Scales, modes and chords — each one with every position playable on an interactive fretboard.
The darkest of the everyday minor modes.
The minor mode with a secret brightness.
Major, but with a bluesy flat seventh.
The pure minor sound — Aeolian.
Major, lifted — the dreamy sharp fourth.
Five notes. Every solo starts here.
The warm, floating major-seventh sound.
The smooth, mellow minor-seventh.
The dominant chord that pulls home.
The classic ii chord.
The Hendrix chord.
Warm major seven, built on F.
The scale every other scale is measured against.
The go-to minor mode for a rock or funk groove.
The dominant sound, rooted on D.
The darkest, most unstable mode of all.
Minor with a raised 7th — and an exotic edge.
A minor scale with a major-scale top.
Five notes that always sound sweet.
The first scale every rock guitarist learns.
Minor pentatonic plus one dirty note.
The first chord — the pure major triad.
The first minor chord — sad in three notes.
The half-diminished chord that sets up a minor key.
Four notes, all tension, endlessly movable.
The 3rd swapped for a 4th — suspended and waiting.
The 3rd swapped for a 2nd — open and ringing.
A dominant 7 with a funky 9th on top.
A minor 7 with a lush 9th on top.
A plain major chord with a sparkle on top.
The scale every other scale is measured against.
Two notes, and no opinion about major or minor.
The most guitar-shaped minor there is.
Major seven, with one more note of daylight.
Minor with a lift, in the key that sits best under the hand.
A whole mode compressed into one grip.
Five notes with nowhere to hide — no open strings.
Major, softened — a chord that never demands resolution.
The home key of guitar blues.
A dominant chord that refuses to say whether it is happy.
The dominant sound, in the key where rock actually lives.
The ending chord, for when maj7 is too sweet.
The major scale with one note raised into daylight.
Minor, opened up — no 7th, just air.
Minor with a raised 7th — and the gap that comes with it.
Minor triad, major seventh — the spy-film chord.
The flamenco scale, and the one metal borrowed.
The dominant that pulls toward minor.
Mixolydian plus one passing note that fixes your timing.
The full dominant — and the four notes you actually play.
Every tension a dominant chord can hold, in one scale.
A dominant with the fifth pushed up — and harder to resist.
Eight notes, one shape, and only three of them exist.
The most tension one dominant grip can carry.
Harmonic minor with a second raised note, and two wide gaps.
Six notes that sound like one wide, open colour.
The 4th raised, the 5th raised — the brightest scale there is.
A dominant whose 11th swallows its own 3rd.
Two half-steps, two wide leaps, and nowhere familiar to stand.
A triad with no home — three roots in one shape.
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