Howard Wallach Guitar Chord Progression Encyclopedia.pdf
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GUITAR
ENCYCLOPEDIA
Includes Hundreds of Chords and Chord Progressions in All Styles in All Twelve Keys HOWARD WALLACH Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop.
Contents ABOUTTHEAUTHOR …………………………….. 4 INTRODUCTION ……………………………………… 5 HOW TO USE THIS BOOK ………………………. 6 First Position Chord Section …………………………………….6 Moveable Chord Section …………………………………………..6 Roman Numeral Review …………………………………………..6 The Chords in Major and Minor Keys ……………………..7 First Position Chords ………………………………………………..8 Moveable Chords ………………………………………………………8 Sign and Symbols ……………………………………………………….8 Enharmonic Keys ……………………………………………………….9 Strumming Patterns ………………………………………………… 10 Strum Lines ……………………………………………………………… 10 Chord Progression Example …………………………………… 10 Fingerboard Chart …………………………………………………. I I CHORD PROGRESSION IN THE FIRST POSITION …………… 12 First Position Chords ……………………………………………… 12 C Major ……………………………………………………………………14 G Major ……………………………………………………………………16 D Major ……………………………………………………………………18 A Major ……………………………………………………………………20 E Major ……………………………………………………………………. 22 F Major …………………………………………………………………….24 A Minor ……………………………………………………………………26 E Minor …………………………………………………………………….28 D Minor …………………………………………………………………… 30 Diminished 7 Chords ……………………………………………… 32 Suspended 4 Chords ………………………………………………. 33 CHORD PROGRESSION IN THE UPPER POSITIONS…………34
Moveable Chords ……………………………………………………. 34 C Major …………………………………………………………………… 36 G Major …………………………………………………………………… 38 D Major ……………………………………………………………………40 A Major ……………………………………………………………………42 E Major …………………………………………………………………….44 B Major …………………………………………………………………….46 F# Major ……………………………………………………………………48 F Major …………………………………………………………………….50 B~ Major …………………………………………………………………… 52 E~ Major ……………………………………………………………………54 At Major …………………………………………………………………..56 D° Major …………………………………………………………………..58 G~ Major ………………………………………………………………….. 60 A Minor ……………………………………………………………………62 E Minor …………………………………………………………………….64 B Minor ……………………………………………………………………66 F# Minor ……………………………………………………………………68 C# Minor …………………………………………………………………..70 G# Minor …………………………………………………………………..72 D# Minor …………………………………………………………………..74 D Minor ……………………………………………………………………76 G Minor …………………………………………………………………… 78 C Minor ……………………………………………………………………80 B~ Minor ……………………………………………………………………82 E~ Minor ……………………………………………………………………84 ADDITIONAL CHORD PROGRESSIONS …………….86 Progressions with Alternate Major Chord Forms ……………………………86 Classic Rock Progressions ………………………………………87 Progressions with Suspended 4 Chords …………………88
Latin Rock Progression ……………………………………………89 12-Bar Blues Progression ………………………………………..90 Swing Blues Progression ………………………………………….91 Ballad Tune Progression …………………………………………..92 Jazz/Blues Progression ……………………………………………..93 Country Swing Progression …………………………………….94
(rocs Rejerence Index By Key: A’ Major A Major A Minor B’ Major B’ Minor B Major B Minor C Major C Minor C- Minor D” Major D Major D Minor D: Minor E’ Major E’ Minor E Major E Minor F Major P Major P Minor G Major G Major G Minor G« Minor
About The Author Howard Wallach was born in Cleveland, Ohio where, at the age of ten, he began performing on both jazz and classical guitar. After studying with guitar virtuoso Miguel Rubio at the Conservatory of Lausanne, Switzerland, he completed his Bachelor of music at the Peabody Conservatory of John Hopkins University under the renowned educator Aaron Shearer. His graduate studies were undertaken at the University of Houston. Mr. Wallach has given many solo and ensemble performances on both the guitar and lute in Switzerland, Baltimore, Houston, Washington, D.C., Cleveland and Philadelphia. Currently residing in Houston, he teaches at Houston Community College and at Lee College in Baytown,Texas.
The purpose of this book is to familiarize the guitarist with all of the most commonly used chords and chord progressions in every key and in every position on the fingerboard. What makes this book different from other chord books is that you will learn by playing fully illustrated examples of real chord progressions, and not by reading theoretical descriptions. This book is extremely easy to use and to understand. A chord diagram is provided for every chord, so there’s no guesswork involved. The sections of this book are arranged progressively in order of difficulty, so if you’re fairly new to the guitar, you should start at the beginning and gradually work your way towards the end. The more experienced player can move freely from section to another, filling in any gaps in his or her knowledge. You will become familiar with the different chords and progressions through frequent repetition, so it’s a good idea to periodically review earlier lessons. Pay attention to the name of each chord. When playing a moveable chord (a chord shape which may be shifted to any position of the fingerboard) also make note of the fret it is played on and which string the root note of the chord appears. (A root note is the note after which a chord is named. For instance, C is the root note of the C Major chord.) To check on the position of root notes, refer to the fingerboard chart on page Almost all of the chords in this book are presented in root position, with the root of the chord as the lowest sounding note. Many of the chords are shown in more than one versionsometimes in a single chord progression-to expose you to a number of possibilities and show how a song can be enriched by a creative rhythm guitarist. So dig in and have fun! Here are some other chord and rhythm guitar books from Alfred and the National Guitar Workshop: Alfred’s Basic Guitar Chords, Manus Basix-Guitar Chord Dictionary, Hall/Monus Chord and Scale Finder, Fisher Chord Connections, Brown Guitar Chord Encyclopedia, Hall/Manus Stand Alone Tracks-Rhythm Guitar, Brown The Rhythm Guitar Encyclopedia, Fisher
The keys presented in the section beginning on page 12 are the only ones normally used when playing in the first (or “open”) position. Optional bar chord forms have been added in small print for some chords which sound their best only as bar chords. The more advanced player can use these forms whenever they please.
It’s possible to play in any key when using moveable chords. This section beginning on page 34 covers all the keys, including those omitted from the previous section. Occasionally, however, a first position chord is utilized to get the best effect or fullest sound out of a particular chord progression. These chords are clearly indicated by the notation. The numbers at the left side of each moveable chord indicates at which fret the chord is to be placed.
Roman numerals are used to designate the relative position of a chord in a scale. The upper case numerals usually designate major chords and lower case numerals usually designate minor chords.
The chords in each key are built on the notes of the scale of that key. For instance, in all major keys the chords built on the seven notes of the major scale follow this pattern:
In all minor keys, the chords built on the seven notes of the natural minor scale are:
(Occasional exceptions to the above are noted throughout the text.) The Roman numerals heading each chord progression refer to the position of each chord in the scale of that key. For example:
THE KEY OF C MAJOR-The I-vi-ii-V Progression The chords used in the progression are C Major, A Minor, D Minor and G Major or G7. C Major is the I (I st) chord of the key, A Minor is the vi (6th) chord of the key, D Minor is the ii (2nd) chord of the key, and G Major or G7 is the V (5th) chord of the key.
Occasionally chord progressions deviate from the norm. The Roman numeral system is used to designate altered chords and secondary chords, as on page 32. Secondary chords relate to the chord they precede rather than the overall key of the progression. They are normally a V or a vii of the chord they precede. Here is a chord progression with secondary dominant chords:
The keys of C’ Major, C’ Major, A*, Minor and A’ Minor are not presented in this book since they are enharmonic (identical in sound, but spelled with different letter names) with the keys of D’ Major, B Major, B’ Minor and G’ Minor, respectively. The enharmonic relationships of the chords in these keys are illustrated below. The key of C’ Major is enharmonic with the key of D’ Major
The key of C’ Major is enharmonic with the key of B Major
The key ofA”^ Minor is enharmonic with the key of B’ Minor
The key of A’ Minor is enharmonic with the key of G’ Minor
In this book all strums that fall on a beat (a number) are to be played with a down stroke (4, ), and all strums that fall on an upbeat (&) are to be played with an up stroke (t ). (Only strum three or four strings on an up stroke.) This approach will give the proper rhythmic emphasis to your playing. A beat is the basic unit of measurement of time in music. The beats in a song are most often organized in groups of four, three or two. These organizatonal groups are called measures, or bars. Consequently, you’ll have four, three or two beats to a measure. There are many other rhythmic possibilities, but in this book we’ll stick to these. When there are four beats in a measure, it is indicated at the beginning of the song with the time signature Three beats in a measure are indicated by the time signature :3, and two beats by Every example in this book begins with a counting pattern and rhythm which will tell you how to count and strum that progression. These rhythms given are just suggestions. You can substitute any counting pattern or rhythm you like, so long as you come out with a regular number of beats per measure.
Represents a one beat downward strum
Represents a down stroke followed by and up stoke dividing the beat into two parts (beat and off-beat).
In measures containing two chords, the second chord falls on the third beat of the measure.
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-v i-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-IV-V Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
Important note: If a chord frame is not given in a measure, the chord from the previous measure is played.
The i-iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-iv-v Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The i-iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-iv-v Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The I-iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-% i-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The i-Iv-v Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-v-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The 1-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-7th Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-ivv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-vI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major Iv chord for the usual minor iv chord of minor keys. The i-111-IV-vt Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-7th Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-7th Chords (Commonly Used in Latin, Jazz and Blues Styles.)
Swing Progression - Key of C Major
Jazz/Blues Progression - Key of G Major
Acoustic/Alternative Rock Progression I - Key of A Major
Acoustic/Alternative Rock Progression II - Key of G Major
All of these chord forms can be shifted from fret to fret to achieve the desired chord type at different pitch levels. Almost all of these chords are in root position since the root is the lowest note in the chord. The few exceptions are marked with an R below their root notes. Refer to the fingerboard chart to locate the position of the root notes on the guitar neck.
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The -vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The 1-Iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The 1-IV-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The 1-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
Since the 9 chord is very similar in function to the 7 chord, and since it contains the 7th tone along with the 9th tone (9 scale steps above the root), it can often be used as a substitute for the 7 chord in progressions of certain blues, jazz and pop styles. The I-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-tv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-Iv-v Progression(Commonly Used in Rock, Folk and Country Styles.)
The [-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-\,I-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-N,1-11’-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The i-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-v i-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-IV-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The [-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The ►-vi-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-IV-V Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The 1-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-% i-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-IV-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The 1-iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-v Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-v-i-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The i-iv-V Progression-7th Chords (Commonly Used in Blues and Rock Styles.)
The i-IV-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-v-i-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-v i-ii-V Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-IV-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The I-Iv-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The I-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I-vvi-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The I-Iv-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The 1-1v-v Progression (Commonly Used in Rock, Folk and Country Styles.)
The 1-vi-ii-V Progression (Commonly Used in Rock, Folk and Latin Styles.)
The I--i-ii-v Progression-Color Chords (Commonly Used in Jazz and Pop Styles.)
The i-Iv-v Progression-Seventh Chords (Commonly Used in Blues and Rock Styles.)
The i-iv-V Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The 1-111-iv-vi Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-V Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-111 Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor i\ chord of minor keys. The 1-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-V Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-111-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-v-v[-in Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-111-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-V Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-I11 Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The 1-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-v-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-111-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-1I1 Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor i% chord of minor keys. The 1-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-~ Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-vI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major Iv chord for the usual minor iv chord of minor keys. The i-III-Iv-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-V Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor i’ chord of minor keys. The i-111-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-~ Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-ivv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-V-v1-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-III-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The i-iv-v Progression (Commonly Used in Folk, Rock and Latin Styles.)
The i-v-VI-III Progression (Commonly Used in Latin and Folk Styles.)
This progression substitutes a major IV chord for the usual minor iv chord of minor keys. The i-111-IV-VI Progression (Commonly Used in Blues, Rock and Folk Styles.)
The i-iv-v Progression-Seventh Chords (Commonly Used in Latin, Jazz and Blues Styles.)
The I-Iv-v Progression - Key of A Major
The I-vi-ii-V Progression - Key of A Major
Progression I - Key of C Major
Progression II - Key of A Minor
* These curved lines are called ties. They add the rhythmic value of the second chord to the first. Do not strum the second chord, just count it.
Alternative/Acoustic Rock Progression I - Key of G Major
Alternative/Acoustic Rock Progression II - Key of C Major
Although this progression is in the key of C Major, it actually”sequences” through different keys with a series of V-I relationships.
Quickly This progression is a good example of how effective it can be to move from one position to another on the same chord. Observe the tie signs here as in the Classic Rock Progression.
Moderately Key of G Major
Fast/Key of B, Major
Slowly/Key of F Minor
Medium Tempo Key of F Major
Quickly Key of F Major
Notes:
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