Circle of 4ths and 5ths – Part 2: How To Memorise It

For a more in depth lesson go here: Circle of 4ths and 5ths

Circle of 4ths and 5ths – Part 1: What Is It?

For a more in depth lesson go here: Circle of 4ths and 5ths

The 3 Mistakes Guitar Players Make When Trying To Learn Theory, And How To Avoid Them

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Lesson 13: Improvising With Relative Major and Minor Scales

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Relative scales are scales that share the same set of notes but have different root notes (because they are in different keys). They sound different because their intervals (distance of the scale notes from the root note) are different.

For example here is the C Major scale.

Note Names: C, D, E, F, G, A, B, C
Formula: 0, 2, 4, 5, 7, 9, 11, 12

C Major Scale

It sounds the way it does because of the order in which you play the various intervals, from the C to the D (0 – 2), from the D to the E (2 – 4) etc.

But what if you kept the same notes but started on the A in stead? Well then you would be playing the relative (Natural) minor scale of this C Major Scale.

Note Names: A, B, C, D, E, F, G, A
Formula: 0, 2, 3, 5, 7, 8, 10, 12

Using the Five Fret Pattern you can see that although the notes are the same the intervals are different. A to B (0 – 2), B to C (2 – 3) etc.

So to find the relative minor scale of any given Major scale you simply start playing the same notes from the 6th note of the Major scale. To find the relative Major scale for any given Natural minor scale you start at its 3rd note.

C Major and A minor Scales

In the above diagram you can see all the notes of the C Major / A Natural minor scale.
Can you see where I got the earlier diagram for the C Major scale from? It starts at the eight fret. So if you want an easy way to find the relative minor scale simply start playing from wherever you see an A. Like the example below.

A minor Scale

Knowing how to find the relative minor scale for every Major scale is useful for several reasons. First of all it means that if you know how to play the Major scale you automatically know the Natural minor scale as well.If you practice the Major scale in all 12 keys you’ll know its relative minor in all 12 keys as well.

It means that when you are improvising you can easily switch between the two scales to get a different sound.

Listen to this song Otherside by the Red Hot Chili Peppers (the chord progression for most of the song is Am – F – C – G) and play the above C Major scale over it.

Next play the A minor scale. Can you hear how they sound different?

Now use the below diagram to improvise over the music, but rather than sticking to just one scale pattern for each scale, try to play all over the fretboard in stead.

In order to still get the two different sounds choose to switch your focus every 60 seconds or so between the A and C note. So start and end your licks on A for 60 seconds, then start and end your licks on C for the next minute.

For extra bonus points focus on the intervals that are different for each scale: 0-3, 0-8 and 0-10 for the minor scale and 0-4, 0-9 and 0-11 for the Major scale.

C Major and A minor Scales

Lesson 12: 6th and 7th Chords

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In a previous lesson about chord progressions you may have noticed chords with a 7 behind them V7 or IIm7, examples of which are the G7 and Bm7 chords. These are called 7th chords.

7th chords are chords that consist of 4 notes, starting with a Major or minor triad and playing an extra note on top.

Before I show you how to construct and play these chords let me briefly touch on the naming of intervals and chords. The names 7th and 6th refer to intervals used in these chords. So far in these lessons I’ve avoided using the standard interval names, such as minor 2nd and Perfect 5th because in my opinion they only confuse guitar players who are just starting to learn music theory. The number one priority at this stage is to know how to construct chords and scales and to be able to see them easily on the fretboard.

In future lessons I’ll talk more about standard naming conventions for intervals and then you’ll be able to discuss Augmented 9ths and Perfect 11ths with piano and violin players as much as you want.

Using our method of counting the fret distance from the root note you should easily be able to remember the formulas and apply them to the fretboard using the Five Fret Pattern. Remember the formula for the Major triad is 0 – 4 – 7 and for the minor triad it’s 0 – 3 – 7.

Below you’ll find the name of the chord, the common symbol for it, the formula, an image of all the notes for that chord across the fretboard and an example of of a voicing of that chord. Note that the chord shapes shown are moveable along the fretboard, just play the same shape at different places along the fretboard.

Name: Major 7th
Symbol: M7 of Maj7
Formula: 0 – 4 – 7 – 11
Example: BbMaj7: Bb, A, D, F

Bb Major 7th Notes

Example Voicing: BbMaj7

Bb Major 7th

Name: Dominant 7th
Symbol: 7
Formula: 0 – 4 – 7 – 10
Example: Bb7: Bb, G#, D, F

Bb Dominant 7th Notes

Example Voicing: Bb7

Bb Major Dominant 7th

Name: Major 6th
Symbol: 6
Formula: 0 – 4 – 7 – 9
Example: E6: E, G#, C#, B

E Major 6th Notes

Example Voicing: E6

F# Major 6th

Name: minor 7th
Symbol: m7
Formula: 0 – 3 – 7 – 10
Example: Bbm7: Bb, C#, F, G#

F minor 7th Notes

Example Voicing: Bbm7

Bb minor 7

Name: minor 6th
Symbol: m6
Formula: 0 – 3 – 7 – 9
Example: Bm6: B, D, F#, G#

B minor 6th Notes

Example Voicing: Bm6

B minor 6

Learn the formulas for each of these chords and see how many different ways you can play them along the neck, there are quite a few positions for each chord.