# Perfect Fourths Cheat Sheet



## MusicMetalHead (Aug 3, 2010)

Perfect Fourths Tuning. I had for a while been a standard tuning fan and though anyone using an alternate tuning was snobbish or was just showing off. I figured switching would mean relearning all my scales and chords and such and would just make life harder. I also figured it would make my greatest love, heavy metal, harder to play on such a "snobbish" tuning. But then one day I stumbled upon a site and quickly changed my mind.

To start with, with P4 tuning you no longer have to learn multiple scale patterns depending on which string you start on. They stay exactly the same all the way up, down and across however many strings you happen to have. Chords are the same thing. I am a metal head at heart but I have this love of jazz as well. Neither one is really fond of big open chords as far as the guitar is concerned. Jazz is mostly four maybe five string comp chords and metal is mostly power chords. So not worrying about making those more difficult helped. Even if I was worried easy fix. Put a capo on the lower strings and voila. You can play open chords.

After that I learned that many traditional barre chords would be harder. But the books are always balanced because now other untraditional barre chords are now butt simple. This gives access to chords unheard of on traditional guitar and makes getting your own sound much simpler. Soloing is easier because it is much easier to visualize the neck and how it is laid out.

Well I could go on and on and on and on and on and on and on... but the bottom line is there are a few drawbacks but so many more advantages that the decision was easy for me. 

So decision made I set out on a quest to find as many chords scales and such as I could from the web. Being a lazy person I figured this would not be hard. Sooo wrong. I found the same problem oft found on the web. Plenty of sites with information. The same information. over. and over. again.  It seems like everyone decided to copy the same chords from one page to another and call it their work. With the vast lack of free and work-less information I decided to grit my teeth and, gasp, do it myself. And in the process create a free resource for anyone else in the same dilemma. So here it is. My, hopefully, successful and steadily growing Perfect fourths Cheat sheet for seven string guitar.

Some Scales. Name, step pattern (W's and h's), and relation to major scale.

Major (Ionian) 
W W h W W W h 
1 2 3 4 5 6 7

|---6---8---|
|---6---8-9-|
|---6---8-9-|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|

Major Pentatonic (Ionian) 
W W h W W 
1 2 3 5 6

|---6---8---|
|---6---8---|
|---6-----9-|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|


Dorian 
W h W W W h W 
1 2 b3 4 5 6 b7

|---6---8---|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|

Dorian Pentatonic 
W h W W W 
1 2 4 5 b7

|---6---8---|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|


Phrygian 
h W W W h W W 
1 b2 b3 4 5 b6 b7

|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|
|-5-6---8---|

Phrygian Pentatonic 
h W W W W 
1 b3 5 b6 b7

|---6-7---9-|
|-----7-----|
|-5---7---9-|
|-5-------9-|
|-5---7-----|
|-----7-8---|
|-5-----8---|


Lydian 
W W W h W W h 
1 2 3 #4 5 6 7

|---6---8---10-|
|---6---8---10-|
|---6---8-9---|
|---6---8-9---|
|---6-7---9---|
|---6-7---9---|
|-5---7---9---|

Lydian Pentatonic 
W W W W h 
2 3 5 6 7

|---6---8---10-|
|---6---8-----|
|---6---8-----|
|---6-----9---|
|---6-----9---|
|-----7---9---|
|-----7---9---|


Mixolydian 
W W h W W h W 
1 2 3 4 5 6 b7

|---6---8---|
|---6---8-9-|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|

Mixolydian Pentatonic 
W W W W h 
1 2 4 5 6

|---6---8---|
|---6-----9-|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|


Minor (Aeolian) 
W h W W h W W 
1 2 b3 4 5 b6 b7

|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|

Minor (Aeolian) 
W W W h W 
1 b3 4 5 b7

|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|
|-5-----8---|


Locrian 
h W W h W W W 
1 b2 b3 4 b5 b6 b7

|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|
|-5-6---8---|
|-5-6---8---|

Locrian Pentatonic 
W W h W W 
b2 b3 4 b6 b7

|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|
|-5-----8---|
|-5-----8---|
|---6---8---|


Whole Tone(Augmented) W W W W W W W W

|-------------7---9---11-|
|-----------6---8---10---|
|---------5---7---9-----|
|-------4---6---8-------|
|-----3---5---7---------|
|---2---4---6-----------|
|-1---3---5-------------|


For all of these chords I only made the lowest four strings the main comping chord. The rest are optional if you want to make a fuller sounding chord. Underneath each is the arpeggio pattern for it.

E Major 1 3 5

F|x 
C|x 
G|x (4) 
D|2 
A|2 
E|4 
B|5


F|---3-----6--------|
C|-----4-------8----|
G|-----4---------9--|
D|-2-------6-----9--|
A|-2---------7------|
E|-----4-----7------|
B|-------5-------9--|

F|---------6--------|
C|-------------8----|
G|---------------9--|
D|---------6-----9--|
A|-----------7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|-----4------------|
G|-----4------------|
D|-2-------6--------|
A|-2----------------|
E|-----4------------|
B|-------5----------|


E Major 7th 1 3 5 7

F|x
C|x (4)
G|x (4)
D|6
A|6
E|7
B|5


F|---3-----6--------|
C|---3-4-------8----|
G|-----4-------8-9--|
D|-2-------6-----9--|
A|-2-------6-7------|
E|-----4-----7------|
B|-----4-5-------9--|

F|---------6--------|
C|-------------8----|
G|-------------8-9--|
D|---------6-----9--|
A|---------6-7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|---3-4------------|
G|-----4------------|
D|-2-------6--------|
A|-2-------6--------|
E|-----4------------|
B|-------5----------|

For the Major 7th chord angle your first finger up to the next fret with a bar. Done right it will sound the 5 on the B string and the two 4's while muting the top string. Tricky at first but once it is mastered it is easier than you think.

E Minor 1 b3 5 
F|x (2) 
C|x 
G|x 
D|2 
A|2 
E|3 
B|5


F|-2-------6--------|
C|---3-4-----7------|
G|-----4-------8-9--|
D|-2-----5-------9--|
A|-2-------6-7------|
E|---3-------7------|
B|-------5-----8----|

F|---------6--------|
C|-----------7------|
G|-------------8-9--|
D|-------5-------9--|
A|---------6-7------|
E|-----------7------|
B|-------5-----8----|

F|-2-------6--------|
C|---3-4------------|
G|-----4------------|
D|-2-----5----------|
A|-2-------6--------|
E|---3--------------|
B|-------5----------|


E Minor 7th 1 b3 5 b7

F|x
C|x (7)
G|x (7)
D|5
A|5
E|7
B|5


F|-2-------6-----9--|
C|-2---4-----7------|
G|-----4-----7---9--|
D|-2-----5-------9--|
A|-2-----5---7------|
E|---3-------7------|
B|-------5-----8----|

F|---------6-----9--|
C|-----------7------|
G|-----------7---9--|
D|-------5-------9--|
A|-------5---7------|
E|-----------7------|
B|-------5-----8----|

F|-2-------6--------|
C|-2---4------------|
G|-----4------------|
D|-2-----5----------|
A|-2-----5----------|
E|---3--------------|
B|-------5----------|

E Augmented 1 3 #5

F|x 
C|x 
G|x	(5) 
D|6 
A|7 
E|8 
B|5	

F|---3-------7--------|
C|-----4-------8------|
G|-------5-------9----|
D|-2-------6-------10-|
A|-2---------7--------|
E|-----4-------8------|
B|-------5-------9----|

F|-----------7------|
C|-------------8----|
G|-------5-------9--|
D|---------6--------|
A|-----------7------|
E|-------------8----|
B|-------5-------9--|

F|---3-------7------|
C|-----4------------|
G|-------5----------|
D|-2-------6--------|
A|-2----------------|
E|-----4------------|
B|-------5----------|

E Half Diminished 1 b3 b5 b7

F|x (5)
C|x (7)
G|x (7)
D|5
A|5
E|6
B|5


F|-2-----5-------9--|
C|-2---4-----7------|
G|---3-------7---9--|
D|-2-----5-----8----|
A|-------5---7------|
E|---3-----6--------|
B|-------5-----8----|

F|-------5-------9--|
C|-----------7------|
G|-----------7---9--|
D|-------5-----8----|
A|-------5---7------|
E|---------6--------|
B|-------5-----8----|

F|-2-----5----------|
C|-2---4------------|
G|---3--------------|
D|-2-----5----------|
A|-------5----------|
E|---3-----6--------|
B|-------5----------|

I love this chord sooo much. The lower four strings make a great easy to finger comping chord but it is very easy to use the rest for a full seven string chord. Add the full seven string chord to a progression using four string comp chords will add some variety and a real nice sound to it.

E Diminished 7th 1 b3 b5 bb7

F|x
C|x	
G|x	(3)
D|5
A|4
E|3
B|5


F|---3---5-----8----|
C|-2---4-----7------|
G|---3-----6-----9--|
D|-2-----5-----8----|
A|-----4-----7------|
E|---3-----6-----9--|
B|-------5-----8----|

F|-------5-----8----|
C|-----------7------|
G|---------6-----9--|
D|-------5-----8----|
A|-----------7------|
E|---------6-----9--|
B|-------5-----8----|

F|---3---5----------|
C|-2---4------------|
G|---3-----6--------|
D|-2-----5----------|
A|-----4------------|
E|---3-----6--------|
B|-------5----------|

E Dominant 7th 1 3 5 b7

F|x 
C|x	(4) 
G|x	(4) 
D|6 
A|5 
E|4 
B|5


F|---3-----6-----9--|
C|-2---4-------8----|
G|-----4-----7---9--|
D|-2-------6-----9--|
A|-2-----5---7------|
E|-----4-----7------|
B|-----4-5-------9--|

F|---------6-----9--|
C|-------------8----|
G|-----------7---9--|
D|---------6-----9--|
A|-------5---7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|-2---4------------|
G|-----4------------|
D|-2-------6--------|
A|-2-----5----------|
E|-----4------------|
B|-------5----------|





I love this chord sooo much. The lower four strings make a great easy to finger comping chord but it is very easy to use the rest for a full seven string chord. Add the full seven string chord to a progression using four string comp chords will add some variety and a real nice sound to it.


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## Thep (Aug 3, 2010)

hmm...having played cello (tuned in fourths) since a kid, this might actually be more natural to me from a theory/composition standpoint. Technique wise it would fuck me up though. I will try this sometime.


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## MusicMetalHead (Aug 3, 2010)

Yeah. not sure how that would screw up ur techniqe  maybe ur shapes are differant or somthing. I dunno . any ideas on how to pretty it up? it looked fine on excel but even after coding it it looks like a garish mess right now


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## Mr. Big Noodles (Aug 4, 2010)

Yeah, it looks like the matrix. 

Just do it in tab.


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## MusicMetalHead (Aug 4, 2010)

Well i edited it and decided to cut out the standard b tuned scale block because it was impossible to fit in neatly. So if you want to know the exact notes of every chord you will have to use the nifty referance above the patterns. slightly more time consuming but hey? whatever. mostly put that in there to ease the creation of any open chords, hard as they are to make, that someone might want to devise. so yeah. thoughts on the thread so far. and one last thing will be posting triads for each scale here soon. probably tomorrow so check in soon if ur interested


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## MusicMetalHead (Aug 4, 2010)

SchecterWhore said:


> Yeah, it looks like the matrix.
> 
> Just do it in tab.


Hey! I was wondering when you were gonna show up. haha. ur everywhere
I will probably that later. Right now I'm just putting up a few references for quick
access and usage. I like the one with the zeroes because it just shows where to put ur fingers and since its a p4 tuning you can transpose this anywhere and use the same pattern. I may go through quick and throw in some x or somthing on notes that arn't used but I'm afraid putting even more characters in there will make it look even more like the matrix refretted. (in case anyone didn't notice that was a pun using the matrix reloaded )

I have the guide with all the notes on it so you can look at it and quickly know the notes in whatever key you are in. I like the top scale block for interval patterns. and the bottom one just for ease of use. Although I do beleive I said all of this.... twice. 

Oh well. I guess the only thing to do is keep adding on and tweaking to make it easier to use. The next step is to reformat the key guide to better seperate them from each other so its more intuitive. Whew, Havn't written posts like this for a while. Is very refreshing.


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## Mr. Big Noodles (Aug 4, 2010)

I took the liberty of making these. The resolution is a bit tiny, and I just realized that I left out A#/Bb. I'll update it when I have time.


EDIT: Okay, it's fixed. I thought I'd make the appearance a little more fun. Somebody tell me if teal makes an annoying fretboard color. Also, I made it bigger, but Photobucket compresses everything down to 1MB on free accounts, and the maximum size for attachments on here is about the same, so if anyone wants an uncompressed version, PM me or suggest an image host.


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## signalgrey (Aug 4, 2010)

oooo. play time. thanks guys


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## MusicMetalHead (Aug 4, 2010)

Very nice, but just to ask a question wouldn't many of those be modes since they don't start on the root note but on a different note of the scale? Just asking. also yes, teal is slightly annoying but not too much.


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## Waelstrum (Aug 4, 2010)

They are major if you go from root to root, but since they show all the notes they also contain the modes, but in order to read it like that, you'd have to 'transpose' the numbers, like play 6 to 6 for aeolian or 4 to 4 for lydian.




Thep said:


> hmm...having played cello (tuned in fourths) since a kid, this might actually be more natural to me from a theory/composition standpoint. Technique wise it would fuck me up though. I will try this sometime.





Aren't celli usually tuned low to high CGDA (fifths)?


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## Mr. Big Noodles (Aug 4, 2010)

MusicMetalHead said:


> Very nice, but just to ask a question wouldn't many of those be modes since they don't start on the root note but on a different note of the scale? Just asking. also yes, teal is slightly annoying but not too much.



I figured it might be of benefit to see where all of the notes in the scale reside. Where the tonic is is entirely relative to the harmony. In other words, these scales don't "start" anywhere, that's just where the notes are. This dude knows what's going on:




Waelstrum said:


> They are major if you go from root to root, but since they show all the notes they also contain the modes, but in order to read it like that, you'd have to 'transpose' the numbers, like play 6 to 6 for aeolian or 4 to 4 for lydian.





> Aren't celli usually tuned low to high CGDA (fifths)?



Yeah, that's what I thought. String basses are tuned in fourths, though.


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## MusicMetalHead (Aug 4, 2010)

SchecterWhore said:


> I figured it might be of benefit to see where all of the notes in the scale reside. Where the tonic is is entirely relative to the harmony. In other words, these scales don't "start" anywhere, that's just where the notes are. This dude knows what's going on:
> 
> 
> 
> ...



Thats what I figured. Well just for fun I thought I'd post one of my cheatsheets as I see them after I print them.


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## MusicMetalHead (Aug 4, 2010)

Ok. It worked this time. And yes its sideways


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## Mr. Big Noodles (Aug 4, 2010)

What are the numbers and stuff on the right side? (I flipped it so the orientation is correct.)


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## MusicMetalHead (Aug 5, 2010)

SchecterWhore said:


> What are the numbers and stuff on the right side? (I flipped it so the orientation is correct.)



Well the one in the middle shows the interval, a 1 is a root 5 is a fifth etc. the bottom one is just zeros that I put in to make the visual pattern a touch more clear if u just want to learn the scale shape instead of learning intervals and notes and all that. I learn in a very visual manner so when I built it I made it very visual. This is somthing you could just plaster on ur wall like one of those posters.


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## Mvotre (Aug 5, 2010)

Im forever thankfull to the great people of sevenstring.org, where i read about that tuning some time ago, and im using it for everything now. It makes some chords harder, but it is really easier to play thinking of the notes/intervals instead of scale shapes 

but nobody here thinks that the high F and C are a bit too stiff?? im using it as E B Gb Db Ab Eb (Bb on 7). The lower ones feel "fine" for me. Maybe with a 0.11 set it should be perfect, tension wise


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## MusicMetalHead (Aug 5, 2010)

Mvotre said:


> Im forever thankfull to the great people of sevenstring.org, where i read about that tuning some time ago, and im using it for everything now. It makes some chords harder, but it is really easier to play thinking of the notes/intervals instead of scale shapes
> 
> but nobody here thinks that the high F and C are a bit too stiff?? im using it as E B Gb Db Ab Eb (Bb on 7). The lower ones feel "fine" for me. Maybe with a 0.11 set it should be perfect, tension wise



I find perfect fourths tuning perfect for me because I play a lot of heavy metal and I'm starting to get into jazz, neither of which relies heavily on big open chords. It just makes everything easier with no worrying about switching positions. As for stiffer high strings yeah I've noticed that a bit, but not too much, bends are a little harder but switching to lighter strings should help. Or just keep practicing and your fingers should condition themselves. So quick question should I delete my coded tab like things and put in the scanned images instead or just leave it as is?


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## MusicMetalHead (Aug 6, 2010)

heres the other three scanned images


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## MusicMetalHead (Aug 24, 2010)

Had a few minutes so I edited original post. Put the scanned images in. yes they are sideways so don't bitch I already know.  Put in a few basic chords. I will have a few more by tonight with luck. After that open chords and then on to as many of the inversions alterations and obscure chords I can think of.


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## MusicMetalHead (Aug 24, 2010)

added a few more chords. yay. now I will work on extensions and then find some more wierd chords then extend those. yada yada yada keep checkin in.


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## Thep (Aug 24, 2010)

Waelstrum said:


> They are major if you go from root to root, but since they show all the notes they also contain the modes, but in order to read it like that, you'd have to 'transpose' the numbers, like play 6 to 6 for aeolian or 4 to 4 for lydian.
> 
> 
> 
> ...



Worst and most embarssing brain fart of my life


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## MusicMetalHead (Aug 29, 2010)

Added some scales. The modes and augmented. Next diminished then pentatonic for all the modes.


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## Eptaceros (Aug 31, 2010)

Thep said:


> Worst and most embarssing brain fart of my life



It's really not that big of a deal.


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## Daggorath (Aug 31, 2010)

I'ma haveto try this out. I know Alex Hutchings tunes like this. The only thing that worries me is chords. The way the notes line up in standard allows easier fingerings for regular chords.


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## Mr. Big Noodles (Aug 31, 2010)

Daggorath said:


> I'ma haveto try this out. I know Alex Hutchings tunes like this. The only thing that worries me is chords. The way the notes line up in standard allows easier fingerings for regular chords.



One of the advantages that quartal tuning offers is that you can use one shape per chord quality on any string, and the chord quality will always be the same. Open chords, obviously, will work differently, and standard bar chords result in having a minor ninth or minor thirteenth on top of every chord, but that's not how the tuning is intended to be used. Three-string or four-string chord shapes are endemic to perfect fourths tuning.


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## MusicMetalHead (Sep 1, 2010)

Who wants to use "regular" chords anyways? They are abviously good for playing standards and such but most people eventually want to create their own unique sound and the chords that P4 make available help make chords formerly impossible (or at least excruciatingly painful) chords relatively simple. Composition is streamlined and learning is too due to the significant decrease in shapes you have to memorize. As a matter of fact I can only think of a few reasons not to use P4 tuning, or at least have a guitar tuned to it. Obviously if you are just a cover artist standard tuning is the way to go and classical music would be hard to do on it unless you are composing your own. But aside from that the only reason I can think of for such extensive use of our current standard tuning is that its what everyone is teaching. Maybe how like when everyone taught that the world was flat.


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## MusicMetalHead (Sep 7, 2010)

Ditched the coding because I found a few typos, went in and the whole thing looked ridiculous with font verdana and crap like that popping up randomly for no real reason. so for simplicity I ditched that. I found a major problem with my arpeggios extensions when I tried to seperate it into upper and lower fret patterns so I deleted those but I will have the updated version hopefully by three central time. I'm just three view short of 500 views when I checked so thank you to all the people who saw this and to the people who thanked my for it. I havnt updated it lately because my good(ish) computer dyed and I lost all my data but luckily I discovered about two weeks later I had it on my mp3 player ( I was using it as a flash drive, Thumbs up for once again using sometheing for what its not designed to do) but my computer didnt recognize my player so I had to go over to my cuz's upload it to my email forward it to myself redownload it and finally open it so whew, its been technological war over here. But I F*$%ing won! I am smarter than you accursed computer from hell!!!


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## Cabinet (Sep 7, 2010)

This will make some chords difficult, not open ones, but some like a Maj7 add 9 might be harder to pull off.
This is really interesting, I'll try it tonight.


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## All_¥our_Bass (Sep 7, 2010)

I like perfect fourths on guitar because I started on bass.


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## MusicMetalHead (Sep 17, 2010)

Finaly added pentatonic. Been busy over here applying for college so got sidetracked. I'll try and keep up with it better though.


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## avenger (Oct 18, 2010)

Thanks to everyone adding info to this thread. I have been toying with the idea of tuning all fourths. I think it would work well for odd techy stuff. Soemthing new to try tonight.


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## MusicMetalHead (Oct 18, 2010)

avenger said:


> Thanks to everyone adding info to this thread. I have been toying with the idea of tuning all fourths. I think it would work well for odd techy stuff. Soemthing new to try tonight.



This would work well for all stuff. Not just techy stuff. Makes it easier to do everything. Its guitar, streamlined.

By the time you read this I will have updated the original post again so check in. I'm in tech now so I don't have as much time to work on it as I'd like so I didn't get as much done as I wanted to.


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## MusicMetalHead (Oct 18, 2010)

wait.... Mindfuck. Where the fuck is the edit button? Am I missing something? Did I leave my brain on the table and I just can't find it or is it really gone? HUH?!?! I need coffee


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## MusicMetalHead (Oct 18, 2010)

Oh. I get it. It is an old post so I'm not allowed to edit it. Fuck. Well I'll just post the "new" cheat sheet at the bottom

Some Scales. Name, step pattern (W's and h's), and relation to major scale.

Major (Ionian) 
W W h W W W h 
1 2 3 4 5 6 7

|---6---8---|
|---6---8-9-|
|---6---8-9-|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|

Major Pentatonic (Ionian) 
W W h W W 
1 2 3 5 6

|---6---8---|
|---6---8---|
|---6-----9-|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|


Dorian 
W h W W W h W 
1 2 b3 4 5 6 b7

|---6---8---|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|

Dorian Pentatonic	
W h W W W 
1 2 4 5 b7

|---6---8---|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|


Phrygian 
h W W W h W W 
1 b2 b3 4 5 b6 b7

|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|
|-5-6---8---|

Phrygian Pentatonic 
h W W W W 
1 b3 5 b6 b7

|---6-7---9-|
|-----7-----|
|-5---7---9-|
|-5-------9-|
|-5---7-----|
|-----7-8---|
|-5-----8---|


Lydian 
W W W h W W h 
1 2 3 #4 5 6 7

|---6---8---10-|
|---6---8---10-|
|---6---8-9---|
|---6---8-9---|
|---6-7---9---|
|---6-7---9---|
|-5---7---9---|

Lydian Pentatonic	
W W W W h 
2 3 5 6 7

|---6---8---10-|
|---6---8-----|
|---6---8-----|
|---6-----9---|
|---6-----9---|
|-----7---9---|
|-----7---9---|


Mixolydian 
W W h W W h W 
1 2 3 4 5 6 b7

|---6---8---|
|---6---8-9-|
|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|

Mixolydian Pentatonic 
W W W W h 
1 2 4 5 6

|---6---8---|
|---6-----9-|
|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|


Minor (Aeolian) 
W h W W h W W 
1 2 b3 4 5 b6 b7

|---6-7---9-|
|---6-7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|

Minor (Aeolian) 
W W W h W 
1 b3 4 5 b7

|---6-----9-|
|-----7---9-|
|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|
|-5-----8---|


Locrian 
h W W h W W W 
1 b2 b3 4 b5 b6 b7

|-5---7---9-|
|-5---7---9-|
|-5---7---9-|
|-5---7-8---|
|-5---7-8---|
|-5-6---8---|
|-5-6---8---|

Locrian Pentatonic	
W W h W W 
b2 b3 4 b6 b7

|-----7---9-|
|-5---7---9-|
|-5---7-----|
|-5---7-----|
|-5-----8---|
|-5-----8---|
|---6---8---|


Whole Tone(Augmented) W W W W W W W W

|-------------7---9---11-|
|-----------6---8---10---|
|---------5---7---9-----|
|-------4---6---8-------|
|-----3---5---7---------|
|---2---4---6-----------|
|-1---3---5-------------|


For all of these chords I only made the lowest four strings the main comping chord. The rest are optional if you want to make a fuller sounding chord. Underneath each is the arpeggio pattern for it.

E Major 1 3 5

F|x	
C|x	
G|x (4)	
D|2	
A|2	
E|4	
B|5


F|---3-----6--------|
C|-----4-------8----|
G|-----4---------9--|
D|-2-------6-----9--|
A|-2---------7------|
E|-----4-----7------|
B|-------5-------9--|

F|---------6--------|
C|-------------8----|
G|---------------9--|
D|---------6-----9--|
A|-----------7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|-----4------------|
G|-----4------------|
D|-2-------6--------|
A|-2----------------|
E|-----4------------|
B|-------5----------|

and open chords

A Major
F|x
C|1
G|2
D|2
A|0
E|0
B|2

A# Major
F|0
C|2
G|3
D|0
A|1
E|1
B|

B Major
F|1
C|3
G|x (4)
D|1
A|2
E|2
B|0

Bar the first fret from the 4th string to the 1st string. Angle your finger up just a little to avoid accidentally sounding a G# on the 3rd string.

C Major
F|2
C|0
G|0
D|2
A|3
E|0
B|1

C# Major
F|x
C|1
G|1
D|3
A|4
E|1
B|2

Do a bar for this one at the first fret from the 6th to the 2nd string. There is also F on the 1st string but it is hard to do with the bar.

D Major
F|1
C|2
G|2
D|0
A|0
E|2
B|3

You can cut the F# on the 1st string out if you want but it can be reached fairly easily by tilting your hand towards the headstock and pressing the string down with your knuckle.



E Major
F| (3)
C|4
G|1
D|2
A|2
E|0
B|0

F Major
F|0
C|0
G|2
D|3
A|0
E|1
B|1

F# Major
F|1
C|1
G|3
D|4
A|1
E|2
B| (2)

Not technically an open chord but it is close.

G Major
F|2
C|2
G|0
D|0
A|2
E|3
B|0

G# Major
F|x
C|0
G|1
D|1
A|3
E|4
B|4

Hit the two 1st fret notes on the 2nd and 3rd string with the pad of your index finger. Small fingers will have a hard time. If it proves too difficult drop either the G# or the D#.


E Major 6th (or E Major add 6) 1 3 5 6

F|---3-----6---8----|
C|-----4-------8----|
G|-----4---6-----9--|
D|-2-------6-----9--|
A|-2---4-----7------|
E|-----4-----7---9--|
B|-2-----5-------9--|

F|---------6---8----|
C|-------------8----|
G|---------6-----9--|
D|---------6-----9--|
A|-----------7------|
E|-----------7---9--|
B|-------5-------9--|

F|---3-----6--------|
C|-----4------------|
G|-----4------------|
D|-2-------6--------|
A|-2---4------------|
E|-----4------------|
B|-2-----5----------|


E Major 7th 1 3 5 7

F|x
C|x (4)
G|x (4)
D|6
A|6
E|7
B|5


F|---3-----6--------|
C|---3-4-------8----|
G|-----4-------8-9--|
D|-2-------6-----9--|
A|-2-------6-7------|
E|-----4-----7------|
B|-----4-5-------9--|

F|---------6--------|
C|-------------8----|
G|-------------8-9--|
D|---------6-----9--|
A|---------6-7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|---3-4------------|
G|-----4------------|
D|-2-------6--------|
A|-2-------6--------|
E|-----4------------|
B|-------5----------|

For the Major 7th chord angle your first finger up to the next fret with a bar. Done right it will sound the 5 on the B string and the two 4's while muting the top string. Tricky at first but once it is mastered it is easier than you think.

E Dominant 7th 1 3 5 b7

F|x	
C|x	(4)	
G|x	(4)	
D|6	
A|5	
E|4	
B|5


F|---3-----6-----9--|
C|-2---4-------8----|
G|-----4-----7---9--|
D|-2-------6-----9--|
A|-2-----5---7------|
E|-----4-----7------|
B|-----4-5-------9--|

F|---------6-----9--|
C|-------------8----|
G|-----------7---9--|
D|---------6-----9--|
A|-------5---7------|
E|-----------7------|
B|-------5-------9--|

F|---3-----6--------|
C|-2---4------------|
G|-----4------------|
D|-2-------6--------|
A|-2-----5----------|
E|-----4------------|
B|-------5----------|


I love this chord sooo much. The lower four strings make a great easy to finger comping chord but it is very easy to use the rest for a full seven string chord. Add the full seven string chord to a progression using four string comp chords will add some variety and a real nice sound to it.

E Dominant 9th (or E Dominant 7th add 9) 1 3 5 b7 9

F|---3-----6-----9--|
C|-2---4---6---8----|
G|-----4-----7---9--|
D|-2---4---6-----9--|
A|-2-----5---7---9--|
E|-2---4-----7------|
B|---3---5---7---9--|

F|---------6-----9--|
C|---------6---8----|
G|-----------7---9--|
D|---------6-----9--|
A|-------5---7---9--|
E|-----------7------|
B|-------5---7---9--|

F|---3-----6--------|
C|-2---4---6--------|
G|-----4------------|
D|-2---4---6--------|
A|-2-----5----------|
E|-2---4------------|
B|---3---5----------|

E Major 9th (or Major 7th add 9) 1 3 5 7 9

F|---3-----6--------|
C|---3-4---6---8----|
G|-----4-------8-9--|
D|-2---4---6-----9--|
A|-2-------6-7---9--|
E|-2---4-----7------|
B|-----4-5---7---9--|

F|---------6--------|
C|---------6---8----|
G|-------------8-9--|
D|---------6-----9--|
A|---------6-7---9--|
E|-----------7------|
B|-------5---7---9--|

F|---3-----6--------|
C|---3-4---6--------|
G|-----4------------|
D|-2---4---6--------|
A|-2-------6--------|
E|-2---4------------|
B|-----4-5----------|

E Minor 1 b3 5	
F|x (2)	
C|x	
G|x	
D|2	
A|2	
E|3	
B|5


F|-2-------6--------|
C|---3-4-----7------|
G|-----4-------8-9--|
D|-2-----5-------9--|
A|-2-------6-7------|
E|---3-------7------|
B|-------5-----8----|

F|---------6--------|
C|-----------7------|
G|-------------8-9--|
D|-------5-------9--|
A|---------6-7------|
E|-----------7------|
B|-------5-----8----|

F|-2-------6--------|
C|---3-4------------|
G|-----4------------|
D|-2-----5----------|
A|-2-------6--------|
E|---3--------------|
B|-------5----------|

and open chords

A Minor
F|4
C|0
G|2
D|2
A|0
E|0
B|1

B Minor
F|1
C|2
G|4
D|0
A|2
E|2
B|0

For this one tilt your index finger up to play the F# on the 1st string. If done right it wont mute the other notes.

C Minor
F|2
C|0
G|0
D|1
A|3
E|3
B|x

C# Minor
F|x
C|1
G|1
D|2
A|4
E|0
B|2

D Minor
F|0
C|2
G|2
D|0
A|0
E|1
B|3

E Minor
F|2
C|4
G|0
D|2
A|2
E|0
B|0

F Minor
F|0
C|0
G|1
D|3
A|3
E|4
B|x

F# Minor
F|1
C|1
G|2
D|4
A|0
E|2
B|x

G Minor
F|2
C|2
G|0
D|0
A|1
E|3
B|x

G# Minor
F|x
C|3
G|1
D|1
A|2
E|4
B|0

E Minor 7th 1 b3 5 b7

F|x
C|x (7)
G|x (7)
D|5
A|5
E|7
B|5


F|-2-------6-----9--|
C|-2---4-----7------|
G|-----4-----7---9--|
D|-2-----5-------9--|
A|-2-----5---7------|
E|---3-------7------|
B|-------5-----8----|

F|---------6-----9--|
C|-----------7------|
G|-----------7---9--|
D|-------5-------9--|
A|-------5---7------|
E|-----------7------|
B|-------5-----8----|

F|-2-------6--------|
C|-2---4------------|
G|-----4------------|
D|-2-----5----------|
A|-2-----5----------|
E|---3--------------|
B|-------5----------|

E Minor 6th 1 b3 5 6

F|-2-------6---8----|
C|-----4-----7------|
G|-----4---6-----9--|
D|-2-----5-------9--|
A|-2---4-----7------|
E|---3-------7---9--|
B|-2-----5-----8----|

F|---------6---8----|
C|-----------7------|
G|---------6-----9--|
D|-------5-------9--|
A|-----------7------|
E|-----------7---9--|
B|-------5-----8----|

F|-2-------6--------|
C|-----4------------|
G|-----4---6--------|
D|-2-----5----------|
A|-2---4------------|
E|---3--------------|
B|-2-----5----------|

E Minor 7th (flat 5th) 1 b3 b5 b7

F|-2-----5-------9--|
C|-2---4-----7------|
G|---3-------7---9--|
D|-2-----5-----8----|
A|-------5---7------|
E|---3-----6--------|
B|---3---5-----8----|

F|-------5-------9--|
C|-----------7------|
G|-----------7---9--|
D|-------5-----8----|
A|-------5---7------|
E|---------6--------|
B|-------5-----8----|

F|-2-----5----------|
C|-2---4------------|
G|---3--------------|
D|-2-----5----------|
A|-------5----------|
E|---3-----6--------|
B|---3---5----------|

E Minor 9th (or E Minor 7th add 9) 1 b3 5 b7 9

F|-2-------6-----9--|
C|-2---4---6-7------|
G|-----4-----7---9--|
D|-2---4-5-------9--|
A|-2-----5---7---9--|
E|-2-3-------7------|
B|---3---5---7-8----|

F|---------6-----9--|
C|---------6-7------|
G|-----------7---9--|
D|-------5-------9--|
A|-------5---7---9--|
E|-----------7------|
B|-------5---7-8----|

F|-2-------6--------|
C|-2---4---6--------|
G|-----4------------|
D|-2---4-5----------|
A|-2-----5----------|
E|-2-3--------------|
B|---3---5----------|

E Augmented 1 3 #5

F|x	
C|x	
G|x	(5)	
D|6	
A|7	
E|8	
B|5	

F|---3-------7--------|
C|-----4-------8------|
G|-------5-------9----|
D|-2-------6-------10-|
A|-2---------7--------|
E|-----4-------8------|
B|-------5-------9----|

F|-----------7------|
C|-------------8----|
G|-------5-------9--|
D|---------6--------|
A|-----------7------|
E|-------------8----|
B|-------5-------9--|

F|---3-------7------|
C|-----4------------|
G|-------5----------|
D|-2-------6--------|
A|-2----------------|
E|-----4------------|
B|-------5----------|

E Half Diminished 1 b3 b5 b7

F|x (5)
C|x (7)
G|x (7)
D|5
A|5
E|6
B|5


F|-2-----5-------9--|
C|-2---4-----7------|
G|---3-------7---9--|
D|-2-----5-----8----|
A|-------5---7------|
E|---3-----6--------|
B|-------5-----8----|

F|-------5-------9--|
C|-----------7------|
G|-----------7---9--|
D|-------5-----8----|
A|-------5---7------|
E|---------6--------|
B|-------5-----8----|

F|-2-----5----------|
C|-2---4------------|
G|---3--------------|
D|-2-----5----------|
A|-------5----------|
E|---3-----6--------|
B|-------5----------|

I love this chord sooo much. The lower four strings make a great easy to finger comping chord but it is very easy to use the rest for a full seven string chord. Add the full seven string chord to a progression using four string comp chords will add some variety and a real nice sound to it.

E Diminished 7th 1 b3 b5 bb7

F|x
C|x	
G|x	(3)
D|5
A|4
E|3
B|5


F|---3---5-----8----|
C|-2---4-----7------|
G|---3-----6-----9--|
D|-2-----5-----8----|
A|-----4-----7------|
E|---3-----6-----9--|
B|-------5-----8----|

F|-------5-----8----|
C|-----------7------|
G|---------6-----9--|
D|-------5-----8----|
A|-----------7------|
E|---------6-----9--|
B|-------5-----8----|

F|---3---5----------|
C|-2---4------------|
G|---3-----6--------|
D|-2-----5----------|
A|-----4------------|
E|---3-----6--------|
B|-------5----------|



If you notice any mistakes please tell me. I have done all of these by hand, so there may very well be some typos. I've done everything I can however to ensure that they are correct. I have some of these arpeggios in all the open keys (full open arpeggio in each key) that are in the transition to being chords. I'll post em when finished.


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## DevourTheDamned (Nov 19, 2010)

wow dude, thanks, im glad im reading this now lol because i just got rid of my 8 and im on a 6 so this will give me the same feel as the low end of my 8 

but for arpeggios its gunna be a bitch to relearn the finger patterns, is ittt?


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## theclap (Nov 20, 2010)

Those major arpeggios looker brutal to play! 2nd fret to 7th fret on the same fret oh boy. I have been spending a lot of time learning my 4 string groups of chords through my studies so I might try this out in some new recordings.


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## MusicMetalHead (Nov 21, 2010)

theclap said:


> Those major arpeggios looker brutal to play! 2nd fret to 7th fret on the same fret oh boy. I have been spending a lot of time learning my 4 string groups of chords through my studies so I might try this out in some new recordings.



That's not really an arpeggio, its just something to better show how the notes of each chord relate to eachother for better fretboard knowledge and in case you wanna build some kind of chord. The bottom two are arpeggio patterns though.


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## MusicMetalHead (Nov 22, 2010)

Also, my computer crashed again so a lot of my files were deleted or corrupted so the site is once again, sadly enough delayed


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## Varcolac (Nov 22, 2010)

Thep said:


> hmm...having played cello (tuned in fourths) since a kid, this might actually be more natural to me from a theory/composition standpoint. Technique wise it would fuck me up though. I will try this sometime.



Eh? Cellos are tuned in fifths. CGDA


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## MusicMetalHead (Dec 6, 2010)

Screw it. Ima just get the site up and start updating it as I have time. Computer data losses and crap have set me way behind but whatever.


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