Four Part Harmonies with the Open Low E String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

Today, we're adding a note on the G string to create exciting voicings up the fretboard.

   Em   E6   D/E D#m/E Em  F#m/E  Em     E   Am/E    E
e|------------------------------------------------------
B|------------------------------------------------------
G|--0----1----2----3----0----6-----0-----9-----9----13--
D|--2----2----4----4----5----7-----9-----9----10----14--
A|--2----4----5----6----7----9----10----11----12----14--
E|--0----0----0----0----0----0-----0-----0-----0-----0--

Three Part Harmonies with the Open Low E String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

Yesterday, we listed a handful of two-note voicings with the open Low E string as the bass note. Now let's try three notes. The overall key might determine the specific name of the voicing, but we've just named these chords without much context (alternate names are possible):

   E5   E6   D/E D#m/E Em  F#m/E  Em     E   Am/E   E5
e|------------------------------------------------------
B|------------------------------------------------------
G|------------------------------------------------------
D|--2----2----4----4----5----7-----9-----9----10----14--
A|--2----4----5----6----7----9----10----11----12----14--
E|--0----0----0----0----0----0-----0-----0-----0-----0--

Droning the Low E String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

We are creating two-note harmonies with the open Low E string, by droning the Low E string, otherwise known as a pedal tone. The approximate chord names (technically not complete triads) are listed above the tab:

   E5   E6   E7  Emaj7  E  Esus2  Em    E   Esus4   E5
e|------------------------------------------------------
B|------------------------------------------------------
G|------------------------------------------------------
D|------------------------------------------------------
A|--2----4----5----6----7----9----10----11----12----14--
E|--0----0----0----0----0----0-----0-----0-----0-----0--

A Minor Voicings

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help. This is not an exhaustive tabbing of possible Am chords, but will give you an idea of the possibilities:

    Am
e|--0---------5----5-----8----12-----0----12-----0--------
B|--1---------5----5----10----10----10----13----13--------
G|--2----2----5----5-----9-----9-----9----14----14----14--
D|--2----2----7----7-----7----10----10----14----14----14--
A|--0----3----7----0-----------0----12----12-----0----15--
E|-------5----5---------------------------------------17--

A Major Voicings

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help. This is not an exhaustive tabbing of possible A chords, but will give you an idea of the possibilities:

    A
e|--0----5----5----0-----9----12-----9----12-----0----17--
B|--2----2----5----5----10----10----10----14----14----14--
G|--2----2----6----6-----9-----9-----9----14----14----14--
D|--2----2----7----7-----7----11----11----14----14----14--
A|--0----4----7----0-----------0----12----12-----0----16--
E|-------5----5---------------------------------------17--

Example Digital Audio Production Workflow

There's always room for jamming with other musicians anytime during this process. It might not contribute directly to the process, but it's fun and all parties will learn a lot from the synergy. This isn't the only process (feel free to add or subtract or repeat steps, according to your own process).

1. Songwriting. An instrument and a notebook would be helpful. A mini tape recorder/digital recorder to demo ideas might be helpful. The end product is basically lots of music with or without lyrics.

2. Arranging. This is where you try to make sense of the raw materials of music and lyrics, and put it in a nice little consumable package. You also decide which instruments will fit for the upcoming production.

3. Recording. Track drums, bass, guitars, keyboards, vocals, strings, brass, percussion, etc., according your arrangment. You can assemble an relatively large ensemble to perform live, with minimal overdubs, or you/a small band can build a song a few instruments at a time. If you are going to edit and mix later, you need to record multitrack - each instrument has its own input(s) or microphone(s).

4. Auditioning. Choose the good takes, and discard the bad takes. Punch in to quickly overdub fixes for decent takes.

5. Editing. This is where digital audio workstation recording begins to differ from traditional recording. You can easily compile the good parts of so-so takes to make a pretty spotless takes. Use this sparingly, as slight imperfections is human, and your human audience will better connect with emotional, human performances. Total perfection might lose the emotionality that makes a good recording.

6. Mixing. All the instruments that past muster must coexist. Make sure all that needs to be heard/felt is heard/felt.

7. Repeat the above steps for additional songs, if you are going to release more than a single, like an EP or a full-length album.

8. Mastering. Add that extra sheen to your track(s), make sure has the right dynamics (hopefully without playing into the loudness war), and have all your tracks (if more than one) work together as a collection - in sequence, and in equalization tonality.

9. Release to the world! You have your choice of media, from vinyl to CDs to MP3s and myriad ways to get your sonic creation to the ears (and hearts and minds) of as many people as possible! Cheers!

10. Repeat the process...

Five Part Harmonies with the Open A String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

Today, we're adding a note on the High E string to create exciting voicings up the fretboard.

   A7   D/A  G/A  E/A Aadd9 G/A   Am     A   Dm/A   A7
e|--3----2----3----0----0----7-----0----12----10----12--
B|--2----3----3----5----0----8----10----10----10----14--
G|--2----2----4----4----6----7-----9-----9----10----12--
D|--2----4----5----6----7----9----10----11----12----14--
A|--0----0----0----0----0----0-----0-----0-----0-----0--
E|------------------------------------------------------

Four Part Harmonies with the Open A String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

Today, we're adding a note on the B string to create exciting voicings up the fretboard.

    A   D/A  G/A  E/A Aadd9 G/A   Am     A   Dm/A   A7
e|------------------------------------------------------
B|--2----3----3----5----0----8----10----10----10----14--
G|--2----2----4----4----6----7-----9-----9----10----12--
D|--2----4----5----6----7----9----10----11----12----14--
A|--0----0----0----0----0----0-----0-----0-----0-----0--
E|------------------------------------------------------

Three Part Harmonies with the Open A String

If you don't know how to read guitar tab (as computer text), this section of a Wikipedia article may help.

Yesterday, we listed a handful of two-note voicings with the open A string as the bass note. Now let's try three notes. The overall key might determine the specific name of the voicing, but we've just named these chords without much context (alternate names are possible):

   A5  F#m/A G/A G#m/A  A  Bm/A   Am     A   Dm/A   A7
e|------------------------------------------------------
B|------------------------------------------------------
G|--2----2----4----4----6----7-----9-----9----10----12--
D|--2----4----5----6----7----9----10----11----12----14--
A|--0----0----0----0----0----0-----0-----0-----0-----0--
E|------------------------------------------------------

Droning the A String

Please read this article on Guitar Tablature before we continue.

We are creating two-note harmonies with the open A string, by droning the A string, otherwise known as a pedal tone. The approximate chord names (technically not complete triads) are listed above the tab:

   A5   A6   A7  Amaj7  A  Asus2  Am    A   Asus4   A5
e|------------------------------------------------------
B|------------------------------------------------------
G|------------------------------------------------------
D|--2----4----5----6----7----9----10----11----12----14--
A|--0----0----0----0----0----0-----0-----0-----0-----0--
E|------------------------------------------------------

D Notes Around the Fretboard, Part Two

If you didn't fill in yesterday's blanks (italicized) in Standard Tuning:

00 E A D G B E
01 F Bb Eb G# C F
02 F# B E A C# F#
03 G C F Bb D G
04 G# C# F# B Eb G#
05 A D G C E A
06 Bb Eb G# C# F Bb
07 B E A D F# B
08 C F Bb Eb G C
09 C# F# B E G# C#
10 D G C F A D
11 Eb G# C# F# Bb Eb
12 E A D G B E
13 F Bb Eb G# C F
14 F# B E A C# F#
15 G C F Bb D G
16 G# C# F# B Eb G#
17 A D G C E A
18 Bb Eb G# C# F Bb
19 B E A D F# B
20 C F Bb Eb G C
21 C# F# B E G# C#
22 D G C F A D

Now try this for Dropped D Tuning:

00 D A D G B E
01
02
03 F C F Bb D G
04
05 G D G C E A
06
07 A E A D F# B
08
09
10 C G C F A D
11
12 D A D G B E
13
14
15 F C F Bb D G
16
17 G D G C E A
18
19 A E A D F# B
20
21
22 C G C F A D

And for Open D Tuning (with fewer hints):

00 D A D F# A D
01
02
03
04
05
06
07
08
09
10
11
12 D A D F# A D
13
14
15
16
17
18
19
20
21
22

D Notes Around the Fretboard

Layout from left to right: Low E string, A string, D string, G string, B string, and High E string;
D notes in bold;
3rd, 5th, 7th, 9th, 12th, 15th, 17th, 19th, and 21st frets in bold.

00 E A D G B E
01
02
03 G C F Bb D G
04
05 A D G C E A
06
07 B E A D F# B
08
09
10 D G C F A D
11
12 E A D G B E
13
14
15 G C F Bb D G
16
17 A D G C E A
18
19 B E A D F# B
20
21
22 D G C F A D

Try to fill in the rest of the fret board with the following notes: A, Bb, B, C, C#, D, Eb, E, F, F#, G, and G#. Remember that A# is enharmonic (the same pitch) as Bb, C# as Db, D# as Eb, F# as Gb, and G# as Ab.

Considerations for an Optimal Pro Tools Computer

Pro Tools, whether HD, LE, or M-Powered, requires Digidesign-approved hardware for your sound card use with the DAW software. This is either an advantage (compatibility between software and interface) or a disadvantage (proprietary technology and limited variety), depending on your point of view. In any case, you do not need to worry about the soundcard that comes with your computer (or potential computer, if you're looking to set up a new system) when running Pro Tools. Since Pro Tools is for audio production, you don't really have to consider video cards when setting up a computer; that's more for video editors and graphic designers.

Anyhow, please consider the following when setting up a optimal Pro Tools system:

1. Stability. The computer's hardware should work as smoothly as possible with the computer's operating system. A Mac (by Apple) running OS X (by Apple) is less of crapshoot than a Mac running Microsoft Windows or another PC make/model running Windows (or a PC running OS X as a Hackintosh). However, there are PC manufacturers that make quality hardware to make Windows more stable. In any case, as a rule of thumb, you get what you pay for (unless you buy a lemon). Pro Tools runs on both OS X and Windows (32-bit only, currently), so open source (Linux) and other proprietary operating systems are not part of this Pro Tools discussion.

2. Compatibility. If the above computer is stable, make sure that the Pro Tools software is compatible with the hardware and operating system combination. When Apple released OS X Leopard early in 2008, Pro Tools 7.4 (and earlier) wasn't compatible with the updated operating system. Pro Tools 7.4 was eventually updated for OS X Leopard users. Pro Tools 8 is compatible with Windows XP SP 3, with unstable results for earlier Service Packs. In any case, consult with Digidesign's requirements and the DUC forums for compatibility requirements on the Pro Tools end of things, and your PC manufacturer (myriad companies) and OS developer (Apple or Microsoft) for the rest of the compatibility equation.

3. RAM. Get as much as your hardware and operating system will allow. 32-bit operating systems can only use up to 4 GB of RAM, so Pro Tools uses the RAM that is not used by the operating system and background applications. Multi-core, workstation-class computers like the Mac Pro can handle up to 32 GB of RAM, but the current version of Pro Tools is 32-bit in nature and can only use up to 4 GB of RAM.

4. Processing power. Get as many processors and cores, fast processors, and efficient processors as your budget and current technology will allow. LE and M-Powered systems will be more dependent on the computer's processor(s) than HD systems, which use DSP cards to handle most of the processing. If you're going to use a lot of RTAS plug-ins in Pro Tools, be sure to use a computer with fast processor(s) and several cores in each processor chip, if possible.

Get out there and tweak and/or upgrade your existing personal computer for Pro Tools, whether non-SSD netbook, notebook, desktop, or workstation. Or buy a new computer with these optimizations in mind. In any case, Pro Tools is powerful production software that deserves similar power on the host computer. It'll make the creative process that much more effective!

Chords for Pachelbel's Canon in D Major

D A Bm F#m G D G A

It's a running joke that several pop music songs are merely derivatives of "Pachelbel's Canon":

Play D A Bm G and imagine a certain Irish rock band singing an either-or statement.

Play Bm G D A (albeit with a guitar detuned one-half step) and imagine a certain Windy City band lamenting about being in a cage regardless of rage.

Play D A Bm F# G D G A (I believe also one-half step down) and imagine a certain pop punk band asking if you have the time to listen to the lead singer whine about stuff.

Et cetera, et cetera.

Dropped D Tuning

You can riff with power chords more...let's say..."efficiently" with dropped D tuning. You essentially dropped the Low E string (two half-steps) down to Low D. The note on the 7th fret of the Low E (now Low D) string should match the open A string. Here are some tips in dropped D:

1. Fret the Low D, A, and D strings on the same fret to make a root-fifth-root power chord.

2. You can reach notes previously more difficult to reach when fretting a chord that uses the Low D string. (Listen to the Foo Fighters' song "Everlong" for an example.)

3. You can use the Low D as a drone/pedal note. (Listen to the Smashing Pumpkins' song "Silverf**k" for an example.)

4. You can strum an open D chord using all six strings in dropped D tuning.

5. Remember that the note that used to make the string a Low E string is now on the second fret of the Low D string.

Have fun with this tuning, and may it be a "gateway technique" for more adventurous use of the guitar.

Quick Tip for Beginning Bass Players

If you have taken up the bass guitar, for immediately good results, jam with a drummer (or drum loops, if you can't find a real person) and lock most of your notes with the kick drum. A strong rhythm section (often just the bass player and the drummer) is the foundation of a cohesive band.

The Open D Major Chord and Chord Diversity

There's something about the shape of the standard open D major chord that causes your fretting hand to be in such an ideal position to embellish with the chord, using other related chords. This is not an exhaustive list, so feel free to use your imagination:

Dsus2: Lift your middle finger and let the open High E string ring with the rest of the chord.
Dsus4: Place your pinky finger on the High E string, 3rd fret.
D6: Place your pinky finger on the G string, 4th fret.
D6: Lift your ring finger and let the open B string ring with the rest of the chord.
D/F#: Place your pinky finger on the D string, 4th fret.
D/F#: Place your thumb on the Low E string, 2nd fret. Use the tip of your thumb to mute the A string (or not) and strum all six strings.
D/A: Add the A string with the rest of the D major chord.

Et cetera, et cetera...

Don't Ignore Your Pinky and Your Thumb

Quick tip for the day: Using all your fingers on your fretting hand will give you more options. Your little finger (pinky) is often neglected when soloing or playing many chords. Challenge yourself to incorporate your pinky in your technique and try to make it as strong as your other fingers.

If your hands allow it (size-wise), also try to incorporate your thumb sometimes. Just wrap it around and play at least the low E string. Jimi Hendrix was known to use his thumb to fret the low notes of a chord to free his fingers to incorporate lead work while doing rhythm.

Inexpensive Guitar Accessories: Capo and Slide

You might find these accessories useful on your journey as a guitar player (and possibly also useful for players of other stringed and fretted instruments):

Capo. Shift the nut up to almost any fret. Capo the third fret and turn an open D chord shape into an open F chord. Low quality capos are less than $4 and premium quality ones (without being ridiculously expensive) are about $20. The capo actually shortens the string length from the capo (acting as the nut) to the bridge, changing the locations of various harmonics, and thus affecting the tonal quality of your guitar.

Slide. Easy to play and make noise immediately, but tricky to master. Slide playing is basically its own branch of instrumentation. They are usually available as glass slides and metal slides (around $5 to $10 is a decent price range, but they can reach upwards of $30 or so for more specialized models). Other materials are available commercially, or whatever cylinder you can find can suffice. The material affects your tone.

There you have it: Two relatively inexpensive ways, like pick selection, to tweak your tone and technique.

Experiment with Guitar Picks

This is just a quick tip for beginners: Test as many kinds of guitar picks as possible to uncover the possibilities of a simple and inexpensive piece of equipment.

1. Pick or no pick (fingers/thumb)?

2. Flat pick or thumb pick or finger pick or coin currency?

3. Shape of flat pick? Small "jazz" teardrop pick, normal "351" shape, larger equilateral, heart-shaped, or a specialized shape?

4. Gauge (thickness)? Some manufacturers tell you the gauge by its fraction of a millimeter, and others use the descriptors "thin," "medium," "heavy," etc. Generally, a 1.0 mm pick is a heavy pick.

5. Material? There are several types of plastic with different feels to them (Tortex, Ultex, celluloid, Delrin, nylon, etc.), as well as rubber, wood, metal, etc. As with specialized pick shapes, there are also picks with varying specialized textures, like ridges, cork rings, holes, etc.

6. Superficial elements? Color sometimes indicates gauge (usually from thinnest to thickest: Red, orange, yellow, green, blue, violet), and other times it is just an aesthetic choice. Some manufacturers/printers can custom print picks with your logo or personalized text.

At around $3 to $4 for a dozen picks, this is an inexpensive way to experiment with equipment and develop a sound that works for you.

G Diminished Mode

The Gdim triad (notes in bold) exists in this mode.

Locrian: G Ab Bb C Db Eb F

G Minor Modes

These modes in G have a major key sound mostly because of the minor 3rd, Bb:

Dorian: G A Bb C D E F G
Phrygian: G Ab Bb C D Eb F G
Aeolian: G A Bb C D Eb F G


The G minor triad (notes in bold) also exists in these three modes.

G Major Modes

These modes in G have a major key sound mostly because of the major 3rd, B:

Ionian: G A B C D E F# G
Lydian: G A B C# D E F# G
Mixolydian: G A B C D E F G

The G major triad (notes in bold) also exists in these three modes.

G Dyads

Dyads are two note intervals, a more stripped down "chord" than triads. Let's pair the G note with the 12 notes of Western music and see what happens:

G + G = G (root) - either same note or octaves, depending on the octave of the notes
G + Ab = Abmaj7 (no 3rd, no 5th) - less dissonant in different octaves
G + A = Gsus2 (no 5th) or A7 (no 3rd, no 5th)
G + Bb = Gm (no 5th)
G + B = G (no 5th)
G + C = Gsus4 (no 5th) or C5
G + Db = G(b5) or Gdim (no 3rd) or Db(b5) or Dbdim (no 3rd)
G + D = G5
G + Eb = Eb major (no 5th)
G + E = G6 or Em (no 5th)
G + F = G7 (no 3rd, no 5th)
G + F# = Gmaj7 (no 3rd, no 5th) - less dissonant in different octaves

C Major and C Minor

C major scale: C D E F G A B C
C major chord: C D E F G A B C

C minor scale: C D Eb F G Ab Bb C
C minor chord: C D Eb F G Ab Bb C

C Major Inversions

C Major Scale: C D E F G A B C

C major (root): C D E F G A B C

First inversion: C D E F G A B C

Second inversion: C D E F G A B C D E

More info (content may vary)

Building on the C Major Triad

C Major Scale: C D E F G A B C

Feel free to use the notes in any octave, depending on the mood you want to convey.

C major: C D E F G A B C

Csus2: C D E F G A B C

Csus4: C D E F G A B C

C5: C D E F G A B C

C6: C D E F G A B C

C7: C D E F G A Bb B C

Cmaj7: C D E F G A B C

C (octave): C D E F G A B C

Cadd9: C D E F G A B C D

C9: C D E F G A Bb B C D

Modes Derived from C Major

C major scale: C D E F G A B C (i.e., the white keys on a piano)

C Ionian mode: C D E F G A B C

D Dorian mode: C D E F G A B C D

E Phrygian mode: C D E F G A B C D E

F Lydian mode: C D E F G A B C D E F

G Mixolydian mode: C D E F G A B C D E F G

A Aeolian mode: C D E F G A B C D E F G A

B Locrian mode: C D E F G A B C D E F G A B

Can you see and hear how that works out?

Pro Tools 8

Back in late December, I was one of the first of the general public to download Pro Tools M-Powered 8.0 for Windows XP. Here's a quick rundown on its functionality (you may have to figure out your own issues if you have a different PT build [LE or HD], operating system [Vista 32 or OS X Leopard], and/or recording interface [Digidesign or M-Audio; PCIe, Firewire, or USB):

Pros: Xpand2 has better sounding samples (subjectively, of course) and more options. Boom is a cool new virtual instrument (an emulated "analog" drum machine). The other AIR effects are cool, getting Maxim to use without an iLok license is cool too, and the "teaser" plugins (the emulated guitar amp) are sufficient to get creative. FXpansion's wrapper still works in PT8 (so far), so that many VST and VSTi plugins are still there for production use.

Cons: There was confusion about Mooger-Fooger effects not having the correct license, but a quick trip to DUC and some savvy will help you reinstall the PT7 version of the plugin - then you'll be good to go. I had to upgrade my operating system from XP SP2 to XP SP3, which provided some tricky problems with my M-Audio PMIO and that specific interface's issues with SP3. If you're a PTMP user, go to M-Audio's forums for some help for the hardware side of things.

You might have your own issues when it comes to PT8 and your specific OS and hardware interface. PT8 rewards those working with lots of RAM and lots of processor power, so keep that in mind. Firewire technology often has better bandwidth capabilities than USB, so keep that in mind when choosing interfaces and external hard disk drives.

Downloading the entire upgrade (4 GB, including extras that I haven't gotten around to using yet) took me several chunks of time over a few days. The upgrade DVD costs around $30.

The added options in PT8 are great for PT7 veterans who want more, but all the various non-default intricacies might not be as friendly for newbies.

Bottom line: If you have self-confidence, savvy, and most of all - patience - PT8 is a good upgrade. On the other hand, a less frustrating PT8.1 (or even a PT8.0.x) might be around the corner for those who want to keep productive with PT7.4 and not deal with upgrade issues.

The C Major Scale and 7ths

Scale: C D E F G A B C (i.e., the white keys on a piano)

C major + major 7th = Cmaj7: C D E F G A B C

D minor + minor 7th = Dm7: C D E F G A B C D

E minor + minor 7th = Em7: C D E F G A B C D E

F major + major 7th = Fmaj7: C D E F G A B C D E F

G major + minor 7th = G7: C D E F G A B C D E F G

A minor + minor 7th = Am7: C D E F G A B C D E F G A

B diminished + minor 7th = Bdim7: C D E F G A B C D E F G A B

The C Major Scale and Triads

Scale: C D E F G A B C (i.e., the white keys on a piano)

C major: C D E F G A B C

D minor: C D E F G A B C

E minor: C D E F G A B C

F major: C D E F G A B C

G major: C D E F G A B C D

A minor: C D E F G A B C D E

B diminished: C D E F G A B C D E F