3 Simple Shapes for Beautiful Chords (ANYONE CAN PLAY!)

If you want to start playing beautiful strong melody lines that can quickly and easily be converted into new killer guitar riffs you are going to love checking out the way that these three simple shapes I demonstrate in this lesson can operate all along the span of the guitar fingerboard...

 

 

In this video, I’m going to show you the three best intervals for building up your riffs so that the riffs are more melodic without necessarily having to focus all of your time training on learning every note name, or a lot of music theory.

 

WATCH THE VIDEO




 

This lesson focuses on 3 shapes that are not only easy to play but when they’re combined with a few open strings you’ll achieve a beautiful sound that strongly connects all of these shapes together. 

 

Typically, we refer to these shapes as intervals, because they only have two notes. 

 

One of these shapes will quite likely be VERY familiar to you, (and depending upon what you’ve studied in the past, it’s quite likely that the other two shapes may also be somewhat familiar as well). 

 

Let’s get things started by running through each of the three shapes. Then we’ll get into a number of different playing options that you can use with them to start making some music. 

 

 

 

 

 

Example 1): The Minor Third

In this first shape we have a pattern that stretches across a whole step between two strings. The interval is referred to as a “Minor 3rd.” 

 


 

Example 2): The Major Third

Our second shape is a smaller pattern that applies a half step between two strings. The interval is referred to as a “Major 3rd.” 

 


 

 

Example 2): The Perfect 5th

Our last shape is another pattern a whole step apart between two strings. The interval is referred to as a “Perfect 5th,” however, more commonly it will be referred to as a “Power Chord.” 



Donations promo here…

 

CONCLUSION:
Once you become familiar with these three shapes the fun can really start for you. And, as you’re about to see and hear, it is very easy to apply these shapes (and use them to develop really beautiful sounding music). 

 

But, the best part is that you won’t need to know any note names on the neck, and you don’t need to understand anything about music theory. 

 

The shapes can be moved anywhere along the neck and you can even combine them in all sorts of random ways against open strings for some very cool sounding layered effects. 

 

So, when you understand the fact that these shapes are super easy to play and how these shapes can be applied in any way that you’d like on the neck, you wind up with tons of options for their application in music. 

 

Let’s wrap up by exploring those options with a melodic example… 

 

Example 4): Melodic example DEMO (Key of “E Minor”) 

 

 

 



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From 0 to 10 Scales in 10 Days (GUARANTEED!)

Want to start doing your first set of scales in just 10 days? Well, if you watch this video and perform the patterns as shown, you’ll be doing at least five scales in no time flat. After that, the remaining five will come along very quickly using the practice ideas outlined in the lesson...

 

 

 

 

This 10 day, "Zero to 10" scale workout will help you learn five scale patterns centered off of the inner four guitar strings as major shapes. After learning how to organize the starter patterns, you'll learn how to organize the "Relative Tonality" root notes for an additional five Minor scales!

 

WATCH THE VIDEO:

 




 

 
TEN SCALES IN TEN DAYS:
The key to success with the 10 day timeline will all be based around starting from the perspective of isolating the scale tones from within the four inside guitar strings.


Doing the workout on just those four inside strings will help you progress through the more complex scale designs on the neck right away. Afterward, you'll be able to further increase your scale range out to the 1st and 6th strings along the way, (as you need those tones).


The best part about this lesson is that it’s going to be the last day that you say, “I can’t play any scales.” Because if you follow what I’m going to show you today, I guarantee that you’re going to be able to do at least five scales.

 

 

 

 

If you put the work in those five will lead you toward knowing how to apply them as ten scales in total - with five for major keys and five for minor keys.

 

If you dedicate the next ten days to doing this work, you will achieve the fingerboard knowledge on your neck for these scales. 

 

So, the main thing that’s different here (compared to how you may have tried to study scales in the past), will be in the approach that we’ll apply. 

 

It’s not going to be the standard text-book approach to learning scales. We’re going to approach this a little bit differently. So, grab your guitar and reach for a piece of fingerboard work-sheet paper.

 

THE FIVE MAJOR PATTERNS:
The first pattern that we’re going to study will set the stage for how the remainder of the rest of our patterns will function along the span of the neck. 

 

Our work will only be focused on the inside four guitar strings, with our awareness focused on how the notes of the scale we study can operate onto the outer strings by way of simply learning only two notes located on either the 1st or on the 6th string. 

 


 

This works very effectively, because the names of the notes on those two outer strings are the same, making the naming of those notes very easy to understand. So, with all of this in mind, let’s get started with learning our first pattern. 

 

 

Example 1).
“D” Major 5th string and 2nd string roots played in the second position of the neck. 

 


 

The lower 6th and 1st string notes are available as notes of “G and A.”

 


Now that you have the basic idea for how this extended scale layout system works – what we’ll do next is study the remaining 4 patterns that you can use to learn the “Major” scale all over the guitar neck. 

 

 

 

 

At the end of the lesson, I’ll help you understand how to flip all of these patterns over to Minor shapes. But first - here’s a short promotional message about my “Handouts Collection” eBook offer…

 

                        ____________________________________________________
 

I wanted to take a minute to let you know, that if you want to learn even more about scales and theory I have a great offer for you.

With any donation over $5, or any merchandise purchase from my Tee-Spring store, I’ll send you free copies of THREE of my most popular digital handouts.

One is called, “Harmonized Arpeggio Drills” (it’ll train you on developing your diatonic arpeggios).

Another one is my “Barre Chord” Handout which includes a page showing all the key signatures along with a chord progression that applies barre chords.

Plus, you’ll get my Notation Pack! It has 8 pages of important guitar worksheets for notating anything related to; music charts, guitar chord diagrams, and TAB.

As a BONUS, (from my "Over 40 and Still Can't Play a Scale" video), I'll also throw in a breakdown of all of the chords that are diatonic to the "F Major" scale.

As an EXTRA BONUS for my Phrygian Dominant video, I'll also throw in a breakdown featuring all of the chords that are diatonic to the Phrygian Dominant scale.

Just send me an email off of the contact page of CreativeGuitarStudio.com to let me know about either your donation or your Merchandise purchase and I’ll email you those digital handouts within 24 hrs.   

                       ____________________________________________________


 

Example 2).
“D” Major 5th string and 3rd string roots played in the fourth position of the neck. Here’s the full pattern…
 

 


 

 

The lower 6th and 1st string notes are available as notes of “A and B.” 

 


 

 

Example 3).
“D” Major 3rd string root played in the sixth and seventh positions of the neck. Here’s the full pattern…

 



 

The lower 6th and 1st string notes are available as notes of “B and C#.” 

 


 

 

Example 4).
“D” Major 4th string root played in the ninth position of the neck. Here’s the full pattern…

 

 


 

The lower 6th and 1st string notes are available as notes of “D and E.” 

 


 

 

Example 5).
“D” Major 4th string to 2nd string roots played in the ninth position of the neck. Here’s the full pattern…

 


 

 

The lower 6th and 1st string notes are available as notes of “E and F#.” 

 


 

 

FIVE MORE MINOR PATTERNS:
Now, that we have five scale patterns for Major, the remaining five for Minor Keys will be very easy to develop. And, how this all works is it’s based upon the fact that minor keys are all the same scale shapes on the neck as Major keys. 

 

All you need to do is locate the 6th note (from the root of the Major key), and you’ve located your root for Minor. In the key that we just worked on of “D Major,” the 6th note is “B.” So, all we need to do is perform each Major scale we just learned from off of the note “B.” 

 


 

By focusing on the 6th note of the Major scale and using that 6th tone as our new root note, we instantly have 5 more Minor scales from the exact same patterns. Let me quickly demonstrate this using that first pattern that we worked on at the start of the lesson…

 

 

 

 

Example 6).
If we perform the initial "D Major" scale shape off of the note of “B” we automatically produce a scale that establishes Minor tonality.

 


 

 

All you have to do is follow through with those remaining four Major scale shapes and you’ll have all of the rest of the minor scale shapes everywhere across the fingerboard for a grand total of ten shapes (5 major and 5 minor). 

 

Practice each shape for approx. 10 min. per shape over a period of 10 days and you'll have them all down!

 


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This is FUN and it Makes You WANT to Play Guitar!

How would you like to play something on guitar that is fun to do and at the same time will teach you how to shift riffs and licks to new keys easily and effortlessly? One of the most common things that guitarists will strive for is playing ideas that are fun and that cause skill to improve. This type of work is one of those things that can have some excellent consequences with respect to skill development... 

 

 

 

 



In this video, I’m going to show you how to have a ton of fun along the neck by doing something that covers a number of practice concepts while providing the added bonus of developing your scales and your keys to a much higher level.

 

WATCH THE VIDEO:




ONE FRET-POSITION LEARNING:
The effect of only sitting within one key, scale (or mode) won't address the quick thinking in your playing that will come from when we work at changing which key and scale is being played - and doing that, "on the fly."



This lesson's exercise will teach you how to strengthen areas that are weak for you when it comes to moving a scale or mode to another region of the fret-board.  With a step by step attack plan, you are going to be able to improve your ability to switch keys, scales and modes once and for all.

 

This lesson will help you with a very common problem that’s generally caused by doing too much in position playing on the guitar fingerboard. No matter if that’s from learning licks in one playing position, or studying scales and arpeggios within one, or if it’s from learning how to play a favorite song, we tend to learn ideas on the guitar in one position using one scale, one key or with one mode. 

 

 

 

 

By applying a key signature exercise along the fingerboard, we can train ourselves to shift ideas that we’re performing along and across the neck - changing key and changing scales all in one go. 

 

This exercise will not only help with getting better at scales and keys, but it will also help with thinking faster on your feet and when we shift along the neck while playing like this, it’s an incredibly satisfying and fun feeling when done perfectly in time. 

 

BACKING RIFF:
Let’s get things going today by learning a backing riff, then we’ll jump into learning a melodic idea and then we’ll move them both along the neck and have some fun with this... 

 

Example 1): Backing Riff Idea
Here's a a basic 3-chord riff. It’s a fairly typical sounding riff that you’ve probably heard before… Here it is…

 


 

SCALE and KEY PATTERN:
The above riff is in the key of “A Minor.” It’s easy to understand that because the first chord is “A Minor,” and the last chord is “A Minor.” So, this tells us that to understand how to play over the riff we need to become a little familiar with the notes inside of an “A Minor Scale.” 

 

Below is a pattern for “A Minor” that focuses on the region of the fret-board where we were playing our riff…

Example 2): “A Minor” scale in the central region of the neck… 



Coming up next, I’m going to teach you how to create a melodic statement using that “A Minor” Scale, and then we’ll move the scale along the neck. First into “G Minor” and then along through other keys as well. 

 

But before that – I have a short promotional message for you about my “Handouts Collection” eBook offer… 

 

                        ____________________________________________________
 

I wanted to take a minute to let you know, that if you want to learn even more about scales and theory I have a great offer for you.

With any donation over $5, or any merchandise purchase from my Tee-Spring store, I’ll send you free copies of THREE of my most popular digital handouts.

One is called, “Harmonized Arpeggio Drills” (it’ll train you on developing your diatonic arpeggios).

Another one is my “Barre Chord” Handout which includes a page showing all the key signatures along with a chord progression that applies barre chords.

Plus, you’ll get my Notation Pack! It has 8 pages of important guitar worksheets for notating anything related to; music charts, guitar chord diagrams, and TAB.

As a BONUS, (from my "Over 40 and Still Can't Play a Scale" video), I'll also throw in a breakdown of all of the chords that are diatonic to the "F Major" scale.

As an EXTRA BONUS for my Phrygian Dominant video, I'll also throw in a breakdown featuring all of the chords that are diatonic to the Phrygian Dominant scale.

Just send me an email off of the contact page of CreativeGuitarStudio.com to let me know about either your donation or your Merchandise purchase and I’ll email you those digital handouts within 24 hrs.   

                       ____________________________________________________


GUITAR LICK - SPRINGBOARD LICK:
Once you become familiar with the general layout of the scale that matches the key of your guitar riff, all you’ll need to do is record the riff on a looper pedal (or you can just record it on your phone), and then play it back while building a melodic idea over it by using the correct scale. 

 

I’m going to help make all of this a little bit easier for you by giving you a melody to work on so that you can have something to perform right away and it’ll get you going with this idea a lil’ faster. 

 

Example 3): Melodic example (Key of “A Minor”)

 


 

 

 

SHIFTING IDEAS TO NEW POSITIONS:
Now that you have a backing riff and a melodic idea, you can start getting into the real fun part of this exercise. We’re going to practice playing the first melody in “A Minor,” down a whole step into the key of “G Minor.” 

 

Of course before we play down into “G Minor,” let’s quickly become familiar with how the riff will move, and how the melody will move as well… 

 

Example 4): Riff and Melodic example (Key of “G Minor”)

 


 

 

Scale region of the neck in “G Minor.” 

 


 

 

Melodic idea moved over to, “G Minor.” 

 

 

 

Perform the riff and lick (A and G Minor), back to back smoothly in time.

 

 

 

 

CONCLUSION:
This exercise can be moved all along and across the entire guitar fret-board through a number of different keys. 

 

You can start with this melody I’ve shown here to get you going, (it’ll make the whole experience of getting started with this easier in the beginning). But over time… (and as you get better with the exercise), move it through several keys. 

 

Try incorporating different modes, try it with arpeggios, with the Pentatonic scales, it has a lot of options to it, so definitely take advantage of all of them in your practice time. 

 

It’s an excellent exercise and it’s one that you’ll have fun with because you’ll very quickly discover how to build both a sense of scale association and you’ll develop more control over the guitar neck. 

 

At the same time you’ll learn how to manage all the changes to keys and scales that happen as you move this exercise across the fingerboard.


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Play this Guitar Riff for 2 Minutes and See Why it's so Addictive!

Is the practice time that you're getting on guitar needing a boost? Do you feel like you're not making enough progress after working through the riffs that you already know? There is a good possibility that you aren’t expanding your skills across enough music styles during your daily studies. So, read on because you're going to love jamming on this lessons guitar riff...

 

 

 
In this episode of my "Play This Riff" series I will continue with another "easy to play riff workout," that is designed to push your stylistic boundaries to the limits in just a couple of minutes every day.



By using this lessons fun to play Latin Style Riff exercise you'll hit all of the right performance areas in just the right way. Plus, you'll learn just how much more effective that you can be during all of your guitar workouts.

 

WATCH THE VIDEO


 

PLAY THIS RIFF
The “Play this Riff” series continues and this time were hitting an easy to work through, (but also very cool sounding), Latin guitar style riff that’s only one measure long. 

 

You’re going to love this one, because this riff is super catchy and that makes it perfect for anyone who needs to step up their ability for developing a better sense of groove, a better sense of timing and also it’s a really great riff for improving right and left hand coordination, (especially if you want to get better with your finger-picking). 

 

But, the best part about this riff is that you can play it on either an Acoustic guitar or on an Electric guitar – makes no difference. So, let’s get things started by introducing the general idea of this riff to you – right now…

 

Example 1). General Riff

 

 

“The Latin Feel” of this riff certainly makes it catchy sounding and it’s overall “in-position” set up on the neck makes maintaining a well-established fret hand position on the neck rather easy. Work slowly through the riff to learn what you need to know about the note layouts for this riff.

 

Once the riff’s notes and the playing positions are memorized, start taking a closer look at the plucking hand.

 

Coming up next, I’m going to teach a couple of simple modifications that you can make to this riff, (to take things a little further with the whole idea)… But first - here’s a short promotional message about my “Handouts Collection” eBook offer…

 

                        ____________________________________________________
 

I wanted to take a minute to let you know, that if you want to learn even more about scales and theory I have a great offer for you.

With any donation over $5, or any merchandise purchase from my Tee-Spring store, I’ll send you free copies of THREE of my most popular digital handouts.

One is called, “Harmonized Arpeggio Drills” (it’ll train you on developing your diatonic arpeggios).

Another one is my “Barre Chord” Handout which includes a page showing all the key signatures along with a chord progression that applies barre chords.

Plus, you’ll get my Notation Pack! It has 8 pages of important guitar worksheets for notating anything related to; music charts, guitar chord diagrams, and TAB.

As a BONUS, (from my "Over 40 and Still Can't Play a Scale" video), I'll also throw in a breakdown of all of the chords that are diatonic to the "F Major" scale.

As an EXTRA BONUS for my Phrygian Dominant video, I'll also throw in a breakdown featuring all of the chords that are diatonic to the Phrygian Dominant scale.

Just send me an email off of the contact page of CreativeGuitarStudio.com to let me know about either your donation or your Merchandise purchase and I’ll email you those digital handouts within 24 hrs.   

                       ____________________________________________________

 

When we create modifications to any riff composed in any style, the modifications will often alter one of two primary areas of playing. They can change up the note layout of the riff, or change the riffs rhythm structure. 

 

In my first modification, we’re going to alter the note layout. With this change, we’ll establish two fret-board positions by altering our overall note set-up. Here’s how this change sounds.

 

Example 2). Modification no. 1 - Position Shift

 


 

The “two-position” set up on this version of our riff makes it a little more challenging to perform (due to a fret-hand position shift). 

 

Once you learn the change I’ve made and the riff’s notes are memorized, you’ll want to also double check what to do with your plucking hand as well.

 

 

CREATING FURTHER MODIFICATIONS:
If we create other modifications to the riffs rhythm structure the cool thing that happens is we end up with a new sense of dynamic feel from the riff, (because the stress points and the accents end up getting changed). 

 

In my last example, we’re going to alter the note duration. We’ll still stay in the same fret-board position with a few changes to the notes themselves, but the main difference will be the rhythmic feel. Here’s the final change to the riff.

 

Example 3). Modification no. 2 - Rhythmic Alteration

 


 

The note set up on this version of the riff isn’t all that difficult to perform because we are back to staying within a position. But, here’s what you need to know about my modification on this one; the sixteenth-note rests create a very broken feel from the overall note structure.

 

And, just like before, once the notes are memorized, you’ll want to also confirm what’s happening with your plucking hand.



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