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Key Center Soloing is when we use one scale to solo over multiple chords, all diatonic to the same key.

In order to solo using the key center approach, we first need to determine the common key of the chords in a progression (if there is one).

This post will take us through the process of identifying the common key of the chords in a progression and choosing an appropriate scale to solo over the progression.

This post will analyze major key chord progressions and the next one, minor key progressions.

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Key Center Soloing is when we use one scale to solo over multiple chords, all diatonic to the same key.

In order to solo using the key center approach, we first need to determine the common key of the chords in a progression (if there is one).

This post will take us through the process of identifying the common key of the chords in a progression and choosing an appropriate scale to solo over the progression.

My last post provided an analysis of major key chord progressions. This one will cover minor key progressions.

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In my last two posts (Key Center Soloing I and II) we analyzed various chord progressions to determine their key centers and which scales to use to solo over the progressions.

For each progression, we listed all the keys each chord belongs to, and then we identified the common one.

There are several ways to determine the key centers for any given chord. This post will provide instruction on how to use your guitar to identify the major key centers for any given chord.

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In my posts Key Center Soloing I and II we analyzed various chord progressions to determine their key centers and which scales to use to solo over the progressions.

For each progression, we listed all the keys each chord belongs to, and then we identified the common one.

There are several ways to determine the key centers for any given chord. This post will provide instruction on how to use your guitar to identify the minor key centers for any given chord.

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When a chord has its root note in the bass (as its lowest note) it is in root position. When a chord is voiced with any note other than its root note in the bass, it is called an inversion.

This post will define the two possible inversions for major, minor, diminished and augmented triads, and provide examples for each type of chord.

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

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When a chord has its root note in the bass (as its lowest note) it is in root position. When a chord is voiced with any note other than its root note in the bass, it is called an inversion.

This post will define the three possible inversions for seventh chords, and provide examples for each type of chord.

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

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An interval describes the distance between any two notes. The distance is measured from the lower note to the upper note using the major scale constructed on the lower note as the measuring stick.

This post will define an interval’s two components — quantity and quality — and provide examples of diatonic intervals, which are intervals that occur naturally within a major scale.

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

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The perfect and major intervals covered in my last post can be altered, either increased or decreased in size.

When we increase the size of an interval, it is called augmentation; when we decrease the size of an interval, it is called diminution.

When an interval changes in size, so does the name we give it.

This post will cover minor, diminished and augmented intervals. It will also provide common fingerings for each interval, along with instruction on how to play them on a guitar with any root note.

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An inverted interval is one that is turned upside down, either by raising the lower note an octave (and placing it on top) or by lowering the upper note an octave (and placing it on the bottom).

When we invert an interval, we create a new interval, measured by the major scale of the (new) lower note.

This post will take us through the process of inverting diatonic (perfect and major) and altered (minor, diminished and augmented) intervals, and provide instruction on how to measure the inverted interval.

Examples of how to play the intervals on a guitar are provided in Intervals I and II.

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A mode is often defined as a scale started on any note other than the root note and played to that same note an octave higher. While mostly true, even if we start a major scale on the root note (and play a major scale), that is considered a mode as well.

So we can start a major scale on any of its seven notes and play to that same note an octave higher and we are playing a mode of the major scale.

Each mode of the major scale has a Greek name and its own distinct tonality, sound, and structure (pattern of half steps and whole steps).

Each mode can also be called a scale.

There are two approaches to understanding modes:

• The Relative Approach.
• The Parallel Approach.

This post will use the relative approach to construct the modes of the major scale and provide instruction on how to play them on a guitar with any root note.

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