Frank Migliaccio, Author at Blitzstar Guitar

Altered Dominant Chords I: Single Alterations

An altered chord is a seventh or extended chord in which the fifth note of the chord and/or an extension note — the ninth, 11th or 13th — is altered, either raised or lowered by a half step.

We begin our study of altered chords with an analysis of altered dominant chords.

This post will cover how to construct dominant chords with single alterations and provide examples for each type of chord.

It will also provide common fingerings for each chord, along with instruction on how to play them on a guitar with any root note.

Altered Dominant Chords II: Combined Alterations

This post will cover how to construct dominant chords with combined alterations and provide examples for each type of chord.

It will also provide common fingerings for each chord, along with instruction on how to play them on a guitar with any root note.

Altered Major and Minor Chords

Although altered dominant chords are the most commonly altered chords, major and minor chords are frequently altered as well.

This post will cover how to construct some of the most common altered major and minor chords and provide examples for each type of chord.

It will also provide common fingerings for each chord, along with instruction on how to play them on a guitar with any root note.

Modes of the Harmonic Minor Scale I: The Relative Approach

This post will use the relative approach to construct the modes of the harmonic minor scale and provide instruction on how to play them on a guitar in any key.

Modes of the Harmonic Minor Scale II: The Parallel Approach

Whereas the relative approach relates each of the modes to the harmonic minor scale from which it is derived, the parallel approach views each mode as an independent scale.

As such, each modal scale can be compared with another similar scale with the same root note.

This post will compare the modes of the harmonic minor scale with the closely related modes of the major scale.

It will also provide common fingerings for each of the modes, along with instruction on how to play them on a guitar with any root note.

Modes of the Harmonic Minor Scale III: Soloing

Each of the seven modes of the harmonic minor scale has a particular application when it comes to soloing:

The harmonic minor scale is used to solo over minor and minor, major seventh chords with the same root note.
The Locrian #6 scale is used to solo over diminished and half diminished chords with the same root note.
The Ionian #5 scale is used to solo over augmented triads and major seventh, sharp five chords with the same root note.
The Dorian #4 scale is used to solo over minor and minor seventh chords with the same root note.
The Phrygian #3 (or Phrygian dominant) scale is used to solo over major triads and dominant seventh chords with the same root note.
The Lydian #2 scale is used to solo over major and major seventh chords with the same root note.
The super Locrian bb7 scale is used to solo over diminished triads and diminished seventh chords with the same root note.

This post will take us through the process of identifying the modal scale or scales that are compatible with any given chord. It will also provide instruction on how to play the scale or scales on a guitar using the relative and parallel approaches.

Creating Chord Voicings I: Sixth, Ninth and Altered Ninth Chords

Throughout this series, I have provided common fingerings for the chords covered and I have recommended that you learn as many different voicings as possible for each of the chords.

One way to learn additional voicings is to create them yourself from basic chord voicings you already know.

Creating Chord Voicings II: Chords with Altered Fifths

My last post took us through the process of altering basic seventh chord voicings on a guitar to create voicings for sixth, ninth and altered chords.

This post will provide instruction on how to alter seventh chord voicings to create voicings for chords with altered fifth scale degrees.

Creating Chord Voicings III: Eleventh and Thirteenth Chords

My previous two posts took us through the process of altering basic seventh chord voicings on a guitar to create voicings for sixth and ninth chords as well as chords with altered fifth scale degrees.

This post will provide instruction on how to alter seventh chord voicings to create voicings for:

Eleventh chords.
Suspended Fourth Chords.
Thirteenth Chords.

Diatonic Double Stops

A double stop — also called a harmonic interval or a diad — is defined as two notes played at the same time.

A double stop can be incorporated into a solo, used as a rhythm fill or to harmonize a melody.

Double stops sound best if they are diatonic, both notes belonging to the same harmonized major scale. Any harmonic interval can be a double stop but thirds, sixths and fourths sound best and are the most commonly played.

This post will cover how to construct diatonic double stops — thirds, sixths and fourths.

It will also provide common fingerings for each double stop, along with instruction on how to play them on a guitar in any key.