Think of all the great songs you know and all the wonderful guitar players you have heard.The reason they resonate so much with you is because they write magical chord progressons or riff & licks you connect with.These songs become the soundtrack to your life.The emotional impact they have of on you is specific and can focus and effect your mood instantly.The following thoughts are to do with the mathematical element conected to music and how chords are made or constructed.Chords are the vertical arrangement of notes from a scale. The study of chords is called Harmony. Harmony is concerned with how one or more notes interact, and how they follow each other.
Many people define chords as several notes played simultaneously. It must be pointed out that it is possible to play music of a chordal nature on the flute, trumpet, or a lone human voice, all three being monophonic instruments. Since obviously monophonic instruments cannot play a stacked chord where the notes are sounded simultaneously; the chords are implied. A simpler way of viewing this is that when chord tones are played as an arpeggio on a monophonic instrument the human ear interprets that there is a harmonic structure. We therefore define a chord as the basic element of harmony. To start with we will look at examples of the most basic chord, the triad.
The triad is a class of chords, specifically three-note chords formed by this formula: 1-3-5 or root, third, fifth. In this example they are constructed of two consecutive thirds.
There are four kinds:
If we juxtapose these three notes (the root, major third and perfect fifth) they can be structured or ‘voiced’, C-E-G, E-G-C or G-C-E. No matter what order the three notes (called voices) are in they still create a C major chord. It does not matter if the voices are the singers in a choir or the instruments of an orchestra, if the notes are all either C, E, or G we simply have a gigantic sounding C chord.The two consecutive intervals produced by these voicings would be:
If the root (C) is on the bottom this voicing is called root position. If the third (E) is on the bottom it is called first inversion. If the fifth (G) is on the bottom this voicing of the triad is called second inversion.
Since there are only three possible voicings of a triad it is relatively easy to hear them in that they are a common feature of the past two centuries of traditional harmonic structures in Western music. The use of the exponentially more complex voicings arising from 4-voice, 5-voice and larger chords is more challenging. Some 4-voice chords are used in traditional, ‘classical’ and church music but others such as the diminished seventh were strictly forbidden in early sacred music as they contained the tritone interval; the mathematical halfway point in the octave which allegedly sounded Satanic. Other 4-voice chords were not used in symphonic and ‘classical’ music until the French Impressionist era and in modern jazz. All triads and 4-voice chords are built within the octave, or eight-note scale which encompasses the do-re-mi-fa-sol-la-ti-do of the major scale, for instance, or the scale steps 1-2-3-4-5-6-7-8; eight being the octave where the pattern starts over again.
All triadic and therefore, common, chords can be constructed the same way : using the 1 3 5 formula. Take the C scale, for instance :
This works for any scale, and whether the chord formed is minor or major depends on the scale: the I, IV, V chords are major, and the rest are minor, with the seventh being diminished.
Some Four-Voice Chords
All chords are made up of interlocking or overlapping intervals. An interval may be defined as the distance between two notes. The names of the chords are derived from the intervals that they are built from. In order of smallest to largest the ascending intervals (and distance in semitones) within the octave from a middle C would be as follows:
The dreaded tritone, six semitones up from the root (and six down from the octave), is harmonically bewildering, being neither fish nor fowl, exactly halfway from nowhere; one interval with two names (enharmonic in 12-tone equal temperament), the augmented 4th and the diminished 5th. Likewise, the enharmonic augmented 5th and minor 6th are eight semitones up from the root.
By observing that 2nds, 3rds, 6ths and 7ths are always either major or minor and 4ths and 5ths are always perfect, augmented (raised) or diminished (lowered) it becomes evident that major chords have a major 3rd, minor chords have a minor third, et cetera. By altering or manipulating these intervals by raising or lowering the third, fifth, seventh, and so on, all of the possible chords can be produced.
The easiest way to apply a triad, or indeed any chord, is to pick one on a polyphonic instrument (such as a piano) and play its three notes simultaneously. This is often how chords occur in actual music: an instrument plays all the notes in the chord at the same time. However, there are other possibilities. The simplest is to arpeggiate the chord, that is, to play its notes one at a time in any order, especially in a ascending or descending order. Often a melody can be written around the chord, using notes in the chord as well as a few other nearby notes in the chord’s scale. When this is done while there is no accompaniment actually playing a chord, the chord is implied.
I never met a musician who regretted being one… -Virgil Thomson
Triads are often extended with some form of the seventh to form a seventh chord. When a chord is referred to as simply a seventh chord, usually the dominant seventh is meant, which is a major triad with a minor seventh, for instance, C-E-G-B♭. It is called the dominant seventh because the V chord, or “dominant chord” in the Latin naming system, is the only major chord in the major scale that can naturally contain a minor seventh. Because all sevenths are dissonant intervals, any seventh chord is dissonant, in other words, a seventh chord is more tense than a major or minor chord. However, a few styles of music, such as jazz, make heavy use of seventh chords and may treat them as rather consonant.
Some chords are defined by the relation to the key rather than by any inherent characteristics. The Neapolitan chord, for example, is an ordinary major chord, but its root is the lowered supertonic of the corresponding key, so the Neapolitan of C major is a D♭ major chord. Additionally, the Neapolitan is usually found in first inversion. A borrowed chord is one from the parallel major or minor key. In C major, the parallel key is C minor and borrowed chords include E♭ major, B♭ major, and F minor.
|major||(none)||1 3 5||C||C E G|
|minor||m||1 b3 5||Cm||C Eb G|
|dominant 7th||7||1 3 5 b7||C7||C E G Bb|
|diminished 7th||dim or o||1 b3 b5 6||Cdim||C Eb Gb A|
|minor 7th||m7||1 b3 5 b7||Cm7||C Eb G Bb|
|augmented 5th||aug or +||1 3 #5||C+||C E G#|
|major 7th||Maj7||1 3 5 7||CMaj7||C E G B|
|major 6th||6||1 3 5 6||C6||C E G A|
|dominant 9th||9||(1) 3 5 b7 9||C9||(C) E G Bb D|
|minor 6th||m6||1 b3 5 6||Cm6||C Eb G A|
|suspended||sus||1 4 5||Csus||C F G|
|7th suspended||7sus||1 4 5 b7||C7sus||C F G Bb|
|dominant 7th w/ aug. 5th||7+5||1 3 #5 b7||C7+5||C E Ab Bb|
|dominant 7th w/ flat’d 5th||7-5||1 3 b5 b7||C7-5||C E Gb Bb|
|minor 7th w/ flatted 5th||m7-5||1 b3 b5 b7||Cm7-5||C Eb Gb Bb|
|major 9th||Maj9||(1) 3 5 7 9||CMaj9||(C) E G B D|
The power of the guitar.Play music love life @ London Guitar Academy.London’s local guitar school.
Bring’s back many happy memories and shows the positive Joy music brings to all our lives.
The power of the guitar.Play music love life @ London Guitar Academy.London’s local guitar school.London Guitar Lessons @ London Guitar Academy.
London Guitar Academy is a music school located in the beautiful Queen’s Park area of London.Dedicated to passing on knowledge and love of music to others and to being a gathering point where local musicians can come together. LGA’s mission is to educate, inspire, and instill a lifelong enjoyment of creating music in students of all ages.
London Guitar Academy is an independent, specialist guitar school.
The London Guitar Academy includes numerous interconnected courses with 100’s of lessons. This breakthrough system provides a full step by step program to take you from “How do I hold a pick?” to advanced intermediate guitar in three top styles: Rock,Blues, and Folk.
Whether you want to learn how to rock out with your friends, join a jam session at a blues bar or learn the techniques of pop guitar, you’ve come to the right place.
From beginner to advanced, youth to adult, we offer personalized lessons based on what you want to learn. With over ten years of playing experience and a wide range of styles, our instructors can enhance your overall guitar abilities. Check out our lessons page to see more on what we offer.
LOVE MUSIC,LOVE GUITAR,LONDON GUITAR ACADEMY
London Guitar Academy is currently looking for highly skilled charismatic guitar teachers.Candidates must be kind, considerate and at least Grade 8 guitar and have a diploma in music from recognised governing board.
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Kings of Leon is an American rock band that originated in Talihina, Oklahoma but formed in Nashville, Tennessee in 1999. The band is composed of brothers Anthony Caleb Followill (b. January 14, 1982, lead vocals, rhythm guitar), Ivan Nathan Followill (b. June 26, 1979, drums, percussion, backing vocals) and Michael Jared Followill (b. November 20, 1986, bass guitar, backing vocals), with their cousin Cameron Matthew Followill (b. September 10, 1984, lead guitar, backing vocals). The group is named for their grandfather Leon from Talihina, Oklahoma.
The band’s early music was an upbeat blend of Southern rock and blues influences, but it has gradually expanded over the years to include a variety of genres and a more alternative, arena rock sound. Kings of Leon achieved initial success in theUnited Kingdom with a total of nine Top 40 singles, two BRIT Awards in 2008, and all three of the band’s albums at the time peaking in the top five of the UK Albums Chart. Their third album, Because of the Times, also reached the No. 1 spot. After the release of Only by the Night in September 2008 the band achieved chart success in the United States. The singles “Sex on Fire“, “Use Somebody“, and “Notion” all peaked at No. 1 on the Hot Modern Rock Tracks chart. The album itself was their first ever Platinum-selling album in the United States, and was also the best-selling album of 2008 in Australia, being certified Platinum nine times. The band’s fifth album, Come Around Sundown, was released on October 18, 2010.
Early years: 1999–2002
The three Followill brothers grew up in Oklahoma with their father, Ivan Leon Followill, a United Pentecostal Church preacher, and their mother, Betty-Ann. Caleb and Jared were both born in Mt. Juliet, Tennessee and attended Mount Juliet High School, while Nathan and Matthew were born and raised in Oklahoma City, Oklahoma. According to Rolling Stone magazine, “While Ivan preached at churches and tent revivals throughout Oklahoma and the Deep South, the boys attended services and were occasionally enlisted to bang on some drums”. They were either home-schooled by their mother, or enrolled in small parochial schools at this time. Except for a five-year period when they settled in Jackson, Tennessee, the Followills’ childhoods were spent driving through the southern United States in a purple 1988 Oldsmobile, camping for a week or two wherever Ivan was scheduled to preach.
When the boys’ father resigned from the Church and their parents divorced in 1997, Nathan and Caleb relocated to Nashville and embraced the rock music and lifestyle they had previously been denied, attempting to break into the music industry in the process. While there, they met songwriter Angelo Petraglia who helped the siblings hone their songwriting skills and introduced them to the musical influences of Thin Lizzy, The Rolling Stones and The Clash in particular. Their youngest brother, Jared, who had briefly attended public school, was more influenced by the music of the Pixies and The Velvet Underground. When he and their cousin Matthew also moved to Nashville in 1999, Kings of Leon was formed.
Signing in and first EP: 2002-2003
By 2002, Nathan and Caleb had received interest from a number of music labels and eventually signed with RCA Records, who at first insisted on putting a band together for the two of them. In an interview with Billboard, however, Nathan outlined how they told RCA, “We don’t want to be Evan and Jaron. We’re going to buy our little brother a bass, he’s a freshman in high school. Caleb will teach himself the guitar, Matthew played guitar when he was 10 and I’ll play the drums. They said, ‘All right, we’ll come down in one month and see you guys.'” Later in the interview Caleb admitted to the brothers “kidnapping” their cousin Matthew from his hometown in Mississippi in order for him to join the band. They told his mother that he was only going to be staying for a week but never allowed him to return home. “We locked ourselves in the basement with an ounce of marijuana and literally spent a month down there. My mom would bring us food down”, added Nathan. “And at the end of that month the label people came and we had “Molly Chambers”, “California Waiting”, “Wicker Chair”, and “Holy Roller Novocaine”.
The band’s first record, titled the Holy Roller Novocaine EP, was released on February 18, 2003. At this stage, Jared was only 16 years old and had not learned to play the bass. The release of Holy Roller Novocaine gave the Kings of Leon a significant amount of exposure, receiving a 4/5 star rating from Rolling Stone magazine. All of the songs released on the EP were co-written by Angelo Petraglia, who also produced the record, and 4 of the 5 songs would later be released on Youth and Young Manhood. The versions of “Wasted Time” and “California Waiting” on the EP differ from their album versions, however, with the 1st having a more tense riff and different vocal style than the same track off Youth and Young Manhood, the 2nd being recorded in a rush to finish the EP. The EP also contains the song “Wicker Chair”, while a track called “Andrea” was discarded before its release.
First albums and critical recognition: 2003-2006
The Followills’ debut album, Youth and Young Manhood, was released in the UK in July 2003 and in the United States later that August. The album was recorded between Sound City Studios in Los Angeles and Shangri-La Studios in Malibu, California. It was produced by Angelo Petraglia and Ethan Johns. According to Rolling Stone magazine, the band’s retro-chic look and blend of Southern boogie and gritty garage rock inspired comparisons to both Lynyrd Skynyrd and The Strokes. The album became a sensation in the UK and Ireland, where NME declared it “one of the best debut albums of the last 10 years” and The Guardian described the band as “the kind of authentic, hairy rebels The Rolling Stoneslonged to be”. The album still failed to make any significant impact domestically, where reviews were generally lukewarm and the modern rock audience generally disinterested. In the United States Youth and Young Manhood sold only 100,000 copies, compared with the 750,000 copies it moved abroad.
The band’s second album, Aha Shake Heartbreak, was released in the UK in October 2004 and in the United States in February 2005. Building on the southern-infused garage rockof their first album, the album broadened the band’s domestic and international audience. The album was again produced by Angelo Petraglia and Ethan Johns. “The Bucket“, “Four Kicks“, and “King of the Rodeo” were all released as singles, with “The Bucket” rising into the Top 20 in Britain. “Taper Jean Girl” was also used in the 2007 movie Disturbia and the movie Cloverfield in 2008. The band garnered accolades from several of their rock peers, including Elvis Costello, and also toured with Bob Dylan and Pearl Jam during 2005 and 2006.
Major commercial success: 2006–2009
The band’s third album was titled Because of the Times and was released on April 2, 2007, in the UK, and a day later in the United States, preceded by the single “On Call“, which became a hit in the UK and Ireland. It debuted at number one in the UK and Ireland and entered the European charts at No. 25, selling approximately 70,000 copies in its first week of release. Although it was lauded by some critics  others found the album inferior to their previous efforts.
In 2008, Kings of Leon released its fourth studio album, Only by the Night, on September 19, which subsequently entered the UK Albums Chart at No. 1 and remained there for one more week. The third and fourth singles were “Revelry” and “Notion“. Only by the Night also had two single-week stints as the UK No. 1 album in 2009, one directly after the BRIT Awards. In the United States, the album reached No. 4 on the Billboard Charts. Reception to the album was the most polarized yet, with the British press granting the album glowing reviews, while in the United States, reactions to the album were more mixed. The album was officially named as the UK’s third-biggest-selling album of 2008 and the biggest-selling album of 2008 in Australia. “Sex on Fire” was the first single released for download in the UK on September 8. The song became the band’s most successful as it peaked at No. 1 in the UK and in Ireland. They won Best International Band and Best International Album at the Brit Awards in 2009, where they also performed “Use Somebody” live. Kings of Leon also performed on March 14, 2009, at Sound Relief, a benefit concert, for the Victorian Bushfire Crisis. The song “Crawl” from this album was released as a free download on the band’s website on July 28. The third and fourth singles were “Revelry”, which peaked at No. 19 in New Zealand, and “Notion”, which peaked at No. 24 in Belgian charts. Only By The Night was certified Platinum in the United States by the RIAA for selling one million copies in less than a year after its release. In 2008, Kings of Leon headlined the Glastonbury Music Festival, and in 2009, the band headlined a number of music festivals, including Reading & Leeds, Rock Werchter, Oxegen,T in the Park, Gurtenfestival and Open’er Festival in Poland, Europe, along with Sasquatch, Lollapalooza, and Austin City Limits in the United States.
The band released its first DVD, Live at the O2 London, England, on November 10, 2009. It was later released on Blu-ray Disc on November 24, 2009. The footage was filmed in London’s O2 Arena on June 30, 2009, when the band performed a 22-song set in front of a sold-out crowd of over 18,000 fans. In an interview with Billboard.com, drummer Nathan stated, “England is really the first place we broke (…) We figured what better place to make a live DVD than where the fans have been the craziest for the longest.” The show featured songs from all four of the band’s albums, and Nathan continued by saying, “We just put the cameras in the back of our minds and acted like they weren’t even there.”
On January 31, 2010, Kings of Leon took home the Grammy Award for Record of the Year, Best Rock Performance by a Duo or Group with Vocal and Best Rock Song for “Use Somebody” at the 52nd Annual Grammy Awards.
The band’s fifth album, called Come Around Sundown, was released on October 18, 2010 in the UK, and October 19, 2010 in the U.S. It was recorded in Nashville and New York between February and June 2010 with Angelo Petraglia and Jacquire King once more at the helm. Following the release of Come Around Sundown in Australia, the band released all the tracks from the new album on their website.
In June 2010, the band embarked on a tour visiting over 50 cities in North America and Europe. The tour dates ran from June 5 to September 23. On July 27, 2011, during a concert in Dallas, Texas, singer Caleb Followill appeared to be heavily intoxicated and slurred incomprehensibly between songs, often rambling about nothing. He then left the stage, claiming he was going to vomit, drink a beer and return to play three more songs. He never returned, causing the rest of the band to apologize to the crowd and end the concert abruptly. On August 1, 2011, the band announced through their website that the remainder of their U.S. tour would be canceled with no reschedules due to dates they already have scheduled.
On October 31, 2011, the band announced that after the conclusion of their Australian tour in November that they would be going on hiatus. Nathan stated that the band’s hiatus should not take any longer than 6 months.
On August 22, 2012, Jared and Nick Brown from Mona revealed their song “No Tell” under the name Smoke & Jackal. On August 23, 2012, when asked if it was the end of Kings of Leon with Smoke & Jackal announced, Jared said “Not even close. Working on album 6 very soon.” 
That futuristic design was thanks in part to Western swing guitarist, Bill Carson. Frustrated by what he regarded as shortcomings on the earlierTelecaster, Bill pestered Leo Fender to improve the guitar with body contouring, more pickups and a vibrato unit.
Instead, Leo and his team went back to the drawing board. Like the Telecaster, Leo’s new guitar had an ash body (alder was introduced in 1956) and a bolt-on maple neck. There the similarity ends.
The double cutaway body, lifted from the ’51 Precision Bass, was contoured for comfort (“It fits better to your body like a well tailored shirt,” said Carson) then loaded with three single-coil pickups and an innovative vibrato, albeit misnamed as a ‘synchronized tremolo’.
The Strat not only looks the absolute balls, its instantly recognisable tone unites guitarists as diverse as Buddy Holly, soul legend Curtis Mayfield, Eric Clapton, Bon Jovi’s Richie Sambora and Slipknot’s Jim Root.
Yngwie Malmsteen wouldn’t unleash the fury on anything less; Stevie Ray Vaughan called his battered ’63 model ‘Number One’. In Wayne’s World, a white ’64 Strat is Wayne Campbell’s ‘Excalibur’. “It will be mine. Oh, yes!”
The Strat is Jimi Hendrix mangling The Star-Spangled Banner at Woodstock in 1969 and Mark Knopfler’s ’61 ringing out on Sultans Of Swing. Like the song says, ‘an old guitar is all he can afford’.
It’s Hank Marvin of The Shadows playing the first UK-imported Stratocaster on echo-drenched classics such as Wonderful Land (1961) and Jeff Beck’s devastating whammy control on Where Were You (on 1989’s Guitar Shop).
The Strat has been tweaked relentlessly over the years: a rosewood fingerboard in 1958; a big headstock in ’66; a five-way switch in ’77 (after players began jamming the three-way switch to ‘in between positions’); locking vibratos and humbuckers, thanks to Eddie Van Halen’s influence; and more recently, a nine-and-a-half-inch or even 12-inch fingerboard radius for easier string bending.
Pimping aside, whether it’s an entry-level Squier or a top-of-the-line Custom Shop model, the DNA of all Strats can be traced back to Leo Fender’s drawing board in Fullerton, California.
Fender Stratocaster timeline
1954: Leo Fender launches the Fender Stratocaster, it’s a timeless classic
1966: The big headstock makes its debut
1977: The five-way pickup selector switch becomes standard
Stevie Ray Vaughan
Born and raised in Dallas, Texas, as the younger brother of Jimmie Vaughan, Vaughan started playing the guitar at age seven and formed several bands that occasionally performed in local nightclubs. At age 17, he dropped out of high school and moved to Austin to further pursue his musical career, joining groups such as Krackerjack, the Nightcrawlers, and the Cobras. In 1977, he formed Triple Threat Revue, a band that eventually evolved into Double Trouble and regularly performed around Austin. In 1982, Vaughan and Double Trouble performed at the Montreux Jazz Festival in Switzerland, catching the attention of musicians David Bowie and Jackson Browne. Bowie asked Vaughan to play on his upcoming studio album Let’s Dance, while Browne offered the band free use of his personal studio in Los Angeles to record an album.
In March 1983, Vaughan and Double Trouble were signed to Epic Records by veteran record producer John Hammond Sr. and released their debut album, Texas Flood in June of that year. After successful touring, the group released the albums, Couldn’t Stand the Weather (1984) and Soul to Soul (1985), the latter of which featured new keyboardist Reese Wynans. Although his career had progressed successfully, Vaughan checked into a rehabilitation hospital in Atlanta, Georgia to give up a cocaine and alcohol habit and returned to touring with the band. In June 1989, In Step was released and earned them a Grammy Award for Best Contemporary Blues Performance. On August 27, 1990, Vaughan was killed in a helicopter crash following a performance in East Troy, Wisconsin.
Vaughan’s uniquely eclectic yet intense style was derived from a variety of musical genres. He was influenced by blues musicians including Albert King, Otis Rush, and Muddy Waters, and rock guitarists such as Jimi Hendrix and Lonnie Mack, along with jazz instrumentalists like Kenny Burrell. He has received wide critical recognition for his guitar playing, ranking at #12 on Rolling Stone’s list of “100 Greatest Guitarists” in 2011. He was posthumously inducted into the Blues Hall of Fame in 2000 and a memorial statue was erected in Austin’s Auditorium Shores park.
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