Doug Doppler - Diatonic Theory and Harmony

Doug Doppler diatonic theory & harmony
LESSON PLANs
1
TA B L E O F C O N T E N T S
Introduction Page 3
E F / B C N o t e L o c a t i o n E xe r c i s e Page 6
Meters and Subdivisions Page 7
Alphabet of Chords Page 8
Basic Barre Chord Relay Page 9

G Minor Pentatonic Relay P a g e 10
Related Modal Relay in G P a g e 11
3 Note per String Modes in G P a g e 12
Tr i a d / C h o r d R e l a y i n G P a g e 13
7 Chord Relay in G P a g e 14
Mode Spelling Ex. at G P a g e 15
Note Spelling Ex. at G P a g e 16

G M i n o r P e n t a t o n i c S p e l l i n g E xe r c i s e P a g e 17
G M a j o r P e n t a t o n i c S p e l l i n g E xe r c i s e P a g e 18
Tr i a d N o t e G r o u p E xe r c i s e i n C P a g e 19
Tr i a d N o t e G r o u p E xe r c i s e i n G Page 20
Tr i a d / A r p e g g i o R e l a y i n G Page 21
7 Arpeggio Relay in G Page 22
M o d e | Tr i a d / A r p | Tr i a d / C h o r d S p e l l i n g E x . i n G Page 23
Mode | 7 Arp | 7 Chord Spelling Ex. in G Page 24
B a s i c B a r r e C h o r d S p e l l i n g E xe r c i s e Page 25
Po w e r C h o r d R e l a y i n G Page 26
Add 9 Chord Relay in G Page 27

Sus2 Chord Relay in G Page 28
Sus4 Chord Relay in G Page 29
Po w e r C h o r d P r o g r e s s i o n Page 30
Open Position Chord Progression P a g e 31
Basic Barre Chord Progression Page 32

Tr i a d / C h o r d P r o g r e s s i o n Page 33
7 Chord Progression Page 34
Add 9 Chord Progression Page 35
Sus Chord Progression Page 36

S t a c ke d C h o r d P r o g r e s s i o n Page 37
2
INTRODUCTION
Welcome to Diatonic Theory and Harmony. This DVD and its Lesson Plans represent 20
years of my life as a guitar instructor, as well as the 3 1/2 years I spent studying with
Joe Satriani. It is intended to be used as a tool for you to master not only an understand-
ing of Diatonic Theory and Harmony, but how to apply it as well. The following will give
you valuable insight in how to get the most out of this program. I thank you for your trust
in me as a teacher and I offer my encouragement in your interest to better yourself as a
musician - EXCELLENT!
U S I N G T H E M AT E R I A L S
Lessons Plans
Each Lesson and Progression on the DVD has its own page in this PDF. They are intended
to be used to support one another. Please be sure to print out your PDF of choice so you
can make your practice mobile. You will probably want to keep them close by as you are
watching the DVD itself as well.
DVD
The rst time you view the DVD, I would strongly suggest watching it all the way through
- without a guitar in hand. This will provide valuable insight for what we will be able to
accomplish together. Our team spent a lot of time organizing the content so you can
access it intuitively via the user-friendly menus. You can also jump from chapter to chap-
ter using the appropriate button on your remote, as well as pause the DVD to look at the
Lesson Plan for that chapter - this will really maximize your experience.
The Progressions
I purposely put the Progressions at the end of the DVD for two key reasons. First of all,
each Progression makes specic references to body of knowledge presented over the
course of the DVD - the further you go into the Progressions, the deeper they go into the
curriculum. Secondly, I didnt want to encourage any of you to noodle without rst tak-
ing advantage of the information you paid good money to learn. That said, every Chord
Progression on the DVD corresponds to one of the Chord Groups I go over, and as such
you can go ahead and play the related Progressions as you work through the DVD. This is
how I do things at my teaching studio, and I encourage you to benet from this tried and
true process.
3
Audio CD
The Audio CD is intended to give you the opportunity to make music utilizing the princi-
ples demonstrated on the DVD. The Progressions segment of the DVD correlates with the
content, and in turn the Audio CD is where you can bring these ideas to life. I encourage
you to use the Audio CD as it was intended - on a stereo with sufcient volume so you
can turn up your amp and have some real fun.
Lesson Plan PDFs
As youve most likely noticed, there are two Lesson Plan PDFs in the PDF folder on
the DVD - Graph Paper Lesson Plans & Print Format Lesson Plans. I wanted to take a
moment and illuminate why I chose to include both formats in v.2.0 of this DVD...
At the time I shot Diatonic Theory and Harmony, I felt very strongly about passing on the
Graph Paper Format Joe Satriani used when I studied with him - largely so other teachers
could utilize it. It is both easy for teachers to use and students to read . One if its greatest
assets is the ability to create a Chord or Scale Diagram anywhere on the page and in turn
write directions just below. Put simply, it WORKS...
In the months since I released this DVD, I have been using technology more and more at
my teaching studio. My laptop is always present, and I am also using the M-Audio Black
Box and Live to document the progressions and licks I create for my students. I record
the rhythm once or twice through, cut and paste the best performance for 4 minutes
or so, and then overdub any licks at the beginning of the track. When the student goes
home, they get a chance to play along with the rhythm track, as well as solo over it with
their own licks or those that Ive shown them. I place my licks only at the top of the track
so the student can have ample time to play what they want over the rest. I have also start-
ed using Sibelius G7 Music Notation program to document these chord progressions and
licks, and am printing them out for students. In the backdrop of all of this, we decided to
create a traditional print booklet for the Lesson Plans, and I have started printing those
out as well. In combination with the Graph Paper Format this new technology is allowing
me to become a better instructor, and I would be remiss in not passing these things along
to you. It is clear that technology is impacting my teaching studio, and as such I hope it
will impact yours - with the obvious benets it has had for my students!
In conclusion, I encourage other teachers to utilize and pass on the Graph Paper Format
- it has worked so well for me over the past 20 years. In turn, I welcome the addition of
technology to my teaching studio and hope that you will nd a nice blend for yours.
4
Lesson Plans
As noted above, these document the ideas presented for each Lesson on the DVD. If
you are using the Print Format PDF, you might want to take a quick look at Pattern #1 for
the G Minor Pentatonic Relay. Above the Scale Diagram (just to the right of the Pattern
Number), there is a box with the Fret Number of the lowest Note (in terms of pitch) for
that Pattern. In turn, if you look just to the left of that Diagram, you will again see the Fret
Number of lowest Note of that Pattern, this time next to the nger that plays it. For the
other Scale Diagrams presented in the PDF, you will only see the boxed Fret Number
above each Scale Diagram. This number always refers to the location of the lowest Note
of the ngering.
Practicing
Practicing is key to mastering the ideas presented on Diatonic Theory and Harmony.
Always start off slowly and play each Exercise with an even Tempo to lock it into your
memory correctly - get it right the rst time. As you work further into the DVD, I encour-
age you to add each successive Lesson to the list of previous Lessons, and continuously
cycle through that list. If you dont make it all the way through your Practice Schedule on
a Practice Session, start off with the Exercise that follows the last one you played per-
fectly during the previous Session.
If your focus on a Practice Session is to make it through all your Lesson Plans, longer
Exercises like the Minor Pentatonic Relay dont have to be performed perfectly in
their entirety to move on. Just make sure to play each Pattern (up and down the neck)
perfectly once before moving on to the next.
If the focus of your Practice Session is building speed, make sure not to speed up an
Exercise like the Minor Pentatonic until you can play it through perfectly. There is little
cumulative benet in speeding up an Exercise that you cant perform perfectly and in
time. The best way to learn to play fast is to learn how to PRACTICE SLOWLY. Gradually
increase the Tempo with each perfect performance to lock in your improvement.
You will probably also want to chart your Practice Sessions so you can monitor your
progress. I would suggest documenting the Exercises in your Practice Schedule, as well
as the BPM (beats per minute) you are playing them at. One size does not t all, so dont
use a common Tempo for ALL your exercises. Focus on nding the right Tempo for where
you are at for EACH exercise, and in turn work on improving that. By documenting your
progress you can actually see your improvement. When we are involved in the process of
getting better, we can easily lose sight of how much improvement weve actually made. It
is really valuable to be reminded of our successes, as it will inspire us to work harder on
the Exercises that challenge us the most. Excellent!!!
5
E F / B C N O T E L O C AT I O N E X E R C I S E
O V E R V I E W:
The only natural adjacent half steps occur between E&F and B&C.
All other natural adjacent notes are a whole step apart.
DIRECTIONS:
Ascend then descend each string calling out note names while playing them
Call out distances too
EXAMPLE:
E half to F, whole to G, whole to A... etc.
6
METERS & SUBDIVISIONS

SUBDIVISIONS
SYBMOL NAME VA L U E I N 4 / 4 T I M E

Four
WHOLE NOTE
Beats

HALF NOTE Two Beats
QUARTER NOTE One Beat
EIGHTH NOTE 1/2 of a Beat
SIXTEENTH NOTE 1/4 of a Beat
TRIPLETS
7
ALPHABET OF CHORDS
A B C D
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X 1 X X
1 2 3 1 1 2 1 2
3 3
3 3 3
E F G
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X 1 X X 1 1
2 3 2 1
3 2 3 4
DIRECTIONS:
Play through the musical alphabet using the above chords
Mute between chords with your picking hand, letting the pick come to rest
against the bassnote (lowest string) of the next chord
Call our chord name while playing each chord
Cycle through with an even tempo, only speeding up on the rst chord
if you have played all others perfectly AND in time
TIPS:
Watch out for unwanted open string noise. On the B, C, and F chords, mute the lower adjacent string
with the tip of the nger you are using to play the root.
8
B A S I C B A R R E C H O R D R E L AY

MAJOR MINOR MINOR 7 DOMINANT 7 7 SUS 4
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2
3 4 3 4 3 3 3 4
4 4

MAJOR MINOR MINOR 7 DOMINANT 7 7 SUS 4
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X
1 1 1 1 1 1 1 1 1 1 1 1 1
2 2
3 3 3 3 4 3 3 4 3
4
DIRECTIONS:
Play through the Basic Barre Chords for the 6th and 5th String Roots with an even tempo
Call out chord type(s) while playing them
Mute between chords with your picking hand, letting the pick come to rest against the bassnote of
the next chord
Speed up on the rst chord only if you have played all others perfectly and in time
TIPS:
On the 5th String Root Chords, use the tip of the rst nger to touch up against the side of the 6th
String to keep it from ringing (making sure not to barre across it).
9
G M I N O R P E N TAT O N I C R E L AY
#1 3 #2 6 #3 8
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1
3 1 1 1 1 1 1 6 2 2 2 81 1 1 1 1
3
3 3 3 4 4 4 4 4 3 3 3 3 3
4 4 4 4
#4 10 #5 13 #1 15
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1
10 1 1 1 1 1 13 2 2 2 2 15 1 1 1 1 1 1
2
3 3 4 4 4 4 4 4 3 3 3
4 4 4 4 4 4 4
DIRECTIONS:
Ascend then descend each pattern up and down the neck with an even tempo
Repeat top notes
No gaps between patterns
Repeat top pattern before coming back down the neck
Alternate pick
TIPS:
To insure you do not slide from one pattern into the next, lift if the tip of the nger playing
the last note of a pattern just enough to stop fretting the note as you make the transition into
the next pattern.
10
R E L AT E D M O D A L R E L AY
G MAJOR 3 A DORIAN 5 B 7 C LYDIAN 8
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
MIXO- 10
D LYDIAN E MINOR 12 F# 14 G MAJOR 15
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
DIRECTIONS:
Ascend then descend each mode up and down the neck with an eighth note feel, pausing an eighth
note rest between modes
Call out mode names while playing rst notes

Do NOT repeat top notes
Do repeat top mode (G Major at the 15th fret) before coming back down the neck

pick
Alternate

TIPS:
When you are memorizing the patterns, it often helps to look at the sheet and call out the nger num-
bers WHILE you are playing them.
11

3 N O T E P E R S T R I N G R E L AT E D M O D A L R E L AY
G MAJOR 3 B PHRYGIAN 7 C LYDIAN 8
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1 1 1 1
1 1 2 1 1 1 1 1
2 2 2 2 1 1 3 3 2 2 2 2 1 1
4 4 4 2 2 3
4 4 4 4 3 3 4 4 4 4 4 2 2
4 4 4 4 3
4
MIXO- 10
D LYDIAN E MINOR 12 F# 14 G MAJOR 15
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 2 2 1 1 1 1
2 2 2 2 1 1 2 2 2 2 1 3 3 2 2 2 2 1 1
2 3 3 2 2 4 4 4 4 2 2
4 4 4 4 3 4 4 4 4 4 4 3 3
4 4 4 4 4 4 4 4
DIRECTIONS:
Ascend then descend each mode up and back down the neck with a triplet feel
Repeat top notes
No gaps or rests
between
modes

Alternate Pick

mode
(G Major
at
the
15th
fret
) before
coming
back
down

Repeat top
the neck

TIPS:
I would strongly suggest using the EXACT ngerings on this page - for a couple of key reasons. In looking
at the rst three notes of G Major, some people might nger them with their rst, third and fourth ngers
as opposed to the rst, second and fourth (as written). Most people have a MUCH easier time stretching a
whole step between
their
second
rst and ngers
than
between
their
third
and
fourth.
Mentally,
I would prefer

that you think establishing a hand position for the ngers on your fretting hand from which your rst nger
extends out and back into position - excellent!

12
T R I A D / C H O R D R E L AY

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X X X X X
1
1 1 1 2
2
3 3 4
DIRECTIONS:
Ascend then descend playing the Diatonic (of the same key) Triad/Chords for G Major with an even
tempo
Mute between chords
( G Major)
Repeat top chord before
coming
back down
the neck
descend (M,
type
Ascend then the neck calling out:
1) TriadChord m, m...etc.)

2) Scale Degree Number of root
(I, ii-, iii-...etc.)

TIPS:
Keep in mind that the root of each of these chords is played on the fourth string, so make sure to
think about playing the notes of G Major as your roots on that string and not just memorizing the
fret locations.
Keep inmind
that
the
Diminished
triad
is with
ngered thefourth
nger
on the
root
(as
opposed to
Minor and then

move
their
hand
up the
neck and put
the
fourth
atG instead of F#.
the third nder for the Major and Minor shapes). A common mistake people make is to play the E
chord nger down

Conversely, when descending from G Major to F# Diminished, the roots switch from being played
with the fourth nger to the third nger. To make this transition easier you can simply move your rst
and second ngers down the neck a whole step while switching between the third nger covering G
to the fourth nger covering F# respectively.
13
7 C H O R D R E L AY

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X X X X
1
1 2 2 3 3 3 1 2 3 2 3 3
3 4 4

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X
1
1 1 1 1 1 1 1 1 1 2
2 2 3 4
3 4 3 3 4
DIRECTIONS:
Ascend then descend playing the diatonic 7 Chords for G Major with an even tempo
Mute between chords
Repeat top chords

Call out Scale Degree Number of root

1) Up and down the 6th String

I up
to
the
I, back
down
to
the
I
2) Up and down the 5th String IV up to the IV, back down tothe

IV
3) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck
TIPS:

Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the
exercise), the roots for the
C Major
7Chord
and
the
F#

Minor Chords
7 b5 are offset
by a fret, while all others
are played at common frets.

When forming the 6th String Root Minor 7 b5 Chord, you can try ngering the chord as I have written it, or us-
ing the two following nger options for the sixth, fourth, third, and second strings respectively: 2,3,4,1; 1,3,4,2.
When forming the 5th String Root Minor 7 b5 Chord, keep in mind that the rst nger literally covers two dif-
ferent frets. It looks a lot harder on paper than it is to play.
14
M O D E S P E L L I N G E X E R C I S E AT G
DIRECTIONS:
Ascend then descend each mode at G while calling out Scale Degree Numbeers
Compare with Major Scale to determine formulas
Call out appropriate ats and sharps
Use the shapes to help you memorize the Scale Degree Numbers for each mode,
NOT the formulas below.

TIPS:
Visualize each mode superimposed on top of the Major Scale. Call out at or sharp for any note that
is either higher or lower than its equivalent Scale Degree Number in the Major Scale. Remember,
I provided the formulas so you can be sure that you are calling out the Scale Degree Numbers for
each Mode correctly. By comparing the shape of each Mode to that of the Major Scale you will learn
HOW to determine these formulas.
15
N O T E S P E L L I N G E X E R C I S E AT G
DIRECTIONS:
Ascend then descend each mode at G while calling out Note Names
Compare with Major Scale to determine formulas
Call out appropriate ats and sharps
Use the shapes to help you memorize the Scale Degree Numbers for each mode,
NOT the formulas below.

TIPS:
This exercise works on the same principal as the Mode Spelling Exercise. By comparing the shape
a
of
Modeto that of the Major Scale, you can easily determine the note names for that mode. Again,
I provided the formulas so you can be sure that you are calling out the Note Names for each Mode
correctly. By comparing the shape of each Mode to that of the Major Scale you will learn HOW to
determine these formulas.
16
G M I N O R P E N TAT O N I C S P E L L I N G E X E R C I S E
#1 3
6 5 4 3 2 1
3 1 1 1 1 1 1
3 3 3
4 4 4
DIRECTIONS:
Ascend then descend pattern #1 the G Minor Pentatonic scale while calling out...
1) Note Names
2) Scale Degree Numbers
FORMULAS:
TIPS:

By having you call out the note names rst, it will remind you what you learned from the Mode and
Note Spelling Exercises - if G is the root, Bb functions as a b3. Hence in looking at Pattern #1 of the
G Minor Pentatonic it will be easy to see that the Bb played at the sixth fret on the Low E String is in
fact a b3 - right?!!! More importantly it gets you used to getting comfortable in toggling / translating
back and forth between Note Names and Scale Degree Numbers.
17
G M A J O R P E N TAT O N I C S P E L L I N G E X E R C I S E
#2 3
6 5 4 3 2 1
1 1 1
3 2 2 2
3
4 4 4 4 4
DIRECTIONS:
Ascend then descend the the G Major Pentatonic Scale (Pattern #2 of the Minor Pentatonic) while
calling out...
1) Note Names
2) Scale Degree Numbers
FORMULAS:
TIPS:
Unlike the Pattern #1, Pattern #2 of the Minor Pentatonic (also known as the Major Pentatonic) aligns

directly the
over makes
G Major Scale, which seeing the
both Note and the Scale Degree
Names
Numbers much easier. Again, by having you call out the note names rst, it will remind you what you
learned from the Mode and Note Spelling Exercises, and will help you get better at translating be-
tween Note Names and Scale Degree Numbers.
18
TRIAD NOTE GROUP EXERCISE IN C MAJOR

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1
1
2 2 3 2
4 3
4 4
DIRECTIONS:
Ascend then descend
playing
the
Diatonic
Triad
Arpeggios
for the
Key
of CMajor
while
calling out
the Triad Note Groups
Play each Triad Arp two times - 135,135
Make sure to MEMORIZE the Triad Note Groups
TIPS:
Noting that the formulas for Major, Minor, and Diminished Triads are 135, 1b35, and 1b3b5 respec-
tively, the note names for the Triad Notes Groups will always be the same, you simply add ats or
sharps to support the notes of the key you are in. In case you didnt know, the Key of C Major has no
Flats or Sharps, which is why it is the logical starting place to memorize the Triad Note Groups.
19
TRIAD NOTE GROUP EXERCISE IN G MAJOR

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1
1
2 2 3 2
4 3
4 4
DIRECTIONS:
Ascend then descend playing the Diatonic Triad Arpeggios for the Key of G Major while calling out
the Triad Note Groups

TIPS:
In looking at the chart below, you will see that the Notes Names for each of the Triad Note Groups
have remained the same, and that we have simply changed every F to an F# to reect the notes of G
Major. In turn, if you know the ats and sharps for a given key (and have memorized the Triad Note
Groups), you can easily calculate the notes for each Triad by taking the Triad Note Group and adding
any Flats or Sharps for that key.
20
T R I A D / A R P E G G I O R E L AY I N G M A J O R

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1 1
1
2 2 3 2
4 3
4 4
DIRECTIONS:
Ascend then descend playing the Diatonic Triad Arpeggios for the Key of G Major

Degree Number of Root

Call out Scale
1) Up and down the 6th

String I up to the I,back
down to the
I
2) Up and down the 5th String IV up to the IV, back down to the IV
TIPS:
that
Keep in mind while
you
are alternating
between
the6th
and
5th
String
Root
pairs
(the third part
by a fret, while all
of the exercise), the roots for the C Major and the F# Diminished Triads are offset
others are played at common frets. For these two Arpeggios, I would suggest using your 2nd and 3rd
ngers to play the roots respectively.
21
7 A R P E G G I O R E L AY I N G M A J O R

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 1
1 1
2 2 2 2 2 3 3
3 4
4 4 4
DIRECTIONS:
Ascend then descend playing the Diatonic 7 Arpeggios for the Key of G Major
Play each 7 Arp

1357, 7531
Call out Scale Degree

Number of Root

1) Up and down the 6th String I up

to the I, back

down to the

I
TIPS:
Keep in mind that while
are
you alternating
between
the6th
and
5th
String pairs
Root (the third part
of the exercise), the roots for the C Major 7 and the F# Minor 7 b5 Arps are offset by a fret, while all
the Roots
others are played at common frets. For these two Arpeggios, I would suggest using your 2nd and 3rd
ngers to play respectively.
22
MODE | TRIAD / ARP | TRIAD / CHORD

SPELLING EXERCISE IN G MAJOR
DIRECTIONS:
1) Spell the Mode

2) Spell the Triad / Arpeggio on 2 Octaves
3) Spell the Triad / Chord Voicing
4) Call out the Triad / Chord type
EXAMPLE:
1) Dorian 2 b3 4 5 6 b7 1 2 b3 4 5 6 b7 1 b7 6 5 4 b3 2 1 b7 6 5 4 b3 2 Dorian
2) 1 b3 5 1 b3 5 1 5 b3 1 5 b3 1
3) 1 b3 5
4) Minor
TIPS:
This is where the rubber meets the road. We take all notes in each Mode, select all the notes for the
Triad / Arps that you can t in the Mode, construct the voicing for the Triad / Chord you want to use,
and in turn call out what type of Chord it is. This process can be used to create or break down any
Chord, and in turn create the parallel Chord Voicings up and down the neck!
23
MODE | 7 / ARP | 7 / CHORD SPELLING

EXERCISE IN G MAJOR
DIRECTIONS:
1) Spell the Mode

2) Spell the 7 / Arpeggio on 2 Octaves
3) Spell the 7 / Chord Voicing
4) Call out the 7 Chord type
EXAMPLE:
1) Dorian 2 b3 4 5 6 bb7 1 2 b3 4 5 6 b7 1 b7 6 5 4 b3 2 1 b7 6 5 4 b3 2 Dorian
2) 1 b3 5 b7 1 b3 5 b7 1 b7 5 b3 1 b7 5 b3 1
3) 1 b3 5
4) Minor 7
TIPS:
This is where the rubber meets the road. We take all notes in each Mode, select all the notes for the
Triad / Arps that you can t in the Mode, construct the voicing for the Triad / Chord you want to use,
and in turn call out what type of Chord it is. This process can be used to create or break down any
Chord, and in turn create the parallel Chord Voicings up and down the neck!
24
BASIC BARRE CHORD SPELLING EX.

M = MAJOR m = MINOR -7 = MINOR 7 7 = DOMINANT 7 7 SUS 4
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
1 5 1 1 b3 5 1 1 b7 b3 1 1 b7 1 1 b7 5 1
3 3
5 1 5 1 5 5 5 4
b7 b7

M = MAJOR m = MINOR -7 = MINOR 7 7 = DOMINANT 7 7 SUS 4
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X
1 5 1 5 1 b7 5 1 b7 5 1 b7 5
b3 b3
5 1 3 5 1 5 5 3 5
4
DIRECTIONS:
Ascend then descend each Barre Chord calling out the Scale Degree Numbers
Focus on memorizing each Voicing
TIPS:
Many chords you will encounter can be easily analyzed by comparing their shapes to those of the
Basic Barre Chords. In this fashion, we are employing the shape based principals from the Mode
Spelling Exercise, and applying them to Chords. To get used to this process, compare the shape
of the Minor, Minor 7, Dominant 7, and 7Sus4 Chords for the 6th and then 5th String Roots to their
respective Major Chord forms. Count up and down each string that has a different Note (compared
to the Major Chord form) to determine the differences between the Voicings.
25
P O W E R C H O R D R E L AY

sus 5 sus b5 sus 5 sus b5
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X XX X X XX X X X X X X X X
1 1 1 1
2 2
3 3
Note: As shown on the above chart, you can elect to drop the wordsus in naming / calling out these chords.
DIRECTIONS:
Ascend descend
then playing the
Diatonic Power for the Key
Chords of G Major

Call out Scale Degree Number of Root
1) Up and down the 6th String I up to the I, back down to the I

TIPS:
Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third
part of the exercise), the roots for the C5 Chord and the F#b5 Chords are offset by a fret, while
all others are played at common frets. There may be times you will nd that using a regular Power
Chord (F#5 as opposed to an F#b5) sounds better over the 7th Degree of the Major Scale.
Although it is technically incorrect you may nd it sounds better to your ear!
26
A D D 9 C H O R D R E L AY

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X X X X
1 1 1 1 1 1 1
1 2
2 2 3
4 4
4 4

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X X X X
1 1 1 1
1 2 2 3
2 1 2 3
4 4
4 4
DIRECTIONS:
Ascend then descend playing the Diatonic Add 9 Chords for the Key of G Major
Arpeggiate each chord 1 5 9 3 9 5

Call out Scale Degree Number of Root
1) Up and down the 6th String I up to the I, back down to the I

TIPS:
Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the
exercise), the roots for the C(9) Chord and the F#Dim(b9) Chords are offset by a fret, while all others are
played at common frets.
27
S U S 2 C H O R D R E L AY

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X 1 X X X 1 X
1 2
2 2
4 4 4
DIRECTIONS:

Ascend then descend Chords
playing the Datonic Sus2 for
G
Major an
with tempo
even
Mute between chords
Repeat top chord (G Sus2) before coming back down the neck
Ascend then descend the neck calling out:

1) Chord type (Sus2, Sus2, Susb2...etc.)
2) Scale Degree Number of root (I, ii-, iii-...etc.)
TIPS:
Note that the only chords that have a b2 are those that relate to the Phrygian and Locrian
Modes - B Susb2 and F# Diminished Susb2, respectively for the Key of G Major. In turn you
can see how the 5 for each Mode impacts the formulas for the Chords as well - your
knowledge of the Mode and Chord Spelling Exercises at work!
28
S U S 4 C H O R D R E L AY

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
X X X X X X X X X
1
1 1
3 4 3 3 4
4
DIRECTIONS:
Ascend then descend playing the Datonic Sus4 Chords for G Major with an even tempo

Mute between chords
Repeat top chord (G Sus4) before coming back down the neck
Ascend then descend the neck calling out:

1) Chord type (Sus4, Sus4, Sus4...etc.)
2) Scale Degree Number of root (I, ii-, iii-...etc.)
TIPS:
Again, in looking at the Chord Voicings for the Sus4 Chords, you can see the Diatonic principles
youve learned from the Mode and Chord Spelling Exercises hard at work!
29
Power Chord Progression Doug Doppler
Solo using:
E Major & its relative Modes
E Major Pentatonic
Electric Guitar 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 4 4 4 4 4 4 4 4
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
11 11 9 9 11 11 11 11 9 9 11 11 11 11 9 9 11
Electric Guitar
9 9 7 7 9 9 9 9 7 7 9 9 9 9 7 7 9
E. Gtr. 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2
14 14 14 14 13 9 9 11 11
E. Gtr.
12 12 12 12 11 7 7 9 9
10
E. Gtr.
E. Gtr.
17
E. Gtr.
30
E. Gtr.
24
Open Position Chord Progression

Doug Doppler
Solo Using:
E Minor Pentatonic
Electric Guitar
E. Gtr.
E. Gtr.
14
E. Gtr.
21
E. Gtr.
31
28
E. Gtr.
Basic Barre Chord Progression Doug Doppler
Solo Using: 3fr 5fr 3fr

G Minor Pentatonic
Electric Guitar
5fr 5fr 3fr 5fr 5fr
E. Gtr.
5fr
E. Gtr.
14
E. Gtr.
21
E. Gtr.
28 32
E. Gtr.
Triad Chord Progression

Doug Doppler
Solo Using:
B Minor & its relative Modes 7fr 5fr
B Minor Pentatonic
Electric Guitar
Electric Guitar 0 0 4 4 0 0 0 2 2
2 2 2 2 2 2 0 0 4 4 4 0
3 3 3
5fr 5fr 7fr 5fr

4
E. Gtr.
E. Gtr. 0 2 2 0 0 4 4 0 0 0 2 2
0 0 0 0 4 2 2 2 2 2 2 0 0 4 4 4 0
3 3 3
5fr 5fr
8
E. Gtr.
E. Gtr. 0 2 2
0 0 4
14
E. Gtr.
E. Gtr.
33
7 Chord Progression
Doug Doppler
Solo Using:
G Major & its relative Modes 7fr 5fr
G Major Pentatonic
Electric Guitar
5fr
E. Gtr.
10
E. Gtr.
17
E. Gtr.
24
E. Gtr.
34
31
E. Gtr.
Add 9 Chord Progression

Doug Doppler
Solo Using:
F# Minor & its relative Modes 2fr
F# Minor Pentatonic
Electric Guitar
Electric Guitar 7 7 7 7 7 7 6 4 2 4
9 9 9 9 9 7 5 4 5
2fr 4fr
E. Gtr.
E. Gtr. 7 7 7 7 7 7 9 11 12 14
9 9 9 9 9 11 12 14 16
E. Gtr.
E. Gtr.
35
Sus Chord Progression

Doug Doppler
Solo Using:
A Minor & its relative Modes 4fr
A Minor Pentatonic
Electric Guitar
9fr 7fr 4fr
E. Gtr.
10
E. Gtr.
17
E. Gtr.
24
36
E. Gtr.
Stacked Chord Progresssion Doug Doppler
5fr 7fr 5fr 8fr 10fr
Electric Guitar
Solo Using: A Mixo-Lydian>>>>>>>>>>>>>>>>>>>>>>>>>>>>>A Dorian (starting at C/D)
E. Gtr.
10
E. Gtr.
17
E. Gtr.
24
E. Gtr.
31 37
E. Gtr.
Guitar 411 is committed to creating exciting interactive media for guitarists every-
where. Whammy Bar Mojo, the next title in this ongoing series will be available in
2007. Please visit the Guitar411.com web site for further information and to sign up
for the eMailing list.
Doug Doppler is also an active recording artist. 2005 marked the release of his
Nu Instrumetal disc on Steve Vais Favored Nations label. Doug toured Europe in
support of that disc in Spring 2006, opening for Gilby Clarke of Guns n Roses and
Rockstar Supernova fame. Over the years, Doug has also performed several times
with his mentor, Joe Satriani. Doug joined Joe, Denny Carmassi (Montrose, Heart),
and Randy Jackson (American Idol) to play in front of 250,000 people at the Bill Gra-
ham Memorial. Doug was also invited to sit in with Joe and Neil Schon (Journey, Bad
English) at San Franciscos infamous Fillmore Auditorium in December 2004. Doppler,
Inc. also played the San Francisco Bay Area G3 03 show featuring Satch, Steve Vai,
Yngwie Malmsteen. For more information, please visit www.DougDoppler.com
38

Doug Doppler - Diatonic Theory and Harmony

Uploaded by

Copyright:

Available Formats

Doug Doppler - Diatonic Theory and Harmony

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Doug Doppler - Diatonic Theory and Harmony

Uploaded by

Copyright:

Available Formats

Doug Doppler diatonic theory & harmony

Doug Doppler diatonic theory & harmony

Meters and Subdivisions Page 7

Alphabet of Chords Page 8

Basic Barre Chord Relay Page 9

3 Note per String Modes in G P a g e 12

Note Spelling Ex. at G P a g e 16

Add 9 Chord Relay in G Page 27

Sus4 Chord Relay in G Page 29

Basic Barre Chord Progression Page 32

7 Chord Progression Page 34

Add 9 Chord Progression Page 35

Sus Chord Progression Page 36

Lesson Plan PDFs

Call out distances too

E half to F, whole to G, whole to A... etc.

METERS & SUBDIVISIONS

QUARTER NOTE One Beat

EIGHTH NOTE 1/2 of a Beat

SIXTEENTH NOTE 1/4 of a Beat

Call our chord name while playing each chord

Call out chord type(s) while playing them

Call out mode names while playing rst notes

Mute between chords

Minor and then

TRIAD NOTE GROUP EXERCISE IN C MAJOR

Play each Triad Arp two times - 135,135

Make sure to MEMORIZE the Triad Note Groups

TRIAD NOTE GROUP EXERCISE IN G MAJOR

Play each Triad Arp two times - 135,135

Play each Triad Arp two times - 135,135

Degree Number of Root

1) Up and down the 6th

Play each 7 Arp

Call out Scale Degree

MODE | TRIAD / ARP | TRIAD / CHORD

1) Spell the Mode

MODE | 7 / ARP | 7 / CHORD SPELLING

1) Spell the Mode

1) Dorian 2 b3 4 5 6 bb7 1 2 b3 4 5 6 b7 1 b7 6 5 4 b3 2 1 b7 6 5 4 b3 2 Dorian

BASIC BARRE CHORD SPELLING EX.

Focus on memorizing each Voicing

1) Up and down the 6th String I up to the I, back down to the I

1) Up and down the 6th String I up to the I, back down to the I

Mute between chords

Ascend then descend the neck calling out:

Ascend then descend the neck calling out:

Power Chord Progression Doug Doppler

Open Position Chord Progression

Basic Barre Chord Progression Doug Doppler

Solo Using: 3fr 5fr 3fr

5fr 5fr 3fr 5fr 5fr

Triad Chord Progression

5fr 5fr 7fr 5fr

Add 9 Chord Progression

Sus Chord Progression

9fr 7fr 4fr

Stacked Chord Progresssion Doug Doppler

5fr 7fr 5fr 8fr 10fr