Two Doors Down: A quick study of the major chord "a whole
step below"

"Sunshine Of Your Love" uses it. And so does "You Really Got
Me." The core of the riff from "On Broadway" employs it, and
so do fifty other rock classics: What am I talking about?
Well if you are going to play rock guitar, certainly you
have heard about E and A. Well kids, YOU JUST TAKE THE MAJOR
goes to G. Standard rock blues guitar stuff.

The tonic center is much stronger in its gravity than any
other musical center I would care to name. It is so much
hotter than the other notes. So much stronger. Anyway, that
is why they call it one, and it gets the ringer. The fourth
built above a given tonic point, A for the key of E for
instance, is a sister point away from the tonic where a
song's basic theme can be demonstrated in a second effort
after it is first displayed over the tonic. The fourth is a
center that offers extension rather than resolution- that of
course is the department of our obtrusive friend the
"fifth." Not in the picture for this study. 

Here is how it goes. First we are going to play an E major
chord and then a D major chord after it. The study is to see
the relationship between two chords a whole step apart. It
goes without writing, that the guitar offers an endless
array of playing arrangements across its playing face. Today
we will just toy with a few of them: A few ways of going
from E to D:

E form to D form

|--0------E Major-------D Maj----------D 9th------|

The idea is to just drop out the bottom of the E to D. Like
the rock group doing Gloria. It goes to the part where the
rhythm drops to just a simple easy ride between the E and
the D chord. The rant, of course, is actually E E D A, E E D
A on a four count bar.

Shall we look into things? Skinning a cat comes to mind for
some reason. Lots of way to do things: E drop to the D:

E form to D form: Further invention

|--0--E Maj-----2--D Maj----------|---E maj-----D maj--|

Wow, I even through in a bass E to bass D formation, along
with a really unique to key harmonic example. The harmonic
on 1/5 and 2/5 are actually the double octave of the open
string E and B standard layout. It is just when you touch
off the harmonic at the prescribed point, you get a real
high double octave going. Sonething you may want to keep in
mind when you are playing a chord that is the cornerstone of
the guitar.

Next up we will take a quick look into the relationship
between A majro and G major:

A major to G major

|---A maj---3--G maj--|--A maj----G maj-G maj---|

The same deal applies here as we gave to E and D. A drops
out the bottom to D. I am not so concerned at this time with
application. The first example is a straightforward A chord
with a very special "inside" open G form. The special touch
on this number is the unison playing of the D notes (the 5th
in G) on 5/5 and 4/0. This really makes a G major chord
ring! The second example uses the power chord A open form,
with an open string voicing for G major. The final little
upper "double string" thing is just a throw in reminder that
you can always grab the 5th and 1st in G from the E form
when applied to the third position.

I am showing you skeleton sub-form boxes at this time. Just
a sampling today to keep you sharp, and to remind you of the
virtually endless variety of arrangements that musicians use
to ply their art.



What is Chicago Blues Guitar?

When Robert Johnson died in the late thirties, he left two
recording sessions. You can get a hold of them easily enough
in any good music store. If you listen to them, you will get
the feeling that he had a fully finished style. The six
steel string guitar had caught on big during the twenties,
and to a degree, the farmer land, Mississippi delta blues
that came from that period culminated in the advanced solo
performed style of Robert Johnson. You can hear classic rock
moves incubating in his music, his approach to the

By the time Muddy Waters got to Chicago in the early forties
he was ready to go. Gibson was selling electric guitars off
the rack by that point, and the barroom got electric guitar
music. The focus went from the lone performer acoustic, to
the man in the band electric. The Chicago blues electric
guitar styles flourished in the post war period, once the
guitar could take the lead position in the clubs downtown.
The world of blues guitar spread out of Chicago to all
around America. By the time everybody had rocked around the
clock in the early 50's, B.B. King had his radio show where
he talked and then picked up the guitar and sang. This was
an electric folk music.
	It wasn't long before Elvis came along, and then
John Lennon dressed up to look just like him. Hendrix paved
the way without looking back to much in Red House, then Led
Zep ruled, showing the way for Stevie Ray Vaughn to draw a
circle back to Robert Johnson. Now it is all available to us
at the press of a button. What a life!!!  Chicago Blues was
only part of the evolution that led from the turn of the
century ragtime/blues to the most modern of today's advanced
blues guitar stylings.


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