Bishop - Fretboard Harmony
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Fretboard Harmony
An approach to modern harmonic relationships that are unique to the guitar
Bruce Bishop
Introdu ction This book provides an approach to modern harmonic relationships that is unique to the guitar, creating the foundation necessary for a complete understanding of music theory as it relates to the guitar fingerboard. Designed for the elementary and intermediate player, this book does not require the ability to sight-read.
The book is divided into two sections: text and workbook. The text section is
presented with a minimum of verbiage, the workbook section is comprised of simple exercises designed to promote assimilation and utilization of the information provided in the text.
Topics covered: Sharps, flats and enharmonics; symmetrical scales and tech-
nique exercises; the five pentatonic scale patterns; the “relative minor” relationship; pattern movements within I, IV, V progressions; intervals and their symbols; the fretboard geometry of intervals; the major scale and its role in present-day music; chords, chord progressions and chord substitutions; chord inversions; 15 common major-scaletype chord progressions; 45 real-world, useable chords diagrammed and explained; the five major scale patterns; root positions of the five major scale patterns; detailed presentations and analyses of three songs; the “D” tuning, with diagrams of 40 practical chords; line progressions, diagrammed and explained; passing chords, ascending and descending; contrasting major and minor keys; understanding minor progressions; and commonly used chord types in minor progressions.
It is recommended that players practice and study at least one hour per day to
reap the maximum benefits from this book. iii
iv Fretboard Harmony
iv
Acknowledg ments Fretboard Harmony is a distillation of 35 years of lessons learned from a vast pool of players, teachers, friends, studio engineers and even a few dogs and cats. All of their names and stories easily could fill a book — a book that would be far more interesting than a text for the guitar.
I am grateful to my wife, Julie, who with the help of her mother, Jo Hadley, took
a loose, unorganized, and often long-winded manuscript and turned it into this beautifully produced book. Special thanks, also, to my talented friend Ben Bull (Obscure Design, San Bernardino, California), for his generous and invaluable computer-graphics advice during the production of this book.
I have also had more than my share of bright, talented and challenging students
who have helped guide the presentation of these concepts.
As a teacher, Jack Smalley, at the Dick Grove Music Workshops, opened up a
multitude of doors and insights into the tapestry of music and human experience. His positive vitality, honesty and humor were irresistible, and the learning was fun.
Thanks also to Jim Bogen for helping to arrange my classes at Pitzer College.
Without his efforts I would not have undertaken this book.
v
vi Fretboard Harmony
vi
Contents Introduction iii Acknowledgments v PART I FRETBOARD HARMONY TEXTBOOK 1
THE BASICS 3
Sharps, Flats and Enharmonics 3
Symmetrical Scales and Technique 4
Pentatonic Scales 5
Metronome Practice 7
General Practice Tips 8
2 CHANGING MAJOR TO MINOR 9
Major and Minor 9
Relative Minor 10
Summary of Basic Major and Minor Chord Shapes within the
Pentatonic Patterns 11
3
I, IV, V P ROGR ESSIONS 13
Pentatonic Scales within I, IV, V Progressions 13 vii
viii Fretboard Harmony
4
MIXED I, IV, V PROGRESSIONS 23 Mixed I, IV, V Progression Combinations 23 Simplifying the Pentatonic Pattern Movement in I, IV, V Progressions 24
5
IN T ERVAL GEOMETRY 33 Intervals and Symbols 33 Upper Extensions 34 Interval Geometry 35
6
THE M AJOR SCALE 47 The Major Scale 47 Chords and Chord Progressions 53 Learning New Chords 57 About Inversions 57
7
THE MAJOR SCALE PATTERNS 63 The Major Scale Patterns 63 Root Positions of Major Scale Patterns 68
8
SONG ANALYSIS, EXAMPLE 1 73 Example 1: Julia 73 Julia 74 Chords for Julia 75 Song Analysis: Julia 78
9
SONG ANALYSIS, EXAMPLE II 81 Example II: Freddie the Freeloader 81 Freddie the Freeloader 82 Chord Melody for Freddie the Freeloader 84 The Dominant Pentatonic Scale 86 viii
Fretboard Harmony ix
10
SONG ANALYSIS, EXAMPLE III 89 Example III: The Low Down 89 The Low Down 90 Chords for The Low Down 92 Chord Chart Analysis: The Low Down 99
11
THE “D” TUNING 105 The “D” Tuning 105 “D” Tuning Diatonic Chords 106 Basic Minor Chords in the “D” Tuning 109
12
BEYOND THE MAJOR SCALE 111 Line Progressions 111 Passing Chords 117 Contrasting Major and Minor 122 Playing Minor Progressions 123
PART II FRETBOARD HARMONY WORKBOOK Sharps, Flats and Enharmonics 129 The Chromatic Scale 133 Symmetrical Scales 137 Pentatonic Scales 143 Relative Minor 156 Changing Major to Minor 159 Relative Minor Pentatonic Scales 165 I, IV, V Progressions 178 Pattern Movement in I, IV, V Progressions 181 Pattern Movement in I, IV, V Progressions in Minor 187 Pattern Movement in Mixed I, IV, V Progressions 192 Pattern Movement Circles 201 Intervals 225 Interval Geometry 232 ix
x Fretboard Harmony
x
P
A
I
R
T
Fretboard Harmony Textbook
1
The Basics
Sharps, Flats and Enharmonics b = flat
# = sharp n = natural
Note is lowered by one fret, 1/2 step Note is raised by one fret, 1/2 step Used to cancel a previous sharp or flat instruction
The Chromatic Scale The Ascending Chromatic Scale The Descending Chromatic Scale
I
I
All 12 notes
I
I
I
AA BCC DD EFF GG A A Ab G Gb F E E b D Db C B Bb A
I I I I I I (F & Gb) (G & Ab) (B & C) I (B & Cb) (F & E )
Enharmonic Equivalents
Example:
Same note with two names (A & Bb) (C & Db) (D & E b)
Exercises Practice drawing and saying the alphabet A through G forwards, backwards, and every other letter. Using workbook pages 129 through 136, draw and recite chromatic scales starting from each note. 3
4 Fretboard Harmony
Symmetrical Scales and Technique Symmetrical Scales are groups of evenly spaced notes.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes, spaced apart by 1/2 steps
Whole steps
1-1/2 steps, minor 3rds
I I
I
I M
I M M R
I M
I M R R B I M R B B M R B R B B
I I I M
B
I B
I M
B
I B
M I B
B I
I B
I
B M M
B B
B B
Exercises Using workbook pages 137 through 142, draw the Symmetrical Scales.
Fretboard Harmony 5
Pentatonic Scales
Are the most universal scales
Lay well on the fretboard
Provide an open sound with great harmonic strength
Are able to assume many harmonic identities
When layered over with blues scales, provide wide range of possibilities
Example of Pentatonic Scales in the key of A Fret 2
Fret 5
AEO - PENT
IO - PENT
“G” Shaped
Fret 9
Fret 7
“E” Shaped
Fret 12
LYDI - PENT “C” Shaped
MIXO - PENT “A” Shaped
DORI - PENT “D” Shaped
6 Fretboard Harmony
Exercises Practice drawing chord shapes. Play chord shapes and scales. Break the patterns into parts and develop licks. Advanced: Play as 4ths (two adjacent notes at once). Using workbook pages 143 through 155, draw the pentatonic scale patterns and their corresponding chord shapes.
Fretboard Harmony 7
Metronome Practice Time is everything! Tell yourself this every day for life! GET ONE — BUY ONE — STEAL ONE!
Exercises Practice playing the following with a metronome: M.M. 200 Play 1/2 notes (one note equals two ticks) M.M. 120 Play 1/4 notes (one note equals one tick) M.M. 120 Play 1/8 notes (two notes equal one tick) M.M. 120 Play 1/8 notes with swing feel (doo-ba) Repeat the above, playing in between the metronome ticks.
8 Fretboard Harmony
General Practice Tips Warm up slowly with the symmetrical scales for three or four minutes. Practice drawing what you are working on. Isolate your weaknesses and allow them more time. Keep a practice journal. Save “getting off” for after practice. Remember that two minutes of concentrated effort on a difficult passage is the equivalent of 15 to 20 minutes of song repetition. Don’t get discouraged! It is not uncommon for people to have difficulty assimilating this new information and incorporating it into their playing repertoire. Most people who embark upon concentrated studies of this nature tend to lose perspective on their growth rate. This is totally normal! A little faith and patience will help a lot.
2
Changing Major to Minor
Major and Minor All five basic chord shapes can be changed from major to minor. Doing this requires memorizing which of the chord notes are the 3rds.
Key of “A” Major Fret 2
Fret 7
3
Fret 3 9
3
Fret 5 3
Fret 12 3
3
3
3 3
“G” Shaped
“E” Shaped
“D” Shaped
“C” Shaped
“A” Shaped
Lowering the 3rd by one fret (1/2 step) changes the chord from major to minor.
Key of “A” Minor Fret 2
Fret 7
b3
Fret 5
b3
Fret 9
b3
b3
b3
Fret 12
b3 b3
“G mi.” Shaped
“E mi.” Shaped
“D mi.” Shaped 9
“C mi.” Shaped
“A mi.” Shaped
10 Fretboard Harmony
Relative Minor The term relative minor means that three frets down from any major chord lies a minor
I
I
chord that shares most of its notes with its relative major chord, three frets up. “A” major’s relative minor is “F ” minor. “F ” minor’s relative major is “A” major.
I
Here is how “F ” minor fits into the five pentatonic scale patterns:
Key of “F I ” Minor
Fret 2
Fret 9 Fret 5
AEO-PENT “E mi.” Shaped
Fret 7
IO-PENT
“D mi.” Shaped
Fret 12
DORI-PENT “C mi.” Shaped
LYDI-PENT “A mi.” Shaped
MIXO-PENT “G mi.” Shaped
Note that each of the five pentatonic patterns contains a major chord and its corresponding relative minor chord.
Exercises Experiment with new chord shapes within the patterns — most sound good and there are many possibilities — all of which can be substituted for their basic chord counterparts. Using workbook pages 156 through 177, complete the major-to-minor exercises.
Fretboard Harmony 11
Summary of Basic Major and Minor Chord Shapes within the Pentatonic Patterns Preceding are five different fingerings and scale patterns of the Pentatonic Scale; each pattern contains the shape of a major chord, and the shape of its relative minor chord.
Example:
I
The Keys of “A” Major and F Minor AEO-PENT at fret #2 = “G” shaped major chord and “E” minor shaped chord. IO-PENT at fret #5 = “E” shaped major chord and “D” minor shaped chord. DORI-PENT at fret #7 = “D” shaped major chord and “C” minor shaped chord. LYDI-PENT at fret #9 = “C” shaped major chord and “A” minor shaped chord. MIXO-PENT at fret #12 = “A” shaped major chord and “G” minor shaped chord.
Also, three frets below any major chord is its relative minor chord. Example:
I
Three frets below “A” major lies its relative minor chord, “F ”minor. It follows then, when changing from major to minor, all of the patterns shift up the neck by three frets. Example: The “A” major chord becomes the “A” minor chord.
12 Fretboard Harmony
3
I , IV, V P rogressions
Pentatonic Scales within I, IV, V Progressions A chord progression is a group of chords played in succession. Chord progressions typically have a beginning and an end — they are a cycle. Chord progressions usually move between tension and resolution. The most basic chord progression is the I, IV, V. The Roman numerals are used to simplify transposition. The Roman numeral “I” always names the key. Example:
The I, IV, V Progression in the Key of “A” Major I = “A” Major IV = “D” Major V = “E” Major 13
14 Fretboard Harmony
Observe what occurs at the fifth fret when the “A”, “D”, and “E” chords are played. Notice all three chords can be easily played without ever leaving the fifth fret area of the neck. I
IV
“A” Major
Fret 5
V
“D” Major
Fret 5
“E” Shaped
“E” Major
Fret 5
“A” Shaped
“C” Shaped
Associating the learned pentatonic scale pattern for each of the five basic chord shapes produces the following I, IV, V Progression in the key of “A” Major, at the fifth fret: I
IV
“A” Major
V
“D” Major
“E” Major Fret 4
Fret 5
Fret 5
Fret 7
IO - PENT “E” Shaped
MIXO - PENT “A” Shaped
LYDI - PENT “C” Shaped
Exercises Using workbook pages 178 through 180, complete the I, IV, V Progressions.
Fretboard Harmony 15
Observe a similar occurrence at the second fret: I
IV
“A” Major
Fret 2
V
“D” Major
Fret 2
AEO - PENT “G” Shaped
“E” Major
Fret 2
LYDI - PENT
DORI - PENT
IV
V
“C” Shaped
“D” Shaped
At the seventh fret: I
“A” Major
Fret 7
“D” Major
Fret 7
“E” Major
Fret 7
Fret 10
DORI - PENT “D” Shaped
AEO - PENT “G” Shaped
MIXO - PENT “A” Shaped
16 Fretboard Harmony
At the ninth fret: I
IV
“A” Major
V
“D” Major
Fret 9
“E” Major
Fret 9 Fret 10
Fret 12
Fret 12
LYDI - PENT “C” Shaped
IO - PENT
AEO - PENT
IV
V
“E” Shaped
“G” Shaped
At the twelfth fret: I
“A” Major
Fret 12
“D” Major
Fret 12
MIXO - PENT “A” Shaped
“E” Major
Fret 12
DORI - PENT “D” Shaped
IO - PENT “E” Shaped
Exercises Using workbook pages 181 through 186, complete the pattern movement exercises.
Fretboard Harmony 17
Remember that each chord in the I, IV, V Progression has a corresponding relative minor chord. Example:
I
I = “A” Major and “F ” minor IV = “D” Major and “B” minor V = “E” Major and “C ” minor
I
A I, IV, V Minor Progression can be built using relative minor chords:
I
I minor = “F ” minor IV minor = “B” minor V minor = “C ” minor
I
I
This would be called the key of “F ” minor.
The learned pentatonic scale patterns are exactly the same for the: I (“A” Major), IV (“D” Major), V (“E” Major) Progression in “A”
I
I
and the
I
I (“F ” minor), IV (“B” minor), V (“C ” minor) Progression in “F ” minor
18 Fretboard Harmony
I
I
Observe what occurs at the fifth fret when the “F ” minor, “B” minor, and “C ” minor chords are played. Notice all three chords can be played easily without ever leaving the fifth fret area of the neck.
I
I Minor
Fret 5
I
IV Minor
“F ” minor
V Minor
“B” minor
“C ” minor
Fret 5
“D” mi. Shaped
Fret 5
“G” mi. Shaped
“A” mi. Shaped
I
Associating the learned pentatonic scale pattern for each of the five basic chord shapes produces the following I, IV, V Progression in the key of “F ” minor, at the fifth fret:
I “F ” minor I Minor
Fret 5
IV Minor
I
V Minor
“B” minor
“C ” minor Fret 4
Fret 5
Fret 7
IO - PENT
“D” mi. Shaped
MIXO - PENT “G” mi. Shaped
LYDI - PENT “A” mi. Shaped
Fretboard Harmony 19
Observe a similar occurrence at the second fret:
I “F ” minor I Minor
Fret 2
I
IV Minor
V Minor
“B” minor
Fret 2
AEO - PENT “E” mi. Shaped
“C ” minor
Fret 2
LYDI - PENT
DORI - PENT
IV Minor
V Minor
“A” mi. Shaped
“C” mi. Shaped
At the seventh fret:
I “F ” minor I Minor
Fret 7
I
“C ” minor
“B” minor
Fret 7
Fret 7
Fret 10
DORI - PENT “C” mi. Shaped
AEO - PENT “E” mi. Shaped
MIXO - PENT “G” mi. Shaped
20 Fretboard Harmony
At the ninth fret:
I “F ” minor I Minor
IV Minor
V Minor
“B” minor
Fret 9
Fret 9 Fret 10
Fret 12
Fret 12
LYDI - PENT “A” mi. Shaped
IO - PENT
AEO - PENT
IV Minor
V Minor
“D” mi. Shaped
“E” mi. Shaped
At the twelfth fret:
I “F ” minor I Minor
Fret 12
Fret 12
MIXO - PENT “G” mi. Shaped
I
“C ” minor
“B” minor
Fret 12
DORI - PENT “C” mi. Shaped
IO - PENT
“D” mi. Shaped
Exercises Using workbook pages 187 through 191, complete the pattern movement exercises.
Fretboard Harmony 21
This information should be absorbed slowly — it takes time!
Exercises Practice the I, IV, V chord/arpeggio and pattern changes at each of the five areas just reviewed. Spending two minutes per area, for ten minutes a day, will do the trick. Please be patient and consistent.
22 Fretboard Harmony
4
Mixed I , IV, V Progressions
Mixed I, IV, V Progression Combinations I, IV, V Progressions in major and minor are often mixed together. The possible combinations of Mixed I, IV, V Progressions are: I minor
IV Major
V Major
I Major
IV minor
V Major
I Major
IV Major
V minor
I minor
IV minor
V Major
I minor
IV Major
V minor
I Major
IV minor
V minor
Exercises Using workbook pages 192 through 224, complete the pattern movement exercises.
23
24 Fretboard Harmony
Simplifying the Pentatonic Pattern Movement in I, IV, V Progressions The following pentatonic pattern movements are based on all of the possible two-part combinations of I, IV, V Progressions. Although there are 16 possible two-part combinations of the I, IV, V Progressions, only seven different pattern movements are required to produce them. In fact, of the seven movements, only four need be memorized, because the other three are the same movements in reverse order.
Fretboard Harmony 25
Group One Pentatonic Movement I to IV
and
Inside circle = I (A) Outside circle = IV ( D)
IV Major to V Minor Inside circle = IV Major (A) Outside circle = V minor (B minor)
MIXO at fret 5 IO at fret 5
LYDI
at fret 14 or 2
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12 DORI at fret 12
LYDI at fret 9 IO at fret 10
AEO at fret 7
26 Fretboard Harmony
Group Two Pentatonic Movement I to V Inside circle = I (A) Outside circle = V (E)
LYDI at fret 4 IO at fret 5
DORI
at fret 14 or 2
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12
LYDI at fret 9
IO at fret 12
AEO at fret 9
Note: This is group one in reverse.
MIXO at fret 7
Fretboard Harmony 27
Group Three Pentatonic Movement IV to V
and
Inside circle = IV (A) Outside circle = V (B)
I Minor to IV Major
I
Inside circle = I minor (F minor) Outside circle = IV Major (B)
AEO at fret 4 IO at fret 5
MIXO
at fret 14 or 2
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12 LYDI at fret 11
LYDI at fret 9 DORI at fret 9
IO at fret 7
28 Fretboard Harmony
Group Four Pentatonic Movement I Major to V Minor Inside circle = I Major (A) Outside circle = V minor (E minor)
DORI at fret 5 IO at fret 5
IO
at fret 15 or 3
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12
LYDI at fret 9
AEO at fret 12
MIXO at fret 10
Note: This is group three in reverse.
LYDI at fret 7
Fretboard Harmony 29
Group Five Pentatonic Movement IV Minor to V Major
I
I
Inside circle = IV minor (F minor) Outside circle = V Major (G )
IO at fret 4 IO at fret 5
AEO
at fret 13 or 1
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12 MIXO at fret 11
LYDI at fret 9 LYDI at fret 8
DORI at fret 6
30 Fretboard Harmony
Group Six Pentatonic Movement I Minor to V Major
I
I
Inside circle = I minor (F minor) Outside circle = V Major (C )
MIXO at fret 4 IO at fret 5
LYDI
at fret 13 or 1
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12 DORI at fret 11
LYDI at fret 9 IO at fret 9
AEO at fret 6
Fretboard Harmony 31
Group Seven Pentatonic Movement I Major to IV Minor Inside circle = I Major (A) Outside circle = IV minor (D minor)
LYDI at fret 5 IO at fret 5
DORI
at fret 15 or 3
DORI at fret 7
AEO
at fret 14 or 2
MIXO at fret 12
LYDI at fret 9
IO at fret 13
AEO at fret 10
Note: This is group six in reverse.
MIXO at fret 8
32 Fretboard Harmony
5
Interval Geometry
Intervals and Symbols In harmony the distance between notes is measured up or down using whole steps (two frets), and half steps (one fret). Each distance or interval is given a name: Root
Up
or
Down
Written As
Is Called
“C” 6 whole steps
6 whole steps = “C”, an octave
8
“C” 1 whole step
. . . . . . . . . . .
“C” 11/2 whole steps
. . . . . . . . . . .
= “E b”, a minor 3rd
2
mi. 3 or b3
“C” 2 whole steps
. . . . . . . . . . .
= “E”, a major 3rd
Ma. 3, 3 or 3
“C” 21/2 whole steps
. . . . . . . . . . .
= “F”, a perfect 4th
4
= “D”, a major 2rd
“C” 3 whole steps
3 whole steps = “Gb”, a diminished 5th
“C” 31/2 whole steps
21/2 whole steps = “G”, a perfect 5th
5
“C” 4 whole steps
2 whole steps = “G ”, an augmented 5th
+5
“C” 41/2 whole steps
11/2 steps
= “A”, a major 6th
Ma. 6, 6 or 6
“C” 5 whole steps
1 step
“C” 51/2 whole steps
1/ 2
= “B”, a major 7th
Ma. 7 or 7
step
I
= “Bb”, a minor 7th 33
flat 5 or b5
“
“
flat 7, 7 or b7
“
34 Fretboard Harmony
Upper Extensions When describing an interval further than one octave above the root, the number seven (7) is added to the interval name.
Example: “C” is the root “D” is the major 2nd One octave above “D” is called the Major 9th
It follows: “F” is the 4th = one octave above “F” = 11th “A” is the 6th = one octave above “A” = 13th
In everyday chord useage: 10ths are known as 3rds 12ths are known as 5ths 14ths are known as 7ths 15th are known as octaves The exception is the 2nd, which is almost always referred to as a 9th!
Exercises Using workbook pages 225 through 231, complete the interval exercises.
Fretboard Harmony 35
Interval Geometry Octave = The same note 12 frets away If “C” is the root, then “C” is also the octave.
I and I OCTAVE
OCTAVE
OCTAVE R
R
R
R
R R
R
R
R
OCTAVE
OCTAVE
OCTAVE
R
R
R
R R
R
R
R R
R
36 Fretboard Harmony
Major 2nd = Two frets above root (or ten frets below) If “C” is the root (I), then “D” is the major 2nd (II).
I and II Major 2nd
Major 2nd
2
Major 2nd
2
R
R
2
2
Major 2nd
2
2
Major 2nd
2
R
Major 2nd 2 2
2
R
2
R R
2
2
Fretboard Harmony 37
Minor 3rd = Three frets above root (or nine frets below) If “C” is the root (I), then “E b” is the minor 3rd ( bIII or b3).
I and bIII Minor 3rd
Minor 3rd
b3
Minor 3rd
b3
b3
R
R
R
b3
b3
b3
Minor 3rd
Minor 3rd b3
b3
R
b3
Minor 3rd
R R
b3
b3
38 Fretboard Harmony
Major 3rd = Four frets above root (or eight frets below) If “C” is the root (I), then “E” is the major 3rd (III).
I and III Major 3rd
Major 3rd
3
Major 3rd
3
3
R
R
R
3
3
3
Major 3rd
Major 3rd
Major 3rd 3
R 3
R
R
3
3
3
Fretboard Harmony 39
Perfect (Normal) 4th = Five frets above root (or seven frets below) If “C” is the root (I), then “F” is the perfect (normal) 4th (IV).
I and IV Perfect 4th
Perfect 4th 4
Perfect 4th 4
R 4 R 4
Perfect 4th 4
R 4
Perfect 4th 4
Perfect 4th 4
R
R 4
R 4
40 Fretboard Harmony
Diminished/Flatted 5th = Six frets above root (or six frets below) If “C” is the root (I), then “G b” is the flatted 5th ( bV).
I and bV b5
b5
b5
b5
R
b5
R b5
R b5
b5
b5
b5
b5
b5 b5
b5
R
R R b5
b5
Fretboard Harmony 41
Perfect (Normal) 5th = Seven frets above root (or five frets below) If “C” is the root (I), then “G” is the perfect (normal) 5th (V).
I and V Perfect 5th
Perfect 5th
Perfect 5th
5 R
R
5
5 R
5
Perfect 5th
5
Perfect 5th
Perfect 5th
5 5 R
5 R
R
5 5
42 Fretboard Harmony
Minor 6th or Augmented 5th = Eight frets above root (or four frets below)
I
If “C” is the root (I), then “G ” is the augmented 5th (+V or +5).
I and +V +5
+5
R
+5
R
R
+5
+5
+5
+5
+5
+5
+5
+5
+5
R
+5 R
R
+5
+5
+5 +5
Fretboard Harmony 43
Major 6th = Nine frets above root (or three frets below) If “C” is the root (I), then “A” is the major 6th (VI).
I and VI Major 6th
Major 6th
6
Major 6th
6
R
R
R
6
6
6
6
6
Major 6th
R
Major 6th
6
Major 6th
R
R
6 6
6
6
44 Fretboard Harmony
Flatted 7th = Ten frets above root (or two frets below) If “C” is the root (I), then “B b” is the flatted 7th ( bVII or b7).
I and bVII b7
R
b7
b7
b7 b7
R
R b7
b7
b7
b7
b7
b7
R
R b7
b7
R
b7
Fretboard Harmony 45
Major 7th = Eleven frets above root (or one fret below) If “C” is the root (I), then “B” is the major 7th (VII).
I and VII Major 7th
Major 7th
Major 7th 7
R
R 7
R 7 7
Major 7th
Major 7th
Major 7th
7
7
7
R
R
R
7 7
Exercises Using workbook pages 232 through 238, draw the interval shapes.
46 Fretboard Harmony
6
The Major Scale
The Major Scale The major scale is used to measure and describe harmonic relationships. Producing the major scale requires a series of whole steps (two frets) and half steps (one fret). In the following examples: “W” = whole step “H” = half step The sequence goes like this: W, W, H, W, W, W, H (whole step, whole step, half step, whole step, whole step, whole step, half step)
I
I
I
The sequence applied to the chromatic scale:
I
I
CC D D E F F G G A A B C W W H W W W H Produces the major scale: C D E F G A B C 47
48 Fretboard Harmony
Each note is assigned a Roman numeral: I II III IV V VI VII I C D E F G A
B C
The familiar singable symbols are also assigned to each note: I II III IV V VI VII I C D E F G A B C do re mi fa sol la ti do Because the Roman numerals, singable symbols, and whole step/half step sequences always remain the same, it is easy to transpose from one key to another. The following examples illustrate all 12 possible major scales and their practical spellings:
Key of “C” Major I
II W
C
III W
D
IV H
E
V W
F
VI W
G
VII W
I H
A
B
C
VI
VII
I
No sharps or flats.
Key of “F” Major I
II W
F
III W
G
IV H
A
Bb
V W
W
C One flat.
W
D
H
E
F
Fretboard Harmony 49
Key of “B b” Major I Bb
II W
III W
C
IV H
D
V W
Eb
VI W
F
VII W
I H
G
A
Bb
VI
VII
I
Two flats.
Key of “E b”Major I Eb
II W
III W
F
IV H
G
Ab
V W
Bb
W
W
H
C
D
Eb
VI
VII
I
Three flats.
Key of “Ab” Major I Ab
II W
Bb
III W
IV H
C
Db
V W
Eb
W
W
H
F
G
Ab
VI
VII
I
Four flats.
Key of “D b” Major* I Db
II W
Eb
III W
IV H
F
Gb
V W
Five flats.
Ab
W
Bb
W
H
C
Db
50 Fretboard Harmony
Key of “G b” Major* I Gb
II W
Ab
III W
Bb
IV H
Cb
V W
Db
VI W
Eb
VII W
I H
F
Gb
VII
I
Six flats.
Key of “C b” Major* I Cb
II W
Db
III W
Eb
IV H
Fb
VI
V W
Gb
W
Ab
W
Bb
H
Cb
Seven flats.
Key of “G” Major I
II W
G
III W
A
IV H
B
V W
C
VI E
I F
VI
VII
W
D
VII W
I H
G
One sharp.
Key of “D” Major I
II W
D
III W
E
I F
IV H
V W
G
W
A
Two sharps.
W
B
I C
I H
D
Fretboard Harmony 51
Key of “A” Major I
II W
A
III W
B
I C
IV H
V W
VI W
D
E
I F
VII W
I G
I H
A
Three sharps.
Key of “E” Major I
II
W
E
I F
III W
I G
IV H
V W
VI W
A
B
I C
VII W
I D
I H
E
Four sharps.
Key of “B” Major I
II
W
B
I C
III W
I D
IV H
V
W
E
I F
VI W
I G
VII W
I A
I H
B
Five sharps.
I
Key of “F ” Major* I
I F
II
W
I G
III W
I A
IV H
W
B
V
I C
Six sharps.
VI
W
I D
VII W
I E
I H
F
I
52 Fretboard Harmony
I
Key of “C ” Major* II
I
I C
W
I D
III W
IV
I E
H
I F
W
V
I G
VI W
I A
VII W
Seven sharps.
I
I
* (C b & B), (F & G b), and (C & D b) are all enharmonic equivalents.
I B
I H
C
I
Fretboard Harmony 53
Chords and Chord Progressions Start by harmonizing the the major scale: Key of “C” Major I
= “C” Ma. 7 (“C”, “C” sus., “C6”, “C” Ma. 9, “C 69”, etc.)
II = “D” mi. 7
(“D” mi. 6, “D” mi. 9, “D” mi. 11, etc.)
III = “E” mi. 7 IV = “F” Ma. 7 V = “G7”
(“G7” sus. 4, “G9”, “G13”, etc.)
VI = “A” mi. 7
VII = “B” mi. 7 ( b5)
• The use of 7th chords (four-part harmony), clearly illustrates how a chord fits into its “parent” scale.
• The substitution possiblities within the Roman numerals are: III and VI are substitutes for I II and IV are substitutes for each other — II, V, I in jazz and I, IV, V in rock VII can substitute for V
54 Fretboard Harmony
The following are examples of chord progressions built from the major scale: 1. I Ma. 7 & IV Ma. 7
2. IV Ma. 7 & V 7
3. II mi. 7 & V 7
4. I Ma. 7 & II mi. 7
5. II mi. 7, V 7, I Ma. 7
6. I Ma. 7, IV Ma. 7, V 7
7. I Ma. 7 & VI mi. 7
8. IV Ma. 7 & II mi. 7
] ] ] ]
C Ma. 7
F Ma. 7
F Ma. 7
G7
D mi. 7
G7
C Ma. 7
D mi. 7
D mi. 7
]
] ] ]
G7
C Ma. 7
} } } }
C Ma. 7
F Ma. 7 G 7 /
/
/
C Ma. 7
A mi. 7
F Ma. 7
D mi. 7
/
} } } }
Fretboard Harmony 55
E mi. 7
]
9. III mi. 7 & I Ma. 7
C Ma. 7
A mi. 7
D mi. 7
G7
C Ma. 7
G/ B
A mi. 7
G7
]
10. I Ma. 7, VI mi. 7, II mi 7, V 7
]
11. I Ma. 7, V/3, VI mi. 7, V 7 “Descending”
C Ma. 7
/ / / /
/ / / /
} } }
12. Ascending straight up the line starting from the IV Ma. 7
]
F Ma. 7
G7
A mi. 7
B mi.7( b5) C Ma.7 /
/
/
/
D mi. 7 E mi. 7 /
/
/
/
}
13. Moving primarily by 4ths
]
C Ma. 7
F Ma. 7
E mi. 7
A mi. 7
D mi. 7
G sus. G 7
F Ma. 7
B mi. 7 ( b5)
/
/
/
/
}
56 Fretboard Harmony
14. Moving primarily by 5ths C Ma. 7
]
D mi. 7
A mi. 7
G7
D mi. 7
E mi. 7
F Ma. 7
}
15. Using inversions to embellish a bass line
]
G 7 G 7/ F /
/
/
C/ E F Ma. 7/A /
/
/
/
/
G/ B /
/
F/C /
A mi./ E D mi. 7 /
/
/
/
/
}
Fretboard Harmony 57
Learning New Chords Learn “Root on E” and “Root on A” chords first, followed by “Root on D.”
About Inversions In four-part harmony — 7th chords — any part of the chord can be put on the bottom of the “pile.” Using “G7” as an example: First inversion
= “G” 7/3 or “G” 7/ “B”
Second inversion
= “G” 7/5 or “G” 7/ “D”
Third inversion
= “G” 7/ b7 or “G” 7/ “F”
The primary reason to invert a chord is to achieve a desirable bass line (refer to chord progression example number 15, on page 56).
Examples See the following five pages for examples of some of the chords that can be built using the major scale.
58 Fretboard Harmony
Major 7th and 6th Chords
C Ma. 7
C Ma. 7/ 3
C Ma. 7
X
C Ma. 7
X
C Ma. 7
X
X
I Fret 3
I
I
Fret 5
Fret 8
I
I
M R
Fret 10
M
Fret 12
I
I
R B B
R
(M)
B
R
R B
Rt.
5
7
3
5
X
3
C6
5
Rt.
3
7
Rt.
C 6/ 3
X
X
7
3
5
7
3
(5)
C6
X
Rt.
5
7
3
Rt.
C6
X
X
3
5
Fret 5
M
3
C6
X
X
Fret 8
I
M
R
Fret 10
Fret 12
( ) I
B R
7
I
I Fret 3
X
B
I (M)
R
R
B
M R B
X
Rt.
5
6
3
X
3
5
Rt.
3
6
Rt.
6
3
5
(3)
(5)
Rt.
5
6
3
(5)
Rt.
3
6
Rt.
X
Fretboard Harmony 59
Major 9th and 6 9 Chords
C Ma. 9
C Ma. 9/ 3 X
C Ma. 9
X
C Ma. 9
X
C Ma. 9
X
X Fret 12
I Fret 3
( ) M
R
I
I Fret 8
B
M
Fret 7
(5)
Rt.
3
7
9
M
3
C69
R
5
9
B
3
7
( ) I
(M)
B
Rt.
I
R
X
C 6 9/3
( )
Fret 10
7
9
5
X
(3)
R B
(5)
C69
Rt.
5
7
B
9
Rt.
C69
X
9
5
7
3
C Ma. 13*
X
I Fret 3
( ) M
Fret 5
R
( ) I
I Fret 8
M
R
Fret 12
I Fret 10
R
( ) M
I
R
B
R B
(5)
Rt.
3
6
9
5
3
5
9
3
6
Rt.
(3)
6
9
5
Rt.
(5)
Rt.
3
6
9
(3)
Rt.
* When a Major 7th is added to a 6 9 chord, a Major 13 chord is the result.
9
6
7
3
60 Fretboard Harmony
Minor 7th and Minor 9th Chords
A mi. 7 ( )
O
A mi. 7/b3*
O
A mi. 7
O
A mi. 7
X
A mi. 7
X
I Fret 2
I Fret 3
Fret 5
( ) M
M
M
Fret 7
R
( ) I Fret 12
( ) M
M R
(5)
Rt.
5
b7
b3
5
(b7)
b3
b7
R
b3
5
Rt.
Rt.
X
b7
b3
5
Rt.
(5)
Rt.
5
( )
R B
b7
b3
(5)
Rt.
b3
b7
b3
(5)
* Yes, C 6 and A minor 7 look and are the same.
A mi. 9 ( )
O
O
A mi. 9/b3** O
A mi. 9
O
A mi. 9
A mi. 9
X
I Fret 2
Fret 3
Fret 5
( ) I
M
M
R Fret 7
M B ( )
R
(5)
Rt.
5
b7
9
5
(b7)
b3
b7
9
5
b7 (Rt.)
( ) M
R
B
Rt.
I
X
b7
b3
5
9
Fret 12
( ) M
R B ( )
B
(5)
Rt.
b3
b7
** C Major 7 and A minor 9 are the same. Minor 9th chords can not be used as a III minor 7 ! Example: In the key of C Major, E minor = III minor 7.
9
(5)
Rt.
b3
b7
9
(5)
Fretboard Harmony 61
7th and 9th Chords
G7
G7
G7
G7
X
Fret 3
I
G 7/3
X
Fret
R ( )5
M
Fret 8
( ) I M
B ( )
R
Fret 10
Fret 12
( ) I
I
I
M B
Fret 10
M
( ) R
B
(5)
b7
R
B
R ( )
b7
Rt.
3
5
(Rt.)
(3)
(5)
G9
Rt.
5
b7
3
Rt.
G9
3
Rt.
X
(5)
Rt.
G9
5
b7
3
5
Rt.
3
G9
5
Rt.
5
b7
3
13
G 13*
X
( ) Fret 3
M
I B ( )
R
I Fret 5
Fret 10
( ) M
R
Fret 10
( ) M
(3)
b7
9
5
Rt.
(5)
Rt.
3
b7
R
9
(5)
Rt.
I
R
B
Rt.
Fret 12
( ) I
I
3
b7
9
5
(5)
Rt.
5
M
b7
9
B
( )
b7
(Rt.)
* When a 6th is added to a 9th chord, a 13th chord is the result.
R B
3
b7
9
62 Fretboard Harmony
Minor 7th b5
B mi. 7 ( b5)
B mi. 7 ( b5)/ b3*
B mi. 7 ( b5)
X
( )
( ) Fret 2
I
( )
I ( ) M
R
Fret 7
X
M
I Fret 9
R B
I
( )
B
B
X
I
Fret 5
M R
X
B mi. 7 ( b5)
B mi. 7 ( b5)
R
R
Fret 14 b5.
Rt.
b5
b7
b3
(b5)
(b7)
b3
X
Rt.
b5
b7
Rt.
X
b7
b3
b5
(b7)
(b3)
X
Rt.
b5
* B minor 7 ( b5) and D minor 6 are the same.
b7
b3
X
B Rt.
b3
b5
b7
b3
7
The Major Scale Patterns
The Major Scale Patterns This is an introduction to the major scale patterns and how they relate to the pentatonic scale patterns. Again, the fretboard is divided into five areas to produce five different fingerings of the same scale. They will be numbered one through five. Notice that each major scale pattern contains three pentatonic scale patterns. Each pattern relates to the I, IV, V chord, and in turn, the substitutes for these chords.
On paper it looks like this:
“C” Major Scale C
D
E
F
G
A
B
C
I
II
III
IV
V
VI
VII
I
63
64 Fretboard Harmony
I = “C” Pentatonic Scale C
D
E
*
I
II
III
G
A
V
VI
*
C I
IV = “F” Pentatonic Scale F
G
A
I
II
III
*
C
D
V
VI
*
F I
V = “G” Pentatonic Scale G
A
B
I
II
III
*
D
E
V
VI
*
G I
* The pentatonic scales contain no 4th or 7ths! That is what gives them their sound. It is the half step intervals (the 4th and 7th) that produce the tension as well as the specific identity of a chord or scale.
Fretboard Harmony 65
Major Scale Patterns in “C”
Pattern #1 I Chord
Fret 8
7
3
1
4
2
5
6
2
7 5
7
3
1
4
1
I
I
I
I
Fret 8
M M
IV Chord Fret 7
I M M
V Chord
Fret 8
Fret 8
R R 6
2
B
Scale Degrees
B
B
B
B
B
Fingering
IO-PENT
MIXO-PENT
LYDI-PENT
I Chord
IV Chord
V Chord
Pattern #2
7 Fret 10
3
I Fret 10
2
5
1
4
6
2
3
6
2
5
7
3
R R B
1
4
B
4
Scale Degrees
I
I
I M M I
B
I
B
B
B
B
Fingering
Fret 10
Fret 10
DORI-PENT
Fret 10
AEO-PENT
MIXO-PENT
66 Fretboard Harmony
Major Scale Patterns in “C”
Pattern #3 I Chord
Fret 12
3
6
2
5
4
5
7
3
1
4
7
3
1
4
Fret 12
I
I
I
I
M
6
I
I
IV Chord
Fret 12
V Chord
Fret 12 Fret 13
M M R R R
2
5
B
Scale Degrees
B
B
B
B
Fingering
LYDI-PENT
IO-PENT
AEO-PENT
I Chord
IV Chord
V Chord
Pattern #4
7 Fret 3
5
1
3
6
4
I 2
5
I
M M M
7 6
2
5
1
I
Fret 3
I
I
Fret 3
Fret 3
Fret 3
R 3 4
Scale Degrees
6
B
B
B
B R R B
Fingering
MIXO-PENT
DORI-PENT
IO-PENT
Fretboard Harmony 67
Major Scale Patterns in “C”
Pattern #5 I Chord 7 Fret 5
6
2
5
1
3
1
4
6
V Chord
I 3
6
Fret 5
I
I
I M I
2 5
Scale Degrees
I
Fret 5
Fret 5
Fret 5
M
4 7
IV Chord
7
R R R B
1
B
B
R B
Fingering
B
AEO-PENT
LYDI-PENT
DORI-PENT
68 Fretboard Harmony
Root Positions of Major Scale Patterns
I Ma. 7
Pattern #1 C Ma. 7
C6
X
X
I Fret 8
Fret 8
I
X
7
3
Fret 8
R
M
B
5
X
7
Rt.
6
X
I
M
R B
Rt.
X
I Fret 8
M
C69
C Ma. 9
3
I R
Fret 8
M
B
5
Rt.
7
9
5
Rt.
(Ionian Mode)
VII mi 7 ( b5) or II mi. 7 b5
Pattern #1
B mi. 7 ( b5)* X
X
X
G/B X
I Fret 7
Fret 7
M
Fret 7
R B
I
M
R B
Rt.
b7
b3
b5
3
5
R
Rt.
3
(Locrian Mode)
* The real scale for mi. 7 ( b5) chords is the melodic minor from the 6th degree. ( b5) b b b b D mel. mi. produces B mi. 7 ( 5), B mi. 9 ( 5), B mi. 11 ( 5), B mi. 11 ( 13).
6
9
5
Rt.
Fretboard Harmony 69
Root Positions of Major Scale Patterns
II mi. 7
Pattern #2 D mi. 7
D mi. 6
D mi. 9
D mi. 11
X
X
X
I Fret 10
Fret 10
Fret 10
I
M
I Fret 10
R
I
R
Fret
R
B 10 M
R B
9
b7
B Rt.
5
b7
b3
b7
Rt.
Rt.
6
b3
5
Rt.
Rt.
5
b7
b3
5
Rt.
b3
11
(Dorian Mode)
III mi 7 or Altered Dominant
Pattern #3
E + 7 ( b9)
E + 7 (+9) X
Fret 12
Fret 12
E+7
X
Fret 12
I
X
Fret 12
I
M
E mi. 7
Fret 12
I
M
I
M R R
B Rt.
b7
3
+5
+9
B Rt.
b7
3
+5
b9
Rt.
b7
3
+5
(Phrygian Mode)
Rt.
Rt.
b7
5
b3
No 9th!
In a pinch, the phrygian mode can be used with altered dominant chords — just remember that it isn’t the true source of these chords.
b7
Rt.
70 Fretboard Harmony
Root Positions of Major Scale Patterns
IV Ma. 7
Pattern #3 F Ma. 7 (+11)
F Ma. 9 (+11)
X
X
I
Fret 13
M
M
7
3
I
Fret 13
Fret 13
M
R B
I
M R B
R
+11
7
Rt.
7
X
I
Fret 13
Rt.
F Ma. 7
X
I Fret 13
F Ma. 13 (+11)
9
+11
7
Rt.
3
6
9
+11
7
Rt.
7
3
5
7
(Lydian Mode)
V7
Pattern #4 G7
G9
X
X
G 13
X
X
G 7 sus. 4
X
I Fret 3
Fret 3
I
M
R
Fret 3
M
R
B
Fret 3
I
Fret 3
M
B
I
R B
Rt.
(Mixolydian Mode)
b7
3
5
Rt.
b7
9
5
Rt.
b7
3
13
R
9
Rt.
5
B
b7
4
5
Rt.
Fretboard Harmony 71
Root Positions of Major Scale Patterns
VI mi. 7
Pattern #5 A mi. 7
A mi. 9
X
Fret 5
Fret 5
M
A mi. 11
X
Fret 5
R
M
X
Fret 5
R
Fret 5
I
I
F/A X
M
R B
B
Rt.
(Aeolian Mode)
b7
b3
5
Rt.
Rt.
b7
b3
5
9
R
Rt.
5
B
b7
11
5
Rt.
3
5
Rt.
3
72 Fretboard Harmony
8
Song Analysis, Example I
Song Analysis To aid in the familiarization and understanding of song charts, three different examples are presented in this and the following two sections. Included in the examples are charts for each song, followed by several pages of chord possibilities, and then a detailed breakdown and analysis of the charts themselves.
Example I: Julia Notice on the following chart of Julia that it sticks very closely to the Major scale in the Key of “E”. Such tunes are often referred to as “diatonic,” referring to the use of only the eight tones of a standard major or minor scale without (chromatic) deviations.
73
74 Fretboard Harmony
Julia
A
1
J
E Pedal . . . .
( )
A add 9
2
I
F mi. 11
(
&]
I
G mi. 11
. . . . . . . . .
2 3
. . . . . . . . .
( )
B add 11
. . . . . . . . . .
A/3
B/3
(
J
4
. . . . .
G mi. 11
I
E Pedal . . . . .
J
. . .10. . . . . .
I
I
18
G mi. 11
I
E Pedal
J
I
. . . . .
22
F mi. 7 G mi. 7 25
I
. . . . . . . . . .
15
I
F mi. 11
A
20
I
(No Pedal)
I
A6 24
A/B
F mi. 7 G mi. 7 27
A6
B7 (9/3) B (9/3)
G + 7 (+9)
23
F mi. 11
12
B7 sus. 4 B7
A6 26
J
I
. . . . . . . . . .
16
19
. . . . . . . . .
8
E Ma. 9 E
C mi. 7
(
21
G mi. 11
. . . . . . . .11.
I
14
G mi. 7
C
I
. . . . . . . . .
B13
(No Pedal)
17
7
F mi. 11
F mi. 7
B 13
I
. . . . . . . . .
(
9
6
(
I
A Pedal
5
28
}
Fretboard Harmony 75
Chords for Julia
I
I
G mi. 11 O
A (add 9 )
F mi. 11 O
X
O
B (add 11 )
O
O
X
O
A/3
O
O
X
O
O
I Fret 11
Fret 9
I
I
M M
M
Rt.
X
11
b7
b3
5
Rt.
11
b7
b3
Bars 1, 3, 9, 11, & 21
Bars 2, 4, 10, 12, & 22
B/3
F mi. 7
O
Fret 7
O
5
X
R
Rt.
I
M Fret 9
Rt.
3
9
R
( b7) Rt.
5
3
Fret 9
Fret 7
I
I
Rt. (11)
Rt.
5
E Ma. 9
E
O
X
Fret 7
M
Bar 13
b3
5
Rt.
b7
3
Bar 14
5
I
M
R
R
Rt.
O
Fret 7
M
R
B B
b7
5
B13
R
Bar 8
(Rt.)
Bar 7
M
5
11
Bar 6
X
R
3
Rt.
I M
(b7)
3
R
Bar 5
I
Fret 13
M Fret 11
13
B
9
Rt.
Rt.
3
7
9
Rt.
Rt.
Both in Bar 15
3
Rt.
3
(6)
76 Fretboard Harmony
More Chords for Julia
X
O
O
Fret 5
X
O
Fret 4
I
R
X
Fret 4
I
I
R
3
5
5
Rt.
Rt.
M B
3
6
R
5
Rt.
5
Both in Bar 16
B7 sus. 4
B7
X
Fret 2
C mi. 7
M
M
Rt.
I
G mi. 7
O
Fret 5
I
Rt.
I
A6
A
X
Fret 2
I
R
b7
b3
5
Rt.
Fret 2
R
R
5
b7
Bar 17
Bar 18
B7 (9/3)*
B (9/3)*
X
I
Rt.
b3
5
9
5
X
Fret 2
I
B
I
R
R B
B Rt.
5
b7
4
5
Rt.
Both in Bar 19
5
b7
3
5
Rt.
5
b7
9
5
Rt.
5
Both in Bar 20
* 9/3 is sometimes referred to as “sus. 2.”
Rt.
Fretboard Harmony 77
Still More Chords for Julia
I
X
I
G + 7 ( b 9)
G + 7 (+9)
X
I
G +7 X
X
X
I Fret 4
Fret 4
I
Fret 4
I
M
M
M
()
Fret 5
I
Fret 2
R
M R
I
F mi. 7
A6
M
R
Rt.
b7
B
B b7
Rt.
3
+5
+9
b7
Rt.
3
Bar 23
Fret 4
M
b9
b7
Rt.
3
+5
Rt.
Subs for Bar 23
I
G mi. 7 X
+5
A/B X
Fret 2
R
X
A/B
I M
Rt.
b7
b3
5
Bars 25 & 27
Rt.
9
5
Rt.
Bar 28
3
(6)
6
3
5
Bars 24 & 26
I
Fret 7
Rt.
R
B
(9)
Rt.
3
5
(Rt.)
Sub for Bar 28
(7)
b3
5
Bars 25 & 27
Rt.
78 Fretboard Harmony
Song Analysis: Julia The following is a bar-by-bar breakdown of the Julia chord chart. Notice that each bar has a circled number. The symbols A , B , & C are just for reference; they are sometimes called “rehearsal letters.”
]
notice. J refers to time only — usually called a “push,” here it means push
Bar
1
means repeat.
“E Pedal” means play a low “E” note under the chords until further
(
I
the “F mi. 11.” Bar 2
2
Bars 3
& 4
I
“E Pedal” continues under “F mi. 11.” means repeat the previous two bars.
Notice the modal effect of the first four bars — this is basically the Ionian mode.
Bar
5
“A Pedal” indicates to play a low “A” note under the chords until further
(
notice. “(add 9 )” means the chord has no 7th. J means push the “B(add 11 ).” 6 (add Bar “B 11 )” means the chord has no 7th or 9th.
Fretboard Harmony 79
I
7 Bar “A/ 3” is an “A” with a “C ” on the bottom.
I
Bar 8
The same as bar 7 , “B/3” = “B” with “D ” on the bottom.
Again notice the modal sound with the “A” pedal; this is the sound of the Lydian mode.
Bars 10
9
I
Back to the “E” pedal, push “F mi. 11.”
, 11 , & 12
Bar 13 notes.
“No Pedal” means cancel the previous instruction to play the pedal
I
“F mi. 7” is the “II mi. 7” chord. Bar 14
“B13” is the “V 7” chord.
Bar 15
“E Ma. 9” is the “I Ma. 7” chord.
Bar 16
“A” is the “IV Ma. 7” chord.
I
17 mi. 7” is the “III mi. 7” chord. (It cannot have a 9th or 13th!) Bar “G
I
18 mi. 7” is the “VI mi. 7” chord. Bar “C
Bar 19
“B sus.” is the “V 7” chord.
80 Fretboard Harmony
20 Bar “9/ 3” means the 3rd has been replaced by the 9th, sometimes called a “sus. 2.”
Bars 21
&
The same as bars
1
and 2 .
22
I
I
I
23 + 7 (+9)” is a “G 7” with a raised 5th (“E”) and a raised 9th (“B”). Bar “G
The “G ” triad contains “C”, which is not in the “E” major scale. In other words, it is chromatic to the key of “E” major. However, the +5, the b 9, and
the +9, are all found in the Phrygian mode of the major scale.
Bar
24
“A6” could be “A Ma. 13.”
Bar
25
Two beats per chord.
Bar
26
“A6” could be “A Ma. 7 (+11)” — it’s Lydian.
Bar 27 28 Bar “A/ B” is an “A” chord (“IV” chord) with “B” (“V”) in the bass — it is a variation of “B7 sus. 4.”
} means repeat back to the top of the chart.
9
Song Analysis, Example II
Example II: Freddie the Freeloader Freddie the Freeloader, by Miles Davis, is a good illustration of an elementary I, IV, V Blues progression, with the added twist of a bVII7 chord. Although the tune is simple, the analysis of the scale applications for improvisation reveals many possibilities. It is easy to modify the basic chords to accommodate the melody, therefore diagrams of those chords are provided. It may be found that the addition of the bVII7 chord (“Ab7”) forces the player to focus instead of routinely playing through the usual I, IV, V Blues progression.
81
82 Fretboard Harmony
Freddie the Freeloader Miles Davis
4 4
B b7
2, 14
1, 13
3, 15
E b7
5, 17
1.
2.
21
B b7
6, 18
7, 19
10
11
E b7
F7
22
8, 20
A b7
E b7
F7
9
4, 16
12
B b7
23
24
Fretboard Harmony 83
Freddie the Freeloader (Med. Slow)
B b9
q.
2, 14
E b13
bE
E b9
H
(
w
q.
B b7
F7
n h.
bq
9
F7
/
/
(B b7)
bq
21
F7
h.
q
10
q
q bq
/
(B b7)
( h.
q.
q
E b7
23
bq
w
12
A b7 B b13
^
^
A b7
w
E b9
B b7
8, 20
B b7
11
E b7
h.
22
eh
A b7
E b9
E b7
B b7
F7
n h.
E b7
(
2.
/
7, 19
(
1.
6, 18
E b7
B b9
B b9
(
5, 17
4, 16
B b13
(
Q.
E b9
3, 15
(
B b7
4 ?4
w
B b9
B b9
w
eh
(
1, 13
eh
(
(
w
(
q. e h
2
(
B b9
(
4 &4
B b13
Miles Davis
B b7
24
84 Fretboard Harmony
Chord Melody for Freddie the Freeloader
X
B b13
X
B b9
or X
X
B b7
X
E b13
X
I Fret 6
I
Fret 6
M
M
R
B
I
M
Fret 6
R
M
I
b7
3
Fret 6
R
M
R
B B
X
X
I Fret 6
R
Rt.
E b9
13*
B
9
Rt.
X
b7
9
5*
Rt.
X
b7
3
5*
X
X
Rt.
3
b7
Bars 1 & 2, and the repeat (Bars 3 & 4)
3
13*
X
Rt.
3
b7
9
Bars 5 & 6
1. B b13
B b9
X
B b7
X
B b7
F7
X
X
I Fret 6
I
Fret 6
M
M
R
B
Fret 6
Fret 8
I
R
Fret 6
I
I
M B
M
R
R
B
R
B Rt.
X
b7
3
13*
9
Rt.
X
b7
9
5*
Rt.
5
b7
3
b7*
B Rt.
Bars 7 & 8, and the repeat (Bars 19 & 20) After the first ending, the chart jumps from here to Bar 21, the second ending.
* Melody notes
Rt.
5
b7
3*
5
Bar 9 (This is the first ending.)
*
5*
Fretboard Harmony 85
Chord Melody for Freddie the Freeloader - Continued
2. E b7
X
Fret 6
E b9
X
Fret 6
I
A b7 Fret 4
I
B b7
F7 X
Fret 8
I
Fret 6
I
I M
M M
B
R
R
R
B
R
B X
Rt.
5
b7
3*
5
X
Rt.
5
b7
9*
5
Rt.
Bars 10
5
3
b7*
B Rt.
X
Bars 11 & 12 (Take first ending to top of chart)
E b7
E b9
X
b7
Rt.
Fret 6
I
X
M
5
B b9 X
X
I Fret 6
3*
I Fret 6
R
I
Fret 6
M
M
R
B
R M
X
Rt.
5
B
b7
3*
B
5
Bar 22
Rt.
3
b7
9*
5
Rt.
X
b7
3
13*
9
Rt.
X
b7
Bars 23 & 24 From here the whole chart starts over again.
* Melody notes
Rt.
5
b7
3
b7*
Bar 21 This is the second ending; the chart jumps from Bar 20 and continues.
B b13
X
5
b7
9
5*
X
5
86 Fretboard Harmony
The Dominant Pentatonic Scale
DORI-PENT
IO-PENT
Fret 3
Fret 5
DOM. IO-PENT
Fret 3
LYDI-PENT
Fret 7
DOM. DORI-PENT
Fret 5
MIXO-PENT
Fret 10
Fret 12
DOM. MIXO-PENT
DOM. LYDI-PENT
Fret 7
AEO-PENT
Fret 10
DOM. AEO-PENT
Fret 12
By changing the 6th Degree to a “b7th” (raising the 6th by one fret),
the Pentatonic scale is changed to one that specifically fits Dominant 7th chords, “G6” to “G7.”
Fretboard Harmony 87
Freddie the Freeloader Miles Davis
B b7
4 (V in E b Ma.) 4 1, 13
Fret 6 IO-PENT Dominant IO-PENT “B b” or “G” Blues scale Pattern #4 of “E b” Major scale
2, 14
Fret 8 DORI-PENT Dominant DORI-PENT “B b” or “G” Blues scale Pattern #5 of “E b” Major scale
E b7
5, 17
Fret 6 MIXO-PENT Dominant MIXO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #2 of “A b” Major scale Fret 3 LYDI-PENT Dominant LYDI-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #1 of “A b” Major scale
1.
9
6, 18
Fret 8 AEO-PENT Dominant AEO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #3 of “A b” Major scale
Fret 8 MIXO-PENT Dominant MIXO-PENT “B b” or “G”; “F” or “D” Blues scale Pattern #2 of “B b” Major scale
10
Fret 5 LYDI-PENT Dominant LYDI-PENT “B b” or “G”; “F” or “D” Blues scale Pattern #1 of “B b” Major scale
2.
21
22
(V in A b Ma.)
(V in E b Ma.)
8, 20
A b7
11
(V in D b Ma.)
Fret 4 IO-PENT Dominant IO-PENT “B b”; “A b” or “F” Blues scale Pattern #4 of “D b” Major scale
12
B b7
23
(V in E b Ma.)
Fret 6 DORI-PENT Dominant DORI-PENT “B b”; “A b” or “F” Blues scale Pattern #5 of “D b” Major scale
Fret 8 LYDI-PENT Dominant LYDI-PENT “B b”; “A b” or “F” Blues scale Pattern #1 of “D b” Major scale
Fret 1 AEO-PENT Dominant AEO-PENT “B b”; “A b” or “F” Blues scale Pattern #3 of “D b” Major scale
E b7
F7
(V in B b Ma.)
7, 19
E b7
(V in A b Ma.)
4, 16
B b7
Fret 11 IO-PENT Dominant IO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #4 of “A b” Major scale
F7
(V in B b Ma.)
Fret 1 or 13 MIXO-PENT Dominant MIXO-PENT “B b” or “G” Blues scale Pattern #2 of “E b” Major scale
Fret 10 LYDI-PENT Dominant LYDI-PENT “B b” or “G” Blues scale Pattern #1 of “E b” Major scale
Fret 3 AEO-PENT Dominant AEO-PENT “B b” or “G” Blues scale Pattern #3 of “E b” Major scale
(V in A b Ma.)
3, 15
24
88 Fretboard Harmony
10
Song Analysis, Example III
Example III: The Low Down The Low Down is a tune that combines elements of the Blues with the major scale-type chord progressions. The key is basically “C” Major, but liberties have been taken. Here is a look at how the normal members of the major scale chord family have been modified; as well as the new scale sources from which these chords are built:
Normal I = II = III = IV = V = VI = VII =
“C” Ma. 7 “D” mi. 7 “E” mi. 7 “F” Ma. 7 “G7” “A” mi. 7 “B”mi.7( b5)
Modified “C7” “D7” “E7” “F7” “G+7” (not) (not used here) bVII = “B b7”
Io
Also several passing chords are used:
+IV = F 7 VII = B
Scale Source “F” Major scale “G” Major scale “A” Major scale “B b” Major scale “G” Whole tone “C” Major scale (could be sub for “G7”) “E b” Major scale
I
F Diminished scale
They move by so quickly that they do not have much effect on the key center of the song. 89
90 Fretboard Harmony
The Low Down MM70 12/8 Feel
G7
4 41
on cue . . .
C
(verse)
A
>w
/
/
2
E
F
/
/
5, 29
/
E7
/
/
/
/
/
/
C6 /
/
/
13, 37
/
/
/
/
17, 41
/
/
/
21, 45
Io
/
Io
/
/
/
/
/
Io
/
/
/
/
/
/
/
/
/
C9 /
/
26, 50
E/G /
I
/
/ 27, 51
/
/
/
/
/ 28
G7
G+7
/
/
G7
G+7
/
/
/
12, 36
I
A mi.
/
/
I
F7
/
/
/
16, 40
Io
/
/
/
/
/
C /
/
C9 /
/
24, 48
G7 /
/
/
20, 44
F 7 /
1.
/
/
/
23, 47
/
/
B b/D B/D C/E Csus/F C/G C7
F /
/
D13
/
19, 43
C
/
/
/
C
18, 42
/
/
A mi. 9
C/G /
/
D9
/
11, 35
G13
22, 46
/
/
15, 39
/
/
/
F 7 C/E A mi. D9/F G9/F C/E
F 25, 49
/
F 7
D9
F 7
(refrain) F
/
/
A mi.
A mi. 7
C6
14, 38
C/E
/
G+7
8, 32
B b13
F
/
/
7, 31
/
C9
/
C/G 4
B b7
10, 34
C
/
3
/
F Ma. 9
9, 33
C
/
/
6, 30
C
B
>w
Io
F F 7
C C/E
F7
G+7
/
I
C B b/D B/D C/E
2.
/
/ 52
/
/
/
Fretboard Harmony 91
C
/
/
/
53
F /
/
C
/
/
/
/
/
Io
/
/
/
/
A mi. /
/
/
/
C13
I
/
/
/
/
/
A mi. /
/
/
/
C13
/
/
56
/
Io
/
I
/
/
/
/
C /
/
C9 /
/
G7
C
/
on cue . . .
68
/
60
64
D9 67
/
C B b/D B/D C/E
G9/F
63
C/E
C6
F 7
F
62
66
/
/
59
C6
/
/
D9/F
/
58
/
/ 55
/
Io
/
Io
F 7
F
54
F 7
F 65
/
C9
C/E
61
/
/
F 7
F /
Io
C
F 7
57
(solo)
Io
F 7
(refrain) F
69
U
/
92 Fretboard Harmony
Chords for The Low Down
G7
C
F7
X
X
Fret 1
O
I
X
M
F
C/E
X
X
X
X
R
I
M
X
I Fret 8
B Fret 3
X
Fret 3
R
Fret 7
I
I
R
B
R R
Rt.
X
b7
3
5
X
Rt.
(3)
Bar 1
3
Io
F 7
X
X
Rt.
X
Rt.
3
X
X
3
3
X
X
Rt.
Rt.
C/G
G+7
C
E
X
X
X
bb 7
b3
X
X
Rt.
X
X
Fret 3
R
X
Fret 7
I
X
I
5
X
X
Rt.
3
+5
Rt.
X
X
Rt.
5
R Rt.
Bar 4
Bar 3 /
3
X
M Fret 10
R B
5
3
I
M
b5
Rt.
/
R X
5
/
I
B
Rt.
Bar 3
X
Fret 10
5
/
M R
5
I Fret 9
5
Bar 2
X
b7
//
3
X
X
Rt.
5
Rt.
Bar 5 //
//
= four beats
Time notation: /
= one beat
//
3
X
Fretboard Harmony 93
Chords for The Low Down
F X
X
X
B b7
C6 X
D9
A mi. 7
X
X
X
X
I Fret 8
Fret 6
I
I
M
I
Fret 8
R
M
Fret 5
R
I
R
Rt.
5
Rt.
3
X
Rt.
X
b7
3
5
X
Rt.
X
6
3
5
X
Rt.
5
b7
b3
//
//
G7
G+7
C
E7
X
X
X
X
X
X
M M
R
I
M
R
B
Fret 3
Fret 7
I
R
B
B R
Rt.
X
b7
3
5
X
Rt.
X
b7
3
Bar 8 /
/
+5
X
Rt.
R
5
Rt.
3
X
X
Rt.
b7
3
Bar 9 //
X
Rt.
b7
3
//
I
Fret 3
Rt.
Bar 8
//
X
5
Bar 7
//
X
I
R
R
Bar 6
Fret 3
M
B
B
X
Fret 5
//
Rt.
9
5
94 Fretboard Harmony
Chords for The Low Down
F Ma. 9 X
X
X
B b13
C6
D13
A mi. 9
X
X
X
X
I Fret 6
I Fret 8
M
I
M
M
R
Rt.
3
7
Fret 5
R
M
Fret 5
R
B
9
X
Rt.
X
b7
3
13
9
Rt.
X
6
3
5
X
Rt.
X
b7
b3
5
//
//
//
G7
G+7
C
C9
X
X
X
X
I
M
Fret 3
R
I
M
R
Fret 3
I
X
M
R
B
B
R
Rt.
X
b7
3
5
X
Rt.
X
b7
3
+5
X
Rt.
5
Rt.
Bar 12 /
3
X
X
Rt.
b7
3
Bar 13 /
//
B
section starts here.
X
Rt.
b7
3
//
X
Fret 3
B
Bar 12
I Fret 3
9
Bar 11
//
X
R
B
Bar 10
X
M
B
R
B
X
I
Fret 8
//
9
9
13
Fretboard Harmony 95
Chords for The Low Down
Fret 1
Io
F 7
F X
I
C/G X
X
E/GI
A mi.
X
I Fret 2
R
M
Fret 3
R
Fret 4
I
I
M
R
Fret 5
I
B
R B R
Rt.
5
Rt.
3
5
Rt.
Rt.
X
bb7
b3
b5
X
5
Rt.
R B
5
Rt.
3
Bar 14
3
X
X
5
Rt.
3
Rt.
5
Bar 15
b3
Rt.
//
//
//
//
F7
C/E
A mi.
D9
G13
X
X
X
I
B
X
Fret 5
I
M
Fret 3
R
I
M
R
R R B
X
Rt.
b7
3
Rt.
X
X
3
5
Rt.
3
X
Rt.
5
B
Rt.
b3
5
Rt.
X
Rt.
b7
3
Bar 17
Bar 16 //
Rt.
I Fret 5
M R
X
I
Fret 7
5
Bar 16
//
X
Fret 8
X
//
9
5
Rt.
X
b7
3
Bar 18 //
//
//
13
9
96 Fretboard Harmony
Chords for The Low Down
B b/ D
C X
Fret 3
X
X
Fret 3
I
R
X
Rt.
X
X
Fret 4
I
R
5
Rt.
3
X
X
3
B/ DI
X
X
X
Fret 5
I
Rt.
3
X
3
5
Rt.
3
X
X
3
5
Rt.
3
X
/
/
C/G
C7
F
F 7
X
X
Fret 8
I
X
Io
X
Fret 9
I
X
M
I
M R B
R
R
B
R B
X
5
Rt.
3
5
X
Rt.
5
b7
3
b7
Rt.
X
Rt.
5
Rt.
Bar 20 /
4
Rt.
4
/
I I
X
Bar 20
/
Fret 8
I
R B
//
Fret 8
X
R
Bar 19
X
X
Fret 8
I
R
5
C sus./F (or just play F)
C/E
3
X
X
Rt.
b5
bb7
Bar 21 /
//
C
refrain starts here.
//
b3
X
5
Rt.
Fretboard Harmony 97
Chords for The Low Down
C X
X
Io
F 7
F
C9 X
X
X
X
X
I Fret 3
Fret 3
I
M
R
Fret 9
I
R
Rt.
5
Fret 3
M
I
B
Rt.
3
X
X
Rt.
b7
3
9
5
X
Rt.
R
5
Rt.
3
//
//
C9
F
F 7
X
X
X
Rt.
b5
bb7
b3
X
Rt.
Bar 23
//
X
X
I M
X
R
Bar 22
Fret 3
X
I Fret 8
R
X
C
Io
X
5
Rt.
3
X
5
Rt.
Bar 24 //
//
C/E
A mi.
X
X
I R
Fret 5
M Fret 3
Fret 4
R
I
Fret 5
I
I
M R
B
M
R B B
X
Rt.
b7
3
9
5
X
X
Rt.
5
Rt.
Rt.
b5
bb 7
b3
X
3
5
Rt.
Bar 25
Bar 24 //
3
//
5
X
Rt.
5
Rt.
Bar 26 //
//
//
b3
98 Fretboard Harmony
Chords for The Low Down
X
D9/F I I (F mi. b5)
1. C/E
G9/F X
X
G+7
G7
X
X
X
X
X
X
I Fret 9
I
Fret 8
M R
Fret 3
I Fret 7
M
B
3
b7
9
5
X
X
b7
b7
3
M
M
R B
B
9
(13)
X
3
5
Rt.
5
X
Rt.
X
b7
3
5
X
Rt.
X
b7
3
Bar 28 *
//
//
//
/
/
* Go back to the C of the chart for the second verse.
2. B b/D
C X
X
X
Fret 3
I
R
X
B/DI
X
Fret 4
I
R
Rt.
5
Rt.
3
X
X
3
C/E X
R
5
Rt.
5
X
Fret 5
I
I
R
B X
I
B
Bar 27
Fret 3
Fret 3
R
R
R
X
I
B X
X
3
5
Rt.
5
B X
X
3
5
Rt.
Bar 52 ** /
/
** This leads into the last chorus.
/
/
5
X
+5
X
Fretboard Harmony 99
Chord Chart Analysis: The Low Down How the chart breaks down: MM70 Set metronome at MM70. 12/8 Feel Count: “1, 2, 3; 2, 2, 3; 3, 2, 3; 4, 2, 3” beats per bar. Bar 1
4 means four beats per bar. 4
w ” is a whole note; hit the chord once and let it ring. “ > ” is a hard accent.
“on cue” indicates that someone in the band will direct the changes.
“
“G7” is V7 in “C”.
Bar 2
“F7” is IV7; the “B b” Major scale is the source.
Bar 3
“C”, “C/E”, “F”, F 7” form an ascending bass line (isolate and learn).
Bar 4
“C/G” (second inversion); “G” note in bass completes ascending line. “G+7” has an augmented 5th (“D ”), which leads into a “C” chord.
Io
I
]
“E” is III7; the “A” Major scale is the source.
A Bar 5
repeat mark.
“C” is I7; the “F” Major scale is the source.
100 Fretboard Harmony
Bar 6
“F Ma. 7” or “Ma. 9” is IV Ma. 7; the “C” Major scale is the source. “B b7” is bVII7; the “E b” Major scale is the source. Bar 7
“C6” is I Ma. 7; Diatonic to the “C” Major scale.
“A mi. 7” is VI mi. 7; Diatonic to the “C” Major scale.
Bar 8
“D9” is II7; the “G” Major scale is the source.
“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”
Bar 9
“C” is I7; the “F” Major scale is the source.
“E7” is III7; the “A” Major scale is the source.
Bar 10
“F Ma. 9” is IV Ma. 7; the “C” Major scale is the source. “B b13” is bVII7; the “E b” Major scale is the source. Bar 11
“C6” is I Ma. 7; Diatonic to the “C” Major scale.
“A mi. 9” is VI mi. 7; Diatonic to the “C” Major scale.
Bar 12
“D13” is II7; the “G” Major scale is the source.
“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”
*
The possible scale sources and substitutes for “G+7” are:
b 5 ), G9(+5 “G” Whole Tone scale = G+7, G+9, G7(+5 b5 ) “G” 8 Note Dominant scale = G7( b 9), G7(+9), G7(+11 +9 )
b9
+11 Mode VII of “Ab” Melodic Minor scale = G+7( b 9), G+7(+9), G+7(+9b9 ) b 13 Mode III (Phrygian) of “E b” Major scale = G7( b 9), G7(+9), G7(+9 )
(Contains no Major 3rd, but works in a pinch.)
b9
Fretboard Harmony 101
B Bar 13
“C” is I Ma. 7.
“C9” is I7 (helps set up move to “F”).
Bar 14
“F” is IV Ma 7.
Io
“F 7” is +IV dim. 7. Bar 15
}
First part of ascending bass line.
“C/G” (second inversion).
I
“E/G ” (first inversion).
}
More chromatic ascending line.
Bar 16
“A mi. 7” is VI mi. 7; “end of the line.”
“F7” is IV7.
Bar 17
“C/E” is descending line from “F7.”
“A mi.” is beginning of descending 4th bass line.
Bar 18
“D9”
“G13”
}
More 4th bass movement.
Bar 19* “C” is I. “B b/D” and “B/D ” are the beginning of another ascending bass line.
I
Bar 20* “C/E” & “C sus./F”; chromatic ascending bass line. “C/G” and “C7”; 4th movement. *
Isolate and learn Bars 19 and 20 as a “chord lick.”
}
One single chord inverted to produce a bass line.
102 Fretboard Harmony
C Refrain. Bar 21
Io
“F” is IV Ma 7.
“F 7” is +IV dim. 7. Bar 22
“C” is I Ma. 7.
“C9” is I7.
Bar 23
“F” is IV Ma 7.
}
This section leads off with a IV to I movement.
Io
“F 7” is +IV dim. 7. Bar 24
“C” is I Ma. 7.
“C9” is I7.
Bar 25
“F” is IV Ma 7.
Io
“F 7” is +IV dim. 7
}
Bar 26
“C/E”
“A mi.”
Bar 27
“D9/F ” (first inversion).
I
Substitute for “C” & “C9” (like Bar 22), but has softer effect and different bass line.
“G9/F” (third inversion).
}
Chromatic descending bass line.
Fretboard Harmony 103
I
Bar 28
“C/E” is last of descending bass line.
“G7” & “G+7”; raised 5th (“D ”), lifts back to Bar 5, 29 for second verse.
This is referred to as a “first ending.”
1.
} Repeat back, in this case to A , to the top of the verse section.
ending, jump to the second ending
and then play to the end of the tune.
Bar 52
“C”, “B b/D”, “B/D ”, “C/E” are similar to Bars 19 and 20 — “lifts” into
Play A , B , and C again (Bars 29 through 51), skip the first
C (Refrain).
I
2.
(Bar 52)
104 Fretboard Fretboard Harmony Harmony 104
11
The “ D ” Tuning
The “D” Tuning The “D” tuning changes the open-string voicing of the guitar to a “D” major chord, it’s sound is identical to an “E” shaped bar chord. Although the tuning is beautiful-sounding, it presents the player with some real challenges. The primary difficulty arises from correlating the unique voicings to the outside world and vice-versa. As a point of departure, diagrams of the diatonic-chord voicings from the three major scales that contain the “D” Major chord will be provided. “D” = I Major in “D” Major scale “D” = IV Major in “A” Major scale “D” = V7 in “G” Major scale
105
106 Fretboard Harmony
“D” Tuning Diatonic Chords When “D” is a I Chord (“D” Major Scale)
D O
A O
DI D F
O
O
A O
I
F mi. (or D/F I)
E mi. 7 or 11
D O
X
O
O
I Fret 2
M
R
O
O
M
Rt.
3
5
Rt.
Rt.
X
Rt.
I Ma.
II mi. 7
A7
B mi. X
Fret 7
b3
11 or 5
b7
Rt.
O
M
R
b3
Rt.
O
O
Fret 5
M
5
O
Fret 5
I
R (M)
B
b3
X
(+5)
Rt.
X
7
3
9
5
Rt.
R
Rt.
b7
3
V7
B mi. 7
I C mi. 7 (+5 b5)
D (add) 9
O
O
O
O
X
Fret 4
M
B
O
Fret 5
I
O
Rt.
3
V7
b7
Rt.
O
I
M
B 5
5
IV Ma. 7
R
Rt.
or
III mi. 7
X
Fret 2
I Fret 9
R
or
O
A7
I I
5
X
B
Fret 4
Rt.
G Ma. 9
B
B Rt.
Rt.
X
Rt.
5
VI mi. 7
5
b3
Rt.
b3
5
VI mi. 7
b7
b3
Rt.
b5
b7
b3
VII mi. 7 b 5
+5
(Rt.) Rt.
5
3
I Ma.
9
Rt.
Fretboard Harmony 107
“D” Tuning Diatonic Chords When “D” is a IV Chord (“A” Major Scale)
D O
A O
D O
I
F O
A O
E7
D O
or X
Fret 2
X
O
Fret 2
I
I
M
I G mi. 7 (b 5)
F mi.7(or D/F I)
E7 O
O
O
O
X
Fret 6
R B
I
I Fret 4
M
R
B
M
B Rt.
5
Rt.
3
5
Rt.
Rt.
5
Rt.
5
X
Rt.
b7
X
3
5
b7
Rt.
Rt. or b3
5
V7
V7
VI mi. 7
A6
B mi. 7
B mi. 13
C mi.
O
I
O
M
X
Fret 2
I Fret 9
O
M
O
O
6
X
3
I Ma. 7
5
Rt.
Rt.
Rt.
b3
Rt.
b7
VII mi.7 (b 5)
Rt.
D Ma. 7 O
O
R
X
B b5
I I Fret 4
Rt.
(+5)
I
R
R
Rt.
Rt.
b3
IV Ma. 7
X
Fret 7
R b7
b3
II mi. 7
b7
b3
X
Rt.
b3
13
II mi. 7
b7
b3
R
Fret 4
B
Rt.
b3
5
Rt.
III mi. 7
b3
Rt.
M
5
3
R B
5
7
IV Ma. 7
3
108 Fretboard Harmony
“D” Tuning Diatonic Chords When “D” is a V Chord (“G” Major Scale)
D O
A O
D O
D
I F
O
A O
I F mi. 7 (b 5)
E mi. 7
D O
G69
G 6 9 sus. 4
X
I Fret 2
Fret 4
I
M
R
B
Fret 5
Fret 5
I
I
M R B
R B
B Rt.
X
5
Rt.
3
5
Rt.
Rt.
b3
5
5
b7
b3
Rt.
X
Rt.
b3
b5
V7
VI mi. 7
VII mi.7 (b 5)
A mi.
B mi. 7 (add 13 )
C Ma. 13
O
X
O
O
Rt.
O
Rt.
6
9
11
5
Rt.
Rt.
6
9
3
5
I Ma. 7
I Ma. 7
C Ma. 9
C Ma. 9 (+11)
X
X
O
6
O
I Fret 2
I
M
Fret 2
I
Fret 10
R
M
Fret 3
R
I
I Fret 3
R B B
X
Rt.
5
Rt.
II mi. 7
b3
5
X
Rt.
b3
13
III mi. 7
b7
b3
Rt.
5
7
3
6
IV Ma. 7
M
R
R
9
X
Rt.
5
7
9
IV Ma. 7
5
X
Rt.
3
+11
7
9
IV Ma. 7 (+11)
Fretboard Harmony 109
Basic Minor Chords in the “D” Tuning
I G mi. 7 (b 5) or
I
C 7
B mi. 6
X
X
X
or X
X
I b) C 7(+9 9
I Fret 6
Fret 2
I
Fret 4
I
R Rt.
X
b3
b5
M
R
Fret 3
M
B
b7
b3
I
Rt.
X
Rt.
5
6
(11)
X
Rt.
Rt.
X
X
X
I M
X
Rt.
3
b7
B
X
Rt.
X
Rt.
o
b5
B bb7
b3
VII 7
or D I mi. 7 (+5 b 5)
F mi. 6
X Fret 8
I Fret 12
b9 (+9)
I
or A Ma. 7 (+5) or
F mi. Ma. 7
Fret 4
B
3
b7
V7 (+9)
I
or X
R
B
()
IV mi. 6
I M
I
R
B
F mi.
Fret 4
X
R
II mi. 7 (b 5)
X
X
I Fret 4
B M
o
F 7
or
X
I Fret 5
M
I M
M R B Rt.
X
Rt.
b3
I mi.
5
X
Rt.
X Ma.7 b3
5
I mi. Ma. 7
X
X
Rt.
3
+5
7
b III Ma. 7 (+5)
3
X
Rt.
5
Rt.
I mi. 6
b3
6
B X
Rt.
b5
b7
b3 (+5)
VI mi. 7 (b 5)
110 Fretboard Harmony
12
B eyond the Major Scale
Line Progressions It is possible to create moving lines by changing one note in a given chord. Two of the most common are: A major chord where the 5th ascends. A minor chord where the root descends. In the following example the notes move chromatically; pay careful attention to the fact that each time the note moves the chord name changes. Major Chord with Ascending 5th (5) (Rt.) (3) “G” = “C” “C” “E” “G ” = “C+” Augmented “C” “E” “A” = “C6” “C” “E” “B b” = “C7” “C” “E”
I
(Rt.) “A” “A” “A” “A”
( b3) “C” “C” “C” “C”
Minor Chord with Descending Root (5) (Rt. oct.) = “A” mi. “E” “A” = “A” mi. Ma.7 or “A” mi./“G ” “E” “Ab” = “A” mi. 7 or “A” mi./“G” “E” “G” = “A”mi.6or “F ”mi.7( b5) or“A”mi./“F ” “E” “F ”
I
I
111
I
I
112 Fretboard Harmony
The following four pages contain chord charts diagramming the previous examples. On the chord charts the labels “High Position, “Mid Position” and “Low Position” or “Hi-Po”, “Mi-Po” and “Lo-Po”, are used to designate the following:
“High Position”
= “D,” “G,” “B,” and “E” strings (top four strings)
“Mid Position”
= “A,” “D,” “G” and “B” strings (middle four strings)
“Low Position”
= “E,” “A,” “D,” and “G” strings (bottom four strings)
Fretboard Harmony 113
Line Progressions
C X
C+
X
X
C6
X
X
C7
X
X
X
Fret 8 Fret 8
Fret 8
I
I
M
X
Rt.
5
Rt.
Rt.
R 3
+5
M
M
R 3
I
I
M R
R X
Fret 8
Rt.
Rt.
R B
3
6
B Rt.
X
X
Rt.
3
b7
Rt.
Root on “D” string. “Hi-Po”
C/E X
C+/E
X
X
Fret 12
X
X
Fret 12
I
C6/E
M
X
X
Fret 12
I
X
Fret 12
I
M
R
C7/E
I
M
R
M
R B
R B
X
X
3
5
Rt.
3
X
X
3
+5
Rt.
3
X
X
3
6
Rt.
3
X
X
Chord’s 3rd is on the “D” string. “Hi-Po”
3
b7
Rt.
3
114 Fretboard Harmony
Line Progressions
C
C+
C6
C7 X
I
I
Fret 8
B
Rt.
3
5
Rt.
3
(6)
X
M
Fret 8
R
M
Rt.
3
+5
Rt.
3
(6)
Rt.
3
6
3
5
X
Rt.
3
C6
X
Fret 3
Fret 3
I
b7
3
X
X
C7
Fret 3
I
I
M
R B
( )
R B
R
R ( )
X
Rt.
C/G
3
5
M
R B
X
( )
Rt.
I
B
B
C+
X
(5)
X
B
C
( ) I
X
Fret 8
R
Root on “E” string. “Lo-Po”
Fret 3
C7
I
R
R Fret 8
X
I Fret 8
M
or
(+5) Rt.
C+/GI X
Rt.
3
+5
(6)
Rt.
5
Rt.
3
6
C6/A (A mi. 7) Root on “A” string. “Mi-Po”
b7
B Rt.
5
Rt.
C7/B b
3
b7
Rt.
X
b7
3
5
Fretboard Harmony 115
Line Progressions
A mi.
A mi. Ma. 7
A mi. 7
A mi. 6
or
X
D9 X
I Fret 5
Fret 5
I
Fret 5
I
Fret 5
I
M
I Fret 5
R
M
R
M R B
Rt.
5
Rt.
R
b3
5
Rt.
Rt.
5
R
Ma.7 b 3
5
Rt.
Rt.
5
b7
b3
5
Rt.
Rt.
X
6
b3
5
Rt.
X
Rt.
3
b7
9
5
Root on “E” string. “Lo-Po”
A mi. X
A mi. Ma. 7
X
X
A mi. 7
X
X
A mi. 6
X
X
or
X
D9 X
X
I Fret 12
I
M
Fret 12
I
R
M
Fret 12
I
M
R B
R
Fret 12
I
M
R
B
Fret 12
M
R
B
B
B
X
Rt.
X
Rt.
b3
5
X
Rt.
X Ma.7 b 3
5
X
Rt.
X
b7
b3
5
Root on “A” string. “Mi-Po”
X
Rt.
X
6
b3
5
X
X
Rt.
3
b7
9
116 Fretboard Harmony
Line Progressions
A mi. X
A mi. Ma. 7
X
Fret 7
X
X
Fret 7
I
A mi. 7 X
X
Fret 7
I
M
X
or
X
Fret 7
I
M
R
A mi. 6
X
Fret 7
I
M
R B
D9/3
I M
M
R
R
R
B X
X
Rt.
5
Rt.
b3
X
X
Rt.
5
Ma.7 b 3
X
X
Rt.
5
b7
b3
Root on “D” string. “Hi-Po”
X
X
Rt.
5
6
b3
X
3
5
Rt.
3
b7
Fretboard Harmony 117
Passing Chords On the following four pages are passing chords that fit between the regular chords of the major scale. There is always more than one choice — ascending progressions lend themselves to using different passing chords from descending progressions.
118 Fretboard Harmony
Ascending Passing Chords in Major Keys
Io
C 7
C Ma. 7 X
Io
D 7
D mi. 7
X
X
X
X
X
I Fret 3
Fret 4
I
R
Rt.
5
R
3
5
X
Rt.
and
X
X
b5
Fret 7
M
M
B
bb 7
b3
X
X
Rt.
R
I M
B
X
b3
5
X
Rt.
b5
M
b3
X
X
Rt.
5
Rt.
I/III
3
X
X
X
M
Rt.
I+/3
3
X
X
Rt.
3
5
X
Fret 10
M R
+5
b3
I Fret 9
R
3
b7
G7
I
B
B
3
5
III mi. 7
Io
I Fret 8
bb 7
F 7
X
I
R
b7
F6
X
Fret 7
5
R
II mi. 7
C+/E
I
Fret 7
X
R
I Ma. 7
C/E
Fret 6
I
B
7
or
I Fret 5
M
M
E mi. 7
Rt.
R
3
IV Ma. 7
6
X
Rt.
b5
bb 7
b3
X
X
Rt.
5
B
b7
V7
3
5
Fretboard Harmony 119
Ascending Passing Chords in Major Keys
Io
G 7 X
Io
A 7
A mi. 7
X
X
X
X
X
X
B mi. 7 ( b 5)
or
G/B X
X
X
I Fret 6
I
Fret 7
M R
Fret 8
I
B
I
M R
M
M B
Fret 9
Fret 9
R
I
R
X
X
Rt.
b5
bb 7
b3
C Ma. 7 X
X
Fret 10
I
R
X
X
Rt.
5
7
3
X
X
Rt.
5
VI mi. 7
R
b7
b3
X
X
Rt.
5
bb 7
b3
X
X
3
5
V/3
Rt.
3
X
b5
b7
VII mi. 7 ( b 5) X
Rt.
b3
120 Fretboard Harmony
Descending Passing Chords in Major Keys
B mi. 7 ( b 5)
C Ma. 7 X
X
Fret 10
X
X
Fret 9
I
or X
X
Fret 9
I
X
X
Rt.
5
7
3
X
X
Rt.
b5
b7
I Ma. 7
VII mi. 7 ( b 5)
A mi. 7
Ab Ma. 7 X
b3
X
X
X
Rt.
5
R
b7
b3
X
X
X
5
3
X
X
Fret 7
I
R
Rt.
5
B
b7
3
D/FI
X
M R
7
X
Fret 5
I
M
Rt.
R
G7
X
Fret 6
I
R
I M
Ab 7
or
X
Fret 6
I
X
Fret 9
M
R
X
Fret 7
X
M
R
X
Bb7
or
X
Fret 9
I
R
X
B b Ma. 7
B mi. 7
I
M B
R
B
R B
X
X
Rt.
5
VI mi. 7
b7
b3
X
X
Rt.
5
7
3
X
X
Rt.
5
b7
3
X
X
Rt.
5
V7
b7
3
X
3
5
Rt.
5
(6)
Fretboard Harmony 121
Descending Passing Chords in Major Keys
F Ma. 7 X
Fret 8
or
E mi. 7 X
Fret 7
I
X
Fret 7
I
M R
E b Ma. 7
C/E X
Fret
( )6
I
X
Fret 6
I
M
M B
Eb7
or
R
I
M
R
R
B
R
B
B X
Rt.
5
7
3
5
X
Rt.
5
b7
b3
IV Ma. 7
III mi. 7
D mi. 7
D b Ma. 7
X
5
X
3
Rt.
3
5
(7)
X
Rt.
Db7
or
X
Fret 4
I
Fret 4
I
Rt.
5
R
b7
II mi. 7
b3
5
X
Rt.
5
5
X
Rt.
5
X
Fret 4
I
3
5
X
I M
Fret 3 (
R
) I M
B
7
b7
C Ma. 7
M
R
X
3
D b 9 +11
or
X
B
7
I/3
( ) Fret 5
5
3
R
5
X
Rt.
5
B
b7
3
R
5
( b 5) Rt.
5
b7
3
+11
(5)
Rt.
5
B
7
I Ma. 7
3
Rt.
122 Fretboard Harmony
Contrasting Major and Minor When exploring the minor tonalities, it may help to compare the Definitive chords with those of the major scale: Major I Ma. 7
Minor I mi. 6 or I mi. Ma 7
II mi. 7
II mi. 7 ( b5)
III mi. 7
bIII Ma. 7 +5
IV Ma. 7
IV mi. 6
V7
V7 (+9) or any alterations
VI mi. 7
VI mi. 7 ( b5)
o
VII mi. 7 ( b5)
VII 7 (Diminished 7th)
The Roman numerals behave the same way, more or less, in minor progressions and chord substitutions as they do in major: I mi. 6 and VI mi 7 ( b5) can be swapped I mi. Ma. 7 and bIII Ma. 7 (+5) can be swapped II mi. 7 ( b5) and IV mi. 6 can be swapped
o
V7 (+9) and VII 7 can be swapped
Fretboard Harmony 123
Playing Minor Progressions On pages 122 and 123 are some basic minor progressions. Playing them will teach the ability to hear and recognize these “colors.” Try all of the combinations shown. Major and minor tonalities are often mixed: II mi. 7 V7 +9 I Ma. 7 In the above example the V chord is from minor, the II and the I chord are from major. II mi. 7 ( b5) V9 I mi. 6 The second example above is reversed from the first, II and I are from minor and the V chord is from major. These basic progressions are the building blocks of all our modern western music.
124 Fretboard Harmony
Basic Minor Progressions
D mi. 7 ( b5) or X
X
F mi. 6 X
X
X
o
or
G7 (+9) X
X
X
I Fret 5
I
Fret 3
M R
Fret 5
I
B
M
X
I Fret 3
M
B
M
X
I Fret 2
R
or
C mi. 6
B7
R
M B
B
R
X
Rt.
b5
b7
b3
X
II mi. 7 ( b5)
Rt.
5
6
b3
X
X
IV mi. 6
A mi. 7 ( b5) or X
X
X
3
M
X
X
I ( ) Fret 3
R B
I
M
M
R B
R Fret 6
Rt.
X
b7
b3
b5
VI mi. 7 ( b5)
+9
or E b Ma. 7 (+5)
I Fret 5
b7
V7 (+9)
C mi. Ma. 7 X
Rt.
X
X
Rt.
X Ma.7 b 3
I mi. Ma. 7
5
B
X
Rt.
3
+5 Ma.7
bIII Ma. 7 (+5)
3
X
Rt.
o VII 7 b5
bb 7
b3
X
X
Rt.
X
6
I mi. 6
b3
5
Fretboard Harmony 125
Basic Minor Progressions
D mi. 7 ( b5) or X
F mi. 6
X
X
X
o
or
G7 (+9) X
X
X
X
( )
I Fret 12
I
I Fret 13
R
X
X
Rt.
Fret 10
b5
M
b7
II mi. 7 ( b5)
b3
Rt.
M
6
b3
5
Rt.
X
Rt.
3
b7
+9
or E b Ma. 7 (+5)
C mi. Ma. 7
X
( )
I Fret 8
I
( b 5) Rt.
b5
Fret 11
I
R
X
X
M
M
b7
VI mi. 7 ( b5)
b3
Rt.
X Ma.7 b 3
R
5
I mi. Ma. 7
Rt.
Rt.
3
7
3
+5
X
bIII Ma. 7 (+5)
X
X
o VII 7 Rt.
I
M R
V7 (+9)
X
Fret 7
I
B
IV mi. 6
A mi. 7 ( b5) or
R
R
X
Fret 9
or
C mi. 6
B7
b5
B
bb 7
b3
Fret 10
(Rt.) X
R
Rt.
B
b3
I mi. 6
6
5
126 Fretboard Harmony
P
A
R
II
T
Fretboard Harmony Workbook
Fretboard Harmony Workbook 129
Sharps, Flats and Enharmonics Fill in the missing notes and their enharmonic equivalents.
Flat
Given Note
1/2 step above
1/ 2 step below 1. (C b) or B 2. 3. 4. 5. 6. 7.
I
8. (A ) or Bb 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
Sharp
C F Bb Eb Ab Db Gb C b E A D G D G C B F A
I I I
I I
I
C or (Db)
I
C n or (B )
130 Fretboard Harmony Workbook
Sharps, Flats and Enharmonics Fill in the missing notes and their enharmonic equivalents.
Given Note
Flat
1/2 step above
1/ 2 step below
I
1. (E b) or D 2. 3. 4. 5. 6. 7. 8. 9.
10. An
11. 12. 13. 14. 15. 16. 17. 18.
Sharp
E A D G D G C B F A C F Bb Eb Ab Db Gb Cb
I
F or (E )
I I I
I I
B or (C b)
Fretboard Harmony Workbook 131
Sharps, Flats and Enharmonics Fill in the missing notes and their enharmonic equivalents.
Flat 1/ 2 step below 1.
Given Note
I I
Sharp 1/2 step above
A 2. F 3. (A ) or Bb B C or (B ) 4. C 5. G 6. D 7. G 8. D 9. A 10. E 11. Cb 12. F n Gb Gn 13. Db 14. Ab 15. Eb 16. Bb 17. F 18. C
I
I I I
I
132 Fretboard Harmony Workbook
Sharps, Flats and Enharmonics Fill in the missing notes and their enharmonic equivalents.
Flat
Given Note
1/2 step above
1/ 2 step below 1.
G 2. 3. 4. 5. 6. 7. 8. 9. Gn 10. 11. 12. 13. 14. 15. 16. 17. 18.
Sharp
Ab An C Eb Gb A C F Bb G An E F B D Db Cb D G A
I
I
I
I
I
Fretboard Harmony Workbook 133
The Chromatic Scale Complete these ascending and descending Chromatic Scales, working forward on the ascending and backward on the descending.
Go Flat 1.
Go Sharp
I
I
I
I
I
C, Db, D, E b, E, F, Gb, G, Ab, A, Bb, B C C , D, D , E, F, F , G, G , A, A , B, C
2. 3. 4. 5. 6. 7. 8.
Start here
C, Db, D, E b, E, F, Gb, G, Ab, A, Bb
9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
F Bb Eb Ab Db Gb C b E A D G D G C B F A
I I I
I I
I
I
I
I
I
C n, C , D, D , E, F, F , G, G , A, A , B, C
134 Fretboard Harmony Workbook
The Chromatic Scale Complete these ascending and descending Chromatic Scales, working forward on the ascending and backward on the descending.
Go Flat 1.
Start here
Go Sharp
I
I
I
I
I
E, F, Gb, G, Ab, A, Bb, B, C, Db, D, E b E F, F , G, G , A, A , B, C, C , D, D , E
2. 3.
4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
A D G D G C B F A C F Bb Eb Ab Db Gb Cb
I I I
I I
Fretboard Harmony Workbook 135
The Chromatic Scale Complete these ascending and descending Chromatic Scales, working forward on the ascending and backward on the descending.
Go Flat 1.
Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab, An
2.
3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
Start here
I I
A F B C G D G D A E Cb Gb Db Ab Eb Bb F C
I I I
Go Sharp
I
I
I
I
I
B, C, C , D, D , E, F, F , G, G , A, A
136 Fretboard Harmony Workbook
The Chromatic Scale Complete these ascending and descending Chromatic Scales, working forward on the ascending and backward on the descending.
Go Flat 1.
Start here
Go Sharp
I
I
I
I
I
Ab, A, Bb, B, C, Db, D, E b, E, F, Gb, G, Ab A A , B, C, C , D, D , E, F, F , G, G or A
2. 3. 4.
5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
C Eb Gb A C F Bb G E F B D Db Cb D G A
I
I
I
I
Fretboard Harmony Workbook 137
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
I I
I
I M
I M M R
I M
I M R R B I M R B B
I I I M
B
M R B
I B
I M
B
R B
I B
M I B
B
B
I B
I
I
B M B
M
B
B B I
I I
M
I
I
I M
R R B
I
I
M R
B
I
M R
B
R B
B
B
138 Fretboard Harmony Workbook
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Fretboard Harmony Workbook 139
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
140 Fretboard Harmony Workbook
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Fretboard Harmony Workbook 141
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
142 Fretboard Harmony Workbook
Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Fretboard Harmony Workbook 143
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “A” Major Fret 2
Fret 5 I
I
I
I
I
I
I
I
Fret 7
I
M
I
I
I
I
I
I
R
R
R
R
R
I
I
R R
R
R
B
B B
B
IO - PENT
Fret 12 I
I
DORI - PENT
“E” Shaped
Fret 9 I
R B
“G” Shaped
I
B
B
AEO - PENT
I
B
I I
I
R
R
“D” Shaped
I I
I
R
R
M R B
R
B
B
LYDI - PENT “C” Shaped
B
B
B
MIXO - PENT “A” Shaped
This is an expample of the following exercises. Use the “E” and “A” shaped bar chords to help locate the proper fret numbers.
144 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “C” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
DORI - PENT “D” Shaped
“A” Shaped
Hint: An “E” shaped “C” chord lies at fret number eight. An “A” shaped “C” chord lies at fret number three.
Fretboard Harmony Workbook 145
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “B” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
146 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
I
Key of “F ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
Fretboard Harmony Workbook 147
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
I
Key of “C ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
148 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “D” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
Fretboard Harmony Workbook 149
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “G” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
150 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “E” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
Fretboard Harmony Workbook 151
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “Bb” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
152 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “F” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
Fretboard Harmony Workbook 153
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “E b” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
154 Fretboard Harmony Workbook
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “Gb” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
Fretboard Harmony Workbook 155
Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.
Key of “Ab ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT “D” Shaped
156 Fretboard Harmony Workbook
Relative Minor Fill in the missing chords.
Major
Rel. Mi.
Major
Rel. Mi.
Major
C Ma.
A mi.
G Ma.
E mi. A mi. D mi. G mi. D mi.
C Ma.
F Ma. Bb Ma. E b ma. Ab Ma. Db Ma. Gb Ma. C b Ma. E Ma. A Ma. D Ma. G Ma. D Ma. G Ma. C Ma. B Ma. F Ma. A Ma.
I I I
I I
G mi.
E Ma.
B mi.
I I G mi. I C mi. I I
B mi. F mi. A mi. C b mi. Gb mi. Db mi. Ab mi. E b mi. Bb mi. F mi. C mi.
I
I
F Ma. C b Ma. Db Ma. E b Ma. F Ma.
Rel. Mi.
B mi.
I
A mi. Gb mi. Ab mi. Bb mi. C mi.
E Ma. A mi. D Ma.
I
D Ma.
G mi.
I
G mi.
Fretboard Harmony Workbook 157
Relative Minor Fill in the missing chords.
Major
I
F Ma.
I I
C Ma. G Ma.
Rel. Mi.
Major
A mi.
C Ma. F Ma. Bb Ma.
I
B mi.
I
D mi. G mi.
D Ma. A mi. E Ma. Gb Ma. Ab Ma. Bb Ma. C Ma.
Gb Ma. C b Ma. E Ma.
C b mi. Db mi. E b mi. F mi.
E b Ma. G Ma. C Ma.
I I
Rel. Mi.
Major Bb Ma.
E b mi. Ab mi. Db mi.
B Ma.
I
D Ma. G Ma.
Rel. Mi.
I
F mi.
I I
C mi. G mi.
D mi. A Ma. A mi. D mi. G mi.
I I
B mi. F mi. A mi.
C b Ma. Db Ma. E b Ma. F Ma.
E mi. Gb mi. Ab mi. Bb mi. C mi.
158 Fretboard Harmony Workbook
Relative Minor Fill in the missing chords.
Major E b Ma. Ab Ma. Db Ma. A Ma. D Ma.
Rel. Mi. C mi. F mi. Bb mi. Gb mi. C b mi. E mi.
G Ma.
Major
I
E b Ma. Ab Ma. Db Ma.
A Ma. D Ma. G Ma.
D mi. B Ma.
I
F Ma. Bb Ma.
I
G mi.
I
C mi.
I
B Ma. F Ma. Bb Ma.
Rel. Mi.
Major
C mi. F mi. Bb mi.
C Ma. F Ma. Bb Ma.
Gb mi. C b mi. E mi.
I I I
D mi. G mi. C mi.
Gb Ma. Cb Ma.
Rel. Mi. E b mi. Ab mi. Db mi. A mi. D mi.
E Ma. E b Ma. Ab Ma.
I
C Ma.
G mi. B mi.
I
F mi.
I
A mi.
Fretboard Harmony Workbook 159
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
b3 ma. 3rd
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
160 Fretboard Harmony Workbook
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
Fretboard Harmony Workbook 161
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
162 Fretboard Harmony Workbook
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
Fretboard Harmony Workbook 163
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
164 Fretboard Harmony Workbook
Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
Fretboard Harmony Workbook 165
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
I
Key of “F ” Minor, relative to “A” Major Fret 2
Fret 5 I
I
I
I
I
I
I
I
Fret 7
I
M
I
I
I
I
I
I
R
R
R
R
R
I
I
R R
R
R
B
B B
B
B
IO - PENT
“E” mi. Shaped
Fret 12 I
I
I
I
R
DORI - PENT
“D” mi. Shaped
Fret 9
B B
AEO - PENT
I
B
I I
I
R
R
“C” mi. Shaped
I I
I
R
R
M R B
B
R B
LYDI - PENT “A” mi. Shaped
B
B
B
MIXO - PENT “G” mi. Shaped
This is an example of the following exercises. Use the “E” and “A” minor shapes to help locate the proper fret numbers.
166 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “C” Minor, relative to “E b ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
DORI - PENT “C” mi. Shaped
“G” mi. Shaped
Hint: An “E” minor-shaped “C” minor chord lies at fret number eight. An “A” minor-shaped “C” minor chord lies at fret number three.
Fretboard Harmony Workbook 167
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “F” Minor, relative to “Ab ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
168 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “Bb” Minor, relative to “Db ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
Fretboard Harmony Workbook 169
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “E b” Minor, relative to “Gb ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
170 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “A” Minor, relative to “C” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
Fretboard Harmony Workbook 171
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “D” Minor, relative to “F” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
172 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “G” Minor, relative to “Bb ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
Fretboard Harmony Workbook 173
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “E” Minor, relative to “G” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
174 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
Key of “B” Minor, relative to “D” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
Fretboard Harmony Workbook 175
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
I
Key of “C ” Minor, relative to “E” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
176 Fretboard Harmony Workbook
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
I
I
Key of “A ” Minor, relative to “C ” Major
AEO - PENT
IO - PENT
“E mi.” Shaped
“D mi.” Shaped
LYDI - PENT
MIXO - PENT
“A mi.” Shaped
“G mi.” Shaped
DORI - PENT “C mi.” Shaped
Fretboard Harmony Workbook 177
Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.
I
Key of “G ” Minor, relative to “B” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT “C” mi. Shaped
178 Fretboard Harmony Workbook
I, IV, V Progressions Fill in the blanks as shown in the example.
I
IV
V
I
C
F
G
F
G
C
D
F
Bb
IV
V
I
A
V D
I
I
F
IV
I
I
I
V
V
F
I
IV
I
D
I
Bb
IV Bb
IV
V
V
F
I
I
V
IV
I
I
V
IV Eb
V
C
I
IV
V
I
Ab
IV
I
IV Ab
V
G C
I
I
V
I
V
Ab
I
G
IV
I
G
I
E A
D
I
Eb
A D
G
IV
B
D G
Eb
C B
I
I
Bb
B
G
D
I
F
IV
A
V
F
C
I A
I
IV
E A
E
Fretboard Harmony Workbook 179
I, IV, V Progressions Fill in the blanks as shown in the example.
I
IV
V
I CI DI I I I D G A I I I C F G G
IV Ab
V
V Ab
IV
I
I C
I
IV Eb
Ab
I
V
IV
C
I
V Eb
IV
V
E
C
V
I
IV Bb
V
V Bb
IV
I
IV
IV
F
I
V
V
F
I
I
I
A
V
F
V
V
I
A
I
C
IV
I
C
V
I
IV
D G
D
IV
IV
C
G D
I
F
Bb
I
I
A
F
D A
I
B
Eb
I
I F
B
I
A E
IV
B
A
E
I
G
D
I
I
I
D
180 Fretboard Harmony Workbook
I, IV, V Progressions Fill in the blanks as shown in the example.
I
I I A I G
IV
D
G
IV
V
I
A
V
V
I AI I I D I I C D
I
I
IV
I
A
I
C
V
V
F
I
IV
I
IV
I
V
I
I
F
IV
I
B
V
Bb
IV Bb
I
Bb
V
Eb
V
E A
C B
I
IV
A
B
F
I E
D
IV
V
A D
F C
V
D
F C
IV
G
IV
I
I
G
F
A
V
G
E or F
I
IV
V
C
I
IV Eb
I
E
IV
I
V
G C
I
I
Eb
V
Ab
I
I
G
IV Ab
I
G
I
Ab
Fretboard Harmony Workbook 181
Pattern Movement in I, IV, V Progressions Follow this example to fill out the remaining exercises, working from left to right.
Key of “G” Major
Key of “A” Major I=A
IV = D
V=E
I=G
IV = C
V=D
AEO at fret 2
LYDI at fret 2
DORI at fret 2
IO at fret 3
MIXO at fret 3
LYDI at fret 3
IO at fret 5
MIXO at fret 5
LYDI at fret 4
DORI at fret 5
AEO at fret 5
MIXO at fret 5
DORI at fret 7
AEO at fret 7
MIXO at fret 7
LYDI at fret 7
IO at fret 8
AEO at fret 7
LYDI at fret 9
IO at fret 10
AEO at fret 9
MIXO at fret 10 DORI at fret 10
IO at fret 12
AEO at fret 12
MIXO at fret 12 DORI at fret 12
I
IV
V
I
IV
V
I
IV
V
I
IO at fret 10
LYDI at fret 12
IV
V
DORI at fret 12
I
IV
V
IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO
Use a guitar or bass to verify the answers.
182 Fretboard Harmony Workbook
Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “G” Major
Key of “A” Major I=
I
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
IO
I
IV
V
DORI IO
I
V
LYDI DORI
IO
IV
Use a guitar or bass to verify the answers.
IV
V
MIXO LYDI
DORI
I
IV
V
AEO MIXO
LYDI
I
AEO MIXO
AEO
Fretboard Harmony Workbook 183
Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “C” Major
Key of “E” Major I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I
IV
V
MIXO
I
IV
V
AEO MIXO
I
V
IO AEO
MIXO
IV
Use a guitar or bass to verify the answers.
IV
V
DORI IO
AEO
I
IV
V
LYDI DORI
IO
I
LYDI DORI
LYDI
184 Fretboard Harmony Workbook
Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “F” Major
Key of “B” Major I=
I
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
AEO
I
IV
V
IO AEO
I
V
DORI IO
AEO
IV
Use a guitar or bass to verify the answers.
IV
V
LYDI DORI
IO
I
IV
V
MIXO LYDI
DORI
I
MIXO LYDI
MIXO
Fretboard Harmony Workbook 185
Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.
I=
Key of “Ab ” Major IV =
V=
I=
Key of “E b ” Major IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I
IV
V
DORI
I
IV
V
LYDI DORI
I
V
MIXO LYDI
DORI
IV
Use a guitar or bass to verify the answers.
IV
V
AEO MIXO
LYDI
I
IV
V
IO AEO
MIXO
I
IO AEO
IO
186 Fretboard Harmony Workbook
Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.
I=
I
Key of “Bb” Major IV =
Key of “D” Major
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
LYDI
I
IV
V
MIXO LYDI
I
V
AEO MIXO
LYDI
IV
Use a guitar or bass to verify the answers.
IV
V
IO AEO
MIXO
I
IV
V
DORI IO
AEO
I
DORI IO
DORI
Fretboard Harmony Workbook 187
Pattern Movement in I, IV, V Progressions in Minor Follow this example to fill out the remaining exercises, working from left to right.
Key of “A” Minor
Key of “G” Minor
I = A mi. IV = D mi. V = E mi.
I = G mi. IV = C mi. V = D mi.
MIXO at fret 3
DORI at fret 3
IO at fret 3
MIXO at fret 1
DORI at fret 1
IO at fret 1
AEO at fret 5
LYDI at fret 5
DORI at fret 5
AEO at fret 3
LYDI at fret 3
DORI at fret 3
IO at fret 8
MIXO at fret 8
LYDI at fret 7
IO at fret 6
MIXO at fret 6
LYDI at fret 5
DORI at fret 10
AEO at fret 10
MIXO at fret 10
DORI at fret 8
AEO at fret 8
MIXO at fret 8
LYDI at fret 12
IO at fret 13/1
AEO at fret 12
LYDI at fret 10
IO at fret 11
AEO at fret 10
I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI
Use a guitar or bass to verify the answers.
188 Fretboard Harmony Workbook
Pattern Movement in I, IV, V Progressions in Minor Fill in the blanks, working from left to right.
Key of “E” Minor
Key of “C” Minor I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. AEO
IO AEO
DORI IO
AEO
LYDI DORI
IO
Use a guitar or bass to verify the answers.
MIXO LYDI
DORI
MIXO LYDI
MIXO
Fretboard Harmony Workbook 189
Pattern Movement in I, IV, V Progressions in Minor Fill in the blanks, working from left to right.
Key of “F” Minor
Key of “B” Minor I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. DORI
LYDI DORI
MIXO LYDI
DORI
AEO MIXO
LYDI
Use a guitar or bass to verify the answers.
IO AEO
MIXO
IO AEO
IO
190 Fretboard Harmony Workbook
Pattern Movement in I, IV, V Progressions in Minor Fill in the blanks, working from left to right.
I=
Key of “Ab” Minor IV =
V=
Key of “E b” Minor
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. MIXO
AEO MIXO
IO AEO
MIXO
DORI IO
AEO
Use a guitar or bass to verify the answers.
LYDI DORI
IO
LYDI DORI
LYDI
Fretboard Harmony Workbook 191
Pattern Movement in I, IV, V Progressions in Minor Fill in the blanks, working from left to right.
I=
Key of “Bb” Minor IV =
Key of “D” Minor
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. IO
DORI IO
LYDI DORI
IO
MIXO LYDI
DORI
Use a guitar or bass to verify the answers.
AEO MIXO
LYDI
AEO MIXO
AEO
192 Fretboard Harmony Workbook
Pattern Movement in Mixed I, IV, V Progressions Follow this example to fill out the remaining exercises, working from left to right.
Key of “A” Mixed
Key of “G” Mixed
Imi. = Ami. IVmi.=Dmi. VMa.=EMa. Imi. = Gmi. IVmi.=Cmi. VMa.=DMa. MIXO at fret 3
DORI at fret 3
DORI at fret 2
AEO at fret 3
LYDI at fret 3
LYDI at fret 2
AEO at fret 5
LYDI at fret 5
LYDI at fret 4
IO at fret 6
MIXO at fret 6
MIXO at fret 5
IO at fret 8
MIXO at fret 8
MIXO at fret 7
DORI at fret 8
AEO at fret 8
AEO at fret 7
DORI at fret 10
AEO at fret 10
AEO at fret 9
LYDI at fret 10
IO at fret 11
IO at fret 10
LYDI at fret 12
IO at fret 13
IO at fret 12
MIXO at fret 13 DORI at fret 13 DORI at fret 12
I IV V I IV V I IV V I IV V I IV V mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. IO LYDI AEO DORI IO MIXO MIXO -1 fret LYDI IO -1 fret AEO LYDI -1 fret DORI AEO -1 fret MIXO DORI -1 fret AEO DORI MIXO LYDI IO -1IOfret AEO LYDI -1LYDI fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret
AEO DORI MIXO LYDI IO -1IOfret AEO LYDI LYDI -1 fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret
Use a guitar or bass to verify the answers.
Fretboard Harmony Workbook 193
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “G” Mixed
Key of “A” Mixed Imi. =
IVmi.=
VMa.=
Imi. =
IVmi.=
VMa.=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I IV V I IV V I IV V I IV V I IV V mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. IO
LYDI IO
AEO LYDI
IO
DORI AEO
LYDI
Use a guitar or bass to verify the answers.
MIXO DORI
AEO
MIXO DORI
MIXO
194 Fretboard Harmony Workbook
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “E” Mixed
Key of “C” Mixed IVmi.=
VMa.=
IMa. =
IVmi.=
VMa.=
IMa. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. LYDI
AEO LYDI
DORI AEO
LYDI
MIXO DORI
AEO
Use a guitar or bass to verify the answers.
IO MIXO
DORI
IO MIXO
IO
Fretboard Harmony Workbook 195
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
Key of “F” Mixed
Key of “B” Mixed VMa.=
IVMa.=
Imi. =
VMa.=
IVMa.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
V IV I V IV I V IV I V IV I V IV I Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. AEO
DORI AEO
MIXO DORI
AEO
IO MIXO
DORI
Use a guitar or bass to verify the answers.
LYDI IO
MIXO
LYDI IO
LYDI
196 Fretboard Harmony Workbook
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
IVmi.=
Key of “Ab” Mixed VMa.=
Imi. =
IVmi.=
Key of “E b” Mixed VMa.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. DORI
MIXO DORI
IO MIXO
DORI
LYDI IO
MIXO
Use a guitar or bass to verify the answers.
AEO LYDI
IO
AEO LYDI
AEO
Fretboard Harmony Workbook 197
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
Vmi.=
Key of “B b” Mixed IVMa.=
Key of “D” Mixed
IMa. =
Vmi.=
IVMa.=
IMa. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
V IV I V IV I V IV I V IV I V IV I mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. MIXO
IO MIXO
LYDI IO
MIXO
AEO LYDI
IO
Use a guitar or bass to verify the answers.
DORI AEO
LYDI
DORI AEO
DORI
198 Fretboard Harmony Workbook
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
IVMa.=
Key of “Db” Mixed Vmi.=
Imi. =
Key of “Gb” Mixed
IVMa.=
Vmi.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. IO
LYDI IO
AEO LYDI
IO
DORI AEO
LYDI
Use a guitar or bass to verify the answers.
MIXO DORI
AEO
MIXO DORI
MIXO
Fretboard Harmony Workbook 199
Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.
I
IMa. =
IVmi.=
I
Key of “F ” Mixed
Key of “C ” Mixed Vmi.=
IMa. =
IVmi.=
Vmi.=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I IV V I IV V I IV V I IV V I IV V Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. LYDI
AEO LYDI
DORI AEO
LYDI
MIXO DORI
AEO
Use a guitar or bass to verify the answers.
IO MIXO
DORI
IO MIXO
IO
200 Fretboard Harmony Workbook
Pattern Movement in Mixed I, IV, V Progressions Use the previous exercises as a guide for completing the following Pattern Movement Circles exercises. The circle pattern creates a visual image that mirrors the movement of the patterns on the fretboard. Playing the patterns next to one another produces I, IV, V movement, while remaining in the same area of the neck. Clockwise movement in the circle produces physical movement up the neck. Counterclockwise movement in the circle produces physical movement down the neck. Imagine a five-story building (the five pentatonic patterns) with three rooms (the I, IV, V progressions) on each floor — and a “magic” elevator (the pattern movement circles). This elevator enables the rider to go from floor to floor, and room to room, in any order, at any time!
Fretboard Harmony Workbook 201
Pattern Movement Circles
I
I, IV, V in the Key of “A” Major/“F ” Minor
LYDI at fret 4
V IV DORI at fret 2
LYDI at fret 2
V
MIXO at fret 5
IV
IO at fret 5
AEO at fret 7
DORI at fret 7
AEO at fret 2
MIXO at fret 7
I V
IV
IV MIXO at fret 12
LYDI at fret 9
DORI at fret 12 IO at fret 12
IV
V
IO at fret 10 AEO at fret 9
V
202 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “G” Major/“E” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 203
Pattern Movement Circles
I
I, IV, V in the Key of “E” Major/“C ” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
204 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “C” Major/“A” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 205
Pattern Movement Circles
I
I, IV, V in the Key of “B” Major/“G ” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
206 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “F” Major/“D” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 207
Pattern Movement Circles I, IV, V in the Key of “Ab” Major/“F” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
208 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “E b” Major/“C” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 209
Pattern Movement Circles I, IV, V in the Key of “Bb” Major/“G” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
210 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “D” Major/“B” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 211
Pattern Movement Circles I, IV, V in the Key of “Db” Major/“Bb” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
212 Fretboard Harmony Workbook
Pattern Movement Circles I, IV, V in the Key of “Gb” Major/“E b” Minor
V
V IV
IV
I V
IV
IV
IV
V
V
Fretboard Harmony Workbook 213
Pattern Movement Circles Mixed I, IV, V in the Key of “A”
V Ma.
V Ma. IV mi.
IV mi.
I mi. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
214 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “C”
V Ma.
V Ma. IV mi.
IV mi.
I mi. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Fretboard Harmony Workbook 215
Pattern Movement Circles Mixed I, IV, V in the Key of “G”
V Ma.
V Ma. IV mi.
IV mi.
I mi. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
216 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “E”
V Ma.
V Ma. IV mi.
IV mi.
I mi. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Fretboard Harmony Workbook 217
Pattern Movement Circles Mixed I, IV, V in the Key of “D”
V Ma.
V Ma. IV mi.
IV mi.
I mi. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
218 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “F”
V Ma.
V Ma. IV mi.
IV mi.
I Ma. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Fretboard Harmony Workbook 219
Pattern Movement Circles Mixed I, IV, V in the Key of “Bb”
V Ma.
V Ma. IV mi.
IV mi.
I Ma. V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
220 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “E b”
V ma.
V ma. IV mi.
IV mi.
I ma. V ma.
IV mi.
IV mi.
IV mi.
V ma.
V ma.
Fretboard Harmony Workbook 221
Pattern Movement Circles Mixed I, IV, V in the Key of “A”
V mi.
V mi. IV Ma.
IV Ma.
I mi. V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
222 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “C”
V mi.
V mi. IV Ma.
IV Ma.
I mi. V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Fretboard Harmony Workbook 223
Pattern Movement Circles Mixed I, IV, V in the Key of “G”
V mi.
V mi. IV Ma.
IV Ma.
I Ma. V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
224 Fretboard Harmony Workbook
Pattern Movement Circles Mixed I, IV, V in the Key of “E”
V mi.
V mi. IV Ma.
IV Ma.
I Ma. V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Fretboard Harmony Workbook 225
Intervals Fill in the blanks.
Root
Ma. 2nd
Root
A
B
F
C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
Db
D
I
D B G E C A Db Bb Gb Eb Cb Ab A G C F
I I I I
b3 Mi. 3rd Ab D
An Dn
Root Bb Eb Ab
I I
G F Gb Cb A C F B E A D G C Db
I I
Ma. 3rd D
I
B or C
Dn
D
F
I
226 Fretboard Harmony Workbook
Intervals Fill in the blanks.
Root
P. 4th
Root
A
D
F
C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
C b or B
D B G E C A Db Bb Gb Eb Cb Ab A G C F
I I I I
b5 Dim. 5th Bn
Bb Gn
n n
Root
P. 5th
Bb Eb Ab
I I
G F Gb Cb A C F B E A D G C Db
I I
C
I
b
I or
Fretboard Harmony Workbook 227
Intervals Fill in the blanks.
Root
+5 Aug. 5th
A C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
Root
Ma. 6th
E or F
F
D
G
D B G E C A Db Bb Gb Eb Cb Ab A G C F
I
I
Gn En Bn
I I I I
I
G
Bb
G
Root
b7 Mi. 7th
Bb Eb Ab
Ab
I I
An
I I
G F Gb Cb A C F B E A D G C Db
F
I
C b or B
228 Fretboard Harmony Workbook
Intervals Fill in the blanks.
b3 Root Mi. 3rd P. 5th
A C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
C
Cb
F b or E Bn
Minor Triads
F
E
Eb
Ab
D
Root Ma. 3rd P. 5th
I
D B G E C A Db Bb Gb Eb Cb Ab A G C F
I I I I
A
C
Root
P. 4th
P. 5th
Bb Eb Ab
Eb
F
B
C
En
Gb
I I
F
Ab
Eb
Gb
B or C
D
I
Major Triads
I
G F Gb Cb A C F B E A D G C Db
I I
Suspended Triads
I
Fretboard Harmony Workbook 229
Intervals Fill in the blanks.
b3 Mi. 3rd P. 5th
A C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
Root
I
P. 5th
I
C orDb F or Gb
C
F
I
C or B F or E D G
Minor Triads (First Inversion)
I
A C E G B D F Ab Cb Eb Gb Bb Db F C G A
I I I I
b3 Root Mi. 3rd Ma. 3rd P. 5th
D
F
E
G
Fb
F
I
Gn
An
Major Triads (Second Inversion)
Root
C A F C E G C G B D F Abor G C b or B F b or E Cb Eb Gb Bb Db F C G A
I
I I I I
Major Triads (First Inversion)
230 Fretboard Harmony Workbook
Intervals Fill in the blanks.
P. 5th
F D B G E C A Db Bb Gb Eb Cb Ab A G C F
I I I I
b5 b3 +5 Root Ma. 3rd Root Aug.5th Ma. 3rd Root Dim.5th Mi. 3rd
Bb
D
A
I
C
Bb Eb Ab
I I
G F Gb Cb A C F B E A D G C Db
I I
Db
F
Major Triads (Second Inversion)
I
F or Gb
D
D
A
I
D
F
I
Augmented Triads (Always Major)
A C E G B D F Ab Cb Eb Gb Bb Db F C G A
Eb
C
I I I I
Diminished Triads
Fretboard Harmony Workbook 231
Intervals Fill in the blanks by adding or subtracting seven.
Original Up by one Original Up by one Original Up by one Interval Octave Interval Octave Interval Octave Ma. 2nd
Ma. 9th mi. 3rd mi. 10 Ma. 3rd Ma. 10th P. 4th P. 11th dim. 5th dim. 12th P. 5th P. 12th Aug. 5th Aug. 12th Ma. 6th Ma. 13th mi. 7th mi. 14th Ma. 7th Ma. 14th 8th Octave 15th. ..
2 b3 3 4 b5 5 +5 6 b7 7 8
9 b10 10 11 b12 12 +12 or b13 13 b14 14 15
13 11 9 10 12 +12 or b13 15 b10 b14 10 13 b13 or +12 15 14 10 12 b12 b14
232 Fretboard Harmony Workbook
Interval Geometry To draw the interval shapes, refer to the indicated roots, then fill in the remaining notes. Hints are provided under the correct strings; just locate the correct fret. Octaves
Octaves
Oct.
Octaves
Octaves Oct.
Oct.
R
R
R
R Oct. Oct.
8
Oct.
8
8
Octaves
8
Octaves
8
Oct.
8
Octaves
R
8
Octaves
R
15ths (2 octaves)
R
R
R
8
8
8
Ma. 2nd
R
2
Ma. 2nd
R
2
2
8
8
Ma. 2nd
R
2
2
8
8
Ma. 2nd
Ma. 2nd
R
2
2
15
R
2
(2nds are almost always called 9ths when they appear in chords.)
2
2
Fretboard Harmony Workbook 233
Interval Geometry Draw the interval shapes. Ma. 9th
Ma. 9th
Ma. 9th
Ma. 9th
R R
R
9
9
9
9
9
R
R
b3
b3
Mi. 10
R
b3
b3
Mi. 10
R
9
b10
b3
b3
R
b10
b10
Mi. 3
R
R
Mi. 10
R
b10
9
Remember, a 9th is just a 2nd up an octave. Mi. 3 Mi. 3 Mi. 3
Mi. 3
b3
R
b10
A 10th is just a 3rd up an octave.
b3
b3
b3
234 Fretboard Harmony Workbook
Interval Geometry Draw the interval shapes. Ma. 3rd
Ma. 3rd
R
3
Ma. 3rd
R
3
3
Ma. 10th
R
R
3
3
Ma. 10th
R
3
3
R
3
3
Perfect 4th
Perfect 4th
3
R
10
10
Perfect 4th
Perfect 4th
10
10
Perfect 4th
R R
Ma. 3rd
Ma. 10th
R
10
Ma. 3rd
R
R
R 4
4
4
4
4
4
4
4
When a 3rd is replaced with a 4th it is known as a suspended 4th.
4
Fretboard Harmony Workbook 235
Interval Geometry Draw the interval shapes. Perfect 11th
R
Perfect 11th
Perfect 11th
R
11
R
11
11
11
11
11ths and major 3rds never appear in the same chord as do minor 3rds and 11ths. Dim. 5 Dim. 5 Dim. 5 Dim. 5 Dim. 5
R R
R
b5
b5
R
R
b5
b5
b5
b5
b5
b5
For the guitarist, b5 and +11 are basically the same, the 5th is just lowered by one fret. +11 +11
R
R
+11 +11
+11 +11
b5
236 Fretboard Harmony Workbook
Interval Geometry Draw the interval shapes. Perfect 5th
Perfect 5th
Perfect 5th
Perfect 5th
Perfect 5th
R R
R
5
5
R
R
5
5
5
5
5
5
5
Not enough fingers to play a chord? Lower the 5th to a 4th or 3rd, or raise it to a 6th (13th) or 7th. Perfect 12th Perfect 12th R
R
12
12
12
Remember, when dealing with guitar chords, a 12th is called a 5th. A 5th up an octave is a 12th. Aug. 5 Aug. 5 Aug. 5 Aug. 5 Aug. 5 R R
R
+5
+5
R
+5
+5
R
+5
+5
+5
+5
There is no such thing as a minor chord with an augmented 5th. C mi. +5? No, it’s really Ab ma.
+5
Fretboard Harmony Workbook 237
Interval Geometry Draw the interval shapes. b13 or +12
b13 or +12
R
R
+12 +12
+12
When b13 is in a chord symbol, think of it as +5. Also, +12 is never seen in chord symbols. Ma. 6th Ma. 6th Ma. 6th Ma. 6th
()
()
()
()
R
R
R
R
(6)
6
(6)
6
6
(6)
6
6
6
Need a 6th more than a root? Lower the root by three frets. Ma. 13th
Ma. 13th
R R
13
(6)
13
13
A 13th is just a 6th up an octave.
238 Fretboard Harmony Workbook
Interval Geometry Draw the interval shapes. Mi. 7
Mi. 7
Mi. 7
Mi. 7
()
R
(b7)
b7
()
()
()
R
R
R
(b7)
b7
b7
(b7)
b7
(b7)
Need a b7 more than a root? Lower the root by two frets. Mi. 14
Mi. 14
R
b7
R
b14
Ma. 7th
b14
b14 is never seen in chord symbols; it is always shown as b7. Ma. 7th Ma. 7th Ma. 14th R
Ma. 14th R
() ()
()
R
R
(Ma.7)
Ma.7 Ma.7
(Ma.7)
R
Ma.7 Ma.7
(Ma.7)
Ma.7 Ma.7
Ma.14 Ma.14
Major 14th is always shown in chord symbols as major 7th.
Ma.14
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