 Copyright 2015-2016 by Dan Amerson

All rights reserved.

Module 6 - A Few Things To Know (about Blues) Dan Amerson

There are a couple of things that you need to know before we jump headlong into the
blues.

 Extended Notes
 Extended Chords
 Augmented Scales and Chords
 Diminished Scales and Chords

i) Extended Notes

Extended notes and chords are a whole new beast to tackle. It isn't terribly difficult, but it
requires understanding the basic chords.

What are the extended chords?

In short, they are chords that add extra notes; they give the chord a 'jazzy' feel.

The most common extended chords include either a 9th, 11th, or a 13th note in the chord.
The chord also needs to be a 7th chord (major, minor, dominant) for the chord to be
extended.

Let's explain what a 9th, 11th, or a 13th note is; in fact, they are very similar to the scale
degrees we've already covered.

As you go up the scale, you reach the root note; you can call it either the 8th or the 1st. As
you move along, you move up as though you're building off of the 8th note.

As you can see, the 9th, 11th, and 13th are the same as the 2nd, 4th, and 6th notes of the
major scale. However, it is a higher number because it should be played higher than the
scale's highest root.

Components of an Extended Chord

  Copyright 2015-2016 by Dan Amerson
All rights reserved.

· The root (not necessary)

· An indicator (major 3rd/minor 3rd)
· A 5th note (can easily be excluded)
· A 7th note (major 7th/minor 7th)
· Extended note(s) (9, 11, 13)

Given that the extended chord 'extends' over the root, you are limited in the number of
ways you can play extended chords. The bigger the number (e.g. 13th chords), the fewer
options you have. Most extended chords can be played with an E, A, or D string root.

 A 9th note is the 2nd above the octave

 A 11th note is the 4th above the octave
 A 13th note is the 6th above the octave
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

ii - Extended Chords

9th Chords

There are three types of ninth chords.

· 1, 3, 5, 7, 9 = major 9th
· 1, ♭3, 5, ♭7, 9 = minor 9th
· 1, 3, 5, ♭7, 9 = (dominant) 9th

The main differentiators are the major/minor indicator (3rd vs. ♭3rd) and the 7th (7th vs.
♭
7th)

With this new information, let's look at the different way of forming chords.

We'll begin with every possible note in a chord.

We can then strip away notes to create chords that are both easy to play and properly
represent all notes.

If you must remove notes to make the chord easier to play, you can first remove the 5th
note.

If you're playing a major 9th, you might remove the 3rd, since the major 7th lets the chord
be apparent.

Though you are given several suggestions to make your chords more musical, keep in
mind that there chords that are more apparent as a 9 chord. You'll be told which are worth
learning.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Let's look at the individual chords, with finger placement suggestions, in each pattern.

E Chord Shape (Pattern 4)

Major Shape

Form 1 is the easiest form to play, especially by using your thumb to hit the root note.

Form 2 can also be done with a thumb on the root, and placing a barre on the 3rd and 9th
notes with your index.

Form 3 is more difficult to play, but it is a chord nonetheless.

Minor Shape

Forms 1 and 2 are very similar by difference of one finger. Use a barre to cover the busy
fret.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Dominant 7th Shape

Form 1 is done by playing an E7 chord shape and using your spare pinky to play the 9th.

Form 2 is done with a thumb on the root, a barre over the 3rd and 9th, and singling out
the flat 7th and 5th with any of your other fingers.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

D Chord Shape (Pattern 5)

Major Shape

Form 1 is the most expedient form to play; start with your middle finger on the root and
your index finger on the 3rd.

Forms 2 and 3 do not refer to the root, so it takes some experience to be able to use them
in context.

Minor Shape
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Form 1 places the middle finger on the root and the index finger on the flat 3rd. It is the
most common form.

Form 2 is less common; since it does not use the root, it's more difficult to utilize the chord
at whim.

Dominant Shape

C Chord Shape (Pattern 1)

  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Major Shape

Find the root on the A string, slide down one fret, and play this chord. This isn't a typical
9th chord.

Minor Shape

A very common minor 9th chord. Learn this and use it often.

Dominant Shape
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Another very common chord. Use this and add it to your repertoire.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

A Chord Shape (Pattern 2)

Major Shape

This chord is worth learning. Do it!

Minor Shape

Form 1 is worth learning.

  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Form 2 can be done if you are aware of the location of the root.

Dominant Shape

Form 1 is technically the minor shape, but since it doesn't contain a 3rd note, it can be
sound like a dominant 7th if it's played with other instruments. Use with caution.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

G Chord Shape (Pattern 3)

Major Shape

This form is easier to play higher up on the fretboard due to the needed
finger stretch. Use your thumb on the root, and barre the 3rd and 5th notes
with your index.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

Minor Shape

Dominant Shape

The major ninth chords offer a jazzy way to play chords. Don't be put off by its strange
name.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

11th Chords

There are three types of eleventh chords.

· 1, 3, 5, 7, 9, 11 = major 11th
· 1, ♭3, 5, ♭7, 9, 11 = minor 11th
· 1, 3, 5, ♭7, 9, 11 = (dominant) 11th

Since 11th is the same note as the 4th note, it creates tension when played with the 3rd
note. With that, it isn't absolutely necessary to play the 3rd note with a major 11th or
dominant 11th.

Also, since the 11th note is quite far from the base root (lowest root), there are limited ways
that you can play the 11th chord across the fretboard. You are limited to using the lowest E,
the A, and the D strings to base their chords upon.

E Chord Shape (Pattern 4)

In the E major shape, you can play the 11th chord in two different ways, as long as you
articulate the 7th note.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

A Chord Shape (Pattern 5)

In the major shape, the major 7th indicates that it's major, so there's no need of proving it
further with a 3rd note.

The other shapes (using a flat 7th) are indicated with the articulation of the flat 3rd or the
9th.

D Chord Shape (Pattern 1)

11th chords are used much less frequently because they often stand out to the ear in
certain music contexts. Use your common judgement when it comes to using 11th chords.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

13th Chords

The last form of extended chord is the 13th chord. The 13th note is the same note as the
6th.

There are three types of eleventh chords.

 1, 3, 5, 7, 9, 11, 13 = major 13th

 1, ♭3, 5, ♭7, 9, 11, 13 = minor 13th
 1, 3, 5, ♭7, 9, 11, 13 = (dominant) 13th

There's no need to articulate the 11th, or even the 9th, for the chord to be understood. You
must, of course, play the 13th note for it to be a 13th chord.

Since the 13th note is quite far from the base root (lowest root), there are few ways that
you can play the 13th chord across the fretboard. You are limited to using the lowest E and
the A strings to base their chords upon.

Let's review the types of 13th chords you can play.

E Chord Shape (Pattern 4)

  Copyright 2015-2016 by Dan Amerson
All rights reserved.

A Chord Shape (Pattern 5)

Above are two different ways of playing each type of chord shape.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

iii - Augmented Scale

An augmented scale is a 3-note scale that uses notes of equal length distance. Each note is
4 semitones apart.

Augmented chords have an interesting sound. Though this book isn't about how to use
these chords in proper context, you'll know what to play when you see an 'A aug'.

The augmented scale is: 1, #3, #5

Let's first look at the scale. An augmented scale has only three notes, and they're of equal
distance from one another, that is, a major 3rd.

If 1 is the root, then 3 and #5 are the other notes of the scale. If you look at the fretboard
example below, you'll see an equal distance between the horizontal notes.

You will notice that there is equivalence between the patterns. If it isn't obvious, break the
scale into three parts and study it individually; they all take the same shape as the shape
below, so there's no real need to memorize the patterns by name, as long as you keep in
mind where the roots are.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

The root doesn't actually matter because there's no difference between the intervals.
However, if you want to play an A augmented, you need to have at least one of those
three notes be an A.

Additionally, an A augmented chord is the same chord as a C# or F augmented chord.

Let's examine specific fingerings of the augmented chords.

Here are some shapes that you could use:

  Copyright 2015-2016 by Dan Amerson
All rights reserved.

iv - Diminished Chords

Where Augmented scales are based upon equal major third intervals, a Diminished scale is
based upon equal minor third intervals. Since the intervals are shorter, you need more
notes to complete the scale.

The scale is as follows; note that they're of equal difference from one another.

1, ♭3, ♭5, ♭♭7 (4 notes)

The double flat means that it's (in essence) a 6th note.

If you look at the fretboard example below, you'll see an equal distance between the
horizontal notes.

You will notice that there is equivalence between the patterns. They all take the same
shape as the shape below, so there's no real need to memorize the patterns by name, as
long as you keep in mind where the roots are. The patterns repeat themselves, and the
blocks contain the same information.
  Copyright 2015-2016 by Dan Amerson
All rights reserved.

The root doesn't matter as much in a diminished scale because there's no difference
between the intervals. However, if you want to play an F# Diminished, you need to have at
least one of the four notes be an F#.

Additionally, an F# Diminished chord is the same chord as an A, a C, or D# Diminished

chord.

Let's examine specific fingerings of the diminished chords. Play these anywhere on the
fretboard, so long as one of those notes include your root.