The document provides guidelines for writing instrumental guitar songs, focusing on choosing scales, constructing simple basslines and chord progressions, and techniques for melodic development. It recommends starting with a scale like D major, then creating a bassline using only half notes on root and fifth notes. Chord progressions should use diatonic seventh chords, starting with a I major seventh, then a ii minor seventh, resolving to a V major seventh. Melodies can be built by removing notes from chords like the fifth or seventh, and using techniques like octaves, bends and harmonics. Keeping arrangements simple allows for more melodic and transformable sounds.

1. Fundamental Ideas For
Guitar Instrumental Song
Writing
By Yusuke Sato

2. No Need To Complicate
Simple and interesting at the same time

3. First step!
 Choose a scale!
 Different scales-different mood
 Acknowledging available notes and Chords

4. D major

5. Example 1
• Bass line in D major- Two sharps F
and C
• Very simple, only half notes
• Common time – 4/4
• GBDA
• Fa La Do Sol

6. Diatonic 7th chords
Major Minor
 D Ma 7  B min 7
 E min 7  C# min 7 flat 5
 F# min 7  D Ma 7
 G Ma 7  E min 7
 A Dom7  F# min 7
 B min 7  G Ma 7
 C# min 7 flat 5  A Dom 7

7. Example 2

8. First chord GMa7
• G Ma7= 1 3 5 7 – g, b, d, f,
• G it the root (1)
• B is the 3rd
• D is the 5th
• F# is the 7th

9. Second Chord Bmin7!
• B min7= 1 b3 5 b7 – b d f a
• B is the root
• D is the 3rd
• F# is the 5th
• A is the 7th

10. Third Chord DMaj7
• D Ma7= 1 3 5 7 – d f a c
• D is the root
• F# is the 3rd
• A is the 5th
• C# is the 7th

11. Fourth Chord ADom7
• A Dom= 1 3 5 b7-a c e g
• A is the root
• C# is the 3rd
• E is the 5th
• G is the 7th

12. Taking out the out of all 7th
chords
• G Ma7= 1 3 5 – g b d
• B min7= 1 b3 5 – b d f
• D Ma7= 1 3 5 – d f a
• A Dom= 1 3 5 – a c e

13. Brining out the
originality of your
instrument
Its great if you can bring out the things that make a guitar different
from other instruments. Such as bends, harmonics, open strings, and
etc

14. Taking the 5th out
 To know what chord is being played
and to hear the function of the chord,
you essentially only need the root and
the 3rd. In other words the chord will
have the similar function even with
out the 5th or the 7th.

15. Ideas With Octaves

16. Conclusion
 The 3rd and flat 3rd intervals have a completely
different sound when it is brought up an octave to
the 10th.
 Now from here you can add any tensions you like
in between or a melody.
 The lighter the harmony is, makes it more capable
of transforming in different shapes and sound.
 Simpler the more melodic it becomes