7 EHmaj7 Cm7 BH Fm Gm Cm

3. Cm BH7 EHmaj7 AHmaj7 Gm7

4. C5 EH5 C5 AH5 G5 G5

5. Cm Fm Gm BH7 EH AH Ddim Gm

6. Ddim Cm7 Gm7

7. Cm7 Fm7 BH

8. Cm7 Fm BH7 EH AH Ddim Gm7 (Neoclassical Progression)

This is the key of Beethoven’s 5th symphony.

Listening examples
Beethoven’s Symphony no. 5
Cello Suite No. 5, BWV 1011 – Bach
Étude Op. 10, No. 12 (Revolutionary) – Chopin
Nocturne in C minor, Op. 48, No. 1 – Chopin
Rondo Op. 1 – Chopin
String quartet No. 8 – Shostakovich

Assignment: Print out the score for one of these pieces and study it. You
can download them at www.IMSLP.org for free. Getting into this habit will
open up your world about the possibilities of music.
Ab Major
Chords in the Key of Ab Major - Same as F Minor (The Relative Minor Key)

The Notes in the Ab Major Scale are as follows:

Ab BH C DH EH F G

Progression Examples:
1. AHmaj7 DHmaj7 AHmaj7 EH7

2. AH BHm7 EH7

3. BH5 EH5 AH5

4. AH Fm EH7 AH

5. AH Fm DH EH7

6. AH EH AH DH

7. AHmaj7 DH EH Fm Cm EH7

8. AH DH Gdim Cm Fm BHm7 EH7

All Flat keys start on the black keys on a piano.

Listening examples
Frédéric Chopin – Impromptu No. 1 in A flat major, Op. 29
Franz Schubert – Impromptu op. 90 no.4 in A flat Major

Assignment: Learn and play progression number 8 in arpeggiated

chords. (one note at a time.)
F Minor
Chords in the Key of F Minor - Same as Ab Major (The Relative Major
Key)
The Notes in the F Minor Scale are as follows:
F G AH BH C DH EH

Progression Examples:
1. Fm DHmaj7
2. Fm BHm Cm

3. Fm DHmaj7 EH7

4. Fm Gdim Cm

5. F5 C5 D5 C5 G5 C5

6. Fm C Cm Fm

7. Gdim Cm Fm

8. Fm BHm EH AH DH Gdim C7

This key is the key of one of Beethoven’s most widely known Sonatas.

Listening examples
Symphony No. 1 - Dmitri Shostakovich
Piano Sonata No. 23, Op. 57 (Appassionata) – Ludwig van Beethoven
Ballade No. 4, Op. 52 – Frédéric Chopin

Assignment: Listen to this piece of music and come up with a rhythmic

motive from it to use for the progressions. For example: pick a part of the
piece that you like the most, even if you don’t really like this type of
music you should try and do this exercise as your guitar playing will
sound totally different from what you hear in the sonata. Once you got
the part. Mimic the rhythm. Or the melody. And come up with your own
rhythm or melody. Then record it if you can.
DH Major
Chords in the Key of Db Major - Same as Bb Minor (The Relative
Minor Key)

The Notes in the Db Major Scale are as follows:

DH EH F GH AH BH C
Progression Examples:

1. DH5 BH5 GH5 AH5

2. DH EHm GH Ab

3. DH BH AH GH

4. EHm AH DH

5. DH BHm EHm AH

6. DH EHm Fm GH AH7

7. DH Cdim DH GHmaj7 AH7

8. DH GH Cdim Fm BHm EHm AH7

Listening examples
Sergei Rachmaninoff composed the famous 18th variation of his Rhapsody
on a Theme of Paganini in this key, perhaps emphasizing the generally
held view that D-flat major is the most romantically flavored of the major
keys. Charles-Marie Widor considered D-flat major to be the best key for
flute music. - Wikipedia
Hector Berlioz called this key "majestic" in his 1856 Grand Traité
d'Instrumentation et d'Orchestration modernes, while having a much
different opinion of its enharmonic counterpart. D-flat major was used as
the key for the slow movements of Joseph Haydn's Piano Sonata Hob
XI:46 in A-flat major, and Beethoven's Apassionata sonata. - Wikipedia
Chopin Nocturne No. 8 in D Flat Major Op.27 No.2
Assignment: Listen to the examples and after listening try to come up
with 2 very different sounding progressions in this key.
BHMinor
Chords in the Key of Bb Minor - Same as Db Major (The Relative
Major Key)

The Notes in the Bb Minor Scale are as follows:

BH C DH EH F GH AH

Progression Examples:
1.

2. BHm
BH5 Cdim
EH5 F5Fm

3. Cdim Fm BHm

4. BHm AH DH EHm Fm

5. BHm Fm EHm Fm

6. BHm DH AH Fm7

7. EHm Fm BHm7 Fm7 BHm

8. BHm Cdim DH EHm Fm7

B-flat minor is traditionally a 'dark' key.[1] Important oboe solos in this

key in the orchestral literature include the second movement of
Tchaikovsky's Symphony No. 4, which depicts "the feeling that you get
when you are all alone", in Tchaikovsky's words. Tchaikovsky's Piano
Concerto No. 1 is also in B-flat minor. But its also the relative major of DH.
(one of the most romantically flavored)

Listening examples
Samuel Barber's Adagio for Strings
Sergei Rachmaninoff's Piano Sonata No. 2
Dmitri Shostakovich's String Quartet No. 13
Pyotr Ilyich Tchaikovsky's Piano Concerto No. 1,[7] Sérénade mélancolique

Assignment: Come up with an introduction with only Power chords.

FG Major
Chords in the Key of FG Major - Same as D# Minor (The Relative Minor Key)
The Notes in the F# Major Scale are as follows:

FG GG AG B CG DG EG
Progression Examples:

1. FG DGm
2. FG/CG B FG Bmaj7

3. CG AGm7 FGmaj7 EGm7H5

4. DG5 GG5 DG5 CG5

5. FG/CG AGm7 CG5 DGm7

6. FG GGm7 CG CG7

7. FG DGm GGm7 CG7

8. FG B EGm7H5 AGm DGm GGm7 CG7

If you've never used this key, try it. It will give you something you’ve
probably never heard before or even played before. And it’s relative minor
is E Flat Minor!

Listening examples
Scriabin's Fourth Sonata, The key was the favorite tonality of Olivier
Messiaen, who used it repeatedly throughout his work to express his most
exciting or transcendent moods, most notably in the Turangalîla Symphony.
Shostakovich - String Quartet no. 14 in F# Major. Awesome. Beautiful.

Assignment: Write a melody on staff paper using the scale. Use quarter
notes and half notes only. Now go back and see if you can harmonize it
with chords.
EH Minor
Chords in the Key of EH Minor - Same as Gb Major (The Relative
Major Key)
The Notes in the Eb Minor Scale are as follows:

EH F GH AH BH CH DH

Progression Examples:
1. EHm AHm BHm

2. EH5 BH5 C5 BH5

3. Fdim BHm EHm

4. EHm BHm EHm AHm

5. EHm CH Fdim EHm

6. EHm AHm CH BHm

7. EHm GH DH DHsus4

8. EHm AHm DH GH CH Fdim BHm7

These pieces are noted for being dark and mysterious (a characteristic of
this key).

Listening examples
Dmitri Shostakovich’s final string quartet. No. 15
Sergei Rachmaninoff's Elegie, Op. 3, No. 1
Étude-Tableau, Op. 39, No. 5.
Oskar Böhme's Trumpet Sextet, Op. 30 is written in E-flat minor.

Assignment: Only if you do not have a whammy bar, detune each string
on your guitar a half step down. You are now in Ebm. Experiment with
this new tuning. You will need to play the chords in Em but you will
actually be in the key of Ebm.
B Major
Chords in the Key of B Major - Same as G# Minor (The Relative
Minor Key)

The Notes in the B Major Scale are as follows:

B CG DG E FG GG AG
Progression Examples:
1. B5 E5 FG5
2. B E GGm7 FG

3. E FG GGm7 FG B

4. CG5 FG5 B5

5. B GGm7 CGm FG

6. B GGm7 FG E

7. B GGm7 E FG

8. B GGm7 DGm E

Joe Satriani’s piece called “Always with Me, Always with You” is in B Major
but then goes into B Minor in an awesome transition. Its a pretty simple
transition but the power of simplicity is in effect here as this song, melody
and solo is in my opinion one of his classics.

Listening examples
Verdi's opera Rigoletto is in B major.
Johannes Brahms's Piano Trio No. 1, Op. 8 is in B major, though the piece
ends in B minor.

Assignment: Lets go backwards this time. Pick an easy progression from

B Minor then pick a nice long progression from B Major then come back
and play the B Minor progression right after, just like it does in the song
right after the solo. Only the sections are reversed, B Major, B Minor and
then ends in B Major. You can do it this way too.
G#
Minor
Chords in the Key of B Major - Same as G# Minor (The Relative Minor
Key)

The Notes in the G# Minor Scale are as follows:

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

Progression Examples:

1. G#m D#m E D#m7

2. G#m A#dim C#m7 D#m7
3. G#5 A#b5 D#5
4. G#m E C#m D#m7
5. G#5 C#5 D#5 E5 D#5
6. G#m E A#dim D#m7
7. A#dim D#m7 G#m
8. G#m C#m F# B E A# D#m7

Listening examples
Polonaise in G-Sharp Minor, opus posthumous in 1822. Chopin.
Étude No. 6 - Chopin
La campanella from his Grandes études de Paganini - Franz Liszt

Assignment: Write a progression on paper of 5-8 chords. Once you have

these chords, use a C#m7 next, as the 5th chord of F#m. (enharmonic
equivalent) and write the next 4 - 5 chords in the key of F#m. This is called
Modulation from one key to another. You should have a smoking
progression.
E Major
Chords in the Key of E Major - Same as C# Minor (The Relative Minor
Key)

The Notes in the E Major Scale are as follows:

E F# G# A B C# D#

Progression Examples:

1. E5 B5 E5 C5m F#5(b5) B5
2. F#m B E
3. E C#m A B
4. E C#m F#m B
5. Eadd9 Emaj7 D#dim Badd9
6. Emaj7 Amaj7 Badd11 Badd9 B E B7
7. Emaj7 G#m B B
8. E A D#dim G#m C#m F#m7 B7

I love this Key. Most because of its Relative Minor C# Minor. Also because
its the lowest key on the guitar. E Minor and E Major are both keys that you
can create riffs that pedal off of the Low E String which gives your riffs a
heaviness unlike any other key.

Listening examples
Chopin's first Piano Concerto - last two movements.
Peter Ilyich Tchaikovsky's Symphony No. 5
Dmitri Shostakovich's Symphony No. 10.
Assignment: This assignment will take some time to do so make sure
you have some. *For this assignment you will need a hardtail guitar. (a
fixed bridge) This means no whammy bar.*
After you go through all the chords as you should be doing for every key,
take out your tuner. Now drop each and every string down a minor 3rd.
Here are the notes you are going to tune to: The E will come down to C
#, A to F#, D to B, G to E, B to G# and E to C#. Leaving you with this:
C# F# B E G# C# - You are now in C# Standard tuning. A minor third (3)
down from E. Now all the chords that you learned in E Major a few
minutes ago can be played here as well. All the chords will now sound
very low and darker and heavier. Whats cool about this is that you can
still look at it as E Major even though the real key you are playing is C#
MAJOR or Db Major its enharmonic equivalent aka the most romantically
flavored key according to certain composers. C# Major is a Minor 3rd
down from this key. You can also play in this tuning for any of the keys.
Just know that you are playing in a key a Minor 3rd down from whatever
key you are learning the chords from.
You can think of this also as if you now broke the rules of music; you
have changed the frequencies at which pitches resonate as only someone
with supernatural powers could do. So what you are doing is Playing
everything you play 3 half steps down.
You’ve lowered the pitches of music and have made everything sound a
little darker.
I created this world for myself inside my music when I was playing heavily
with this tuning. It was a very cathartic period for me as is where I wrote
the best, heaviest riffs I could do. It made me want to because of how fat
and dark it sounded.
So imagine playing in D Minor, or Bb Minor and now you pick up your
guitar every time and you play what you usually play only it sounds a lot
heavier and meatier giving it (an entirely new character.)
Remember: you need a guitar that can do this or you can simply purchase
one that is tuned to that tuning. You have to tell them that you want it
like this because they all usually come in E Standard tuning. If you don't
have a whammy bar or a place for a whammy bar to fit on your guitar
then you are good to go. Lastly, thicker strings are better for this type of
tuning as it will sound a bit loose if you have 9’s on there but try it
anyway. You can always tune it right back up. Or who knows, maybe you
fall in love with the tuning like I did.
C# Minor
Chords in the Key of C# Minor - Same as E Major (The Relative Major
Key)

The Notes in the C# Minor Scale are as follows:

C# D# E F# G# A B

Progression Examples:

1. C#m F#m C#m D#dim F#m G#m

2. D#dim A F#m G#m C#m
3. C#m F#m G#m
4. C#m A D#dim G#m
5. D#dim G#m C#m
6. C#m G#m C#m G#m F#m
7. C#5 A5 E5 F#5
8. C#m F#m A G#m F#m A Emaj7 D#dim C#m
Listening examples
Keyboard sonatas in C-sharp minor, K. 246 and K. 247. - Domenico
Scarlatti
Beethoven's Piano Sonata No. 14 (Moonlight Sonata)
Fantaisie-Impromptu, Scherzo No. 3 (Op. 39) - Chopin

Assignment: Pick a song or riff in the key of C# Minor by scouring the

internet. Once you have the song, learn a section or even the whole thing.
Then analyze the chords and see how they match up with the chords in this
key.
A
Major
Chords in the Key of A Major - Same as F# Minor (The Relative Minor
Key)

The Notes in the A Major Scale are as follows:

A B C# D E F# G#
8 Progression Examples

1. A A F#m F#m7
2. A5 D5 E5 E5
3. A D F#m E7
4. A Bm D E
5. A Bm7 D F#m7
6. A5 B5 E5 E5 F#5 B5 E5
7. A C#m E G#dim
8. A D G#dim C#m F#m Bm E (circle of fourths progression)

Listening examples
The Festive Overture in A major, Op. 96 - Shostakovich, Dmitri
Frédéric Chopin's Allegro de concert, Op. 46

Assignment: Reconfigure the chords above. For all 8 progressions reverse

the order of the chords and see what you come up with. Write them down.
Not doing these kinds of exercises can rob you of insights you will come
across by actually writing them down.
F#
Minor
Progressions in the Key of F#m - Same as A Major (The Relative Major
Key)

The Notes in the F#m Scale are as follows:

F# G# A B C# D E

8 Progression Examples

1. Dmaj7 F#m Bm C#m7 F#m

2. G#dim C#m F#m F#m
3. F#m A E C#m
4. F#m E D C#m C#m7
5. F#m7 C#m7 G#dim D A E7 F#m7
6. F#m7 Dmaj7 C#m7 F#m
7. F#m C#m G#dim D A E Bm F#m
8. F#m Bm E A D G#dim C#m7

Come up with your own ideas. For example get out a pencil and write some
random progressions down from the charts. Then go back and compare
from the progressions given here. What do you like about them? What do
you not like about them? If anything at all.
Listening examples
Rachmaninoff's Piano Concerto No. 1
Mozart's only composition in this key is the second movement to his Piano
Concerto No. 23 in A major. - Wikipedia
Assignment: Learn progression 8 with 7th chords, power chords and basic
triads.
D
Major
Chords in the Key of D - Same as B Minor (The Relative Minor Key)

The Notes in the D Major Scale are as follows:

D E F# G A B C#

8 Progression Examples

1. D A Em A7

2. D F#m Bm A D G A7 D

3. Em7 Bm A7 D

4. D F#5 G5 A5 D5

5. D A G D Em A D

6. D A Bm A7

7. D5 A5 B5 A5 D5

8. D G C#dim F#m Bm Em A7 D

Listening examples
Prokofiev symphony in D Major
Violin Concertos - Mozart (No. 2, 1775, No. 4, 1775)

Assignment: Write out the scale and memorize it. Then write out the
scale from each subsequent note. You now have your D Major Scale
(Modes). Then play through all the progressions. As you should for all the
keys. Remember to study only one key a day. At the end of 24 days you
should be back at C Major.
B
Minor
Chords in the Key of Bm - Same as D Major (The Relative Major Key)
The Notes in the B Minor Scale are as follows:
B C# D E F# G A
8 Progression Examples
1. Bm C#dim F#m Bm
2. Bm C#dim F#m Bm Em7 Bm7 Em7
3. C#dim F#m Bm
4. Bm G Bm G …etc..
5. Bm Em Em C#m9 (V of V) F#m
6. B5 G5 F#5 B5
7. B5 D5 E5 F#5 B5 G5 A5 B5
8. Bm Em A D G C#dim F#m Bm

Listening examples
Chopins Funeral March. Sonata in Bm.
The Mass in B minor (BWV 232) by Johann Sebastian Bach

Assignment: Using the chords on the 5th string, pedal off the Low E string
for hard rock and heavy metal style riffs. You are actually using the 4th
mode of B minor which is called E Dorian. You don’t need to worry about
what this means right now but it is cool. So give it a shot.

For example: Hit the Low E then a chord…repeat for as long as you like
using different chords or notes of the scale as you move up and down the
neck. You can do this with using chords on the 6th string as well.
G Major
Chords in the Key of G - Same as E Minor (The Relative Minor Key)

The Notes in the G Major Scale are as follows:

G A B C D E F#

Progression Examples:
1. G Em

2. G C D A

3. G Em C D

4. Am Gmaj7 C G

5. Cmaj7 G5 D5 G6 G

6. G5 A5 D5 D5

7. Gmaj7 Em7 Cmaj7 D7

8. G C F# B Em Am D D7 G

A very popular key. Thousands upon thousands of songs are written in

this key. the Goldberg Variations by Bach are all in G Major. this is not to
say all the guitar music that has come from this key. This is mostly due to
the fact that g c and d chords are very guitar friendly. those chords are all
in g major. What an incredible feat for a person to pull off an entire album
in todays world in a single key and still sound great, different, amazing.

Listening examples
Domenico Scarlatti has 555 keyboard sonatas, G major is the home key
for 69 of them.
Goldberg Variations are 80 minutes in G major.
G major is the home key of Mozart's Eine kleine Nachtmusik

Assignment: Write out on paper 3 (12 chord progressions using the

chords from this key) Now use it in a song section.
E Minor
Chords in the Key of Em - Same as G Major (The Relative Major Key)

The Notes in the E Minor Scale are as follows:

E F# G A B C# D
Progression Examples:
1. Em Em Bm Em

2. Em Cmaj7 Em Cmaj7

3. Em Gadd9 D

4. Em Em Cmaj7 D

5. Em Cmaj7 D Bm

6. Em Am Bm7 Am7

7. D Em Bm D Em

8. Em Am D G C F#dim B7 (circle of 4ths)

Extra Assignments (Optional)
Assignment: Write a melody in all 24 keys.
(on sheet music) remember you can draw your own staffs and copy them
on the printer or download them from the internet for free. You can also
by Guitar Pro software, Sibelius, Finale…etc.

Assignment: Pick a key and …Record every progression and solo over it.

Assignment: Add other notes from the scale to all the progressions.

Assignment: Apply what you've learned to every one of your previous

songs. For example go back and review your progressions and add in
some fresh, new sounds.

Assignment: Write an entire song in each key.

Assignment: Write an A B A song with 8 chords for each progression.

You should end up with 24 chords.

Assignment: Write a melody in A B A form.

Assignment: Write a riff/groove in all 24 keys.

Assignment: Write out the 9th chords in every key. Use the 7ths and
then simply add the 9th to each chord. Learn them on the neck.

Assignment: Use poly chords. Record one chord for 2 minutes in length.
With any rhythm you like. Now play the other chords from the key on top
of this chord. Amazing, very interesting sounds will come out that you
may or may not like. Try it anyway.

Assignment: Use the poly chords from the example above and note
which ones you liked or thought sounded good. Once you do this, write a
long progression out on paper.
Here’s an example: Am/Em - Bm/Em - C/Em - F#o/Em - Bm/Em - Bm7 -
Em. You now have a very rich harmonic progression here which allows
you to use double the amount of chord tones since you have 2 chords.
Focus on the chord tones of the chord on top for best results, while
sparing using the notes from Em.
Now do your own progression. Try this assignment in all 24 keys for an
extensive exercise.
Assignment: Write a single note riff in all 24 keys. Make them Epic. Write
so much your hands fall off.
Next Key would be A Major which is the 1st key we Covered.
What’s to Come
More Progressions in cooler ways with cooler chords.
Learn these, Master these, have fun with these and you’ll be ready to
move on.
You want to be able to (NOT THINK) when coming up with chords so that
you don’t waste any valuable time in those ever so fickle moments of
inspiration.
Knowing your theory allows you and opens you up to more and more
opportunities for you to express yourself.
And the best part of all this is that it’s endless. You can mix and match
keys, come in and out of them, borrow chords from other keys, other
modes and more…
I sincerely hope that this short book has allowed you and given you some
inspiration for a new riff, progression and even song(s).
Signing off for now,
Mike S.