Just My Average Dream Axe :)

This is gonna be my spear's target. They are pierced my mind and heart. I realize my wife is more beautiful than them, but the temptation is always burning my mind. From other perspective, I look at my Obee, yup! Sure 100% cuter and handsome than them but cannot faking my self just let them across in my mind regularly without even touching them...one by one. Oh! God, that Fender is always my dream guitar since I touched a wasted guitar in 1989. I dunno why I should love that Tokai Les Paul model, just becoz of my "research" reading through how good the guitar is.

I am not that too shredder type, simply I like any songs and I proud of it. The funny thing is in my early guitar self lesson I surrounded by those guitarists with different music style; Rock, Dangdut, Pop Rock, Country, Keroncong, Lentok, RnB, Fingering style, Gospel, KadazanDusun Songs, Slow Rock, Reggae, Alternative and more. Come to 2007 I force myself dive on Jazz and Latin sea. So that's why I picked that Cort Jazz Box Source (ignore me I'm showing off wakakaka...). I have a lot of great guitarist friends and simply complete me even until now I still can't be good one as they are. One of them is Tony Leo Selvaraj. Yup! To make the long story short and after almost 12 years later, he bought a Musicman Silhouette white finish alder body, maple fretboard, 24 frets, piezo pickup, locking tuner and I my heart stop within 1++ :p second. Arrgghh!!!... Yalah ok ok la!... Just expensive for me but Tony managed it and fulfill his dream too. :) AND that's why I picked that Sterling SILO20 just without tremolo :( but the 24 frets really seduced me and that axe cheap² hehehe.... What a day dreaming rite? Hmmm... lean them on my guitar rack stand with wink² and keep them dustless....eeeeeeeeeee.... stop Wel! Hmmmmpphh!!! Work harder! Work harder! :)

Ibanez: PGM300 vs PGM301

PGM300::

• neck: 1pc Maple
• body: Basswood
• frets: Jumbo
• finger board: Maple
• bridge: Lo-Pro Edge
• pickups:
  DiMarzio® Paf Pro® (H) neck pu
  
DiMarzio® FS-1™ (S) mid pu
DiMarzio® Paf Pro® (H) bridge pu

• Hardware color: Cosmo Black
• color: WH（White)

PGM301::

• neck: 1pc Maple
• body: Basswood
• frets: Jumbo
• finger board: Maple
• bridge: Fixed
• pickups:
  DiMarzio® Paf Pro® (H) neck pu
  
DiMarzio® FS-1™ (S) mid pu
DiMarzio® Paf Pro® (H) bridge pu
• Hardware color: Cosmo Black
• color: WH（White）
  

Cort: Jazz Box Series - Source

• CONSTRUCTION: Set-in
• BODY: Maple top, back & sides
• NECK: Maple, "C" Shape
• BINDING: Ivory
• FRETBOARD: Rosewood, 12" Radius(305mm)
• FRETS: 22 / Large (2.7mm)
• SCALE: 24 3/4" (629mm)
• INLAY: White Dot
• BRIDGE: Tune-o-matic bridge & stop tailpiece
• TUNERS: Die cast
• PICKUPS: PSLP(-P) CR/RUSTY (H-H)
• ELECTRONICS: 2 volume, 2 tone, 3way toggle
• STRINGS: D'Addario USA
• HARDWARE: Chrome or Rusty Silver

Available at The Guitar Store Malaysia with affordable price.

Tokai AST-100

BODY: Alder Two Pieces
NECK: Maple
FINGERBOARD: Maple or Rosewood
BRIDGE: ST-VK1 Tremolo (Steel Block)
PICKUPS: ST-Vintage MK2×3
CONTROLS: 1V.,2T.,5way-SW.
COLOR: YS,GS
FINISH: Lacquer Finish
PRICE: RM3.8k++ (Ultimate Music, KL)

Stratocaster: Craftsman vs Squier

Craftsman ST120
Top & Body Material
American Alder

Neck Material
Canadian Hard Maple

Fingerboard Material
Maple

Tuners
Chrome

Bridge
Vintage Steel

Pickups
S-S-S Alnico

Finishing
CA, HB, SB, MBK

Squier Classic Vibe Stratocaster® ‘50s
Model Number
030-3000-(Color #)

Series
Classic Vibe Series

Colors
(502) Lake Placid Blue,
(503) 2-Color Sunburst,
(505) Olympic White,
(Gloss Polyester Finish)

Body
Alder

Neck
1-Piece Maple, Modern “C” Shape,
(Gloss Polyester Finish)

Fingerboard
Maple, 9.5" Radius (241 mm)

No. of Frets
21 Medium Jumbo Frets

Pickups
3 Custom Vintage Style Single-Coil Strat® Pickups with Staggered, AlNiCo
3 Magnet Pole Pieces and Aged White Covers

Controls
Master Volume,
Tone 1. (Neck Pickup),
Tone 2. (Middle Pickup)

Pickup Switching
5-Position Blade

Bridge
Vintage Style Synchronized Tremolo

Machine Heads
Vintage Style Tuning Machines

Hardware
Chrome

Pickguard
1-Ply White on (502) Lake Placid Blue and (503) 2-Color Sunburst,
1-Ply Gold Anodized on (505) Olympic White

Scale Length
25.5” (648 mm)

Width at Nut
1.650” (42 mm)

Unique Features
Aged White Knobs, Pickup Covers and Switch Tip,
Vintage Tinted Neck (on (503) 2-Color Sunburst and (505) Olympic White only),
Black Dot Position Inlays,
Vintage Styling,
Synthetic Bone Nut

Introduced 6/2008

9th, 11th and 13th Chords

Once you move beyond 7ths and start adding notes from higher up the scale (e.g. 9ths, 11ths, 13ths) there is one very important thing to remember.

All of these chords must have a 7th in them.
Just as there are 3 types of 7th chord (7th, min 7th, maj 7th), you end up with 3 types for 9th, 11th and 13th chords by simply adding to the basic 7th chord.

To get a 9th chord, add the 9th to the (flat) 7th chord
To get a min 9th, add the 9th to the min 7th chord
To get a maj 9th, add the 9th to the maj 7th chord

To get 11th chords you can add the 11th to the 3 types of 9th chord, but most of the time the 9th is not needed, so you simply add an 11th to the 7th chords to build the 3 types of 11th chord, and similarly with 13ths.

If you have a voicing of a 13th chord that also has a 9th or 11th in it, then that's fine: it's still a 13th chord, but most of the time these chords are just a normal 7th with an added note (9th, 11th or 13th)


9th, 11th, and 13th Chords

The spelling for chords like C9, C11, C13 (i.e. chords built on C7 - so they have a flat 7th in them) is:

9th: 1st, maj 3rd, 5th, flat 7th, 9th
11th: 1st, maj 3rd, 5th, flat 7th, 11th
13th: 1st, maj 3rd, 5th, flat 7th, 13th

It's worth noting here that the 5th can be omitted from the chord. The essential notes for C9, C11 and C13 are the 1st, 3rd, 7th and 9th/11th/13th

6th Chords

To make a 6th chord, start with the triad and add the 6th. But note that the major 6th is added to make both major and minor 6th chords - the 'minor' or 'major' bit comes from the triads.

So - for a C6 chord:

Start with a C major triad (CEG) and add the major 6th (A).
C6 = C E G A

For a Cm6, start with a C minor triad (CEbG) and add the major 6th (A).
Cm6 = C Eb G A

6/9 chords

These are similar to 6th chords, but they have a 9th added, as you may have guessed! I've always seen this as major chords, but I guess there's no reason why you couldn't have something like Dm6/9.

Anyway they are built up by taking the basic triad, and adding the 6th and the 9th.

So C6/9 would be: 1st, maj 3rd, 5th, 6th, 9th

i.e. the notes are: C E G A D
(The 5th can sometimes be left out)

A nice shape for this C6/9 would be:

EADGBE
x32233

C 6/9

Diminished, Half Diminished, and Augmented Chords

Diminished, Half Diminished, and Augmented Chords

Diminished Chords

The diminished chords are either written as 'dim' or sometimes using a small circle like the symbol for degrees (°).

A diminished chord is made up of these notes:

1st, min 3rd, flat 5th, double flat 7th.

(Double flat 7th is the same note as the major 6th, but it's usually written as double flat 7th - don't ask me why!)

So A diminished would be: A, C, Eb, Gb

As a point of interest, the intervals between successive notes in a diminished chord are all minor thirds.

This means if you start to build a dim chord on a C, you end up with the same notes as for the A dim.

In other words Adim = Cdim = Ebdim = Gbdim = A+C+Eb+Gb

So when you play a diminished chord, if you move it up the neck by 3 frets you still have the same chord!!

There is also a chord called the half-diminished, or diminished 7th. I usually write this one as somthing like E7-5 - just another name for the same chord. It's best if you're aware of the different names used for the same chord.

The difference between this one and a 'normal' diminished is that the 7th of the chord is a flat 7th, not a double flat 7th (hence half-diminished).

So the spelling is 1st, min 3rd, flat 5th, flat 7th.


Augmented Chords

An augmented chord is made up of these notes:

1st, maj 3rd, sharp 5th

So A augmented would be : A C# F

(Intervals between successive notes are all maj 3rds - i.e. 4 semitones.)

You can see augmented chords written as something like 'A aug' or 'A+'.

'Add' Chords and Chromatic Chords

Here are the triads and chords:

Major, minor, sus2 and sus4 triads and chords.
Major 7th, flat 7th and minor 7th chords.
9th, min 9th, maj 9th, 11th, min 11th, maj 11th, 13th, min 13th, maj 13th chords.

All other chords fall into the series of chords with 'added' notes or chords with altered notes.

Added chords

Chords with 'added' notes are just what they sound like. They are usually written as something like Cadd2, Cadd4 etc.

Simply start with the 'base' chord (C in this example) and add the appropriate note. You can of course add to any 'base' chord whether it's major or minor or whatever.
Be sure you understand the difference between add2 and sus2 chords, and add4 and sus4 chords - the sus chords have the 3rd replaced with another note. The 'add' chords simply add to the triad, so Cadd2 would be:


Cadd2 = C triad + 2nd = 1st, 2nd, maj 3rd, 5th

Csus2 = Csus2 triad = 1st, 2nd, 5th

Similarly there is an important difference between 'add9' and '9' chords. A C9 chord must have the flat 7th in it (see above), but the Cadd9 chord will not - it's just a C major triad with a 9th added.
You can carry on adding as many notes as you want. If you play around with alternative tunings you could quite easily come across chords like Aadd2add4, but most of the time you'll just have one added note.

You can of course add a note to a chord that isn't a simple major or minor chord - you can have things like Csus4add9 etc.

Altered chords

These are chords with chromatic alterations. The 5th, 2nd, 4th, 9th etc can all be chromatically altered - i.e. moved up or down by a semitone (half step).

Examples of this are chords like E7#9 and E7b9. The 9th of a normal E9 chord has been sharpened in the E7#9, and flattened in the E7b9.

So what are the notes for these?
Well, starting with the 'E7' bit:


E7 = 1st, maj 3rd, 5th, flat 7th = E, G#, B, D

Now add the #9 (count up 15 semitones from E) - G.

So E7#9 = E G# B D G.

Similarly E7b9 = E G# B D F.

There are a few different ways to write these chords.

'-' and '+' signs are sometimes used to mean 'flat' and 'sharp' respectively, but 'b' and '#' are used as well.

You might even see 'dim' and 'aug' (diminished and augmented) used too for the same thing.

So E7#9 could be written as E7+9 or E7aug9, and E7b9 could be written as E7-9 or E7dim9.

With these chromatically altered chords there is almost no limit on the number of chords you can create - most of these will be used in jazz, but some (like the E7#9) appear quite a lot in rock music too.

To work out the notes to these types of chord it's best to start with the 'basic' chord, then add the chromatic notes to this. So, as above for E7#9, start with E7, then add the #9.

You may find several chromatic notes in one chord - like A13b5b9 - treat it just the same way - build up the A13 chord, then swap the 5th and 9th for the flat 5th and flat 9th.