Exploring The Boundless Electric Guitar - The success of the chrisjuergensen.com site led me by popular demand to publish the lessons from the site as a book called "The Infinite Guitar." This blog is dedicated to answering your questions about the book, music or the guitar in general. Got a question? E-mail it to me, you never know: info(at)chrisjuergensen(dot)com
Q: What can you tell me about the whole tone scale? I didn't find anything on your site regarding it.
A: The whole tone scale is used in very specific situations, so I didn't mention it too much in the lessons on chrisjuergensen.com. But it is a valuable scale to know and has one very interesting application that took me about 20 years to figure out.First of all, it is a 6-note scale which is unusual in itself. It is a symmetrical scale, meaning it is based on a set of specific intervals that repeat. The half/whole diminished scale (an 8-note scale) is also a symmetrical scale based on a repeating half-step, whole-step pattern. The whole tone scale is a pattern of all whole steps. So for C: D-E-F#-G#-A#. If you harmonize it, you will get a C7#5 or C7b5 chord. When you add in the 9th (D, in this case) something strange happens, you get a C9 chord with a b5 or #5. How strange is that? I've actually run it to one or the other on a few charts but it is rare and sounds somewhat strange. You have to be weary of using it because a lot of guys will add in an altered 9th on a 7#5 chord, thinking altered rather than whole tone. I like to use it on chords that are specifically #5, like in "Stella by Starlight" when that G7#5 chord pops up. It is a real abstract sound, I've heard it described as Bambi disintegrating. I suppose the fact that all the intervals being the same distance apart give the scale a sort of nebulous vibe. You hear it sometimes in movies or TV when somebody goes into a dream or fantasy scene. Anyways, that's how I hear it.
I actually use it more in another application than the standard, over the 7#5 chord.I like to use it a half step down on a minor chord. You have to be daring and have good improv sense to make this work because it is outside. It is a good way to play outside on minor chords and works well if you sandwich it between two inside minor scales, like dorian. It can be justified as well. Here is a B whole tone scale: B-Db-Eb-F-G-A, now let's look at the intervals comparing it to C minor: B is the major 7th (like melodic minor), C# is the b9th (as in phrygian), Eb is the minor 3rd (like all minor modes), F is the 11th (like all of the minor modes), G is the 5th (like all the minor modes except locrian) and A is the 6th (like dorian). No root!
This was a good subject so I put together a whole lesson on the subject:The Whole Tone Scale
Q: I had a quick go of "Cissy Strut" last night. I'm trying to figure out the progression. If you look at it in Eb you get a vi-ii-V which seems on the money. I've tried some improvising and C blues or minor pentatonic fits, as does C Dorian and C natural minor. However, I was trying to figure if you can analyze the sequence from C harmonic minor perspective, since the tonal is so clearly a centerCm key (the Eb relative major is only implied, right?) But that gives a i-VII-IV which seems screwy... any ideas?
A: I wouldn't think too much about this one. I mean if God came out of the heavens and said; "ChrisJuergensen, entering heaven will depend on how you analyze'Cissy Strut,' the famous New Orleansfunk hit covered by many musicians, what are the three chords in relation to each other?" I would say; "Thanks for this chance to get into heaven God, here is my answer: The C chord is a 'I' chord, the Bb chord is a 'bVII' borrowed from C minor, and finally the F chord is a 'IV' chord." And he would most likely let me into heaven despite all the rotten things I have done to various women over the years. But if he was anything like me, and this is very unlikely, he would say; "You are thinking too much about it, just play a blues have a good time."
Thinking minor is not such a good idea with this tune. It is only minor the same way a Blues is minor, meaning the minor pentatonic scale will work, but the chord is really a C7 chord.
Cissy Strut if a fun song to play if you are adventurous, It is basically a A-A-B-B form with both the As and the Bs in C. Scofield changes the B section to the key of Ab I think. When I have my students play it in their ensemble class, I make every guitarist change the B section to something different. It makes the song fun but also makes the solo a bit more challenging.
Q: I´m playing the song IMPRESSIONS in D-7, but when I play F melodic minor it sounds good, tell me why?
A: Good question. I'll take you through my thinking process rather than just give you my answer: Let's see, F melodic minor: F-G-Ab-Bb-C-D-E, now let's look at the scale from D, as that is the chord you are playing it over: D-E-F-G-Ab-Bb-C. That gives us a 1-2-b3-4-b5-b6-b7. Ah, this is the locrian #2 mode from melodic minor. This is a very common scale for a min7b5 chord, much better than the locrian scale or harmonic minor that a lot of guys might use. Although, not the most common choice, it is one choice for a min7 vamp like Impressions. Other choices: D dorian, A, D and E minor pentatonic, D melodic minor and if you are really daring, Ab melodic minor. Check out this scale/arpeggio guide and try some different things. This is a lesson dealing with locrian #2.
Q: Is there a simple way to remember the which major scale equals what mode and the chords they work over?
A: I wish there was a quick method but I'm not sure there is one. You just have to remember the rules, which are:
Dorian = major scale down a 2nd. (Ex: C dorian = Bb major) Phrygian = major scale down a 3rd. (Ex: C Phrygian = Ab major) Lydian = major scale up a 5th. (Ex: C lydian = G major) Mixolydian = major scale up a 4th. (Ex: C mixolydian = F major) Aolian = major scale up a minor 3rd. (Ex: C aolian = Eb major) Locrian = major scale up a minor 2nd. (Ex: C locrian = Db major)
The chart above might help put things in perspective.
Q: As my sightreading reaches more acceptable levels I look to consider comping on cruiseships in a ‘Jay Leno’ style pit band. Although it is not a first choice, it will at least be something professional top put on my CV, as well as a chance to play something beyond party tunes, and to further improve reading skills and save. How well respected are people who have done cruise gigs? Will it open any doors on my return? I’m 25 now and I feel like if I don’t do something it will be too late. I can’t think of any other options at the moment. Some wisdom from someone of your experience and calibre would be fantastic.
A:I'm not sure that a boat gig (as we call it in musician circles), in itself commands any real respect. What does command respect is a musician who consistently works, be it a boat gig, plus anything else for that matter. A good friend of mine just went on a boat gig, he is a year younger than you and a very fine guitarist. He asked me what I thought about the job offer on the boat. Some other musician who was there at the time gave his two cents, which I thought was a load of crap. He said that a boat gig does nothing for one's career and should be avoided. I told him this: that it doesn't matter what the gig is and a gig is a gig and should not be turned down unless you are sure that there is something better on the way and the boat gig would ruin your chances. You see, it is a privilege to get paid to play a guitar. Think about it, it is a piece of wood with some steel strings attached and when you hit them with a little piece of plastic, somebody gives you money and you can get babes too. What a concept, it seems to good to be true! Some people even give me money to show them how to pick at the strings with the plastic thing so they can get paid too. So when you start wondering if a boat gig will pay well or commands respect, the answer is that any job you can do with a guitar in hand commands respect and any amount of money is overpayment for such a fun thing. And I'll tell you when he emailed me a photo of Antarctica, i really thought so. How many people get to go to Antarctica? And how many of them get paid to go? And how many of them get paid to go to Antarctica by hitting some steel strings on a piece of wood with a plastic thing? Pretty amazing if you ask me. I suppose that there are better paying gigs but so what? Hopefully it is just one gig in a series of gigs that will stretch on and on. Plus, you never know who is on the gig. One of the guys on the gig could go on to a real big gig one day and take you with him. If you can get yourself on a boat gig, pat yourself on the back my friend and welcome to a very exclusive club, the club of professional musicians.
Q: Why is it that major 3rds and 4ths in the same chord is prohibited? In your book (p.49) You say that simultaneous presence of a major 3rd and perfect 4th in the same chord is undesirable – so, why exactly? Because it’s said to be cacophonous? And that’s all? Hmm… Maybe there are some reasons which are more objective? "Cacophonous" is too subjective to my mind (especially regarding modern music)… As I understand it, any two notes a min2nd (or min 9th) apart never should present in the same chord simultaneously. But later in "The Infinite Guitar" while regarding different modes You give a lot of examples of chords with simultaneous presence of one and even two pairs of notes min 2nd (or min 9th) apart. How could You explain all this?
A: 3rds and 4th together in the same chord is not prohibited, just not a great sound. Sometimes minor 2nds together in a chord sound better than others, like between the 7th and root in a maj7 chord or between the #11 and 5th in a maj7#11 chord. Even between the 3rd and #9 in a 7#9 chord. So why not in a sus chord? Because:
It throws the nature of the chord into question. In a maj7 chord the B and C notes are important to the nature of the chord (the chord sounds crappy with the 7th as the bass note but eliminating either, would change it from what it is), same with the #11 and 5 in a maj7#11 chord. A 7#9 chord without both the major 3rd and #9th would turn the chord into something else. But the 3rd and 4th in a dominant chord are conflicting to the nature of the chord. It makes the ear wonder if something is wrong and confuses us.
It isn’t necessary. The 4th is way more important in a sus chord and there are better notes to add to the chord than a 3rd.
By the way, theory is just common practices to specific genres and, although sometimes based on laws of nature, is not musical law. You can add a third and there are some interesting voicings. Like a IV–V in G (C–D). Play an open position C chord and slide it up a whole step leaving the 3rd and 1st string open. Nice sound as long as you are arpeggiating and not bashing the chord (look at the chord up on top of this post). Q: C-E-G-B-D-F-A (maj13 chord) = also impossible? Why? For the same reason, the 3rd and 4th can't be included together in the same chord? But is the 11th note is necessary for the 13th chord?
A: No, theoretically the only notes that must be included in a 13 chord (major or minor) is the 1-3-5-7 and 13. 9ths and 11ths are options. But the general rule is that the 11th, if you were to include it should be raised, as in C-E-G-B-D-F#-A. But once again, they are options and regardless, you couldn’t play a 7 note chord on the guitar. If you were playing with a bassist, you could technically just play the 3rd, 7th and 13th.
Q: I was looking through some of your lessons (which, by the way, are all very well written), and wondered something. I was checking out the "Thinking out of the Cage" lesson and thought to myself that there are a lot of easier voicings than the ones you have. Is there any reason for the difficult voicings? Wouldn't it be quicker and easier just to play the standard voicings rather than struggle with the ones you have as examples?
A: Yes it would be quicker and easier to play the garden variety voicings that everyone plays. It just depends on whether or not you want to play chords like everyone else or not. Guitar players always give me a good crack up because, at least regarding chords, we only want to play what is easy, even if the voicing sounds goofy. And the rational is that it if it can't be learned in a few minutes, it isn't worth working on. Think about it for a second: how long did it take you to learn the F chord? The answer is usually a month or two. How come guitarists seem to think that the F chord is the right of passage and no other chord should take that long? When I was learning guitar, I thought that all chords were supposed to take weeks or months to be able to hold down so I worked on them for long periods of time and that is why I can play big hairy chords that very few other guitarists can, even though my hands are relatively small. I will concede that it is better to play simple in certain situations, but I personally believe that showing an interest in, and learning interesting voicings is important unless harmonic mediocrity is something you can be satisfied with. Listen to Herbie Hancock play chords and tell me you wouldn't want to sound like that.
Q: What can you tell me about the whole tone scale? I didn't find anything on your site regarding it.
