The G Major Scale

The G major scale is one of the scales we learn after the C scale. It only has one sharp in it the F note.

This scale is made from two terachords from the C and the D scale.

These scales are made from each other you will see the same notes and chords in the G, C and D scales.

The G Scale Construction

The first four notes of this scale came from the key of C. The last four notes of the scale come from the key of D.

G Scale Tetra-chords

A tetra-chord is a four note section of notes that make up half a major scale. Each major scale has two of these.

The first G scale tetra-chord comes from the last C scale tetra-chord and the second one comes from the first D major scale tetrachord.


1st Tetrachord


2nd Tetrachord


G Major Scale Numbering

All the major scales have numbers that go with the notes for easy identification. You will find out later that this way of referring to numbers makes it possible to refer to all scales and chords no matter what key you are in.

Usually this is used to refer to the chords but it is also our way of building our chords from scales. When referring to chords the numbers are usually written in Roman numerals, upper case for major chords and lower case for minor chords.

If you want to learn about the modes of the major scale check this page out.

G Major Chords

G Major Notation-Tab

G Major Chord Diagrams

G Major Key signature

Here’s the key signature for the key of G. The sharp symbol is over the F line in the music staff. This means every note in the F position in the music will be sharp.

You can have other flats or sharps in the music but they will be marked in the music itself.

This helps keep the music easier to read especially as we get more flats or sharps in a key.

Major Key


Key Signature

Rel Minor




Reading Music Notes

Here is a link on how to read music notes.

Reading Music Notes


Super Locrian Mode…The Super Improvising Mode

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The super locrian mode can be used for minor 7 flat 5 and any altered dominate chord combination there are no exceptions.

You can use it on flatted 5th’s, augmented 5ths, flatted 9th’s, augmented 9th’s or any combination. You can have a flatted 5th and a raised fifth in the same chord or a flatted 9th and a raised 9th.

This mode comes from the 7th note of the melodic minor scale

The scale below comes from the C melodic minor scale.

To make a melodic minor scale you just have to lower the 3rd of any major scale.

I’m playing this mode in B against a B minor 7th flat 5 chord.

B super locrian played against a Bm7 flat 5 chord

The Super Locrian List

You see double ♯♯’s on some notes this is so you don’t have to use a note twice.

A double ♯♯ means you raise the note a whole tone or 2 frets

Super Locrian Mode Formula

This one is 1-♭2-♭3-♭4-♭5-♭6-♭7

This one is pretty useless unless you have a photographic memory.

However if you can keep track of the notes you are lowering every note but the root.

Thank You for visiting our Super Locrian Mode page.

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A Simple Major Scale Primer…Shows You Easy Music Theory

The major scale primer will introduce you to music theory and the major scale. It is the basis for most of the music in the western hemisphere. Knowing how major scales are made will make the rest of your learning a snap.

Major Scale Intervals
Major Scale primer

The distance between two notes is called an interval. For right now we only need to know two of them; the minor second and the major second. The distance between a minor second is one note or 1 fret. The distance between a major second is two notes or 2 frets.

There are only two places in music where there is not a note between two notes. That is between B to C and E to F.

If you want to find out some more about intervals click on the link below.


The Major Scale Layout

The major scale can be constructed by using these two intervals. For simplicity I will use 1 for a minor second interval and 2 for a major second interval. These can also be the number of frets apart.

Major Scale Primer
C Major Scale Construction

This is how all major scales are constructed.

The C Major scale example

If you look at it closely you will see it is made of two identically spaced sections 2 2 1 separated by a major second interval, 2 frets.

C to F is one section and G to C is the second one.

Major Scale Primer
Major Scale Chords

Major scale chords are made by selecting every other note in the scale. To show you better I will write the C scale out two times. Scales are also given numbers, these are the numbers you see after a chord symbol like C7.
















Unused Numbers

In the above table each scale letter has a number. There are some numbers which don’t get used except for teaching purposes.

The 8 and 15 are octaves of 1, they’re not used in chord names

The 10 is the octave of the 3, it’s not used in chord names

12 is the octave of 5 and isn’t used in chord names

14 is the octave of 7 and isn’t used in chord names

Not all chords will have diagrams with the name so if you want to understand how to read guitar chord symbols like Cma7 or Dm9 then check out the page below.

How to Read Guitar Chords

Major Scale Primer – The Basic Chords

As I said earlier we usually use every other note to make chords. Here is how you would make the chords for the C scale, these are only basic triads.

Roman Numeral








If you want to check out some simple chord diagrams click here.

All Major Scales Use This Format

Diminished Chord – 7th note

Scale Notes also have Names
Major Scale Primer

Most of the time you will reference chords by their Roman Numeral. The major chords are upper case and the minor are lower case. Some of the names I put here so you can see where some chords get their names.

Some other chords get their names from the interval name they have.

The ones with two numbers are just that, those notes can be either. In chord construction octaves don’t matter that much it’s the note itself not what octave it’s in. The note has the same effect on the chord.

What does matter is the way it sounds. This is why it’s called music theory. Something might work for one song but not another.

Note Names, Numbers and Roman Numerals

D = 2 = 9 = Supertonic = major 2nd = ii

E = 3 = Mediant = major third = iii

F = 4 = 11 = Sub-dominant = IV

A = 6 = 13 = Submediant = Major 6th = vi

B = 7 = Leading tone = Major 7th = vii

This info is in case your reading something about music theory you’ll have a rough idea of what they mean

My First Guitar Lesson Book

The first book I got when I started taking lessons in 1964 was Mel Bays Modern Guitar Method Volume One.

This book is still available today. I’m sure it’s changed some but the fact that it’s still out there getting people started playing guitar is amazing. That’s over 45 years.

Here’s a link to it in case you want to check it out.

Modern Guitar Method Volume One


Content Layouts

Joomla! provides plenty of flexibility when displaying your Web content. Whether you are using Joomla! for a blog site, news or a Web site for a company, you’ll find one or more content styles to showcase your information. You can also change the style of content dynamically depending on your preferences. Joomla! calls how a page is laid out a layout. Use the guide below to understand which layouts are available and how you might use them.


Joomla! makes it extremely easy to add and display content. All content is placed where your mainbody tag in your template is located. There are three main types of layouts available in Joomla! and all of them can be customised via parameters. The display and parameters are set in the Menu Item used to display the content your working on. You create these layouts by creating a Menu Item and choosing how you want the content to display.

Blog Layout

Blog layout will show a listing of all Articles of the selected blog type (Section or Category) in the mainbody position of your template. It will give you the standard title, and Intro of each Article in that particular Category and/or Section. You can customise this layout via the use of the Preferences and Parameters, (See Article Parameters) this is done from the Menu not the Section Manager!

Blog Archive Layout

A Blog Archive layout will give you a similar output of Articles as the normal Blog Display but will add, at the top, two drop down lists for month and year plus a search button to allow Users to search for all Archived Articles from a specific month and year.

List Layout

Table layout will simply give you a tabular list of all the titles in that particular Section or Category. No Intro text will be displayed just the titles. You can set how many titles will be displayed in this table by Parameters. The table layout will also provide a filter Section so that Users can reorder, filter, and set how many titles are listed on a single page (up to 50)


Wrappers allow you to place stand alone applications and Third Party Web sites inside your Joomla! site. The content within a Wrapper appears within the primary content area defined by the “mainbody” tag and allows you to display their content as a part of your own site. A Wrapper will place an IFRAME into the content Section of your Web site and wrap your standard template navigation around it so it appears in the same way an Article would.

Content Parameters

The parameters for each layout type can be found on the right hand side of the editor boxes in the Menu Item configuration screen. The parameters available depend largely on what kind of layout you are configuring.


Guitar Open D Tuning

Discover the guitar open d tuning. This is a little easier on your guitar neck than the E tuning and sounds just as good. It’s the E tuning a whole tone lower.

Most guitars are made for the stress of standard tuning or close to it. You may prefer this over the E tuning. If you tune to this you can put a capo on the 2nd fret and have the E tuning too. You just have to move all your chords up two frets.

This tuning was a favorite of Elwood James a slide guitar player from the beginning of slide for Blues. His main hit was Dust My Broom. Johnny Winter plays his licks alot.

You can sound good without knowing a lot of music theory with an open tuning.

How to Tune Open D

  • 6th string(heavy) = D
  • 5th string = A
  • 4th string = D
  • 3rd string = F sharp
  • 2nd string = A
  • 1st string = D

You leave the 4th and 5th string as is and retune the rest.

This tuning is the same as E. In other words from the 6th string to the 5th is a 5th interval and so on. They only difference is it’s a whole tone lower.

So anything you read about the E tuning can be applied on two frets lower.

Your main blues keys are D, G and A without using a capo.

The D chord is open or 12th fret

The G chord is on the 5th fret

The A chord is on the 7th fret

D Tuning Capo

If you put a capo on the first fret you have the E♭, A♭ and B♭ blues covered. I’ll explain it like the E capo above.

E♭ Blues

Open position or 13th fret is the I chord = E♭

6th position is the IV chord = A♭

8th position is the V chord = B♭


6th position is the I chord = A♭

11th position is the IV chord = D♭

Open position or the 13th fret is the V chord = E♭

B♭ Blues

8th position is the I chord = B♭

13th or open position is the IV chord = E♭

3rd or 15th position is the V chord = F

Open Position Chords

D Chords

G Chords

A Chords

C Chords

Note the difference between the C and the C add9 chords is the open 1st string is played in the 9th version.

Thank You for Viewing Our Guitar Open D Tuning Page

I hope you found this page useful.


The Harmonic Minor Scale…An Improvising Tool

The harmonic minor scale will add a new dimension to to your leads and riffs. This scale has a very unique sound to it making it easy to recognize.

There are several ways to use this scale. The first is that it can be used for all the chords in the scale itself. Down below.

All examples use only the scale notes, no passing tones or bends so you can hear the actual scale.

After you learn it you can do anything you want to it. Use slides, bends, pre-bends, distortion, echo or anything else.

Al Demeola uses this scale in a lot of his songs. The minor 3rd interval is what gives it a unique sound.

Harmonic Minor Chord Types

All of the above chords can be reduced to triads. The only fifference between this scale and the natural minor is a G♯ which gives us these not so common chords.

Most of the time these uncommon chords are used as passing chords lasting one or two beats of a measure.

Here is what it sounds like played against an Am Chord

The A minor harmonic played against an A minor chord

This scale is easy to recognize in songs

Another Improvising Method

The next way is to start on the 4th note of dominant chords with a sharp 5th or a flatted 9th

I am playing the A minor harmonic scale over an E7♯5 chord using only scale notes.

The A minor harmonic played over an E 7th sharp 5 chord

Playing the A note against the E gives a suspended sound which you can resolve to G♯ or go anywhere else you want as long as it sounds good to you.

A Minor Harmonic Scale

Harmonic Minor Scale List

The keys are the harmonic minor scale and not the relative major. To find the relative major go up a minor third or 3 frets.

The E♭ and D♯ are the same scale just spelled different. This is where I switched to the sharp minor keys

More Harmonic Minor Scales

I hope you found this page useful.


Discover the Locrian sharp 2 Mode

The Locrian sharp 2 mode comes from the 6th note of the melodic minor scale.

Remember the melodic minor scale is a major scale with a flatted 3rd.

This mode isn’t limited to the minor flat 5 chord because this chord has other names it goes under.

The minor 7♯5 chord can also be called a minor 6th with a different root and a 9th chord without a root.

Here is an example the Am7♭5 can also be called the C minor 6th and the F9 no root.

All of these chords contain the same notes so you can substitute any one for the other.

This sample I’ll play the Locrian sharp 2 mode against an Am♭5 chord.



Windows Media

The A Locrian sharp two played against an A minor 7th flat 5 chord

I targeted the flatted fifth note because that’s what gives it its overall sound quality.

The Locrian ♯2 List

The Locrian ♯2 Formula

This one goes 1-2-♭3-4-♭5-♭6-♭7 as compared to the major scale.

This one would be easier to remember as a natural minor with a flatted 5th

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Diminished 7th Chords

Diminished 7th chords actually come from the 7th note of the minor harmonic scale.

They can also be made from the diminished scale. The diminished and the diminished 7th are the only chords that can be made from the diminished scale.

There may be other sources that I’m not aware of but that won’t matter for now.

Passing Chord

The diminished 7th can be used as a passing or connecting chord

Diminished chords connect subdominant chords. The subdominant chord is the IV chord of major scale

To do this you could use the diminished chord with the same name of the chord your on or the same name of the chord you are entering

So in the key of C if you were playing a C chord and the next chord was an F you could connect the two with a C or F diminished or diminished 7th chord

Here we use the note of the chord we are leaving

C to F with a C diminished passing chord

Here is the one using the chord you are entering. I prefer the sound of this one better

C to F with an F diminshed passing chord

Connecting Chromatically

You can also connect chromatically. When you have two chords a whole tone apart you can use a diminished or diminished 7th chord using the in between note

C to D minor 7th with a C sharp diminished passing chord

Lead Work

Remember these ideas also work for lead ideas. You can use the diminished scale to connect two chords, you don’t necessarily have to use chords

Here’s another example using the last C to Dm7 change but no diminished chord just C diminished scale notes

C to D minor 7th progression passing tones from diminished scale

Chord Substitution

The diminished 7th has another use. It can be used to replace a dominant 7th chord

To do this you would use a diminished 7th chord 1/2 step higher than the chord you want to replace.

If you want to replace a G7 chord (G B D F) you would use an A♭dim7 (A♭ B D F)

The diminished 7th has the 3, 5, 7 of the G7 chord. The A♭ would be a flatted 9th.

So even though you are using a diminished 7th chord you are replacing the G7 with a G7♭9 no root chord.

This works good in a ii V I progression allowing a chromatic drop of the bass line for this progression.

Two Five One Progression in the key of C