Hello everyone. There is one guitar song that has made more people want to play guitar than any other and that Sairway to Heaven and more searches for Stairway to Heaven Tablature.

The initial riff from the “Stairway to Heaven” song by Led Zeppelin, released in late 1971 and since then having become one of those songs that every guitar player attempts to play at one time or another. The song, almost eight minutes long, is made up of several sections, which increase in speed and volume. I would want you to take a look at the intro riff, which resembles a lot a slow acoustic-based folk song.

The song is not only pleasing to the year, but also does teach use some theory behind it. It is written in the key of Am, and it starts with an arpeggiated chord progression played with fingers, accompanied by a chromatic descending bass line (A-G#-G-F#-F-E.). Let’s take a look at how it is constructed. The first bar opens up with an arpeggio, based on the A minor. As we already stated an arpeggio is nothing more than a consecutive play of the root, third, and tonic, so in Am you have – A, C, E and back to A an octave apart.

Stairway to Heaven Tablature


E-------5-7-----7-
B-----5-----5-----
G---5---------5---
D-7-------6-------

Take a look at the picture showing the A minor arpeggio fingering:

Followed by the 7th fret on the high E string played together with the 6th Fret on the D string.
This 6th fret on the D string or Ab is a passing tone.
The last 3 notes of the first bar create a C major 7.

Take a look at the proposed C Major 7 fingering:

This all leads intro riff to C major, which is the relative major to A minor.
(This is out of the G Form – See Ultimate Fretboard). In the 2nd bar the first 4 notes are a C major (G Form 2nd Octave)

Stairway to Heaven Tablature


E-8-----8-2-----2-
B---5-------3-----
G-----5-------2---
D-5-------4-------


This picture bellow shows the C Major fingering:

The following 4 notes in the 2nd bar create a D major Arpeggio, which is a C Form Inversion. Take a look at the D Major fingering:

The third Bar of the into riff is an Open F major7 Chord played as an arpeggio:

Stairway to Heaven Tablature


E-0---------0-----
B---1---1-----1---
G-----2---------2-
D-3---------------

Look at the shown F Major 7 fingering:

Finally, the last bar of the riff rests on one beat of G major before going into A minor.


-----------------|
-0-1-1-----------|
-0-2-2-----------|
-----------------|
-2-0-0---0--/8-7-|
-----------------|

It is interesting to note, that the last two notes lead into the second set, and are virtually identical to the first 4 bars.

Here are the 8 Bars together:

Intro:
E-------5-7-----7-|-8-----8-2-----2-|
B-----5-----5-----|---5-------3-----|
G---5---------5---|-----5-------2---|
D-7-------6-------|-5-------4-------|
A-----------------|-----------------|
E-----------------|-----------------|

E-0---------0-----|-----------------|
B---1---1-----1---|-0-1-1-----------|
G-----2---------2-|-0-2-2-----------|
D-3---------------|-----------------|
A-----------------|-2-0-0---0--/8-7-|
E-----------------|-----------------|

The Second 4 bars follow the first 4 bars, except the very first note which is an extension of the previous bar.

E---------7-----7-|-8-----8-2-----2-|
B-------5---5-----|---5-------3-----|
G-----5-------5---|-----5-------2---|
D---7-----6-------|-5-------4-------|
A-0---------------|-----------------|
E-----------------|-----------------|

E-0---------0-----|-----------------|
B---1---1-----1---|-0-1-1-----------|
G-----2---------2-|-0-2-2-----------|
D-3---------------|-----------------|
A-----------------|-2-0-0-----------|
E-----------------|-----------------|

Be sure to check the video, showing how the forms are used to create the “Stairway to Heaven” intro riff.

Admittedly this is not a perfect performance by any means. I suggest using the video and pictures to find the forms and then listening to the original to perfect your performance.

http://www.guitar5day.com/video/stair.wmv

I hope you enjoyed the lesson with pictures and Stairway to Heaven Tablature.

I wanted to share with you a simple, but yet very useful guitar exercise based on the use of a diminished triad scale. What makes this exercise so useful is that it accomplishes several things. Firstly, it helps you with the stretching of fingers. Secondly, it employs basic alternate picking (up – down), even though the real trick is to play it with apoyando (a method of plucking known in English as “rest stroke”, where after plucking the string, the pick rests on the adjacent string). Due to its rather specific construction this exercise will keep you concentrated the entire time.

I believe that all guitarists should spend a good portion on their practice time playing exercises. Yes, playing in a band is great, and following a creative impulse when writing a song is important, but the exercises are the instruments that help you progress reaching a new level of ability.  Also, don’t skip playing scales and arpeggios under any circumstances.  Scales and arpeggios based on them represent a consecutive play of notes, which make up the chord and are not just for beginners. They are known to be very rich in melodic expression, which makes them perfectly suitable for imaginative player wishing to create remarkable solos and riffs.

Well, speaking of the exercise – I do not know if there is a name to this exercise; it was shown to me by my guitar teacher and I benefited greatly from it. It is based on the diminished third scale.

Plat it against metronome, starting out slowly and making sure that each note sounds out clearly without unwanted sounds from other strings. Listen to the midi file, to make sure you are on the right track. Enjoy!

dim triad

E                             E  E  E  E  E  E  E

E||------------------------------------------------|

B||------------------------------------------------|

G||------------------------------------------------|

D||---------------------------------------------3--|

A||------------------------------2--5-----2--5-----|

E||--1------------------------4--------4-----------|

E  E  E  E  E  E  E  E     E  E  E  E  E  E  E  E

--------------------------|--------------------------|

--------------------------|-----------------------6--|

-----------------------4--|--------4--7-----4--7-----|

--------3--6-----3--6-----|--3--6--------6-----------|

--2--5--------5-----------|--------------------------|

--------------------------|--------------------------|

E  E  E  E  E  E  E  E     E  E  E   E    E  E   E  E

-----------------------7--|--------7--10S--11--8---------|

--------6--9-----6--9-----|--6--9-----------------10--7--|

--4--7--------7-----------|------------------------------|

--------------------------|------------------------------|

--------------------------|------------------------------|

--------------------------|------------------------------|

E   E  E  E   E  E  E  E     E  E  E  E  E  E  E  E

--8-------------------------|--------------------------|

-----10--7-----10--7--------|--7-----------------------|

------------8---------8--5--|-----8--5-----8--5--------|

----------------------------|-----------7--------7--4--|

----------------------------|--------------------------|

----------------------------|--------------------------|

E  E  E  E  E  E  E  E     E  E  E  E  E  E  E        E

--------------------------|--------------------------------|-----||

--------------------------|--------------------------------|-----||

--5-----------------------|--------------------------------|-----||

-----7--4-----7--4--------|--4-----------------------------|-----||

-----------6--------6--3--|-----6--3-----6--3--------------|-----||

--------------------------|-----------5--------5--------2--|-----||

_________

E – 8th

S – shift slide

Did you catch the
Les Paul tribute?

Before there were
fast shredding guitar
players Les Paul
was playing with blinding speed.

And he did it
with a sense of humor.

Alot of what Les Paul did
was repetition.

The same riff but
slid down the neck.

Here is a riff you can work on:

p=pull off

h=hammer

E|--11h12p11h12--9h10p9h10--7h8p7h8--5h6p5h6--
B|--------------------------------------------
G|--------------------------------------------
D|--------------------------------------------
A|--------------------------------------------
E|--------------------------------------------

It looks like a lot of notes
but it is just a simple
hammer and pull off twice
then drop down two frets.

Try it slow at first before moving frets.
get the basic hammer pull off hammer
before moving.

After a while you will get it and
see how simple it is.

You can go to the 3rd fret even.

Now try it by changing just one note.

Play the last note on the B string:

E|--11h12p11-----9h10p9-----7h8p7----5h6p5----
B|----------h12--------h10-------h8-------h6--
G|--------------------------------------------
D|--------------------------------------------
A|--------------------------------------------
E|--------------------------------------------

When you get it going fast it
sounds kind of cartoonish.

Have fun with that and make
up a few riffs on your
own by just changing
one note.

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Augmented chords

What are Augmented chords.

Unlike somethings
that are augmented they
are not bigger chords.

Augmented chords refer
to a chord with a Sharp 5th.

What is a sharp 5th?

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The simplest way to describe
a sharp 5th is to use an example.

Take the C Major chord. If you
have been following this series
of lessons on chords you
would know the notes are
C – E – G

1st 3rd and 5th notes
of the C scale.

So to make a sharp 5th
you would play the G sharp.

Its gets more interesting.

A major chord is
a Major third plus
a Minor 3rd.

A major 3rd is 2 Whole steps.
Each Step is 2 frets.

A minor 3rd is 1 whole step and a
half step.

So a 5th is 3 whole steps and
a half step.

Now an augmented 5
or sharp 5th is 4 whole steps.

Now the augmented
chord is a major third
and another major 3rd.

But the Major scale no longer
fits this chord.

So what scale would we use?

I know this is supposed to be
about chords but I want to
introduce you to the Whole Step scale.

Whole Step Scale?

What is that?

You guessed it.

A scale where each note
is a whole note from the next note.

Like this:
First Note Whole step to
2nd Note Whole step to
3rd Note Whole step to
4th Note Whole step to
5th Note Whole step to
6th Note Whole step to
First Note or 8th Note

If C is the Root Note:

C
D
E
F#
G#
A#
C

Back to the Chords.

Here is the Cool Thing.

There are three forms that
will work anywhere on the
Fretboard.

The three forms you may
already use.

First picture the F major Chord
played with the third finger on the
third Fret on the D string.

Now simply move exact
form so your 3rd finger is
on the A string.

Move all your fingers
up one string.

This Tab shows what I mean:
F major  -> C Augmented

Augmented chords
E|–1——-
B|–1—-1–
G|–2—-1–
D|–3—-2–
A|——-3–
E|———-

Here is a graphic with the three forms.

All you need to do is slide up
or down depending on the Root

(If you don’t see the graphic go
to the Blog)

I hope this helps you understand
the Augmented chord.

Keep on pickin,

Andrew
P.S. The “My First Guitar Solo”
membership site is almost finished.
Next week I will sending out details.
I will warn you this will have
to be a limited membership
because of the amount of my personal
time I will be working
directly with members.

Today we will discuss 7th chords.

There are in fact many7th chords
but today we will talk about the 4 basic
7th chords that are used.

7th chords Jazz up music by
adding more conflict to
the harmony.

How is a 7th chord made?

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Lets go back to our scales.
Each note in the scale has a number.
1 2 3 4 5 6 7 8

Major and Minor chords are made from
the 1 3 5 notes.

So now to make a 7th chord
we add the 7th note to the
1 3 5.

So say the C major scale is:
C d e F G a b C

C  e  G  make a Major chord.

So now we add the 7th note

C e  G  b

In this case all the notes are
from the Major scale so this
is the Major 7th chord.

Here is a picture:

The above chord is played at the 8th fret and is known as the “E form”

of the C Major 7 chord.

But strangely when we think
of a 7th chord we usually are
thinking of the Dominant 7th.

The Dominant 7th chord comes
out of the Mixolydian Mode
which has a Flat 7th.

So in the C major scale the
Dominant or mixolydian has
the B flat. So the Dominant 7th is:

C e G Bflat.

When do you use each 7th chord.

That is a big question.

The Major 7th chord would be used
when it is the Root or 1 chord AND
can also be used over the 4 chord.

Going back to our scale

C d e F G a b C

You probably wonder why
sometimes I use CAPITAL letters.

Those are the notes which
produce the Major chords.

C e G = C Major
F a C = F Major
G b d = G Major

the other notes are Minor

d F a = d minor
e G b = e minor
a C e = a minor

before I jump into the Minor 7th

let me clarify when to use the Major 7
and when to use the Dominant 7

If you look at the  Modes
The Ionian or Major scale (1 or Root)
has a major 7th

C d e F G a b C
b and C are right next to each other
1 fret away.

The Lydian Mode also (4th note)
has a major 7th

F G a b C  d e F
e and F are 1 fret away also

the Mixolydian (5th Note)
G a b C d e F G
has a flat 7th
but F and G are 2 frets away
from each other.

So using 7th chords for a progression
would be like this:

C Major7 C Major7 C Major7 C Major7
F  Major 7  F  Major 7
C Major7  C Major7
G 7 (Dominant 7th)
C Major 7

OK Now what is a Minor 7th.

Remember our 3 minor chords:

d F a = d minor (Dorian)
e G b = e minor (Phrygian)
a C e = a minor (Aeolian/Minor)

Well each of the above modes has
a Flat (minor) 7th.

So a Minor 7th is like a Dominant 7
only Minor (The 3rd is minor)

I hope this clears up
any questions you have about
the 7th chords.

I will be posting this to
the blog this weekend wiht
pictures and graphics and tabs.

http://www.guitar5day.com/blog

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Suspended Chords

Today we are going to talk about
suspended chords.

No these are not chords
that misbehaved in school.

Suspended chords are chords that have
no 3rd either major or minor.

What does that mean?

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Most chords as we know by now
are made from the 1st, 3rd and 5th
note of the scale.

A suspended chord moves the 3rd note
either down to the second or
up to the fourth.

The Chords are referred to as either

Sus 2  or  Sus 4.

But what is really happening?

Well by moving the 3rd closer
to either the Root (Sus  2)
or 5th (Sus 4) we get much more
conflict in the harmony.

Here  are some chord tab examples:

E|–0–3——–
B|–3–3–3–0–
G|–2–2–2–2–
D|–0–0–2–2–
A|——–0–0–
E|————–
—-1  2  3  4—-

#1 D Sus 2  D – A – D – E
#2 D Sus 4  D – G – D – G 
#3 A Sus 4  A – E – A – D
#4 A Sus 2  A – E – A – B

Play around with these chords
and hear the sounds.

Oh I almost forgot.

You can resolve these chords back
to the Major Triad or Minor Triad.

E|–0–2——–
B|–3–3–3–2–
G|–2–2–2–2–
D|–0–0–2–2–
A|——–0–0–
E|————–
—-1  2  3  4—-

#1 D Sus 2  D – A – D – E
#2 D Major  D – A – D – B 
#3 A Sus 4  A – E – A – D
#4 A Major  A – E – A – C#
Have fun and I will
have another Hot For Chords
Next Wednesday Afternoon!

Keep on pickin,

Andrew

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Today we are goingto talk about
2 note chords.

This lesson is a bit longer than
usual but there are some suprises so
make sure you read the entire lesson.

Just as common chords made of three notes
are called Triads the 2 note chords
are call diads.

Two-string play, or more popularly called
double stops.

Another term that you will hear in musical
notation circles is diads.

So, basically double stops are referring
to when you’re playing an instrument
and playing two notes at a time,
while diads is a music theory term
talking about two notes on a musical staff.

Two note chords are also know as harmonies
because two notes played simultaneously
always make a harmony.

Even if the two notes are the same note
they are harmony and called unison harmony.

So what are common Diads or Double Stops.

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I like to play 3rds, 5ths, 6ths and 7ths.

This is an easy was to play chord/melody.

It may not be the fancy jazz chord melody
we usually think of but it can make your
playing more interesting.

So lets look at the thirds.

Here is a Gmajor scale harmonized in thirds.
E|——————————-
B|——————————-
G|–4–5–7–9—11–12–14–16–
D|–5–7–9–10–12–14–16–17–
A|——————————-
E|——————————-

There are two fingerings.
One fingering for the major 3rds:

The first, 4th and 5th harmonies.
I am referring to the tab sequence above.

Use your first finger on the G string
Use your second finger on the D string

One fingering for the minor 3rds:
The 2nd, 3rd, 6th and 7th

Use your first finger on the G string
Use your third finger on the D string

Practice this a couple of times.

When picking the notes I like to pick the D string
with my thumb and G string with
my first finger.

If you are using a pick then
use your second finger
on the G string.

After a while you can here the
Latin sound. And even can start
making the harmonies that
are often associated with the
trumpets in a mariachi band.

Think of the Song La Bamba:

Here is a tab of what I mean:

E|————————————
B|————————————
G|–4–4–9—9—11–11–11–9—11–
D|–5–5–10–10–12–12–12–10–12–
A|————————————
E|————————————

Play around with this and change
it to your taste and
the melody you have in your head.

The finger pattern I showed you works when
the lower note is on
the Low E string, A string and D string
or B string.

When you play the Lower note on
the G string the pattern changes:

I will use the Key of A major:
(G would start with open G and B strings)

E|—————————–
B|–2–3–5–7–9–10–12–14–
G|–2–4–6–7–9–11–13–14–
D|—————————–
A|—————————–
E|—————————–

There are two fingerings.
One fingering for the major 3rds:

The first, 4th and 5th harmonies.
I am referring to the tab sequence above.

Use your first finger on the G string
and B string.

One fingering for the minor 3rds:
The 2nd, 3rd, 6th and 7th

Use your first finger on the B string.
Use your secong finger on the G string.

As you can see by the two different forms
we have discussed you just need to add a 5th
and you have triads. But if you had
Project X you would have already known that.

I hope you enjoyed this lesson!
Next week I will havea nother lesson
on Hot for Chords!

Andrew

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