Conference napalm::guitar

    
    The following are the chords that appear in the 15 Diatonic major
    keys:
    
    C MAJOR: C Maj  D Min  E Min  F Maj  G Maj  A Min  B Dim
    
    G MAJOR: G Maj  A Min  B Min  C Maj  D Maj  E Min  F#Dim
    
    D MAJOR: D Maj  E Min  F#Min  G Maj  A Maj  B Min  C#Dim
    
    A MAJOR: A Maj  B Min  C#Min  D Maj  E Maj  F#Min  G#Dim
    
    E MAJOR: E Maj  F#Min  G#Min  A Maj  B Maj  C#Min  D#Dim
    
    B MAJOR: B Maj  C#Min  D#Min  E Maj  F#Maj  G#Min  A#Dim
    
    F#MAJOR: F#Maj  G#Min  A#Min  B Maj  C#Maj  D#Min  E#Dim
    
    C#MAJOR: C#Maj  D#Min  E#Min  F#Maj  G#Maj  A#Min  B#Dim
    
    F MAJOR: F Maj  G Min  A Min  BbMaj  C Maj  D Min  E Dim
    
    BbMAJOR: BbMaj  C Min  D Min  EbMaj  F Maj  G Min  A Dim
    
    EbMAJOR: EbMaj  F Min  G Min  AbMaj  BbMaj  C Min  D Dim
    
    AbMAJOR: AbMaj  BbMin  C Min  DbMaj  EbMaj  F Min  G Dim
    
    DbMAJOR: DbMaj  EbMin  F Min  GbMaj  AbMaj  BbMin  C Dim
    
    GbMAJOR: GbMaj  AbMin  BbMin  CbMaj  DbMaj  EbMin  F Dim
    
    CbMAJOR: CbMaj  DbMin  EbMin  FbMaj  GbMaj  AbMin  BbDim
    
             1maj    2min   3min   4maj   5maj   6min   7dim
    
    You can think of these diatonic chords as numbers (shown above).
    This way, you can relate to `numeric' chord patters in any key,
    such as 1-6-2-5, or 1-4-1-5, or 1-3-4-5.  The number system helps
    alot when changing from key to key.
    
    Buck  
    

        
    The following is an anaylsis is major keys and their Relative Minor
    scales (every major scale has an accompanying minor scale to it the key
    signature from the major key, where the scale is derived):
    
        
    C MAJOR: A Minor is the relative minor key 
    
    G MAJOR: E Minor is the relative minor key  
    
    D MAJOR: B Minor 
    
    A MAJOR: F# Minor
    
    E MAJOR: C# Minor 
    
    B MAJOR: G# Minor  
    
    F#MAJOR: D# Minor 
    
    C#MAJOR: A# Minor
    
    F MAJOR: D Minor 
    
    BbMAJOR: G Minor  
    
    EbMAJOR: C Minor 
    
    AbMAJOR: F Minor
    
    DbMAJOR: Bb Minor
    
    GbMAJOR: Eb Minor
    
    CbMAJOR: Ab Minor

    
    
    What are the chords of a key?    
    
    Write out all the scale, then place notes every third above. Them's
    the chords of the key.
    
    
    
    
    
    
    Lets see
    
    ----------------------------------------------------------------
          
    ----------------------------------------------------------------
                                                 0
    -------------------------------------0----------------------------
                                    0
    ---------------------------0--------------------------------------
                          o
    ------------------0-----------------------------------------------
                0
         --O--     first we have a C Scale.
    
    
    Then we stack thirds above 'em and we have the chords of a key.
                                            Amin7 Bdim
                                       G7       --O--
          Cmag7  Dmin7  Emin7  Fmag7        O
    -----------------------------------O----------O-----------------
                                 O          O
    ---------------------O-------------O----------O-----------------
                   O             O          O
    --------O------------O-------------O----------O------------------
                   O             O          O
    --------O------------O-------------O-----------------------------
                   O             O
    --------O------------O-------------------------------------------
                   O                                       
         ---O---
                                                           
    
    The same relationship applies to all diatonic scales.
    
     By the way, one can go beyond sevenths.
    
    To develop this understanding, its a good idea to 
    write out all of the scales every third and learn the chords
    of that key.
    
    Note-how are 'substitutions' made.  A partial introduction, look
    at the C Maj 7th and notice that if you drop off the C from the
    C, note that you have an E Minor chord.  It 'Could' be appropriate
    to play a E minor in place of a C-   or a very practical
    thing you might like would be to play you E minor blues scale over
    C major.
    
    Note that the D minor contains an F.  You can learn these
    relationships.
    
    Consequently, if the progressions went
    
    
    C      F   C   F G7   C   G7   C
    
    and if the melody notes allowed, you could play something like
    
    C^7    Dm7   Em7  F^  G7  Am   Bdim C
    
    This type of thing would be especially attractive if the notes
    were descending  - contrary motion.
    
    
    Next lesson, if anyone asks for it,  9ths!

    .2 and .3 had a notes collision

   Re: -1
    
    Not really...I did triads (that's just how I think), .3 did
    4 note voicings, which is fine too.  .4 also provided some insight
    as to how these voicing came about...me, I'm too lazy for a reply
    like that!
    
    ;^)

    I guess we are starting from different points of reference because,
    though I appreciate the help, I have no idea what the hell your
    talking about. 
    re. 1
    What this seems to be is a list of keys and the list of chords
    that match up to the key. Can these chords be played only one
    place on the neck? 
    I guess what I'm looking for is someone to type in something like
    was entered in the "blues scale note"
    What I can relate to, and would find useful at this point is
    something along the lines of.....
    This is a blues in the key of G. These are the chords, their
    progression and where they are played on the neck (fret position)
    These are the scales and where they are played -5th fret for
    this scale, then to 2nd fret for this scale and so forth.
    I just can't comprehend what has been entered as replies so
    far. If you want an idea of what I'm looking for read the
    blues scale note. Sorry for being so thick.

	Below is a five-position "blues scale" that I use (believe me, I
	am not a master of this by any means, so people correct me if I'm
	wrong).  This pattern can be used for a basic I-IV-V chord
        progression and it works pretty nicely for major or minor blues
        things.  The one below is for the key of A so the chords would be
    	A=I;D=IV;E=V.
    
	The numbers (e.g. 1,2,3) refer to the fret and the Roman numerals
	refer to the "position".

	The whole thing is moveable, so if you're playing blues in Bb, you'd
	move everything up one fret ('cuz Bb is a half-step up from A).  If
	you're doing something in G, then move it down two frets, cuz G is
	a "whole tone" down from A).


----|----|---x|----|---x|----|----|---x|----|---x|----|---x|----|----|---x|----|
----|----|---x|---x|---x|----|----|---x|----|---x|----|----|---x|----|---x|----|
----|---x|----|----|---x|----|---x|---x|---x|----|----|---x|----|---x|----|----|
----|---x|----|----|---x|----|---x|----|----|---x|----|---x|---x|---x|----|----|
----|----|---x|----|---x|---x|---x|----|----|---x|----|---x|----|----|---x|----|
----|----|---x|----|---x|----|----|---x|----|---x|---x|---x|----|----|---x|----|
    1    2    3    4    5    6    7    8    9   10   11   12   13   14   15   16
              I        II            III        IV         V              I
    

    
    re .6
    
    Okay, if what you really want is a blues in G, here goes...
    
    The twelve-bar blues progression is as follows;
    
    G   C   G  G7  C  C  G  G  D  C  G  D7  and repeat ad infinitum
    
    There are many different versions of the chords that you can play
    but to start with try;
    
    G	------	G7  ------  C  X-----  D  XX---- D7  XX----
    	||||||      |||||o     ||||o|     ||||||     ||||o|
    	|o||||      |o||||     ||o|||     |||o|o     |||o|o
    	o||||o      o|||||     |o||||     ||||o|     ||||||
    	||||||	    ||||||     ||||||     ||||||     ||||||
    
    					X means "Don't play this string"
    
    The only scale that you need for this progression is the G blues
    scale which consists of the notes;
    
    G	Bb   C    D   F
    
    You can find these all over the fret-board but the way that most
    people start is to concentrate on the notes grouped in three positions;
    
    I   |  |  |  |  |  |
    	G  C  F  Bb D  G <--- 3rd fret/15th fret
    	|  |  |  |  |  |
    	|  D  G  C  |  |
    	Bb |  |  |  F  Bb
    	|  |  |  |  |  |
    
    II  |  |  |  |  |  |
    	|  |  G  C  |  |  <--- 5th fret
    	|  |  |  |  F  Bb
    	|  |  |  D  |  |
    	|  |  Bb |  G  C
    	|  |  |  |  |  |

    III |  |  |  |  |  |
    	|  G  C  F  |  D  <--- 10th fret
        |  |  |  |  Bb |
        |  |  D  G  |  |
    	|  Bb |  |  C  F
    	|  |  |  |  |  |
    	|  |  |  |  |  G

    Practise using each of these positions in turn. You will soon see
    that they overlap and that you can change between positions smoothly.
    
    As a basic tip to improvising a lead over the blues, try to build
    licks around the root note of the chord you are playing over. For
    example, when the chord is a G, start or end a run on a G. When
    the progression moves up to a C, play a run based around a C and
    so on.
    
    Hopes this helps,
    
    Andy
    
    NB: Apologies to noters who have heard all this stuff before but
    it is my mission on Earth to spread the Blues-word...
    

    ...because that's how I think...
    
    The replies so far have been very good - but you as you say, you've
    found a number of them beyond your present ability. Stick at it,
    they really do make sense! But here's some basics:
    
    A blues progression is called a I-IV-V progression, because it uses
    the first, fourth and fifth notes of the scale. So, in the key of
    G, this translates to G (first note), C (fourth note) and D (fifth
    note). Get your guitar out, and just play these notes. You'll find
    that you play the bottom E string at the third fret, the A string
    at the third fret, and then the A string at the fifth fret. The
    beauty is, to change key (say to A) you just move your hand up two
    frets, and play E string at the fifth fret, A string at the fifth
    fret, A string at the seventh fret.
    
    Now, when playing this type of blues progression, you're playing
    in the key of whatever the first note is. So, if the first note
    you're playing is a G, then use the G minor pentatonic to solo in.
    Easy so far, isn't it!
    
    Now here's the clever thing. Most rhythm guitarists don't play full
    chords. That's why I only told you the notes of the scale just now.
    In fact, most rhythm guitarists only play 2- or 3-note chords, which
    only include the first and fifth. What does this mean? Well, let's
    take a C chord, as it's the easiest. A C major chord is made up
    of the first, third and fifth notes of the C major scale - C,E,G.
    A C minor chord is made up of the first, third and fifth notes of
    the C minor scale - C,Eb,G. But since rhythm guitar usually involves
    playing chords made up of the first and fifth notes (C and G), you
    don't know whether you're playing over a major or minor chord (it's
    the third that makes it sound major or minor).
    
    So why is that clever? Because it means you're no longer stuck with
    playing the minor pentatonic scale. You can play the major pentatonic
    instead, which gives a different sound. What's the major pentatonic?
    Well, that's where relative minors come in (as mentioned earlier).
    You know the minor pentatonic scale - and there's a major pentatonic
    scale that contains the same notes. For example, A minor pentatonic
    and C major pentatonic.
    
    Hopes this helps a bit. Also, if all else fails, try improvising
    in a couple of scales until you find one that sounds right!!
    
    Nick

    RE:.3
    
    Please give us the info on 9ths & if you could a few of the more
    popular substitutions.  I've been trying to get my head around this
    for a while now & would appreciate some direction.
    
    Thanks in advance
    
    Pete. 

    Two questions from a beginer:
    
    	1. How can I play the A chord without buzzing?
    
    	   By A I mean  ___________   	
                        ___________   
    			| | | | | |  
                        | | | | | |
                        -----------
                        | | | | | |           
                            o o o
                        | | | | | |
                        -----------
    
    2. The instructional book I am using recommends that the thumb of
    the chord playing hand is centered in the back of the neck.  I notice
    that lots of players have their thumb wrapped all the way arround
    to the the front of the neck.  Would this be a better way to finger
    this chord?
    
    Making any sense?
    
    George

    Re: George
    
    1) can you explain a little more what you mean by `buzzing'?
    
    Buzzing can be caused by two basic things:
    - a flaw in the guitar
    - a flaw in your left hand technique
    
    If its your hand, I suggest to beginners to play each note of the
    chord very slowly at first to see what notes are ringing out nicely
    and which notes sound `choked'.  The choked notes are usually a
    result of:
    - finger placed on the fret wire
    - not enough finger pressure on the fretboard
    - adjacent finger is lying over and mutting out a note
    
    After you've work out the fingering so each note rings out with a clear
    bell-like tone, then I suggest strumming.  Strumming right away tends
    to hide certain fingering flaws (if any).  Better to get it right and
    not learn and bad habits in my book.
    
    To address your second question--generally it is good practice to keep
    your thumb in the center of the neck.  I suggest to beginners that they
    keep the thumb placement directly in back of the middle finger (2nd
    finger), and to keep the thumb either in the center of the neck or
    lower.  Keeping a low thumb position brings the left hand (as a whole)
    around the neck so the fingers have more reach and are generally more
    moveable.  Also, to play chords and notes with the `ringing bell-like
    tone' as suggested above, you need to keep your fingers `up' on the
    strings (ie-only the fingertips touch the strings, the fingers should
    come almost stright down on the strings to aviod touching/mutting of
    adjacent strings), and the lower thumb position helps achieve this. 
    
    Hope these suggestions help.  Good luck and stick with it,
    Buck

    Collapse your wrist too (almost 90 degrees), this will automatically 
    force you to straighten your thumb up on the neck.
    
    I've been playing/taking lessons for only about 2 months.  I don't
    have quite the strength built up in my left hand for barring.
    For example, the F chord, I get a slightly dull sound on the first
    2 strings which is barred.
    
    Any techniques to build up the hand strength for barring besides
    practice?
    
    Mike
    

    
    Re: -1 
    
    Yeah.  First off, when teaching the left hand proper technique and
    building strength, I suggest playing notes and barre chords, etc up
    higher on the neck (like the 7th - 12th fret are) because the frets are
    closer together and more comfortable for fingerings. 
    
    It amazes me people try and learn barre chords and finger excercizes in
    the first position! (I guess they figure when starting out start down
    low on the neck??)  I mean those first three frets are a stretch for
    some peoples hands regardless.  Learn them higher until you have the
    strength, then go down lower.
    
    Buck 

    Throw out any book that suggests wrapping your thumb all the way
    around the neck.  Your thumb belongs in the middle of the neck,
    opposite your 2nd (middle) finger.  
    
    Take a few lessons with a teacher that has studied classical guitar
    to learn good technique.  It will make things much easier in the
    long run. 

    The most common cause of 'noise' in the chord you show (other than
    a flaw in the guitar) is having one or more fingers too far back
    behind the fret.  The closer you get to the fret, without getting
    on top of it, the easier it is to finger the note.  If you get too
    far back,  it can be really hard to finger a clean note.  The open
    A chord you show is notorious for this problem, especially if you
    use the index finger to press the D string, second finger on the
    G, third on the B.  This pushes the index finger back toward the
    first fret, making the D string likely to buzz or choke.
    
    If this is your problem, you might want to try an alternate fingering.
    Some folks use the second finger on the D string, first on the G.
    It's a squeeze any way you do it.  
    
    In general, do what Buck said.
    
    Bob

    >            <<< Note 827.15 by BMT::COMAROW "Mets in 89" >>>
    >
    > Throw out any book that suggests wrapping your thumb all the way
    > around the neck.  Your thumb belongs in the middle of the neck,
    > opposite your 2nd (middle) finger.  
    >    
    > Take a few lessons with a teacher that has studied classical guitar
    > to learn good technique.  It will make things much easier in the
    > long run. 
    
    I'm surprised to hear you say that, it sounds so dogmatic. Personally,
    I've learned to play in quite a few styles, involving different thumb
    positions. I studied some classical when I was just beginning, and
    adopted some of the good habits which have probably stood me in good
    stead. But I later learned that some of the things people do,
    especially blues guitarists, are simply not possible without wrapping
    your thumb around the neck. When I play acoustic blues I often employed
    "thumbed" notes, and when I play electric rock and blues I often use my
    thumb to assist certain barred chord positions. I'm not saying that
    classical technique isn't good to develop, but I wouldn't go so far as
    to say that's the *only* way to play.
    
    - Ram

    
    >            <<< Note 827.15 by BMT::COMAROW "Mets in 89" >>>
    >
    > Throw out any book that suggests wrapping your thumb all the way
    > around the neck.  Your thumb belongs in the middle of the neck,
    > opposite your 2nd (middle) finger.  
 
    I disagree here.  There are cases when I use my thumb wraped around
    the neck to dampen strings on some open chords.  An example is if
    you have a rythem which requires rather 'abusive' use of 'D' (and
    if its not practicle/possible to use the barre equivelant), then
    I use my thumb to dappen the bottom two strings.
    
    BTW - Stick at the barre chords, I had that problem, eventually
    it just comes to you.
                  
    Keep at it !!!

    There are rare times to use your thumb, but not a beginner trying
    to learn good technique.  Especially on an open A chord.
    
    Bob_with_several_degrees_in_music

    
     Learning to play guitar is frustrating....but rewarding. All of
    a sudden one day it will all come together.
    
     Maybe there is a 'right' way to do it but I subscribe to the 'whatever
    feels comfortable' group. Hard and fast rules are always difficult
    to follow and don't necessarily work for everyone.
    
     Bob

    I think, if you're gonna be serious about playing guitar, it's
    important, in the beginning, to stick to the rules that develop 
    good playing posture.  Later, you can depart from orthodox
    posture as needed, but you'll have a strong basis to return to.

    I use 'thumb noting' myself and taught it to a lot of students,
    but only after they had some solid basic technique and posture.
    I've never had to use it in a classical arrangement, but I've seen 
    Chris Parkening and other pretty good classical players use it.

    Someone will always say, "Well, Rex Blitzky always holds the neck
    in the palm of his hand and he can play at 9600 baud".  But it's
    very likely that, if Rex had concentrated more on basic technique,
    he'd be able to play at 19,200 baud and do some other things as
    well.

    Bob    
    

    
    
    Playing with the thumb behind the neck isn't just recommended
    cuz 'thats good technique'.  It does have a purpose, and thats
    to allow better left hand leverage for fretting.  This'll defintely
    help get cleaner chords, tone, etc.  Plus it helps with easier
    movement between postions.
    
    While studying at U of Lowell, I had an instructor who would
    sit with a ruler in his hand and as soon as he saw the tip of
    my thumb rise up over the neck he'd give it a whack!!  Its strange
    how now when I play any classical, my thumb is right where he
    wanted it, but as soon as I pick up an electric, I have to
    be very conscious of it or else I find myself playing with my
    thumb climbing up the back of the neck.  Maybe I need a little
    pain to cure my sloppy electric technique! :^)
    
    rc
    
    

    
    
    
    	I was just told by a fellow player that practicing with an acoustic
    was better for me, cos I'll learn my left hand technique better (his
    idea was that the action being higher usually would make fingering
    stronger).... I tried this last night (played for an hour on my Yairi
    then went to my strat, just to see) and felt a little out of control on
    my strat... ie: bends went a little too far, fretted notes went a
    little out of tune, etc...... BUT, I did feel a lot stronger.  Any
    opinions on which way is best...
    
    
    Steve
    
    	Profuse thanks and many bowings and scrapings for the great replies
    in my stage fright topic, much appreciated folks!

    re -1
    
    exactly my prob.  When I play on an acoutsic then go to an electric,
    my vibrato and bends are out of control and I generally play too
    fast for my own good.  Less is more sometimes I guess.

    
    
    	Gee Buck, I wish I could have the problem of playing too fast...
    ;^)
    
    
    Steve

    
    I have an old Kent acoustic that I practice on.  The action is fairly
    low, but somewhat stiffer.  I use the same strings on my acoustic as
    my electric and I find that my strength is much better after these
    practices.  I recently loaned this acoustic to my brother for about
    three weeks.  When I got it back I realized how much my fingers had
    atrophied.  I also tend to play too fast, and have a hard time having
    the discipline to play slowly and melodically.  But, if I couldn't 
    play fast when I wanted to, it would be a real frustration.
    
    Guy

    
    I prefer to practice on acoustic for two reasons:
    
    1. It's easy to just pull the guitar from the case and play.

    2. It's more difficult to play, period.  I can get away with a lot
    of sloppy habits on the electric.  The acoustic makes you work for
    your music.

    Being one that never has an acoustic more than an arms lengths away,
    I must say that I agree with Buck... After an acoustic jam, I'll
    pick up my Charvel and promptly bend a note right up over the top
    of the neck !  Or I'll do ole vibrato and my finger will slip off
    the string with a resounding *sproing!*

    I usually just use the acoustic to tune to a song and learn a basic
    riff, or for playing he bluez or something.  I try not to play any
    lead on it because I'll a) embarrass the heck out of myself and b)
    screw up my electric (true love) playing !
    
    jc

	I never use my electric when I practice, I use an acoustic guitar.
	How do you keep the string bends consistant? Use the same guage
	strings on all of your guitars. This means that the acoustic guitar
	may suffer from a weaker sound, but, in my case, it's unimportant
	since I use it primarily to work things out & generally just play
	when I'm in the mood. You don't use special effects on an acoustic
	(I don't practice amplified), so, you can't work on things that
	really require them (say that you are trying for the sound of B52
	BOMBERS taking off), however, if working with effects is not your
	goal, but working on general technique is, then practicing on
	an acoustic guitar is benificial. I guess it all depends on what
	part of your musical style that you want to work on at the moment.
	In either case, keeping the same guage of strings on both types of
	guitars will maintain the feel for you.

	I use GHS 008's on all of my guitars, except my ovation 12 string.
	A little light for good tone on an acoustic, but consistant for
	string bends & feel.

							Jens

    I also practice on acoustic.
    
    Many reasons:
    
    	1) If I can play it on acoustic, I can play it EASILY on electric
    
    	2) Easier to pick up and play.  Doesn't have the "barriers" to
           impede practicing as electric (turn everything on/off, I can
           use it an any room or even away from home, etc.)
    
    	3) Keeps my electric playing "fresh".  Usually when I pick up an
     	   electric guitar, it's been awhile since I last played and it
    	   motivates you a bit.
    
    	4) Acoustic guitars reveal all your flaws: picking technique,
    	   tone, etc.  I certainly won't argue about what one "should"
    	   practice on, but I am firmly of the opinion that if you
    	   practice on electric with distortion that you probably
    	   will develop bad picking habits and will find yourself
           somehow lacking w/o that fuzz.   Which of course, is ok for
    	   some.
    
     	db

    
    I was messing around the other day and I did something weird (what else
    is new, right?).
    
    I took a Gmaj6 chord and played it and it sounded good (I never used
    one before, because I don't understand where to play them) so I did 
    this:
    
       the notes of a G major scale are:
    
       1   2   3   4   5   6   7   8(oct)
    
       G   A   B   C   D   E   F#  G
    
    and the formula for a Gmaj6 is   1 3 5 6, right? 
    
    that would give us  G  B  D  E  as the notes of a Gmaj6
    
    What I then proceeded to do was to add one to every note
    
      2  4  6  7      (Amin6)
    
      3  5  7  8      (B ?)
     
      4  6  8  2,  etc.   (Cmaj6)
    
    Can anyone tell me what I am doing?  Is this process useful for
    anything?  Can someone tell me the proper names for these chords (all
    seven)?  
    
    All I know is that these chords sounded good when I played a "chord
    scale."
    
    What have I done?!?!?!?!?
    
    
    :-)
    
    Guy
    
     
    

>      2  4  6  7      (Amin6)     

          OK
    
>      3  5  7  8      (B ?)

          That'd be a Gmaj7
     
>      4  6  8  2,  etc.   (Cmaj6)

          Right.


5 7 9 11     D6

6 8 10 12  (6 1 3 4)      Cmaj7

7 9 11 13  (7 2 4 5)      D7


>    Can anyone tell me what I am doing?  Is this process useful for
>   anything?  

I can't give you a name for it, but it's an interesting process.  You might 
try substituting these resulting chords for their original counterparts, like:

G6 for G
Am6 for Am
Gmaj7 for Bm
C6 for C
D6 for D
Cmaj7 for Em
D7 for F#dim

It might be educational.  Hmmmmm...I've actually used those maj7 
substitutions.  They can be pretty neat.  The others don't look very exciting, 
but if you try them, it might lead to something cool.

Bob

    
    re: .33
    
    Thanks.  I'll have to mull this over for a while....
    
    
    Guy

    another way to look at it is that G6 is the same as Em7,
    Am6 is the same as F#m7b5, B? is Gmaj7, etc, so you have 
    put 4-part harmony over the notes in the G scale, starting
    on the E instead of the G.
    
    -Dave

    
    Okay, I can see that
     
     G6  is  Em7
    
         and
    
     Am6  is F#m7b5
    
    But I don't understand what you mean by the four part harmony over the
    notes of the G scale starting on E instead of the G.  Specifically, 
    what does "on E instead of the G" mean?  Since E would be the relative
    minor of G, what does that imply about the harmony?  Could you give an
    example of how you would do harmony for, say, A instead of the G?
    
    Am I making any sense?  
    
    The other day before I asked this question I was thinking about this
    stuff and thought, "Wow, I'll bet this is harmony!"  I still don't have
    enough to begin exploring it further - at least as far as I can see
    now...
    
    Thanks.
    
    Guy

    well, you wanted to start with the G6, which is equivalent to
    an Em7; the chord sequence goes like
    
    E  G  B  D
    F# A  C  E
    G  B  D  F#
    A  C  E  G
    B  D  F# A
    C  E  G  B
    D  F# A  C
    
    so you are taking the diatonic notes in the G scale and adding the
    harmonies that are a third, fifth, and seventh above. Hence, 4-part
    harmnony.
    
    -Dave

    
    Wow!  I blew the problem way out of proportion...I get it now.
    
    thanks.
    
    Guy
    

Is the Gmaj pentatonic scale the same as the Em pentatonic scale except that 
it starts on a different note (G instead of E)?

Note .7 shows an Amin pentatonic scale with the addition of E notes.  For the 
Em pentatonic scale would this would be the addition of the Bb?

If the Emin pentatonic scale is the same as the Gmaj pentatonic scale, does the 
addition of this sixth note (Bb in the Em pentatonic) carry over into the the 
Gmajor pentatonic scale?  Is there a name for the addition of this note in 
either the minor or major keys?

Just trying to make some sense out of this.

Jim

    >Is the Gmaj pentatonic scale the same as the Em pentatonic scale
    >except that it starts on a different note (G instead of E)?

    You got it!
    
    >If the Emin pentatonic scale is the same as the Gmaj pentatonic scale,
    >does the addition of this sixth note (Bb in the Em pentatonic) carry
    >over into the the Gmajor pentatonic scale?  
        
    Yeah, it can, depending on the harmony you wanna imply.  
    
    >Is there a name for the addition of this note in either the minor or
    >major keys? 
    
    In Em, the Bb is working as a flat (diminished) 5, a passing tone
    between the 4th and 5th degrees of the Em scale.  It has it's own
    distinctive sound when working in the Eminor context.  When the Bb is
    used in the G major tonality, it's obviously a minor 3rd, acting as a
    passing tone between the 2nd and 3rd G major scale degrees.  I don't
    use it alot when I play in Gmajor, but for some countryish licks that
    Bb is nice when used as a chromatic approach note up to the B (3rd
    degree) or down to the A (2nd degree)...I don't usually use it as a
    chromatic passing tone in the major context (sounds a tad weird IMO).
    
    Buck    

    
    
    
    I have a question. Last night I was working on my improvising (the
    weakest factor in my playing) and I was jamming in E to a slow rock 
    ballad (Desperate - Babylon A.D.) and as you do when you're improvising, 
    I noticed that some notes sounded better in place than others (I know,
    this is called using scales 8^) ). But, the notes that sounded best,
    to my ears, where not from the conventional minor scale. The basic 
    positions that I was playing are shown below (yup, I stopped every so
     often and scribbled them down. the version below is extended to show
    the notes, but on all frets).
    
          E ----X-------X---X-------X-------X---X-------X-------X-|
              |   |   |   |   |   |   |   |   |   |   |   |   |   |
          B ----X---X-------X-------X-------X---X-------X-------X-|
              |   |   |   |   |   |   |   |   |   |   |   |   |   |
          G ----X-------X-------X---X-------X-------X-------X---X-|
              |   |   |   |   |   |   |   |   |   |   |   |   |   |
          D ----X-------X-------X---X-------X-------X---X-------X-|
              |   |   |   |   |   |   |   |   |   |   |   |   |   |
          A ----X-------X---X-------X-------X-------X---X-------X-|
              |   |   |   |   |   |   |   |   |   |   |   |   |   |
          E ----X-------X---X-------X-------X---X-------X-------X-|
               12          15      17      19      21          24
    				(fret numbers)
        
    Well, to save you from killing your eyes, the notes used above are 
    E(root) F# G A B C D E. 
    
    Questions :-
    
    o Now, what on earth am I playing here ? Am I playing the scale of 
      Eminor with a flattened 7th degree, or am I just playing in E Dorian
      (yeah, I know they are esentially the same thing but I'm stuill
      unsure).
    
    o Why is it that, in a simple song like that, Eminor (natural) didn't
      seem 'right'. Why did my brain insist on playing the above. is it
      somthing to do with the song structure itself ?
    
    o If you're improvising in, say E. Whats the best tonal centre to use ?
      After a while using E as the tonal centre gets kinda boring. What about
      various intervals such as the fith interval from the root (so, the 5th
      from E is B) etc.. I'm asking this because I didn't get a chance to
      try it last night(!).
    
    This may be pretty obvious to some, but I'm not the worlds expert on
    theory (as you guessed).
    
    Thanks for any help or tips on improvising.
    
    Cheers,
    -Tony

    Tony,
    
    You've been listening to too much heavy metal, mate, your
    terminology's all to cock! What you're playing there *is* E minor. From
    your description, it sounds like what you think of as the minor scale
    is actually the harmonic minor scale (E F# G A B C D# E) - hence my
    accusation of heavy metal... 
    
    E dorian is E F# G A B C# D E
    
    As for why something doesn't sound 'right', it's all down to what you
    (or your ears!) like to hear over certain chords, so yeah, it's down to
    the song structure. Let's face it, you can put anything you want over
    any song... and sometimes you'll get away with it :^)
    
    As for getting away from E as the tonal centre, you're right, it does
    get boring after a while. Things to spice it up:
    
    o  play all over the neck, not just "box" positions.
    
    o  use wide intervallic jumps occasionally (easier said than done, and
    takes a lot of work to do "tastefully")
    
    o  go outside the scale occasionally (one obvious example - the "blue"
    note from the blues scale, which is a sharp 4/flat 5. I was working on
    Voodoo Chile over the weekend, which uses that note to great effect).
    
    o  if you're using the pentatonic minor scale, then use the pentatonic
    minor scales of the 2nd and 5th degrees (ie if you're in E pent minor,
    then shift to F# and B pent minors occasionally). Beware, I picked up
    this trick from Frank Gambale (who I know you can't stand!!)
                  
    o  adopt the sophisticated jazzers approach and use arpeggios. This is
    the hardest to do (for me, anyway) but can add the most spice to your
    playing. For example, if you're playing over an E minor chord, you can
    play a G maj 7 arpeggio, which "spells" an Em9 chord, or an Am7
    arpeggio, which spells an Em11 chord, and so on. As the song moves from
    chord to chord, you can either move from arpeggio to arpeggio, or use
    notes from the relevant scale to connect the arpeggios together. Then,
    of course, there's the super arpeggio...
    
    I know all this stuff, I just wish I could use it...!
    
    Nick
    
    ps If this note's anything like my previous theory notes, it'll be FULL
    of errors, so take it with a pinch of salt till someone else has
    proof-read it!

        
        Hi Nick,
        
        I'm sure I don't have minors and harmonic minors mixed up. 
        Harmonic minors have a sharpened 7th degree, yes ? (whadaya mean 
        they don't!?!).
        
        So, I was actually playing in Eminor. Blimey, Why on earth did I 
        think it was E Dorian %^/ .
        
        I think the problem is, that I was using a book for reference, 
        and this particular book had various scales listed, and it had 
        (what I should have realised was) the E harmonic minor scale written 
        down, saying that it was Enatural Minor. Although I know the scales, 
        I was feeling lazy and took the book as being 'right'. So, instead of 
        thinking of E F# G A B C D E as Eminor, I was thinking of something 
        else. Confused? Not half as much as I am! Oh well, I'd had a few 
        beers when I was playing and I was trying to play and write at the 
        same time 8^). (excuses excuses).
        
        -Tony (whos gonna take up the trumpet instead).

    Tony,
    
    Don't worry about it - like I said, whenever I put a theory note in a
    conference, I almost always end up removing my foot from my mouth. It
    must be the radiation from the terminal, affects the brain...
    
    Nick
    
    ps When you take up the trumpet, remember that your E minor is
    everybody else's D minor. :^) :^)

    
    Pffffffffffft 8^)

	There's a mode for every chord. Learn to go with the changes,
	then learn to go against 'em. Arpeggios and interval exercise
	will take you a long way....

    
    
    Here's a few (probably) simple questions..
    
    1. Are the following chords the same? If not why?
    
    	Cmaj7 and C7
    
    2. What is/are the general rules for arpeggios? I know it's seems like
       a broad question, so here's a specific example:
    
    	For a maj 6th would the arpeggio be: 1,3,5 & 6?
    
    	Does this "pattern" hold true for all arpeggios?
    
    3. What's a how are major and minor chords different? 
       I know that it's a Flat 3rd for a minor natural scale,
       but how does it work for say 7th or 6th chords?
    
    4. What's the best way (Uh oh, opinion time :-)) to learn scales and
       remember them? I seem to be falling into the habit of "patternizing"
       scales. I means that I can *play* a given scale, but not all of
       the notes in them. 
    
    Thanks!
    
    -T
    

  
    >  	Cmaj7 and C7
    
    NOt the same chords.  Cmaj7 is C E G B...C7 (C dom 7) is C E G Bb.
    The maj7 suffix implies the scale degree 7th from the scale...the
    C7 implies dominance and hence a flatted 7th degree.
    
    >What is/are the general rules for arpeggios? I know it's seems like
    >a broad question, so here's a specific example:
    
    Well, the general rule for arpeggios is that there is a BASE chord:
    major (1,3,5), minor (1,b3,5), diminished (1,b3,b5), and augmented
    (1,3,#5)...it's that plus any tension or non-chord tone you add on
    top of the base notes.  In some cases, like suspended chords, notes
    will replace other notes in the base chord, but for the most part
    tensions, if there are any, are additions.
    
    >For a maj 6th would the arpeggio be: 1,3,5 & 6?
    
    yeah.
    
    >Does this "pattern" hold true for all arpeggios?
    
    see above.
    
    >What's a how are major and minor chords different? 
    >I know that it's a Flat 3rd for a minor natural scale,
     
    There you have it!!!
    
    >but how does it work for say 7th or 6th chords?
    
    Same way.  This gets back to the idea proposed above about BASE chords
    and tensions.  C-6 and C -6 are not the same chords!
    
    >What's the best way (Uh oh, opinion time :-)) to learn scales and
    >remember them? I seem to be falling into the habit of "patternizing"
    >scales. I means that I can *play* a given scale, but not all of
    >the notes in them. 
  
    I use a numbering system.  Like, Dorian is 1,2,b3,4,5,6,b7
                                       Mixo is 1,2,3,4,5,6,b7
    get it?  It works very well for me...it clears up quickly a lot of
    issues on distinction between scales and where they come from.
    Liek I said, it works great for me, but some people may be totally
    weirded out by it.
    
    B.

    
    
    Thanks for the speedy reply, Buck!
    
    

    
    Yo, Buck, you left out that chord names like C9, G13, etc. imply the
    flat 7th is included as well.

    So I did...well, there you have it!

    
    
    re: .50
    
    	I understand why a X7 chord would have the b7, but why does
    a 9th etc. also need it. 
    
    	FWIW, I haven't yet digested Buck's note, so it may become self
    evident after I do. 
    
    -Tom
    (Who's sure he's moving into dangerous territory)
    

The way I learned it, the 7th degree is dominant.  In the case of a X13 chord,
you keep the 7th and drop the 11th.  That is unless you have more fingers than
most of us ;-)

Mike

    I was always told that the X7, X9, X11, X13 chords were all dominant
    forms.  Buck said in his initial response that dominant chord forms
    have flatted 7ths, so it seems to follow that if the 9ths and other are
    dominant then they would too.
    
    Greg

    Re. -1 
    X7, X9, X11 are dominant, as long as X means dominant! ;-) 
    Chord symbols can be really confusing due to lack of a "standardized"
    set of notation. The rule I follow is a numbered chord (C7, C9) is 
    dominant unless you see something in the notation that suggests it
    is major, like "maj", the delta sign, or the number with a line through
    it. The exception [:-) being C6 of course since it has no 7th degree.
    
    Cmaj9   1 3 5  7 9 	 (can omit the 3rd)
    C9      1 3 5 b7 9 	 (can omit the 3rd)
    C13	    1 3 5 b7 9 13(6) (definitely omit the 11th)
    etc... 
    
    Phil

    RE: .53
    
    Mike, you mean not *everyone* has 7 fingers on each hand? Does that
    mean I'm deformed or something.... :^) :^)
    
    Nick

    Re: -1
    
    Nick, one for each string, right? ;-)
    
    Mike

    I think the best way to learn scales is to play them enough so that
    you "know" what they sound like.
    
    In doing that you'll also become familiar with the patterns on the
    fretboard, but that alone won't do it unless you can hear the scale
    implied by the chord.
    
    I sorta do a combination of the above, and then just think in terms
    of degree within the scale.
    
    	db

    
    
    Anybody got any good recommendations for "scale" books? Especially
    for Bass.
    
    -T
    

    
    
    
    
    I found the best way to learn scales/improvisation is to pick a song
    you really like. Work out what key its in and then find out the scale
    used in the solo (experimenting for a few minutes with the possible 
    root notes reveals this in most songs). Draw out on a piece of paper a
    diagram of the guitar neck, as if you were looking at it and draw in
    every possible note that that scale permits (So, if a solo was in
    Eminor, you put an X on the diagram where all the E F# G A B C D E and
    puyt a ring around all the E notes). Improvise along with the record 
    until you can improvise at every position on the neck without looking 
    at the paper, and so that you can play licks in the key all over the neck.
    
    This is very helpful because :-
    
    A) You learn to use the scales in a practical sense, not just as an
       exercise.
    
    B) You quickly improve your improvising technique and its helps inspire
       lots of new licks.
    
    C) Is a very enjoyable and rewarding way to learn.
    
    It works for me !
    -Tony

    
    
    In diatonic harmony you form chords by doing the Root, 3rd, 5th
    thing....
    
    C D E F G A B C
    1 2 3 4 5 6 7 8
    
    Cmaj = 1 3 5
    Dmin = 2 4 6
    Emin = 3 5 7.....etc.
    
    You end up with the "chord scale" of maj, min, min, maj, maj, min,
    dim-whatever-it-is....
    
    What happens when you use a *harmonic minor* scale?  Can you use this
    same process?  And what chords end up in the chord scale?
    
    I want to know so that I can figure out what key a song is in that I've
    written.....and thus, how to solo over certain chords.  I'm not sure if
    my chords will fit into the harmonic minor structure or not.....
    
    
    Anyone?  Anyone?
    
    guy

    re .-1
    
    sure, you can do it with the harmonic minor. Things just sound a bit
    weird.
    
    in Am, the harmonic minor and associated chords would be
    
    note :	A    B    C    D    E    F    G#
    
    chord:      Am   Bm-5 Caug  Dm  E    F    G#dim
    
    or you could make the Caug a Caug(maj 9) with the B and D notes. Note
    that the extensions to the E chord would make E7, E7-9, E11/-9, E-13-9,
    etc. 
    
    - Dave

    
    re: .62 (Dave)
    
    Thanks for the help.  I'll have to give this a little thought....;-)
    
    guy

    Dave Clark has it right, althought I question his Bm-5 analysis?!?
    It's Bdim...the Harmonic minor chord scale has diminished chords for
    the II and the VII.  4-note chords look like this:
    
    Amin(maj7)  Bdim7  C+7  Dmin7  Edom7  Fmaj7  G#dim7
                                       
    

    
    Two diminished?!!?  Yikes.....
    
    
    Thanks, Buck,
    
    guy

    My note in -2 reads funny.  Dave was not wrong, just that Bm-5 looks
    enharmonically weird.  It would be like calling Aminor :== Ab3
    
    Just wnated to make that clearer..

    What the curious minds want to know is how do you figure that out?
    
    Mike

	Here is it for the 3 note chords. We'll take C harm min:

		C D Eb F G Ab B C

	You know that a minor 3rd is a whole step and a 1/2 step
	You know that a major 3rd is two whole steps
	You know that a dim triad is a minor third on a minor third
	You know that a min triad is a major third on a minor third
	You know that a maj triad is a minor third on a major third
	You know that an aug triad is a major third on a major third

	The first triad is C, Eb, G -	a minor triad
	The second is D, F, Ab - a diminished triad
	The third is Eb, G, B - an augmented triad
	The fourth is F, Ab, C - a major triad
	The fifth is G, B, D - a major triad
	The sixth is Ab, C, Eb - a major triad
	The seventh is B, D, F - a diminished triad

	Adding the 7s, 9s, 11s, and 13s is (as they say) academic.

	So now try it over Melodic Minor or Berubian Pumpkin Minor or
	whatever other scale draws your attention....

>	So now try it over Melodic Minor or Berubian Pumpkin Minor or
    
    OK, for my own understanding, the Meldoic Minor is:
    
		C D Eb F Ab A B 

>	You know that a minor 3rd is a whole step and a 1/2 step
>	You know that a major 3rd is two whole steps
>	You know that a dim triad is a minor third on a minor third
>	You know that a min triad is a major third on a minor third
>	You know that a maj triad is a minor third on a major third
>	You know that an aug triad is a major third on a major third

	The first triad is C, Eb, Ab  -	a minor triad
	The second is      D,  F, A   - a diminished triad
	The third is      Eb, Ab, B   - an augmented triad
	The fourth is      F,  A, C   - a major triad
	The fifth is      Ab,  B, D   - a major triad
	The sixth is       A,  C, Eb  - a major triad
	The seventh is     B,  D, F   - a diminished triad
    
    Is this right?
    
    Mike

    
    re: .69 (Mike H.)
    
    Isn't Melodic Minor the same as Natural Minor?
    
    If so, then the notes in C Melodic Minor are:
     
    
      C D Eb F G Ab Bb C
    
    
    If they're not the same thing, I'm wrong...
    
    
    guy

RE: .69

>    Isn't Melodic Minor the same as Natural Minor?
>    
>    If so, then the notes in C Melodic Minor are:
>     
>      C D Eb F G Ab Bb C
    
Well, no, Melodic Minor is stranger than that...it's different
depending on whether you are going up or down the scale.  Going
down it's the same as Natural (see above).   Going up you raise
the 6th and 7th notes a half step.  So we have:

    Going up:

	C D Eb F G A B C

    and going down:

	C Bb Ab G F Eb D C

    What Berklee sez (like anyone cares?!):
    
    Melodic Minor:
    
    Going up AND coming down:

	C D Eb F G A B C

    
    TRADITIONAL Minor:

    Going up:

	C D Eb F G A B C

    and going down:

	C Bb Ab G F Eb D C

    
    See how they make that difference?

My theory book refers to the mode with ascending major 6 and 7 and descending
minor 6 and 7 as Melodic minor.  But I think I have also seen Melodic defined
as Buck said.

A mode, by any other name, plays the same.

Bob

I have also seen it defined both ways.  I recal a theory instructor saying that
traditional (classical) texts treat melodic minor differently ascending and
decending and that more contemporary (jazz oriented) texts describe them as Buck
did.

steve

	I was interested in seeing Mike cut his teeth on a scale that
	is a major scale with flat 3rd degree:

		C D Eb F G A B C

	traditionally this is called "Ascnending Melodic Minor"

	Mike?

    Yes I remember that little nit now about the Melodic Minor.  I can't
    remember ever using it outside of practice/lessons.
    
>	I was interested in seeing Mike cut his teeth on a scale that
>	is a major scale with flat 3rd degree:
>
>		C D Eb F G A B C
    
    This is just a Natural Minor, right?  (Flat 3rd = Minor)

    Mike

re: .-1

Doesn't a natural minor scale have b6 and b7? If not, what's this
scale below?


C D Eb F G Ab Bb C 

    Re: -1
    
    You're right Tom, I was wrong (-2).
    
    Mike

The easiest way to remember the intervals of the natural minor scale is to use
the relative major/relative minor relationship in terms of the C major scale.
For C major the relative minor is A minor, and it uses exactly the same notes:

	A-B-C-D-E-F-G-A

So there are minor second intervals between B-C and E-F;  that is, between the 
second and third note, and between the fifth and sixth.  The rest are major 
seconds.  This is the relationship of the notes in any natural minor scale.


								John

	Here's a trick for remembering the modes given the circle
	of fifths....

	There is one "sharp" mode - Lydian. It corresponds to the key
	of F which has one flat. Notice that the "sharp" note in F
	Lydian in B - the same as the "flat" note in F major.

	F Lydian:	F  G  A  B  C  D  E
			1  2  3 #4  5  6  7

	There is one mode with no sharps of flats - It coresponds to the
	key of C which has no sharps or flats.

	There is one mode with 1 flat - Mixolydian - it coresponds to
	the key of G which has 1 sharp. The flatted note in G Mixo is
	F - same as the "sharp" note in G major.

	There is a mode with 2 flats - Dorian. It corrsponds to the
	key of D which has 2 sharps. The "flat" notes in D Dorian are
	F and C which correspond to the sharp notes in D major.

	The pattern continues - to abstract to the full cycle we get:


	Lydian:		1  2  3 #4  5  6  7
	Ionian:		1  2  3  4  5  6  7
	Mixolydian:	1  2  3  4  5  6 b7
	Dorian:		1  2 b3  4  5  6 b7
	Aolian:		1  2 b3  4  5 b6 b7
	Phrygian:	1 b2 b3  4  5 b6 b7
	Locrian:	1 b2 b3  4 b5 b6 b7

	Aolian (minor) is the "A major" mode - A major has sharps at
	F, C, & G. So this mode has flatted intervals where F C and G
	fall in the scale - 6, 3, & 7.

Later....

I've been reading about harmonizing scales, major and minor centers etc. As I 
understand it the major centers are located at 1 ,4 & 5, the  minor centers
are located at 2,3,6 and the 7th is diminished. Is this correct so far?

One example in the book shows C major scale harmonization as:

Cmaj Dmin Emin Fmaj Gmaj Amin Bdim

If so can one of you theory giants help me with an example of how I would use
both the major and minor centers to play over a simple chord progression? Also 
if you could, I'd like a couple of examples of where a different mode might 
also play into the picture.

thanks

dave

    The 7th degree is really half-diminished, if you wanna get techincal
    about it.

Aw shit...help me out here Buck me boy, what does that mean.

dbii near total theory moron

    A true Diminished theory is constant structure minor 3rd intervals.
    
    If you analyze the harmony of a diatonic scale as built off the 7th
    degree, you do not have a constant structure of minor 3rds.  Ex:
 
    [in C maj]  B min7(b5) = B     D     F     A     (B     D     F   
    
    	          	      min3  min3  maj3 | maj2  min3   min3
    
    You'd need that A to be an Ab for the Diminished theory to apply in
    full.  Thus, this type of harmony is analyzed as "half-diminished".
    
    The real thing would look like:
    
    B Dim  =  B     D     F     Ab     (B     D     F
               min3   min3  min3   min3   min3  min3
                                    

Buck,

I seem to remember seeing B D F referred to as a dim chord and B D F Ab
as a dim7 chord.  Is that just archaic terminology?

Bob

    I thought I remembered reading somewhere that a Dim chord always had
    the 7th degree in it?  True, not true?
    
    Greg

>I seem to remember seeing B D F referred to as a dim chord and B D F Ab
>as a dim7 chord.  Is that just archaic terminology?
    
    Well yeah, but in talking terms over averall harmony, I assume the 7th
    degree will be used (at some point), so I take it into consideration.
    Sure, B D F is a B minor triad, and Diminshed works if you're
    talking triads, but the diminished concept of constant structure minor
    3rds still holds pretty much.

    
    so you have to finish the bottle to be fully diminished?

re: .87

>    Sure, B D F is a B minor triad, ...

Well, actually B D F is a diminished triad (for a minor triad it
would have to be F#).

    
Thought I'd slot this in here rather than starting up new note. It's about time
we had a bit more theory in here anyway!

This problem has been bugging me a while now, but it seemed such a ridiculously
simple issue that I was almost too embarrassed to ask in here! Take a normal
barred F chord at the first fret:

               F
          ===========    
          x x x x x x        
          | | | x | |        
          | x x | | |      
          | | | | | |        
          | | | | | |     
          R 5 R 3 5 R

We all know that you that there are only three notes in a major chord (in this
case, F, C and A) and therefore the barred version of the chord duplicates some
of the notes (3 roots, 2 5ths and a 3rd), as shown above. Now, it's quite
common to play "smaller" inversions of the chord in order to obtain a
particular effect or to facilitate changes to other chords. One example that
I've often come across is the following:

          F (no 5th)?
          ===========    
          x | | | | |        
          | | | x | |        
          | | | | | |      
          | | | | | |        
          | | | | | |     
          R     3    
  
    My question is (and I did say it was embarrassingly simple): what is
    the normal way to play the above 2-note chord, given that the notes are
    not on adjacent strings? Is it simply a question of dampening the
    strings in between (but how?) or are  you supposed to abandon the pick
    and play the two notes with thumb and index finger?

    Every time I see this sort of stuff in guitar magazines, it worries me
    more than those E7aug9b5 chords that force you to splay your hand all
    over the fingerboard! EOr maybe my left hand technique is far better
    than my right hand  technique...

		Dom

    This is probably not the "right" way, and some people will tell you
    there is no right way, just do whatever works.  But without having
    a fretboard in front of me to try this on I believe I would play the
    root with the pick and simultaneously fingerpick the 3rd with my ring
    finger.  I'd also try to damp the A and D strings with a loose index
    finger barre fretting the root.
    
    With a two string gap, I don't see how you could flatpick this chord.
    Well, I mean you could if you actually wanted that delay effect.
    If there were only one string between, then I might try flatpicking it.
    Depends.  Re damping, I like the belt and suspenders approach; do it
    even if you're not sure it's necessary.
    
    /albert_egglestein

    I do this all the time... pick a lower note and play a higher one with
    middle or ring finger.  Of course, nobody ever accused me of playing
    "right."
    
    							Marc