Energy Storage for Modern Power System Operations

by Dhundhara, Sandeep; Verma, Yajvender Pal

• ISBN13: 9781119760337
• ISBN10: 111976033X
• Edition: 1st
• Format: Hardcover
• Copyright: 2021-10-19
• Publisher: Wiley-Scrivener

Summary

ENERGY STORAGE for MODERN POWER SYSTEM OPERATIONS

Written and edited by a team of well-known and respected experts in the field, this new volume on energy storage presents the state-of-the-art developments and challenges for modern power systems for engineers, researchers, academicians, industry professionals, consultants, and designers.

Energy storage systems have been recognized as the key elements in modern power systems, where they are able to provide primary and secondary frequency controls, voltage regulation, power quality improvement, stability enhancement, reserve service, peak shaving, and so on. Particularly, deployment of energy storage systems in a distributed manner will contribute greatly in the development of smart grids and providing promising solutions for the above issues. The main challenges will be the adoption of new techniques and strategies for the optimal planning, control, monitoring and management of modern power systems with the wide installation of distributed energy storage systems. Thus, the aim of this book is to illustrate the potential of energy storage systems in different applications of modern power systems, with a view toward illuminating recent advances and research trends in storage technologies.

This exciting new volume covers the recent advancements and applications of different energy storage technologies that are useful to engineers, scientists, and students in the discipline of electrical engineering. Suitable for the engineers at power companies and energy storage consultants working in the energy storage field, this book offers a cross-disciplinary look across electrical, mechanical, chemical and renewable engineering aspects of energy storage. Whether for the veteran engineer or the student, this is a must-have for any library.

AUDIENCE
Electrical engineers and other designers, engineers, and scientists working in energy storage

Author Biography

Sandeep Dhundhara, PhD, is an assistant professor in the Department of Basic Engineering, College of Agricultural Engineering and Technology, CCS Haryana Agricultural University, India. He completed his doctorate in electrical engineering from Panjab University Chandigarh and has worked as a visiting research fellow at the University of Nottingham in the United Kingdom.  His areas of interest are power system controls and stability, operational planning and control, deregulation and applications of energy storage systems. He has published more than 25 papers in various national and international journals and conferences and is a member of several scientific and technical societies.

Yajvender Pal Verma, PhD, is a professor in the Department of Electrical & Electronics Engineering at UIET Panjab University Chandigarh. He completed his doctorate in electrical engineering from NIT Kurukshetra, in India. His research interest includes distributed generation, wind power integration, power system restructuring, and power system optimization. He has one book and more than 60 papers in various national and international Journals and conferences to his credit. He is also a member of a number of scientific and technical societies. 

Table of Contents

Introduction 1

About This Book 1

Foolish Assumptions 3

Icons Used in This Book 3

Beyond the Book 4

Where to Go from Here 4

Part 1: Getting Started With Guitar Theory 7

Chapter 1: Guitar Theory in a Nutshell 9    

Why Learn Guitar Theory? 10

Navigating the Fretboard 10

Seeing the fretboard as a grid 11

Viewing neck diagrams 11

Reading guitar tablature 12

Playing Scales 15

Pentatonic scale 15

Major scale 16

Modes 16

Harmonic minor scale 16

Working with Chords 17

CAGED chord system 17

Adding chord tones and extensions 17

Passing chords 17

Charting chord progressions 17

Testing Your Guitar Theory Knowledge 18

Chapter 2: Navigating the Fretboard Like a Pro 21

Tracing Everything Back to Strings 6 and 5 22

Moving between pitches with whole steps and half steps 24

Naming the pitches between natural notes: Sharps and flats 26

Grouping notes 26

Tracking Notes and Playing Songs with Octaves 29

Shaping octaves with your 1st finger on strings 6 and 5 30

Shaping octaves with your 1st finger on strings 4 and 3 31

Shaping octaves that are three strings apart 32

Repeating octaves beyond the 12th fret 32

Measuring the Space between Pitches with Intervals 34

Playing intervals 1 through 7 35

Filling in the gaps with flats and sharps 39

Part 2: Working With Chords From The Ground Up 43

Chapter 3: Harmonizing the Major Scale to Form Triads and Chords 45

Building Triads and Chords 46

Major triad: Building from the 1st scale degree of the major scale 46

Minor triad: Building from the 2nd scale degree of the major scale 48

Playing through the Seven Triads of the Major Scale 49

Playing the Chord Sequence of the Major Scale 50

Chapter 4: Forming Chord Shapes with the CAGED System 53

Making Chord Inversions and Chord Voicings 54

Using the C Form 55

Using the C form as a moveable barre chord 55

Playing a C form arpeggio pattern 56

Playing C form chord voicings 59

Using the A Form 62

Using the G Form 65

Using the E Form 67

Using the D Form 70

Connecting the Five CAGED Forms 72

Starting on C 73

Starting on A 73

Starting on G 73

Starting on E 73

Starting on D 73

Sample CAGED Chord Changes 79

Playing Minor CAGED Forms 81

Playing the C minor form 81

Playing the A minor form 82

Playing the G minor form 82

Playing the E minor form 83

Playing the D minor form 84

Connecting the Five Minor CAGED Forms 84

Minor CAGED Chord Changes 86

Chapter 5: Adding Chord Tones and Extensions to Chords 87

About Chord Tones and Extensions 88

Adding 7ths to the Major Scale Chords 90

Playing major and minor 7th chords 94

Playing dominant 7th chords 96

Playing minor 7th flat 5 chords 98

Working with 2nds and 9ths 99

Sus2 chords 99

Add9 chords 99

Minor chords with 2nds and 9ths 100

9th chords 102

Working with 4ths and 11ths 103

Sus4 chords 103

Add4 chords 104

Playing 6th Chords and Using the 6th Interval 105

Adding Harmony with Pedal Point 107

Playing Pedal Tones with Two Guitars 108

Part 3: Getting To Know Keys, Modes, and Chord Progressions 111

Chapter 6: Playing Chord Progressions by Numbers 113

Drawing Chord Progressions from the Major Scale 114

Using Roman Numerals to Represent Chords 115

Visualizing Numbers on the Fretboard 116

Transposing to New Keys 117

Playing Common Chord Progressions 118

Playing I-IV-V chord progressions 119

Playing major chord progressions 120

Adding minor chords ii, iii, and vi 120

Playing minor chord progressions 121

Starting Numbers on the 5th String 122

Playing Chord Progressions with Open Chords 125

Using the Nashville Number System 126

Chapter 7: Knowing Music Inside Out: Identifying Tonics, Keys, and Modes 129

Understanding the Relationship between Major and Minor Scales 130

Numbering the Relative Minor 132

Accounting for any interval changes 133

Looking at a few minor key song examples 135

Identifying the Modes of the Major Scale 137

Ionian (I) 138

Dorian (ii) 139

Phrygian (iii) 144

Lydian (IV) 147

Mixolydian (V) 151

Aeolian (vi) 155

Locrian (vii♭5) 155

Key Signatures and Common Discrepancies 155

Looking past the key signature to figure out a song’s mode 155

Considering some common discrepancies in music notation 157

Comparing Scale Formulas and Structures 159

Chapter 8: Following Key Changes 161

Getting to Know Key Changes by Switching Tonics within a Scale 162

Switching between relative major and minor 162

Switching between other scale degrees 163

Transposing a Progression 163

Changing Key and Progression 165

Using Modal Interchange and Borrowed Chords 166

Playing modal interchanges 167

Playing minor modal interchanges 171

Using the Circle of 5ths for Circle Progressions 174

Applying the same circle to 4ths 175

Seeing circle progressions in action 177

Chapter 9: Dominant Function and Voice Leading 179

Chord Function and the Dominant Chord 179

Leading with the leading tone 181

Tension rises with a tritone 181

Playing songs with dominant function 182

Secondary Dominants 183

Drawing attention to some common secondary dominants 184

Thinking of secondary dominants as mini key changes 185

Songs that use secondary dominants 188

Voice Leading 188

Chapter 10: Filling the Gaps with Passing Chords 193

Getting to Know Chromatic Passing Chords 194

Passing chords in blues 195

We gonna get funky 197

Chromatic ch-ch-ch-ch-changes 197

Getting to Know Diminished Chords 198

Fingering diminished chord shapes 198

Playing diminished 7th chord inversions 199

Using diminished 7ths as passing chords 200

Substituting diminished 7th chords for dominant 7th chords 202

Playing Augmented Chords 203

Playing augmented chord inversions 203

Using augmented chords for dominant function 204

Using augmented chords in voice leading 204

Part 4: Playing Guitar Scales 207

Chapter 11: Preparing for Riffs and Solos with the Pentatonic Scale 209

Getting to Know the Pentatonic Scale 210

Covering the Fretboard with the Pentatonic Scale 211

Starting with pattern 1 211

Playing pentatonic pattern 2 213

Playing pentatonic pattern 3 215

Playing pentatonic pattern 4 216

Finishing up with pentatonic pattern 5 217

Connecting all the patterns 217

Using the Pentatonic Scale as Major and Minor 219

Playing the Pentatonic Scale in Other Keys 223

Playing in F minor and A♭ 224

Playing in F♯ minor and A major 225

Playing in G minor and B♭ major 226

Playing in G♯ minor and B major and other keys 227

Playing in A minor and C major 227

Applying the Pentatonic Scale 229

Chapter 12: Playing Music’s Primary Melody Maker: The Major Scale 233

Getting Familiar with the Major Scale 234

Playing the Major Scale as Five Smaller Patterns 237

Breaking down the G major scale 238

Focusing on fingering 240

Connecting the five patterns to cover the whole fretboard 240

Practicing the Major Scale without Getting Bored 242

Playing along with accompaniment 242

Adding minor notes and patterns 244

Transposing the major scale to new keys 245

Applying the Major Scale 248

Playing Three-Notes-Per-String Patterns 250

Chapter 13: Playing in Modes and Using Modal Scale Patterns 253

Understanding Modes 254

Knowing how modal sounds are made 254

Remembering that modes are more than just patterns or starting positions 255

Playing Ionian Mode 255

Seeing and hearing Ionian mode in action 255

Using Ionian mode with the pentatonic scale 257

Playing Dorian Mode 258

Getting the Dorian details 258

Using Dorian mode with the pentatonic scale 261

Playing Phrygian Mode 263

Playing Lydian Mode 266

Playing Mixolydian Mode 270

Playing Aeolian Mode 273

Chapter 14: Exploring New Patterns with the Harmonic Minor Scale 277

Getting to Know the Harmonic Minor Scale 278

Raising the 7th scale degree 278

Identifying some harmonic minor chord progressions 280

Using Harmonic Minor within a Pentatonic Pattern 282

Adding a raised 7th to the pentatonic 283

Outlining the V7 chord 284

Completing the harmonic minor scale 286

Covering the Fretboard with Harmonic Minor Scale Patterns 288

Picking out patterns 289

Focusing on fingering 289

Practice, practice, practice! 289

Transposing the harmonic minor scale to new keys 291

Playing in a Harmonic Minor Mode 291

Getting to Know the Melodic Minor Scale 292

Using Harmonic Minor in Dorian Mode 293

Chapter 15: Playing the Blues 295

Recognizing Blues Elements in Popular Music 296

Playing Over a Blues V7 Chord 297

Playing the dominant scale 297

Using the major and minor pentatonic 299

Mixing up the scale options 300

Tackling Whole Chord Progressions with the 12-Bar Blues 302

Switching dominant scales 304

Sticking with minor pentatonic 305

Using a major pentatonic scale 305

Changing pentatonic scales on each chord 306

Playing the Blues Scale 306

Part 5: Part of Tens 311

Chapter 16: Ten Guitar Songs Worth Learning 313

“Wish You Were Here” by Pink Floyd 314

“La Bamba” by Los Lobos 316

“Jack and Diane” by John Mellencamp 317

 “Brown Eyed Girl” by Van Morrison 318

“With or Without You” by U2 319

“Stairway to Heaven” by Led Zeppelin 320

“Smooth” by Santana 322

“Sunshine of Your Love” by Cream 323

“Johnny B. Goode” by Chuck Berry 325

“Jingle Bell Rock” by Bobby Helms 325

Chapter 17: Ten Sample Scale Applications 327

G-Em-C-D 328

E-B-C♯m-A 328

E-D-A-E 329

D-C-G-D 329

Am-G-F 329

Am-D 330

Am-Bm 330

Em-D-C-B7 330

F♯-B-C♯ 331

E5-D5 331

Chapter 18: Tens Ways to Put Theory into Practice 333

Learn and Analyze Songs 333

Play Along with Songs 335

Record and Listen to Yourself 335

Become a Super Looper 335

Play with Others 336

Play Out 336

Practice a Little and Play a Lot 337

Study More Music Theory Resources 337

Set Reasonable, Realistic Goals 338

Have a Good Time All the Time 338

Appendix: Audio Tracks and Video Clips 339

Index 343