Sprague Technique

The Sprague Technique

by Peter Sprague

Satyam Music

The Sprague Technique © 1989, 2016 / Satyam Music P.O. Box 762, Del Mar, CA 92024 No part of this book may be reproduced in any form without written permission from the publisher. All rights reserved. International Copyright Secured. This is V.4 of The Sprague Technique

FOREWARD OVER MY MANY YEARS of playing the guitar, I have accumulated a number of ideas and exercises that have helped to improve my playing. These ideas came from various different sources but strangely enough, they come primarily from saxophone and piano players rather than guitarists. These have been the musicians that have influenced me the most. I have always been on the path to try and free up the limitations that I feel the guitar has, especially in jazz music. One of the main ways I have taken this on is in the form of making MUSIC the important factor, not just what the guitar can or cannot play. If you look at music in this way, some of the most influential people have been the saxophonists, the trumpet players and the pianists. These have been my teachers and now I am passing to you a refinement of their ideas filtered through the guitar. My hope is that they meet you on good terms, bring you improvement in your technique, and help free up your natural creative abilities. Keep it rolling…

Peter Sprague

March, 2012

Acknowledgments These folks have helped me in the editing stage of putting together this book. Thanks go out to Stefanie Sprague, Steve Grant, Paul Goethel, Chan Jenuine and Brian Balthazor. Barbara Rix designed the cover.

The Sprague Technique Chords 5 Singing 10 Fingering 12 Chord Inversion 17 Chord Progressions 21 Common Tones 25 How to Practice 27 The ii - V7 - I Progression 29 Tension on Dominants 34 Chord Inversion: Part II 37 Chord Voicing Series 48 Chord Synonyms 51 Arpeggios 52 Triads 54 Scales 57 Pentatonic Patterns 61 The Five Scales 63 Diatonic Patterns 67 The Diminished Scale 75 Diatonic Chords 88 Polychords 95 Trills

103

The Bebop Surround

105

The Tritone Substitution

107

Brazilian Rhythms

108

Special 11th Chord Voicings

109

Flashcards

110

Additional Triad, Arpeggio, and Scale Fingerings

115

Books and Records

146

About the Author

152

Chapter 1 / Chords

CHORDS

A good starting point in the study to be an improviser is to have a thorough knowledge of chords —how they are constructed, good voicings, the roles chords play within a song format, and how to choose melody notes that fit naturally with chords. As guitarists, we not only play chords in an accompanist role, we also improvise over the chord changes. To be successful at this, a complete understanding of how chords are put together is a good starting point. It makes things easier if you can group all of the chords that you come across into one of three families. By doing this you quickly develop an understanding for what kind of function or role a certain chord is playing within a piece of music. Once this is understood it’s not a big deal to add alterations to the chords for variation and color. The three families of chords are: MAJOR, MINOR, and DOMINANT 7. For all practical purposes, all chords can fall into one of these families. (Even diminished chords can be viewed as Dominant 7 b 9 chords in disguise. More on this later in the book.) Most of the time major and minor chords have the role of stability in music. You can play them and not move around and they seem perfectly fine to just stay put. Also, most songs have a “home” tonality and these are usually set in major or minor chords. In contrast, the main purpose of a dominant 7 chord is to be unstable, to create a tension that later gets released when the chord resolves. This is referred to as tension and release and it happens not only in music but also in theatre, movies, novels, and­really, life. Listed below are the items of importance to the three families of chords. Along with the œ are œ œ & œ œ The œ spellings of the chords, I’ve listed what I call the BASIC TOOLS. BASIC TOOLS the œ œ SCALE, the TRIAD, and the ARPEGGIO. 1) Major 7 Family Written in music as C, CMaj.7, CM7, or C∆7; œ œ œ & is my C∆7 œ œ way of naming these chords. œ œfavorite

œ

The C Major 7 scale:

& œ œ œ œ œ œ œœ & & wwwœœ œ œ œ œ œ œ Root 2 3 4 5 6 7 8 (or root again)

The Major triad played as a chord:

&w & œwwww w

œ

&œ &œ & wwww

œ œ

Root 3

œ

5

œ œ

The Major 7 played as a chord:

Root 3

w

5

7

& & wwwœ œ œ œ œ œ œ œ & &

wœww

œ

œ

The Major triad played as an arpeggio:

& &

œ wwwœ w 3 Root

œ 5

The Major 7 played as an arpeggio:

& &

wwwœ w

Root

œ

3

œ

œ

5

7

5

Chapter 1 / Chords

& 2) Minor 7 Family Written in music as C min., Cm, C-, C min.7, Cm7, or C-7;œ C-7 is my favorite way of naming these chords.

œ bœ œ œ bœ œ œ

There are many different minor scales (natural minor, harmonic minor, melodic minor, œ œ œ b œ going & butœ bthe œ we’re etc.), to start with is called the& Dorian b ww Mode. œ œscale œ œ œ bœ

œw œ b œ

œ

The Dorian Mode (minor scale):

œ bbœœ œœ & œ œ b œ & bœww œ b œ œ œ œ œw œ Root 2 b3 4 5 6 b7 8 (or root again) bœ

&œ &œ & b b wwww

bœ bœ

œ

& & bœb wwww

Root b3 5

œ œ

5

œ

bœ b3

Root

The minor 7 played as a chord:

Root b3

œ

bœ

The minor triad played as an arpeggio:

The minor triad played as a chord:

& & bbœwwww w

& bœww w

5

The minor 7 played as an arpeggio:

b7

& bœb www b œ w

œ

bœ

b3

5

b7

&œ

bœ

œ

bœ

Root

b www & b & bœbww b œ œ bœ 3) Dominant 7 Family w

Written in music as C7, C9, C11, C13, C+7, C7 b9, C7 b5, etc. In the musical scheme of things, the dominant 7 chord functions as an off-balance, tense chord that wants to resolve somewhere else. bœ

&œ &œ &

œ œ

bœ bœ

bœ

bœ œ œ œ œ œ œ œ

œ œ œ œ œ extensions

Root 2 3 4 5 6 b7 8 9 10 11 12 13 Root 2 3 4 5 6

& bœww œ œ œ œ œ b œ œ & ww The dominant 7 played as a chord:

& b wwww &œ

Root 3

6&

&

œ

œ

œ

5

œ

b7

œ

bœ

œ œ œ œ œ

& œ œ œ œ œ œ bœ œ & b wwww The dominant 7 played as an arpeggio:

&œ Root

bœ œ bœ bœ œ

&œ

œ 3

œ

œ 5

bœ b7

œ bœ bœ

œ œ œ

Chapter 1 / Chords

Chords are basically made up of every other note of the scale. If you continue this concept beyond the octave (or the 8th tone), you start adding into the chord notes that were passed over the first time through. The basic chord starts with the root. Then skip the next note in the scale and add the 3rd, skip the next note and add the 5th, and skip the next note and add the 7th. In a continuation of this process, adding notes past the octave, we next add the 9th (same as the 2nd but an octave higher), then the 11th (same as the 4th but an octave higher), and finally the 13th (same as the 6th but octave higher). By doing this we’ve now included all the notes of the scale into a chord. This chord would be a little too thick in realistic terms but you get the idea. (The main reason that the chord would be too thick is the presence of the 11th and the way it clashes with the 3rd. More on how to solve this issue coming up.) These upper tones (the 9th, 11th, and 13th) are known as EXTENSIONS, OVERTONES, or COLOR TONES. They spice things up a bit and add unique colors to the chords. Most of the time (especially on the guitar), we’ll add just one or two of the color tones to the chord and perhaps omit the root or fifth because there are only six strings to work with. Plus, if we’re playing with a bass player, we count on him/her to supply the roots and 5th’s of the chords. FORMULAS FOR DOMINANT 7 CHORD EXTENSIONS C9 = R 3 5 b7 9 C11 = R 3 5 b7 9 11 With the 11th chord most of the time we omit the 3rd because of the “rub” that occurs between the 3rd and the 11. It’s a half step interval separated by an octave. There are some cool voicings and situations where you can have both the 3rd and the 11th together and I’ve given you an explanation and some examples later in the book. The C11 chord is also written as: C7 sus The sus stands for suspended and the idea is that the 4th (same as the 11th) suspends for a while before ultimately moving down a half step to the 3rd of the chord. The C11 chord is also written as... B b/C (which stands for a B b triad with a C bass note), and also as... G-7/C (which stands a G-7 chord with a C bass note). So, these are basically the same chord but with different names: C11 = C7sus = B b/C = G-7/C They are all dominant 7 chords that have no 3rd in them. C13 = R 3 5

b7 9 13 (notice that we omitted the 11)

As stated earlier on in this chapter, the function of the dominant 7 chord is to bring tension to the music. A logical extension of this idea would be to alter certain tones in the dominant chords to make them even more tense, more off balance, more in need of a resolution. So we then explore “altered dominants.” 7

Chapter 1 / Chords

Here are the 4 main ways to alter a dominant 7 chord:

& œ œ œ œ œ bœ œ œ

ALTERED DOMINANTS 1) C7 b5 = R 3 b5 b7 2) C7 #5 = R 3 #5 b7

œ œ œ œ œ

& b ww

ww This chord is also written as C augmented 7, C aug.7, C+7; my preferred way of writing it is C+7. 3) C7 b9 = R 3 5

b7 b 9

bœ

& œ toœ diminished chords. See the example below The dominant 7 b9 chords are directly related œ and check out how C7 b9 has almost identical notes as an E diminished chord. &œ

C7 b9:

E dim.:

R

œ

œ bœ bœ

3

5

R

b3

b7

b5

b9

b b7

Diminished chords are spelled like this: R b3 b5 b b7 (a double flat 7 is the same as a 6). In the example above the notes in the staff spell out a C7 b9. The notes inside the box spell out an E dim. arpeggio. You can see there is just one note added for the C7 b9. Because diminished chords are symetrical and repeat every minor 3rd, this happens: E dim. = G dim. = B b dim. = D b dim. Further down in the book I go much more in depth with the diminished scale and chords. For now, the thing to remember is that diminished chords are dominant 7 b9 chords in disguise. 4) C7 #9 = R 3 5

b7 #9

These are some of the ways to alter a dominant chord. You can combine alterted dominants with each other as well as making combinations out of altered dominants and extended dominants. Here are some examples: ALTERED DOMINANT COMBINATIONS C+7 #9 = R 3 #5 b7 #9 C+7 b9 = R 3 #5 b7 b9 C7 b5 # 9 = R 3 b5 b7 # 9 C7 b5 b 9 = R 3 b5 b7 b9 8

Chapter 1 / Chords

ALTERED and C13 b9 = R 3 C13 #9 = R 3 C9 #5 = R 3 C9 b5 = R 3

EXTENDED DOMINANT COMBINATIONS 5 b7 b 9 13 5 b7 # 9 13 #5 b7 9 b5 b7 9

Note: C7 #11 = C7 b5 (the #11 is the C7 b13 = C7 #5 (the b13 is the

#4 which is the same note as the b5) b6 which is the same note as the #5)

In order to be able to improvise over chord changes, a complete and instantaneous knowledge of the BASIC TOOLS are an absolute must. These tools need to be second nature so that as you’re improvising, your mind is free to experience the music, not getting bogged down in the mechanics of trying to remember fingerings and chord spellings, etc. I view it like this — if you’re playing folk music, you need enough technique and music theory to be able to allow the instrument to disappear and let the music flow in a natural way. The same is true with improvising jazz. The big difference is that jazz harmony is more complicated, the tempos are more challenging, and because of this the demand for more knowledge and a more advanced technique presents itself. Still, the end result of allowing the instrument to disappear is the same. So the bottom line is, if you want to improvise jazz, it might be time to start practicing. In review, here are the BASIC TOOLS: 1) scales 2) triads 3) arpeggios 4) chord voicings We need to know these tools in five positions on the neck, (12 positions for the chord voicings), for the three families of chords... 1) major 7 2) minor 7 3) dominant 7 ...in all twelve keys (See you next year, pal...). It turns out to be a lot of work. Personally I’ve gained a sense of freedom in music from taking on this practice. I’m hoping that it might be the same for you too. A good way to approach the task of getting this information together is by working on one chord family at a time and trying to put the information to use in real musical situations right from the beginning. You’ll start to question the validity of all this technical practice if the tools are just left sitting around the shed. There’s no use polishing them up if you’re not going to use them in your next solo. Before actually jumping into the task of working with the BASIC TOOLS I think it makes sense to look at how SINGING and FINGERING play into the equation.

9

Chapter 2 / Singing

SINGING

To be able to play an instrument in such a way that it’s an extension of the human voice is the goal for most great musicians. The notes have meaning when our “soul,” our “voice” stand behind them. There’s nothing worse than our fingers doing all this flying around on the fretboard and the person controlling the fingers has no idea what the notes will sound like until they are struck. We need to “hear” the notes before they are played. Having a singing quality in one’s music also leads us to a natural sense of phrasing. If you were singing, you’d need to stop to breathe. Music too, needs to breathe and by having your musical phrases tied into your voice, a natural sense of space between the phrases is achieved.

œ œ wobbly No how strange voices may be, they still can helpœbridge œ œ œ and œ œ œ œour œ œ œtheœ gap &matter œ œ œ œ œ & œ œ œ œ œœœ œ our instrument and that place within œ between us that’s trying œ œto express something beauœ tiful through sound. It seems like a good idea to practice singing the BASIC TOOLS and getting the sound in our head even before attempting to play the exercises on the guitar. By doing this, our ears will be involved in the process and it might lead to a more musical learning experience. œ œ & œ œ œ œœœ œœœ œ œ & œœ œœ œ œ œ

œ œ

Practice singing these:

œœœœœ

Major Scale

& œ œ œ œ œœ œœ œœ œœ œœ œœ & œœ œ œ œ œ œœœœœ œ

Major Triad

& œ œ b œœ œœ œœ œœ bœœ œœ œœ bœœœ œ œ œ b œ œ & œ œ œ œ

Minor Scale (Dorian mode)

œ œ œ œ & & œœ bœœb œœ œ œ œ bœœœ œ œ œ œbœœœœ œ œ b œ œ œ

Minor Triad

& & &

b œœ œœ œ œ œ b œ œ b œ œ œ œ œœœ bœœb œ œ œ œ b œ œ œb œ œœ œ œ b œ œ œ

Dominant Scale (Mixolydian mode)

& & &

10

œœœœœ œœ

& œ œ œ œ œ œ œœ œœ œ œ œ Major 7 Arpeggio

& œ b œœ œœ œœ œ bœœ œœ œœ bœœ œ œ œ b œ œ œ œ œ

& œ bœœb œœ œ œœ œœ b œ œœ œœb œ œ œ œ b œ œ œ Minor 7 Arpeggio

& &

œœ b œœ œœ œœ œ œ b œ b œ œ œ œ œœ b œ

œ b œœ œœ œ b œ œ œ œ œ œ œ œ œ b œ œ œ œ œœ bb œœ œœ œ œ œ œ œ b œ œ œ œ

b œœ œœ œ b œ œ œ œ œ œ & œ œ œ b œ œ œœ & œœ bœœ œ œ bœ œ

œœ œœb œœ œ œ œ b œ œ œ œ b œ œ œ œ œœœ œ bœœ œ b œ œ œ œ œœ œb œ œ œ

& œ œ œœb œœ œœ œœb œœ œ œ œœ b œ œ œ œ œ œ œ œ

Dominant 7 Arpeggio

& &

& & œœ œœ œœ œ œ œ œœ œ

œ

Chapter 2 / Singing

As we continue to add the different scales, arpeggios and melodies, vocalize them first before playing them on your instrument. Then see how quickly they come to you on the guitar. Through this technical maze of learning music, our ears are the saving grace.

11

Chapter 3 / Fingering

FINGERING

From a technical point of view, the neck layout of the guitar is strange and confusing. Where an F is located on the first string, and then the way that exact same registered note repeats itself up on each adjacent string is somewhat of a mystery to most folks. This is quite unlike the clarity and simplicity of the physical setup of the piano. On the piano, after you’ve learned one octave, the design of all the other octaves is merely a repeat of itself. In addition, the F, two octaves above middle C, can be played in one and only one place. Compare this to the guitar, where that same F can be played at five different points on the neck. You can easily see the cause for all the confusion. Because of this strange physical setup, what is needed to clarify things is an organization of positions on the guitar fretboard, positions where the BASIC TOOLS are worked out and used as a starting place for creating melodic lines and chords. The layout scheme that I have adopted is one that involves five positions. The equal mastery of each position is a must... and here’s why. You might think that because one position happens to be really high up the neck, it wouldn’t be as useful as the positions that occur in the middle of the neck. This might be the case in that particular key—but what happens when you change the key? Going with the idea that in jazz we play in all of the keys, once you change the key the orientation of all of the fingering positions switches around. The position that was really high up the neck is now right in the sweet spot. That’s why we work on all of the positions equally because they’ll all have their moments of importance. And the Zen view from the mountain top is that after you’ve worked with this for several years you transcend the position idea entirely and you’re just making music between the cracks. Positionless! Within each of these positions, an actual fingering scheme is the next important step. I have always been interested in playing saxophone and piano lines, and in the process of applying those melodies to the guitar I came up against some major problems. Guitarists tend to play in a scale-wise fashion and this seems to lay naturally on the guitar. For horn players and pianists, playing in a more vertical approach (using larger intervals) is part of their repertoire. One of the reasons for this might have something to do with the nature of the different instruments — those bigger jumps might be easier to play on the piano or the saxophone. Playing larger intervals and pulling them off in a clean way on the guitar is a challenge, and unless some fingering concept for doing this is reached, most guitarists will shy away from those kind of arpeggiated lines. (Think John Coltrane lines played on the guitar.) It’s those kinds of phrases that have caught my attention so this concept is one that I’ve developed to be able to play both vertically and horizontally, with a clean and confident execution. One last thing: I also know that there are many great players out there, each with their own way of playing, all making incredible music. I think if you follow what feels natural to you and you really work on it, you’ll be able to pull it off. This concept of fingering that I’m presenting is what has worked for me and maybe it’ll make sense to you too. Here are some guidelines for left hand fingering: 1) Don’t lay down fingers in order to play notes on two adjacent strings. (Of course this does not apply if you are playing chords.) When you lay fingers down, the notes run together, the sound gets muddy, but worse, you have grounded yourself in that 12

Chapter 3 / Fingering

area. The fingers and the whole hand position have much more strength when they are in an arched position, compared to when they are flattened down. Keep fingers on their tips. 2) Don’t use the same finger to play two consecutive notes. This idea is a lot like the concept of alternating your pick direction in the right hand for the reasons of minimizing your efforts and developing speed. Likewise, using a different finger for each note not only achieves greater speed, but more importantly, produces notes that are cleaner and more distinct from each other. Here is an example:

finger: 2 1 4 3 1

œ œ œ œ ˙ &

string: 1 2 2 1 1 3) Finger phrases in such a way so that you are setting up the next part of the phrase. Sometimes you need to experiment with different fingering schemes in order to come up with one that works best. It’s easy to get tangled up. If you backtrack a bit, you can change some of the previous fingerings and this can free things up for the last part of the phrase. Over the years, your fingers will learn these rules and will have a natural sense of where to go. 4) Strive for minimizing left-hand motion. This is pretty logical. The least amount of movement it takes in your left hand to play a phrase usually brings you the cleanest execution of the notes. Most phrases can be played in many different areas on the fret board. With a little research you can find a fingering scheme which involves a minimum of neck jumping. 5) Develop a left hand position so that fingers are parallel with the frets. This hand position is the one toward which most classical guitarists tend to lean. I rotate my wrist clockwise a little to bring my little finger into a position parallel with the fret. With an arch in the palm and the fingers on their tips, this position creates great strength and flexibility.

13

Chapter 3 / Fingering

C MAJOR SCALE C MAJOR SCALE Position TwoC MAJOR Position Three Position Four SCALE Position Two Position Three Position Four

Position One Position One Position One 3

3 3

Position 1 Two

3 3

1

1 2

Position Two

1

4

3 4 3 4

4

3 4

1

6

1

3

1 1 2 2 2 21 1 2 2

3

6 4

1 1

4 4 3 4 43 3 4 4

3

4 4

Position 1 1 Four

11 1 1 11 1 1 2 2 1 1 1 1 1 1 1 1 1 1 2 1 21 1 1 11 1 1 1 1 1 1 2 2 2 1 1 2 2 1 1 21 1 1 1 2 1 21 3 4 4 4 3 3 3 3 3 2 2 23 3 3 3 4 4 4 3 3 4 4 4 4 4 4 4 4 43 4 4 4 4343 4 4343 34 4 4

4 4

4 4 4

4 4

11 11

= Fret Number = Fret Number 4 = Root 114 = =Root Fret Number

3

3

4

4

8

3

4

3

Position Three 9

8

2

2

1

1

2

8

9

1

4

4 4

3

3

3

2

2

1 2 1 2 1 2

Position Five Position Five Position1 Four 11 Position Five 1 1 2 1 1 2

9

3

3 3

2

1 2 3

11

11 1

3 34

3

4

3

Position 1 1 Two

6

1 1

6 6

4 4

3

3 3

1 1 2

4 4 4 4 4 4

2

3 3 3 32 3 3

6

6

3

3 4 3 4

3

4

Position Three

6 2

2

1

1 1

1

1

2 2 2 21

Position Four 1 1 1 1 2 2 2 21 1

4

1

3

3

1 12

2

1

2

3

11 11

1 1

4

4 4

3 4

Position Five Position Five Position Five

11 1

3 3 11 2 2 2 11 2 2 3 3 4 4 4 4 3 3 4 43 3 4 3 3 11 4 4 4 4 4 4 43 3

1 1

C MAJOR 7 ARPEGGIO C MAJOR 7 ARPEGGIO Position Two Position Three Position Four CTwo MAJOR 7 ARPEGGIO Position Position Three Position Four

4

4

14

4

3

1 2 1

4

1

3

1 2 1 1 2 1

6

Position One Position One 1 1 Position One 3

9

C MAJOR TRIAD 4 = Root C MAJOR TRIAD Position Two Position Three Position Four TRIADPosition Position TwoC MAJOR Position Three Four

1

1 2 1 1 2

4

3

9

1 1 1 1 1 2 1 1 1 1 1 1 9 1 1 1 1 1 21 1 1 1 1 1 1 1 1 2 2 2 2 2 6 2 8 2 2 1 1 2 21 1 8 2 21 1 1 2 2 1 2 2 1 21 1 1 1 6 3 3 4 4 3 3 3 1 1 2 23 3 2 2 23 6 23 8 2 2 3 4 4 4 4 4 4 3 2 4 4 4 4 4 4 4 4 4 4 4 4 43 3 2 4 4 43434 4 43 4 4 4 43 4 4 4 4 4 43 2 4 4 4 4 4 4 4 4 4 4 44



4 The scales, triads, and arpeggiosuse the FULL RANGE

The scales,The triads and arpeggios use the FULL RANGE instrument. They start from thethe lowest and

scales, triads, and arpeggios use FULL RANGE

of the to the highest notelowest within each position. of proceed the instrument. They the start from the lowest and

of the guitar. They start from and proceed proceed to thetriads, highest note withineach position. Thenote scales, and arpeggios use the FULL RANGE

to the highest within each position. of the instrument. They start fromthe lowest and

proceed to the highest note withineach position.

Position One Position One Position One 3

Position Three

1

Position Five Position Five Position Five

1 1

3 3 3 3 4 4 4 43 3 4 4

1 2 1 1 2 1 3 1 32 1 3 4

4 4

Chapter 3 / Fingering

C MINOR SCALE C MAJOR SCALE Position Two Position Three Position Four SCALE Position Two C MINOR Position Three Position Four

Position One Position One

Position Two 1

Position One 1

3

3 3

1 1 1 1 1 1 2 1 1 11 1 2

2 2 2

1 1 1

6

1 1 34 2 1 1 3 13 4 3

4 4 4 4 4 4

3 3 4 44 4 4

Position Two

6

1

3 4

2

1 2 1

6

3 42

11

1 1 1

1 1 1 1 1 1 1 1 2 2 2 2 1 1 1 3

2

32 32 3 1 1 4 4 4 4 3 3

3 3 3 4 4

4 4 4

4 4

3 44 4

4 4 4 4

3 3 4

11

= Fret Number

= Root 4= Fret Number

11









4 11

= =Root Fret Number

4 32

4 4

4

1 2 1

3 4 8

44

3 3 4

1

2 Position Four

1

3

12 21

1 2 1

2

8

4

4

11









3

11

3 4 21 2 1

33

1

1

21 331 3

4 44 4

6

1 1

6

21 1

6

6 1

32 4

3 3

6

4 32 4 4

4

1 6

3 21 3

3 3 4

44 44

3 3

11

44 4

1 1

Position Four

1

2 2

1 11 13 11

4 4

3 4

4

4 4 3

Position Five Position Five Position Five 1

1

2 2 1 21 1

4 4 4

1 3 2 32 4 1 4 34

34 34

4 4 4 4

4 4 4

11 11

3

4

3

4

2 1 4

2 24 24

1 32 1 1 11 3 34

44 4

2 1 2

3 4

2 1 11

2

1 2 1 11

2

4

2

4

11

44

1

3 4

Position Three

1

1

3 4 32

3

C MINOR 7 ARPEGGIO C MAJOR 7 ARPEGGIO Position Two Position Three Position Four CTwo MINOR 7 ARPEGGIO Position Position Three Position Four 1 1

Position Five 1 2

3 4

Position Two

Position Five Position Five

4 1

4

3

11

3

4

3

11

1 11

4

11 1 1

4 4

Position Five

11

32 32 4 4

4 4 4

3 3

9 11

8

1 2

6

Position One Position One Position One 1 1

4

Position Three

1 2

1

2 2 3

32 4 4 4 4 4 4

4 4 4 4 4 4 4 4 3 4 4 4

1 1 2 2 1 1 2 2 2

11

1 1 3 13 1 3 1 1

13 4 1 34 2 34 2 1 3 13

4

3

1 12 2

1 1 1 1 1 1

4 = Root C MINOR TRIAD C MAJOR TRIAD Position Four Position Two Position Three TRIADPosition Four Position TwoC MINOR Position Three

3 4

3

9

4 4 4

The scales, triads, and arpeggiosuse the FULL RANGE

of the instrument. They start fromthe lowest and

The scales,The triads and arpeggios use the FULL RANGE scales, and arpeggios useeach the FULL RANGE

proceed totriads, the highest note within position. of the instrument. They the start lowest fromthe lowest and

of the guitar. start from and proceed

They proceed to the triads, highestand note withineach The scales, arpeggios use position. the FULL RANGE

to the highest note within each position. of the instrument. They start fromthe lowest and

proceed to the highest note withineach position.

21 44

9

2 2

4 4 4 4 4 4

3

1 2 1 2 1

3 34 4

1 1 1 1 1 1 2 2 1 1

Position Four 1 1

444

1 2 3

18 9

9

9

1 1

32 4 4 2 34 2 4 4 4 4 4

4 4

Position One

3

2 1 1 3 13

6

Position One Position One

3

1

1 1 2 1 1 2 2 2

6

322 4 4

Position Three

Position Five Position Five

3

4 4 4

3 4

15

Chapter 3 / Fingering

C DOMINANT SCALE Position Two

Position One

Position Three

Position Four 1

9 1 1

1 1 1 1 1

1 1 2 2 1 1

3

6

1 1 1

3 3 3 3 4 4 4

3 3

4

4 4

3

1 2 1 Position One1

4

6

4 4

4

1

4 4

3 3

2 2 3 3

4 4

4 4 4 4 4 4

2

4 4

Position Four

1 1 1 2 Position Three 2

4

3 3

3 4 4 3 2

Position Three

9

1 1 2 1 1 4

6

3 4 4 4 4

3

Position Five

C MAJOR SCALE 1

Position Two1 3

3 4 1 1

2 2 2

4 4 4 4

Position Two 1 1

4

3 3 4 4

1

2 2

C DOMINANT 7 ARPEGGIO

1

1 1 1

2

3

4 4

1 1 1 1

4

Position One 3

1 1

9

4 4 4

11

1 1 1 2 1 1

2 2 2

2 2

Position Five

3

1 1 1 8

2 2

3

4

1

2 2 3 3

4 4

11

9

4

11

1 1 Position Four

4 4 4 4 4

1

1 1

3 2 2 1 1 2 2 1 1 4 3 4

1 1 Position Five1

3 4 4 4

3 3

4

4 4

2

2

11

3

1 1 1 1 1 1 4 4 4 4 2 2

2

3 3 3 4 4 4

4 4

4 4



The scales,The triads and arpeggios use the FULL RANGE scales, triads, and arpeggios use the FULL RANGE

of the instrument. They the start lowest fromthe lowest and

of the guitar. They start from and proceed proceed to the highest note withineach position.

to the highest note within each position.

11

= Fret Number 4

C MAJOR TRIAD



The scales, triads, and arpeggiosuse the FULL RANGE

11 = Fret Number of Position the instrument. They startPosition fromthe lowest and

Two Three Position Four Position 3 = Root proceed to the highest note withineach position.

Position One

1

9

3

16 1

1 2

1 2 1 1

= Root

6

1 8

2

1 2 1 2

Five

11 1

1

1 2

Chapter 4 / Chord Inversion

CHORD INVERSION Just as it makes sense to play the scales, triads, and arpeggios in all the different areas on the neck, it logically follows that we ought to have the same control of the chord voicings themselves. Wherever you are on the neck, any possible chord type is available right in that area. The most you’d have to move would be either up or down a fret. Having this ability to play any chord anywhere is where we want to end up with our playing. This is the mastery I saw in Ted Greene’s playing when I studied with him and he’s also the one that taught me this concept of chord inversion. To invert a chord we follow this formula: MOVE EACH NOTE OF THE STARTING CHORD TO THE NEXT NOTE IN THE STRUCTURAL ARPEGGIO. There’s a lot of room for confusion when it comes to inverting chords, so first let’s clarify some terminology. To ARPEGGIATE a chord, you play the same notes as the chord voicing, but instead of playing them all at once you play them separately. Here’s a C∆7 chord voicing:

w & ww w

and this is how it would look if you ARPEGGIATED it:

œ &œ œ œ œ œ œ

Next, here is the ARPEGGIO of the C∆7 chord: (R 3 5 7)

&

œ œ œ œ œ œ œ œ œ

I call this the STRUCTURAL ARPEGGIO. Notice how the order of notes of the first ARPEGGIATED chord are different than the notes in the STRUCTURAL ARPEGGIO. This difference occurs because chords for the most part are not voiced in root position. Root position would be: R 3 5 7. A lot of time chords are voiced using the same chord tones (R 3 5 7) but organized in a different order. These are called chord inversions. For those times when chords are voiced in root position, then the ARPEGGIATED version of the chord matches the STRUCTURAL ARPEGGIO of the chord.

17

Chapter 4 / Chord Inversion

Here’s an example to help clarify this idea... The starting C∆7 chord is voiced like this (the lowest note is on the bottom of the chord, building up): 3 7 5 R Let’s refer to the formula for the next step: MOVE EACH NOTE OF THE STARTING CHORD TO THE NEXT NOTE IN THE STRUCTURAL ARPEGGIO. The STRUCTURAL ARPEGGIO of a C∆7 chord is: R, 3, 5, 7. So first, the Root on the bottom of the starting chord moves to the 3rd, next the 5th moves to the 7th, then the 7th circles back to the Root, and finally the 3rd on the top moves to the 5th. The outcome is a C∆7 chord that is voiced like this: 5 R 7 3 By continuing with this process again we end up with these last two voicings: 7 R 3 5 R 3 5 7 If we apply our inversion formula to the last chord, we’ll end up with the first chord but this time an octave higher. Here are the four MAJOR 7 chord inversions in a row: 3 5 7 R 7 R 3 5 5 7 R 3 R 3 5 7

18

Chapter 4 / Chord Inversion

˙ ˙˙˙

˙˙ ˙˙

˙˙ ˙˙

8 5 9 7

12 9 10 10

13 12 14 14

Here’s how you play them on the guitar in the key of C:

˙ & c ˙˙˙ T A B

5 4 5 3

Notice how the last chord sounds a little strange? This is because there’s a clash between the 7 on the bottom of the chord with the Root on top. Even though this voicing sounds funky, there are still some ˙instances in˙music where this voicing is a good choice. Also, ˙ ˙˙ ˙˙ first voicings it’s important to note that these will serve as a starting point out of which all ˙ & other chord types and voicings will evolve. Here are two alternate voicings that lie in basically the same region as the last voicing we were talking about. I think these sound better. You still need to realize that these ˙˙ but instead ˙˙ fashion ˙ 13 ˙others in a substitute voicings are not 13 related to the chord inversion 16 ˙˙ voicing˙˙and these two c14 ˙˙˙ the original 14 ˙ are on their own. I think it’s14a good idea to know both ˙ & 15 15 ˙ substitutes.W SUBSTITUTE VOICINGS for R try R or R 5 8 T 5 6W 7 4 5 A 5 9 3 3 3 3 7 B 7 R R b˙

˙˙ b ˙˙ b ˙ ˙˙ Here’s how you play the&substitute voicings: b ˙ ˙ 4 3 5 3

˙˙ & ˙ 8 5 8 6

13 16 14 15

b ˙˙ ˙

˙˙ b ˙˙

11 8 10 10

13 12 13 13

˙˙ ˙˙

13 14 14 15

12 9 10 10

13 12 14 14

˙

The next step is to convert the Major 7 voicings to Minor 7 voicings.

b˙

˙˙ 7 in the Major ˙˙ and you’ll arrive with the ˙˙ the 3 and ˙˙ 7 chords All you need to do is flat both b ˙ b & with ˙˙ the original ˙ in the˙Major Minor 7 inversions. (Stick 7 as your ˙ last voicing ˙˙ template. The b ˙ ˙ ˙˙ 7.) b ˙˙ Minor 7 that evolves from this chord sounds b b ˙˙ good, ˙˙unlike thebMajor &

˙˙

b ˙

53 b3 5 3 b7

5 8 6

Here are the four MINOR 7 chord inversions: b3 b7 5 R

5 R b7 b3

5

3 b7 5 3 b3 R 5

8 5 8R 7 4

11 9 10 10 8

˙

13 12 14 13 11

8 10 10

13 12 13 13

19

13 13 16 14 14 14 Here’s how you play them 15 on the guitar15 in the key of C: Chapter 4 / Chord Inversion

b˙ & b ˙˙˙

b ˙˙43 b & ˙˙5 3

˙˙ b ˙˙

˙8 ˙5 ˙ b ˙86

b b ˙˙˙ ˙

b b11˙˙˙8 ˙ 10 10

˙˙ b ˙˙

˙˙ ˙˙ b13 12 13 13

By flatting just the 7 in the Major 7 chords, we then create the DOMINANT 7 chord inversions: 3 b7 5 R

5 R b7 3

4

3 b7 5 3 3 R 5

˙˙ b & ˙˙

8 5 R8 56

˙ ˙˙˙

3 b7

11 8 10 10

b ˙˙ ˙˙

Here’s how you play them on the guitar in the key of C:

˙ & b ˙˙˙

5 3 5 3

5 3 5 3

13 12 13 13

˙˙ b ˙˙

˙˙85 ˙˙87

b11 ˙˙ ˙˙9 10 10

˙˙ b ˙˙

8 5 8 7

11 9 10 10

13 12 14 13

13 12 14 13

Each of these chords can be played in three different areas on the neck: 1. With the lowest note on the 6th string (low set). 2. With the lowest note on the 5th string (medium set). 3. With the lowest note on the 4th string (high set). Practice inverting these chords... 1. Up the neck on low set only. 2. Down the neck on medium set only. 3. Up the neck on high set only. 4. Reverse this process. 5. Starting on the low set, play one inversion and then move to the next inversion up, but this time on the medium set of strings. Play two inversions there and then move to the next inversion up, but on the high set of strings. Play two inversions there and then repeat the whole process, but this time coming down from the high to the medium to the low sets of strings. 20

Chapter 4 / Chord Progressions

CHORD PROGRESSIONS

The first thing to do once the BASIC TOOLS are in order is to start making some real music. The sooner you can put those scales, triads, arpeggios, and chords to use, the better. You’ll start to see the connection between all of this technical practice and how it links up with taking a solo over changes. A song would be a good place to start applying your improvising skills. However, most song forms are a little too difficult for the beginner to improvise on, so let’s back it down a little. To simplify matters, here are three progressions designed specifically for each family of chords. In each progression the chords are played for four bars before a new chord is introduced. This longer-than-usual duration makes it easier and gives you more time to find your way in the key center. However, once the chord does change, it changes to a completely new key. This was done on purpose. It’s important that the beginner learns how to switch gears on each chord change rather than grouping a bunch of changes together and playing one tonality over all of them. If you try to do that over these changes you’ll hear some weird notes. Try applying these four concepts to the upcoming chord progressions. Work on them in this order: 1) CHORDS • Play the chords to the progression and use voicings that have the ROOT ON THE BOTTOM. By having the root on the bottom, the chords are self sufficient and grounded. No bass player is needed. • Play the chords to the progression and use CLOSE VOICE LEADING as your model. CLOSE VOICE LEADING is a process of making smooth transitions between different chords. By starting with one chord in the inversion family, the next chord of the progression is only a few alterations of notes away. Here’s an example how to make a smooth transition between C∆7 and A∆7. C∆7 is voiced like this:

w & ww w

The notes of A∆7 are A, C # ,E, and G # . Are there any COMMON TONES between the two chords? The tone in common between the C∆7 chord and the A∆7 chord is the E, so this note stays the same. The next step is to thenwmove w # each note of# the C∆7 chord to the clos& # w est note of the A∆7 chord. The C would move #w wto C , the G to G , and finally the B down to A. & ww The voicing for the A∆7 looks like this:

w

w & # # www

21

Chapter 4 / Chord Progressions

With a lot of practice you won’t need to take each chord apart in the way that we’ve just done to figure out what is the next closest voicing. The next voicing will become obvious. Connecting chords in this manner creates a seamless flow between shifting tonalities. 2) ARPEGGIOS ONLY The discipline involved in limiting yourself to play only arpeggios over the chord progression is a worthwhile effort. An arpeggio, within four notes, spells out the chord exactly. In contrast, a scale and its eight notes is much more indirect in its ability to reveal the tonality of the chord at hand—it’s a little more watered down. In the big picture this isn’t a bad thing, but in the beginning I find it makes much more sense to play right at the source of what the chord change is. The arpeggio becomes an even more valuable tool when the improviser is navigating over rapid chord changes. Under these circumstances there simply isn’t enough time to play a scale to define each chord change. Also, playing arpeggios is a good first step in using larger intervals in your melodic lines. I know a jazz theory teacher at Musician’s Institute in Los Angeles (where I use to teach) that was very strict in his approach of requiring students to play using only arpeggios through chord changes. They weren’t allowed to play any scale notes until they could pull off connecting lines logically with arpeggios. The students at first hated this method but soon saw the significance of this discipline. He had great results in teaching those kids how to improvise. Try to make smooth transitions in your melodies as the chords change. Move to the closest note of the next chord as the chord changes rather than making a big, unmusical jump somewhere else. Remember, whatever note you are on, a good resolving note to the next chord change is perhaps the same note you’re already on (common tone) or at most, a whole step away. For more on this, look to the next chapter called COMMON TONES. 3) ARPEGGIOS AND SCALES Try using the scales as merely passing tones in between the notes of the arpeggio. The pivotal focus is still the Root, 3, 5, and 7 of the chord. 4) ARPEGGIOS, SCALES, and CHROMATICS By adding the Chromatic Scale into the repertoire of tools for improvisation, the improviser then begins to have a chance at making music that sounds like jazz. The trick in making chromatic notes sound good all comes down to the way in which you resolve the phrase. By resolving to the strong notes of the chord, the preceding chromatic adventure and its questionable tonality becomes verified by the ear as a cool moment in music. Here is the Chromatic Scale:

&

22

œ #œ œ #œ œ œ œ # œ œ œ # œ œ #œ

Chapter 4 / Chord Progressions

CHORD PROGRESSION #1 Major 7 Chords

CJ

& c .. ’

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AJ 5

&’ FJ

9

&’ DJ

&’

13

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..

CHORD PROGRESSION #2 Minor 7 Chords

CÑ

& c .. ’ b A Ñ

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&’ ’ 9 b DÑ

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EÑ

&’

13

’

SAtyam Music © BMI 2005

’

.. 23

Chapter 4 / Chord Progressions

CHORD PROGRESSION #3 Dominant 7 Chords

Blues Progression C7

& c .. ’

F7

’

’

’

C7

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F7 5

&’

9

24

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C7

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G7

&’

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F7

’

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C7

’

’

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G7

’

SAtyam Music © BMI 2005

’

’

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..

Chapter 4 / Common Tones

COMMON TONES Common Tones are notes that are the same in two consecutive chords. When you have one chord shifting to another, there are almost always a few notes that are common to both chords. These common notes can be useful in making smooth transitions from one chord to the next, particularly when the shifting tonalities are totally unrelated to each other. Common Tones can be employed both in single-line playing and in connecting chord voicings. Try putting the Common Tone on the top of each chord during a series of changes. In single-line playing, use the Common Tone as the last note over one chord change holding over to the first note of the next chord change. Here is an example of using Common Tones in chord voicings:

CJ

AJ

w & c ww w CJ

w # # ww w

CJ FJ

AJ

FJ

DJ

˙˙ ˙˙

˙˙˙ ˙

w # # www w

DJ

˙ ww & ˙˙˙ ˙˙˙ # # www ˙ ww ˙ ˙ # c ww # w ˙ ˙ Common & w ˙Tones ˙ ˙ Here iswan example of using in single line melodies: w CJ

&

˙

˙ ˙

& #˙ DJ

&˙

w & www

CÑ

b bb www & ww

DJ

& ˙ ˙ # ˙# ˙ www & ˙ w# ˙ DK

CÑ

ww b w # # ww b b ww & ww b b bb www b b ww

A Ö

˙

˙ FJ

˙˙

FJ

#˙

FJ

& #˙ ˙ ˙

˙

#˙ ˙ ˙ ˙# ˙

˙

#˙

˙ AJ ˙

˙ ˙

˙˙

DK

˙ww # # ww

FJ

˙ #˙

˙

#˙ ˙

˙# ˙ #˙ ˙

AJ

˙

˙

˙ ˙

˙# ˙

#˙

˙

CK

˙

w

˙

CK

w

b b bb www b b ww bw

A Ö

25

˙

˙

& Chapter 4 / Common Tones

˙

˙

˙

˙

˙ FJ

˙ # ˙Tones become ˙ When you use extensions on the chords, more Common and ˙ available ˙ ˙ & # ˙ therefore you create more possibilities in making for smooth transitions between the ˙ chords. Try exploring the 9th and 13th in the Major 7 family, the 9th and 11th in the Minor 7 family, and the 9th and 13th in the Dominant 7 family as possible notes to help smooth DJ CK out the transitions. ˙ & ˙ #˙ Here are two examples using the extensions as ˙ Common ˙ # ˙ Tones: FJ

w & www

CÑ

b bb www & ww

26

DK

# ww # ww

b b bb www b b ww bw

A Ö

#˙

#˙

w

˙

HOW TO PRACTICE

Chapter 5 / How to Practice

Through my many years of playing and teaching I’ve noticed that human beings are born with varying degrees of natural talent for music. This isn’t a negotiable factor but is a set reality for each individual person. However, the one aspect that we do have control over is the opportunity to develop and nurture the natural talent that we were given at birth. There are a lot of elements affecting the development of our natural talent, but probably the most important of those elements is how we practice our music. It seems to me, the best music comes from those musicians who are not even thinking about their instrument. We, the listeners are taken on a journey with their music and it’s PURE MUSIC that we are focused on, not the mechanics of them playing their instrument. For the musician to pull this off, his or her mastery of the instrument needs to be equal to the complexity of the music that he or she is playing. If these two elements are out of balance, the listener experiences a break in the flow as the musician struggles. When in balance, these elements are in harmony and what we experience is the player’s creative expressions flowing freely. Mastery of the technical side of the instrument is the first step in letting the music out. Two important factors involved with practicing are to practice regularly and practice with attentiveness. More progress can be made by having a practice session each day, versus one for ten hours one day and then taking three days off completely. Being attentive while practicing is obviously important as well. Having a clear idea of what you are going to work on and keeping your mind focused helps bring potency to your time spent practicing. Constant “touching base” with music can help relieve the worries that many musicians sometimes feel. “Am I improving? Will I ever get good enough?” Most of us intuitively know that if we are playing music, we need to keep at it, keep progressing. By consistent practice we at least know that we are “doing our part” and putting in an effort to keep our abilities moving forward. A practice session should consist of three elements: 1) Touch base with previous material. (review and the maintenance of technique) 2) Current projects 3) Creativity session Try to have a practice session like this every day and figure out how to lengthen or shorten the session to fit into the amount of time you have for that particular day. Remember, getting to it consistently and being focused while practicing are the goals. Lets talk about sitting in one position for long periods of time and how this effects our bodies, especially our backs. This might not be an issue for you right now (maybe you’re still in your twenties), but consider that if you make this your life, dealing with chronic back, joint, or other pain at some point is bound to become an issue. The whole premise of sitting for long periods of time—maintaining a physical position that’s optimal for playing your instrument but maybe not optimal for your own natural posture, doing repetitive motions with your arms and hands­­—all of this leads to the importance of coming up with a plan to keep the physicality of playing your instrument in

27

Chapter 5 / How to Practice

balance with your body’s long term health. Are you already going through this? I deal with this by incorporating yoga stretching exercises into my practice sessions to help balance things out. I’ll practice for 30 minutes or so, put the guitar down, and then go to the floor for some stretches. I’ll put my attention on my back but also the flow going from my shoulders to my arms and finally to my hands. I do this for a while and then get back to the music with usually a little more balance in place. This has worked for me. Everybody is different so it’s important to find out works for you. There’s no way getting around the fact that you need a healthy body to play good music.

28

Chapter 6 / The ii -V7-I Progression

The ii-V7-I Progression The ii-V7-1 (2-5-1) progression combines all three families of chords (major, minor, and dominant) into one progression. The name of the sequence comes from the scale degree of where each chord’s root is located. For example, if C Major is the tonal center (also known as the I chord), then the second scale degree is D and the fifth scale degree is G. The ii chords are generally minor seven chords (that’s why they are notated with lower case numerals) and the five chords are usually dominant seventh types. Our progression would then be: D-7 to G7 to C∆7 This chord sequence has the ability to smoothly set up any new tonality, even tonal centers that are far removed from the established key center. A large portion of jazz standards and Tin Pan Alley music is comprised of progressions using the ii-V7-I chord progression. The importance of being a fluid ii-V7-1 navigator cannot be stressed enough. Here’s how the the ii-V7-1 looks from a chordal perspective:

DÑ

G7

CJ

www w G7 www w

www CJ w www w

˙

G7

www w ˙

˙

www w CJ

˙

www & c DÑ w & c wwww

G7happens within CJ the ii-V7-1. The b 7 of each There is a strong inner-voice movement G7 that DÑDÑ CJ chord resolves to the 3rd of the next chord:

& wc & DÑ &w

DÑ

www w

G7

w

CJ

˙ w w ˙ ˙ &DÑ w only the root G7 of each chord along CJ ww with the inner-voice moveHere’s an example of playing ˙ ˙ ment: w ˙ ˙ & ww w ˙ DÑ G7 CJ DÑ G7 CJ ˙ w œ w & w œ œ œ œ˙ œ œ œ˙ œ œ w œ œ œ w &DÑ œ ˙ œ œ G7 CJ œ œ œ œ œ w &œ œ œ œ œ œ œ œ œ œ œ Notice how the progression essential architecDÑsounds pretty complete G7 even with this bare CJ œ œ ture. This is because the inner-voice movement clearly spellsœout the œprogression. œ w &œ œ œ œ œ œ œ œ œ œ œ

29

Chapter 6 / The ii -V7-I DÑ Progression

G7

CJ

˙ w w ˙ ˙ & w of using the ˙inner-voice movement Here’s an example w of the ii-V7-1 in a single line melody: DÑ

G7

CJ

œ œ œ œ w œ œ œ œ œ œ œ œ œ &œ œ œ

On the next two pages I show you how to smoothly connect the chords in the ii-V7-1 progression using the chord inversions that we’ve already learned. These are in the key of C and use all twelve positions on the neck.

SAtyam Music © BMI 2005

30

Chapter 6 / The ii -V7-I Progression

D-7 : G7 : C∆7 : C∆6 Chord Voicings

Low Set of Strings

DÑ

G7

CJ

CI

DÑ

G7

CJ

CI

5 3 5 5

4 3 5 3

4 2 3 3

2 2 3 3

7 7 8 8

7 5 8 7

5 9 7 8

5 7 7 8

& c ˙˙˙ ˙ T A B

˙˙ ˙ ˙

˙ ˙˙ ˙

˙˙ ˙˙

˙˙ ˙˙

˙ ˙˙ ˙

˙˙˙ ˙

˙˙ ˙˙

DÑ

˙ & ˙˙˙

G7

˙˙ ˙˙

CJ

˙˙ ˙ ˙

CI

DÑ

˙ ˙˙˙

G7

˙˙ ˙˙

CJ

˙ ˙˙˙

CI

10 10 12 10

10 9 10 10

9 9 10 8

9 7 10 8

14 12 15 13

12 12 14 13

12 10 14 12

12 10 12 12

˙˙ ˙ ˙

˙˙ ˙˙

Medium Set of Strings

DÑ

G7

CJ

CI

DÑ

˙˙ ˙˙

G7

˙˙ ˙˙

CJ

˙˙ ˙˙

CI

3 2 3 3

3 0 3 2

1 4 2 3

1 2 2 3

6 5 7 5

6 4 5 5

5 4 5 3

5 2 5 3

DÑ

˙˙ ˙ & ˙

G7

˙˙ ˙˙

CJ

˙ ˙˙˙

CI

˙˙ ˙˙

DÑ

˙˙ ˙˙

G7

˙˙ ˙˙

CJ

˙˙ ˙˙

CI

10 7 10 8

8 7 9 8

8 5 9 7

8 5 7 7

13 10 12 12

12 10 12 10

12 9 10 10

10 9 10 10

˙ & ˙˙˙

˙˙ ˙ ˙

˙˙˙ ˙

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙˙

31

Chapter 6 / The ii -V7-I Progression

High Set of Strings

DÑ

˙ ˙ ˙ & ˙

G7

˙˙ ˙˙

CJ

˙ ˙˙ ˙

CI

˙ ˙˙ ˙

DÑ

˙ ˙˙ ˙

G7

˙˙ ˙ ˙

CJ

˙ ˙˙ ˙

CI

5 3 5 3

3 3 4 3

3 1 4 2

3 1 2 2

8 6 7 7

7 6 7 5

7 5 5 5

5 5 5 5

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙˙

DÑ

˙˙ ˙˙ &

G7

˙ ˙˙˙

CJ

˙˙˙ ˙

CI

˙˙ ˙˙

DÑ

G7

CJ

˙˙ ˙˙

˙ ˙˙˙

10 10 10 10

10 8 10 9

8 12 9 10

8 10 9 10

13 13 14 12

13 12 12 12

12 12 12 10

12 10 12 10

32

CI

Chapter 6 / The ii -V7-I Progression

CHORD PROGRESSION # 4 ii-V7-I Chord

DÑ

& c .. ’

G7

’

’

’

’

’

’

’

’

b

’

’

’

’

’

’

BÑ

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

G J

’

’

’

E7

’

’

b

D7

’

’

E J

b

A Ñ

’ b

B 7

&’

&’

’ b

FÑ

&’

’

CJ

’ AJ

’

’

’

’

’

..

Apply to this progression the same concepts that were spelled out earlier in the book in the section on Chord Progressions; in other words, apply the concepts to and practice them for... 1. 2. 3. 4.

Chords Arpeggios only Arpeggios and Scales Arpeggios, Scales, and Chromatics

33

Chapter 7 / Tension on Dominants

TENSION ON DOMINANTS Once you’ve had some success with improvising over the ii-V7-I progression and started to develop the ability to set up the tension on the dominant chord and the release to the I chord, the next logical step is to explore what happens when you start to alter the dominant 7 chord. By altering the dominant 7 chord, more tension is created and this then leads to a more noticeable release when you arrive at the I chord. The first alterations we’ll explore will be the b 9 and the # 5.

Dominant 7 b 9

Let’s start with the chord inversions. They are directly related to the regular dominant 7 voicings; the only difference is that each root is raised one half step to the b 9: b7 b 9 3 5 b b7 9 3 5 b7 b 9 5 3 b 9 b 3 5 7

˙˙ b 9 Low & cSet˙˙˙of Strings bG7 ˙ b˙˙˙˙˙ & c b ˙˙˙˙ b ˙˙˙ & c b˙˙˙˙ ˙ b˙ T AT BTA AB B

4 3 54 43 45 34 5 4

7 6 87 76 78 67 8 7

Medium Set of Strings G7 b 9

& b ˙˙˙˙ & b˙˙˙˙ & b ˙˙˙ ˙ 3 1 33 21 33 12 3 2

˙ # ˙˙˙˙ #˙˙˙˙ # ˙˙˙ 6 4 66 54 66 45 6 5

High Set of Strings G7 b 9

b ˙˙ & b˙˙˙˙ & b ˙˙˙˙ & ˙˙

34

4 3 44 33 44 33 4 3

˙˙ b ˙˙˙˙˙ b˙˙˙˙ b˙ 7 6 77 66 77 66 7 6

˙ # ˙˙˙˙ #˙˙˙˙ # ˙˙˙

10 9 11 10 10 9 11 10 10 9 11 10

b ˙˙ b˙˙˙˙ b ˙˙˙˙ ˙˙

13 12 14 13 13 12 14 13 13 12 14 13

b ˙˙ b˙˙˙˙ b ˙˙˙˙ ˙˙

˙˙ b ˙˙˙˙˙ b˙˙˙˙ b˙

b ˙˙˙˙ b˙˙˙˙ b ˙˙˙ ˙

˙˙ # ˙˙˙ #˙˙˙˙ # ˙˙˙

9 7 99 87 99 78 9 8

10 9 10 10 99 10 10 99 10 9

12 10 12 12 11 10 12 12 11 10 12 11

13 12 13 13 12 12 13 13 12 12 13 12

Chapter 7 / Tension on Dominants

The Dominant 7 b 9 chord ends up being the same as a diminished chord whose root is one half step higher. Diminished chords have many symmetrical qualities, the most noticeable being the way they repeat themselves every minor third up or down. You do this on the guitar by moving the same voicing up or down the neck by 3 frets. These same symmetrical qualities transfer over to the dominant 7 b 9 chords as well. Here is the arpeggio and scale for the dominant 7 b 9: Dominant 7 b 9 Arpeggio

œ œ

œ œ

œ œ 3

bœ bbœ9

&œ &Root œ

b7

5

b Dominant 7 9 Scale (the œdiminished œ œ dominant scale)

œ #œ œ #œ

& œ bœ #œ & œ bœ #œ #

Root b9

9

#

3

4

œ

œ

œ

5

6

b7

& œ# 5 G7

œ #œ œ œ # œ œ (also written as G + 7 and G aug. 7) &œ Immediately below and on the next page are the chord inversions. They are directly related œ œ the only difference is that each time you have the 5th # to the regular dominant 7œvoicings; # œ œ b œ # œyou raise it one half step to the # 5. œ chord in&the œ œ

œ #œ #œ

& œ b œ ##œ

3 5 b7 R #5 b7 R 3 # 5 b7 # œ œ 3 œ # œ # R œ & œ R 3 5 œ b7

œ

&œ

œ

#œ

Low Set of Strings G+7

& c # ˙˙˙ ˙ T A B

#œ

#˙ ˙˙˙

˙˙ # ˙˙

# ˙˙˙ ˙

8 5 8 7

10 9 10 11

12 13 14 13

4 3 6 3

˙

˙

˙˙

35

T 4 8 A 3 5 6 8 B Chapter 73 / Tension on Dominants 7

10 9 10 11

Medium Set of Strings G+7

# & ˙˙˙ ˙

˙ ˙ # ˙˙

# ˙˙˙ ˙

˙˙ ˙ ˙

6 4 5 6

8 8 9 8

12 10 13 10

4 0 3 2

œ

œ# ˙˙ ˙ ˙

œœ768 # œ œœ

œ8 œ œ 11

High Set of Strings G+7

& #œ˙˙˙ & ˙

œ˙˙˙ ˙

bœ

3 4 4 3

& œ b œ b œ# œ

5

œ

œ

œ

bœ

&œ

Dominant 7 # 5 Arpeggio œ #œ œ

& œ bœ #œ

#œ œ #œ

œ & & œœ b œ # œ Root

12 13 14 13

#

3

œ

10 9

œ

œ

œ œ

œ

˙ ˙ # ˙˙ 13 12 12 13

b7

5

œ œ # œ # œ # œ œ œ & œ bœ #œ Dominant 7 # 5 Scale (there are two scale choices)... œ The & œAltered œScale # œ œ œœ & œ b œ œ # œ œ œ ##œœ # #œœ #

# # b7 œ 8œ 4 #5 œ # œ œ & œ bœ #œ œ #œ #œ œ œ & œ The Whole Tone Scale Root b9

&œ Root

36

9

3

œ

œ

#œ

2

3

#

4

#œ #

5

œ

b7

Chapter 8 / Chord Inversion Part 2

CHORD INVERSION: PART II Some of the basic principles of chord inversion have been covered earlier in the book. Now let’s expand on those ideas. We worked on playing the major 7, minor 7 and dominant 7 chords in twelve positions on the neck in all twelve keys. The next logical step is to use these voicings as templates to create other chords that we’ll need for each chord family. For example, how do we come up with the inversions for the minor 7 b 5 chord based on the what we’ve already learned with the minor 7 inversions? First we need to understand what elements are included and omitted in the construction of each chord type. We know that a ∆7 chord needs to include the R, 3, 5, and 7. To create a ∆6 chord, the formula would be R, 3, 5, and 6. The transformation that takes place from the first to the second chord is that the 7th moves down a whole step to the 6th in the second chord. All the other notes stay the same. I call these unique chord spellings CHORD FORMULA CONFIGURATIONS. There are different formulas for each chord type with certain notes altered, moved, and sometimes left out. On the guitar we have certain challenges in terms of fingering limitations and also having only 6 strings to work with. I’ve taken these into account when coming up with the CHORD FORMULA CONFIGURATIONS list. So, back to answering our earlier question: How do we come up with the inversions for the minor 7 b 5 chord based on the what we’ve already learned with the minor 7 inversions? To do this, you first turn to the CHORD FORMULA CONFIGURATIONS list on the next page and find the formula for the minor 7 b 5 chord. It is: R, b 3, b 5, and b 7

We’ve already worked out the minor 7 voicings and if we think back, we know its formula is: R, b 3, 5, and b 7

The only note that has changed between the two chord types is the 5th, which has been flatted in the minor 7 b 5 chord; otherwise all of the other notes in the two chords are the same. Now our new set of inversions for the minor 7 b 5 chord looks like this: b 3 b 7 b 5

R

b 5

R b 7 b 3

b 7 b 3

R b 5

R b5 b3 b7

and this is how you’d play these inversions on the guitar: 37

Chapter 8 / Chord Inversion Part 2

C-7 b 5 Chord Inversions Low Set of Strings

& c b b ˙˙˙ b ˙˙˙ b˙ b ˙ T A B

3 1 3 2

5 4 6 6

b b b ˙˙˙ ˙

b ˙ ˙˙ b ˙

8 8 9 8

11 10 13 11

Medium Set of Strings

b b b ˙˙˙ ˙

b ˙ ˙˙ b ˙

4 3 4 3

7 5 8 6

b˙ ˙ b ˙˙ b b ˙˙˙ b˙ 11 8 10 9

13 11 13 13

˙˙ b b ˙˙˙ b b b ˙˙ ˙

High Set of Strings

b ˙ b b ˙˙˙ b ˙˙ b ˙ b ˙ 2 1 3 1

6 4 5 4

8 7 8 8

11 11 11 10

The next step is to go through the CHORD FORMULA CONFIGURATIONS list and work out playing the different chord types up and down the guitar neck. Within some of the inversion families, Symmetrical Qualities are present and I’ve notated this by putting SymQual after the formula’s listing. Symmetrical Qualities means that the chord voicings repeat themselves in some manner.

CHORD FORMULA CONFIGURATIONS MAJOR FAMILY 1. 2. 3. 4. 5. 6. 7. 8. 9.

Major Major Major Major Major Major Major Major Major

7=R 3 5 7 6=R 3 5 6 7 b5 = R 3 b5 7 add 9 = 2 3 5 R 9 = 2 3 5 7 (no root) 9 (Ninth Series) = R 2 3 7 (no 5th) 6/9 = 2 3 5 6 (no root) 6/9 (Ninth Series) = R 2 3 6 (no 5th) 7 #5 = R 3 #5 7

MINOR FAMILY

1. minor 7 = R b 3 5 b 7 2. minor 6 = R b 3 5 6 3. minor 7 b 5 = also written as ª 7 = R b 3 b 5 b 7 4. minor add 9 = 2 b 3 5 R 5. minor 9 = 2 b 3 5 b 7 (no root) 6. minor 9 (Ninth Series) = R 2 b 3 b 7 (no 5th) 7. minor Maj. 7 = R b 3 5 n 7 8. minor Maj.9 = 2 b 3 5 n 7 (no root) 9. minor Maj 9 (Ninth Series) = R 2 b 3 n 7 (no 5th) 10. minor 9 b 5 = also written as ª 9 = 2 b 3 b 5 b 7 (no root) 11. minor 6/9 = 2 b 3 5 6 (no root) 12. minor 6/9 (Ninth Series) = R 2 b 3 6 (no 5th) 13. diminished 7 = R b 3 b 5 6 SymQual 38

Chapter 8 / Chord Inversion Part 2

DOMINANT 7th FAMILY

1. Dom.7 = R 3 5 b 7 2. Dom.7 b 5 = R 3 b 5 b 7 SymQual 3. Dom.7# 5 = also written as +7, aug.7 = R 3 # 5 b 7 4. Dom.9 = 2 3 5 b 7 (no root) 5. Dom.9 (Ninth Series) = R 2 3 b 7 (no 5th) 6. Dom.9 b 5 = 2 3 b 5 b 7 (no root) 7. Dom.9 # 5 = 2 3 # 5 b 7 (no root) SymQual 8. Dom.13 = R 3 6 b 7 (no 5th) 9. Dom.13 add9 = 2 3 6 b 7 (no root) 10. Dom.7 b 9 = b 2 3 5 b 7 (no root) SymQual 11. Dom.7 b 9 (Ninth Series) = R b 2 3 b 7 (no 5th) 12. Dom.7# 9 = # 2 3 5 b 7 (no root) 13. Dom.7 # 9 (Ninth Series) = R # 2 3 b 7 (no 5th) 14. Dom.7# 5b 9 = b 2 3 # 5 b 7 (no root) 15. Dom.7# 5# 9 = # 2 3 # 5 b 7 (no root) 16. Dom.13 b 9 = b 2 3 6 b 7 (no root) 17. Dom.13 # 9 = # 2 3 6 b 7 (no root) SymQual 18. Dom.7 b 5b 9 = b 2 3 b 5 b 7 (no root) 19. Dom.7 b 5# 9 = # 2 3 b 5 b 7 (no root) 20. Dom.7sus. = R 4 5 b 7 Below and on the next few pages is how you play all of the different chord inversions from the CHORD FORMULA CONFIGURATIONS list. I start from the Low Set, next give you the Medium Set, and end with the High Set of strings. I’ve also noted ICP next to chords that “I can’t play.” The stretch is just too wide. Maybe somebody can play them and that’s why they are here. Some of the “unplayables” are playable if you can include an open string or if you’re up high on the neck. And I still think it’s worth knowing where they are just in case.

MAJOR FAMILY

CJ

T A B

4 2 3 3

CI

˙˙ ˙ ˙

˙˙ ˙˙

& c ˙˙ ˙˙

5 5 7 7

9 9 10 8

& ˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙ ˙

2 2 3 3

5 5 7 5

9 7 10 8

CS

˙ ˙˙ ˙ 12 10 14 12

˙ ˙˙ ˙ 12 10 12 12

˙˙ ˙ ˙

˙ ˙˙ ˙

5 4 5 3

8 5 9 7

˙˙ ˙ ˙ 5 2 5 3

˙˙ ˙˙

˙˙ ˙˙

12 9 10 10

13 12 14 14

˙ ˙˙ ˙

˙˙ ˙˙

8 5 7 7

10 9 10 10

˙

˙˙ ˙ 13 12 14

˙

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙ ˙

7 5 5 5

8 8 9 9

12 12 12 10

˙ ˙˙ ˙

˙˙ ˙˙

˙˙ ˙˙

˙ n ˙˙˙

3 1 2 2

5 5 5 5

8 8 9 9

12 10 12 10

˙ ˙˙ ˙ 3 1 4 2

˙

˙

˙˙

39

5 2 5 3

2 5 9 12 2 7 5 10 3 7 10 12 2 Chapter 8 / Chord Inversion Part 3 5 8 12

CS

& ˙˙˙ b˙

b ˙˙˙ ˙

4 2 3 2

5 4 7 7

9 9 9 8

˙˙ ˙˙

˙˙ ˙˙

˙˙˙ ˙

5 2 5 3

7 5 7 8

9 10 10 10

12 12 15 12

˙˙ ˙˙

˙˙ ˙˙

CK

& ˙˙˙ ˙ 4 2 5 3

CK

& ˙˙˙ ˙ 5 2 5 7

˙˙ ˙˙ 7 5 7 7

9 9 10 10

˙˙ ˙˙

˙˙˙ ˙˙˙ ˙ ˙

7 9 7 8

5 5 9 10

9th Series

12 12 14 12

16 12 15 12

CM

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙˙

2 2 5 3

7 5 7 5

9 7 10 10

12 12 12 12

CM

9th Series

˙˙˙ ˙

& ˙˙˙ ˙

& ˙˙˙

˙˙ ˙

˙˙ b ˙˙˙ b ˙˙ ˙ 5 4 4 3

11 10 14 12

C˚

& ˙˙˙ ˙

40

˙˙ b ˙˙˙ b ˙˙ ˙

˙ ˙˙ ˙

8 5 7 7

7 5 9 7

˙˙ ˙˙

˙˙˙ ˙

5 5 5 5

8 7 10 7

10 9 10 10

13 12 14

˙˙ b ˙˙

b ˙˙˙ ˙

12 9 10 9

13 11 14 14

˙ ˙˙˙

˙˙ ˙˙

13 9 12 10

15 12 14 15

˙˙ ˙˙

˙˙ ˙˙

˙ ˙˙˙

˙˙ ˙˙

5 4 5 5

8 7 9 7

12 9 12 10

15 12 14 14

˙˙ ˙˙

˙˙˙ ˙

3 4 2 3

5 5 9 5

˙ ˙˙ ˙ 7 7 10 7

˙ ˙˙˙

ICP 13 9 10 14

˙˙ ˙˙

˙˙ ˙˙

˙˙˙˙

˙˙ ˙˙

5 2 5 5

8 7 7 7

10 9 12 10

15 12 14 12

˙˙ ˙

˙˙˙ ˙

˙ ˙˙ ˙

˙ ˙˙˙

3 1 2 2

5 5 5 5

b ˙˙ ˙˙

˙˙ b ˙˙

b ˙˙˙ ˙

˙˙ ˙˙

2 1 4 2

7 5 5 4

8 7 9 9

12 12 11 10

˙ ˙˙˙

˙˙ ˙˙

˙˙ ˙˙

3 3 5 2

8 5 7 5

10 8 9 10

12 13 12 12

˙˙ ˙˙

˙ ˙˙˙

˙˙ ˙˙

˙˙ ˙˙

3 3 4 2

7 5 7 5

10 8 9 9

12 12 12 12

˙ ˙˙ ˙

˙ ˙˙˙

˙˙ ˙˙

˙˙˙ ˙

7 3 5

8 5 7 9

10 12 9 10

12 13 16 12

˙˙ ˙˙

˙˙˙˙

˙˙ ˙˙

˙ ˙˙˙

3 3 2 2

5 5 7 5

10 8 9 7

12 10 12 12

˙ ˙˙˙

˙˙ ˙˙

˙˙˙ ˙

˙˙˙ ˙

7

˙ ˙˙ ˙

8 8 9 9

12 10 12 10

2 2 5 3

7 5 7 5

9 7 10 10

CM

9th Series

˙˙ ˙˙

˙˙ ˙˙

˙ ˙˙ ˙

5 2 5 5

7 7 7 8

9 10 12 10

14 12 15 12

& ˙˙˙ ˙

CT

˙˙ # ˙˙˙ #˙ ˙ ˙

# ˙˙˙ ˙

& ˙˙ # ˙˙ 4 2 3 4

5 2 5 5

12 12 12 12

5 6 7 7

9 9 11 8

8 7 7 7

10 9 12 10

˙˙ ˙˙

˙˙ ˙˙

3 2 2 3

5 5 7 5

10 7 10 7

13 9 12 12

˙ ˙ # ˙˙

# ˙˙˙ ˙

12 9 10 11

13 13 14 14

5 4 6 3

9 5 9 7

MINOR FAMILY

CÑ

& c b b ˙˙ ˙˙ T A B

3 1 3 3

CÇ

& b ˙˙˙ ˙ 2 1 3 3

˙˙ ˙˙ 5 5 6 5

Cº

& b b ˙˙˙ b ˙˙˙ b˙ b ˙ 3 1 3 2

C -˚

˙

˙˙ b ˙˙

b b ˙˙˙ ˙

˙˙ ˙ b ˙

5 5 6 6

8 8 10 8

12 10 13 11

˙˙ b˙ ˙ ˙˙ b ˙˙ 8 7 10 8

b b b ˙˙˙ ˙

5 4 6 6

˙

8 8 9 8

b ˙˙

12 10 12 11

b ˙˙ b ˙˙

b b ˙˙˙ ˙

˙˙ ˙ b ˙

4 3 5 3

8 5 8 6

˙˙ b˙ ˙ ˙˙ b ˙˙ 4 2 5 3

8 5 7 6

b b b ˙˙˙ ˙

b ˙˙ b ˙˙

4 3 4 3

11 10 13 11

˙ ˙˙

˙ ˙˙˙

˙ ˙˙ ˙

˙˙ # ˙˙˙ #˙ ˙ ˙

13 10 14 12

15 12 14 12

˙

7 5 8 6

b ˙˙

b b ˙˙˙ ˙

˙˙ b ˙˙

11 8 10 10

13 12 13 13

b ˙˙˙ ˙

˙˙ ˙˙

10 8 10 10

13 12 13 12

b˙ ˙ b ˙˙ b b ˙˙˙ b˙ 11 8 10 9

13 11 13 13

˙ ˙ b ˙ ˙ ˙ ˙

3 2 2

5 7 5

8 9 7

10 12 12

Chapter 8 / Chord Inversion Part 2

˙ ˙˙ ˙ 5 3 5 2

# ˙ ˙˙ ˙ 4 1 4 2

˙ ˙˙˙

˙˙ ˙˙

˙˙ ˙ ˙

8 5 7 7

10 10 9 10

12 13 14 12

˙ ˙ b ˙˙

# ˙˙˙ ˙

˙˙ ˙ ˙

7 5 5 6

8 9 9 9

12 12 13 10

˙˙ b b ˙˙˙ b b ˙˙ ˙ 3 1 3 1

6 4 5 5

˙˙ b ˙˙

b ˙˙˙ ˙

3 1 2 1

5 4 5 5

b ˙˙ b b ˙˙ b b ˙˙ b ˙˙ 2 1 3 1

˙˙ b b ˙˙˙ b b ˙˙ ˙

6 4 5 4

˙ ˙ b ˙ ˙ ˙ ˙

8 8 8 8

11 11 12 10

˙˙ b ˙˙˙ b ˙˙ ˙ 8 8 8 7

11 10 12 10

˙˙ b b ˙˙˙ b b b ˙˙ ˙ 8 7 8 8

˙˙ b ˙˙

11 11 11 10

b ˙˙ ˙˙

41

4 3 4 3

3 5 8 11 1 4 8 10 6 9 13 2 Chapter3 Inversion Part 2 8 / Chord 6 8 11

C -˚

& b ˙˙˙ ˙ 5 1 5 3

˙ ˙˙ ˙ 7 5 6 8

CÖ

& b b ˙˙˙ ˙˙˙ ˙ b˙ 3 1 5 3

CÖ

& b ˙˙˙ b ˙ 5 1 5 6

Cé

& b ˙˙˙ ˙ 4 1 3 3

Cè

& b ˙˙˙ ˙ 4 1 5 3

Cè

& ˙

42

7 5 6 6

b ˙˙ ˙˙

9th Series

7 8 6 8

˙˙ ˙˙ 5 5 6 7

˙˙ ˙˙ 7 5 6 7 9th Series

˙˙

b ˙˙ ˙˙

˙ ˙˙ b ˙

8 10 10 10

12 12 15 11

b b ˙˙˙ ˙

˙˙ ˙ b˙

8 8 10 10

12 12 13 11

b ˙ b ˙ b ˙˙ b ˙˙˙ ˙ 8 10 13 10

b ˙˙ ˙ ˙

b ˙˙ ˙˙

3 0 1 3

4 5 5 5

b b ˙˙˙ ˙ 4 3 5 5

8 7 8 6

˙˙ b b ˙˙ 3 3 1 3

12 10 14 11

b ˙˙ ˙˙

˙˙ b ˙˙ 12 12 14 11

b ˙˙˙ ˙˙˙

b ˙˙ ˙ ˙

11 8 10 9

b ˙˙˙ ˙ 4 5 8 5

˙˙ ˙ b ˙

b ˙ b ˙˙ ˙

7 10 6

˙˙ ˙˙ 13 12 13 14

12 8 10 10

b ˙˙ ˙˙

˙˙ b ˙˙

b ˙˙˙ ˙

4 4 5 5

8 7 9 6

12 8 12 10

b ˙˙˙

3 3 3 1

˙˙ ˙ b ˙ 3 1 4 1

˙˙ ˙˙

15 12 13 14

˙ b ˙˙ ˙˙ ˙˙

b ˙˙ ˙˙

10 8 8 10

11 13 12 12

˙ b b ˙˙ ˙ ˙ b b ˙˙ ˙ 10 8 8 8

11 11 12 12

˙˙ b ˙˙˙ b b ˙˙ ˙

8 4 7 8

10 11 8 10

11 13 15 12

b ˙˙˙ ˙

˙ b ˙˙˙

b ˙˙ ˙˙

7 4 5 5

8 8 8 9

11 12 12 10

˙˙ b ˙˙

b ˙˙ ˙˙

10 8 8 9

11 12 12 12

˙˙ b ˙˙˙ ˙ b ˙˙ 3 3 4 1

11 11 11 10

˙˙ b ˙˙

6 4 7 5

b ˙ b ˙˙ ˙˙ b ˙˙ b ˙ 6 3 5 6

8 7 8 8

8 4 7 5

˙˙ b b ˙˙˙ b˙ ˙ b ˙

13 8 12 13

b ˙˙˙ ˙

8 5 9 6

3 3 5 1

15 12 13 13

b ˙ b ˙˙ ˙˙ b ˙˙ b ˙

4 4 5 3

˙˙

˙ ˙ b ˙˙

6 4 5 4

˙˙ b ˙˙˙ ˙ ˙ b ˙

13 8 12 10

11 8 12 10

6

2 1 3 1

13 11 13 13

˙˙ b ˙˙˙ ˙ ˙ b ˙ 8 7 10 6

˙˙ ˙ b˙

12 15 11

8 9 10 8

8 9 10 10

˙ b ˙˙˙

11

˙˙ ˙ b ˙

7 5 8 6

7 4 7 5

˙ b ˙˙ ˙˙ ˙˙

˙˙ b ˙˙˙ b ˙˙ ˙

4 1 5 3

7 5 6 7

Cè

& b ˙˙˙ ˙

ICP 5 1 5 7

9th Series

˙˙ ˙˙

7 9 6 8

Cª9

˙ & b b ˙˙˙ b ˙˙ b˙ b ˙ 3 1 5 2

CÉ

& b ˙˙˙ ˙

˙˙ ˙˙ 7 5 6 5

CÉ

9th Series

5 1 5 5

˙˙ ˙˙

7 7 6 8

C¥

& b ˙˙˙ b ˙ 2 1 3 2

12 12 14 11

b ˙˙˙ ˙

ICP

b b b ˙˙˙ ˙

b ˙˙ ˙ b˙

8 8 9 10

11 12 13 11

b ˙˙ ˙˙ ˙˙ b ˙˙ 8 7 10 10

12 12 12 11

˙˙ b ˙ ˙ b ˙˙ ˙ b ˙ 8 8 12 10

b ˙˙˙ ˙ 5 4 6 5

˙ ˙˙ b ˙

12 12 15 11

8 10 14 10

7 4 6 6

2 1 5 3

& b ˙˙˙ ˙

8 9 10 10

14 12 15 11

b ˙ b ˙˙˙ b ˙˙˙ b ˙ 8 7 9 8

11 10 12 11

4 4 5 5

8 7 9 6

12 8 12 10

˙˙ b ˙˙

b ˙˙˙ ˙

3 4 1 3

4 5 9 5

b b b ˙˙˙ ˙ 4 3 4 5

7 7 8 6

ICP 13 8 12 14

˙˙ b ˙ b b ˙˙ b ˙˙ b ˙ 11 8 12 9

b ˙˙˙ ˙

b ˙˙ ˙˙ ˙˙ b ˙˙ 8 7 7 6

10 8 12 10

˙˙ b ˙˙

b ˙˙˙ ˙

3 2 1 3

4 5 7 5

7 5 7 6

15 11 13 13

˙ ˙˙ 15 12 13

˙˙ b ˙˙ ˙˙ ˙ b ˙ 10 7 10 6

b ˙ b ˙˙˙ b ˙˙˙ b ˙ 4 2 4 3

˙ ˙ b ˙˙ ˙ ˙ ˙ b ˙ 7 7 10 6

b ˙˙ ˙ b˙

4 2 5 5

15 12 13 14

13 8 12 12

b ˙˙˙ b ˙

b ˙˙˙ ˙

10 8 10 9

13 11 13 12

3 3 4 1 Chapter 8

7 10 11 4 8 12 7 8 12 9 12Part 2 /5Chord Inversion

˙ ˙ b ˙˙ ˙ ˙ ˙ b ˙ 7 3 5 6

8 4 7 9

b ˙˙ b b ˙˙˙ b b ˙˙ b ˙ 2 3 3 1

6 4 7 4

˙˙ b ˙˙˙ ˙ b ˙˙ 3 3 2 1

5 4 7 5

˙˙ b ˙˙˙ b ˙˙ ˙ 10 12 8 10

11 13 16 12

˙˙ b b ˙˙˙ b b b ˙˙ ˙ 10 7 8 8

11 11 11 12

˙ b ˙˙ b ˙˙˙ ˙˙ 10 8 8 7

11 10 12 12

˙˙ b ˙˙

b ˙˙˙ ˙

8 4 7 7

10 10 8 10

11 13 14 12

b ˙˙ b ˙˙ ˙ b ˙˙ b ˙

˙ b b ˙˙˙

˙˙ b ˙˙ ˙˙ ˙ b ˙ 5 3 5 1

2 1 2 1

5 4 5 4

8 7 8 7

b ˙˙ ˙˙ 11 10 11 10

43

Chapter 8 / Chord Inversion Part 2

DOMINANT 7 FAMILY

C7

& c b ˙˙˙ ˙ T A B

3 2 3 3

˙˙ b ˙˙

b ˙˙˙ ˙

˙ ˙˙˙

5 5 7 6

9 8 10 8

12 10 13 12

Cô

& b ˙˙ b ˙˙˙ b ˙˙ b ˙ 3 2 3 2

5 4 7 6

C´

& b ˙˙ # ˙˙˙ # ˙˙ b ˙ 3 2 3 4

5 6 7 6

C9

& b ˙˙˙ ˙˙˙ ˙ b˙ 3 2 5 3

C9

7 5 7 6 9th Series

& ˙˙˙ b ˙˙˙˙ b˙ 5 2 5 6

44

7 8 7 8

˙˙ b ˙˙˙ b b ˙˙ ˙ 9 8 9 8

11 10 13 12

˙˙ # ˙˙˙ b # ˙ ˙ ˙ 9 8 11 8

b ˙˙˙ ˙ 9 8 10 10

13 10 13 12

˙˙ ˙˙ 12 12 13 12

b ˙ ˙ ˙ b ˙ ˙˙ ˙ ˙ 9 10 13 10

15 12 15 12

b ˙˙˙ ˙

˙ ˙˙˙

b ˙˙ ˙˙

˙˙ b ˙˙

5 3 5 3

8 5 8 7

11 9 10 10

13 12 14 13

˙˙ b ˙˙˙ b b ˙˙ ˙ 5 3 4 3

7 5 8 7

# ˙˙˙ b ˙

b ˙˙˙ ˙

1 1 2 1

5 3 6 3

b ˙˙ b ˙˙ ˙ b ˙˙ b ˙ 11 9 10 9

13 11 14 13

# ˙ b ˙˙˙

b ˙˙ # ˙˙

9 5 8 7

11 9 10 11

b ˙˙˙ ˙

˙˙ ˙˙

b ˙˙ ˙˙

˙˙ b ˙˙

5 3 5 5

8 7 8 7

11 9 12 10

15 12 14 13

b ˙˙ ˙˙ 3 3 2 3

˙˙˙ ˙ 5 5 8 5

˙ b ˙ ˙˙ b ˙˙˙ ˙ 11 7 10 7

13 9 12 13

˙ b ˙˙˙

b ˙˙ ˙˙

˙˙ b ˙˙

b ˙˙˙ ˙

3 1 3 2

6 5 5 5

8 8 9 8

12 11 12 10

b ˙ b ˙˙˙

b ˙˙ b ˙˙

b ˙˙˙ b ˙

b ˙˙˙ ˙

2 1 3 2

6 5 5 4

8 7 9 8

12 11 11 10

# ˙ b ˙˙˙

b ˙˙ # ˙˙

# ˙˙˙ b ˙

b ˙˙˙ ˙

4 1 3 2

6 5 5 6

8 9 9 8

12 11 13 10

˙˙ b ˙˙˙ b ˙˙ ˙ 3 3 3 2

6 5 7 5

˙ b ˙ ˙˙ b ˙˙˙ ˙ 6 3 5 2

8 5 7 8

˙˙ b ˙˙

b ˙˙˙ ˙

10 8 9 8

12 11 12 12

b ˙˙˙ ˙

˙˙˙ ˙

10 11 9 10

12 13 15 12

Chapter 8 / Chord Inversion Part 2

C°

& b ˙˙˙ b ˙˙˙ b˙ b ˙ 3 2 5 2

7 4 7 6

C£

& b ˙˙˙ # ˙˙˙ #˙ b ˙ 3 2 5 4

7 6 7 6

C;

& b ˙˙ ˙˙

˙˙ b ˙˙

3 2 3 5

5 7 7 6

C 13 ˚

& b ˙˙˙ ˙˙˙ ˙ b˙ 3 2 5 5

7 7 7 6

Cï

b˙ & b b ˙˙˙ ˙˙ ˙ b˙ 3 2 4 3

6 5 7 6

˙ b b ˙˙˙

b ˙˙ ˙ ˙

9 8 9 10

11 12 13 12

˙ # b ˙˙˙

# ˙˙ ˙ ˙

9 8 11 10

13 12 13 12

˙ ˙ b ˙˙ ˙˙˙ ˙ 9 8 12 8

14 10 13 12

b ˙˙˙ ˙

˙˙ ˙˙

9 8 12 10

14 12 13 12

b ˙˙˙ b ˙

b ˙˙˙ ˙

9 8 10 9

12 11 13 12

˙ b b ˙˙˙

b ˙˙ ˙ ˙

5 3 4 5

7 7 8 7

# ˙˙˙ b ˙

b ˙˙˙ ˙

3 1 2 1

5 3 6 5

˙ ˙ b ˙˙ ˙˙˙ ˙

b ˙˙ b ˙˙˙ ˙ b ˙ b ˙ 11 9 12 9

15 11 14 13

# ˙˙ b ˙˙˙ b ˙ # ˙ ˙ 9 7 8 7

11 9 12 11

b ˙˙ ˙˙

˙˙ b ˙˙ 13 14 14 13

5 3 7 3

10 5 8 7

11 9 10 12

b ˙˙˙ ˙

˙˙ ˙˙

b ˙˙ ˙˙

˙˙ b ˙˙

5 3 7 5

10 7 8 7

11 9 12 12

15 14 14 13

b ˙˙˙ b ˙

b ˙˙˙ ˙

5 3 5 4

8 6 8 7

b ˙ b ˙˙˙

b ˙˙ b ˙˙

11 9 11 10

14 12 14 13

b ˙˙ b ˙˙˙ b ˙ b ˙ ˙ 2 3 3 2

6 5 7 4

# ˙˙ b ˙˙˙ b ˙ # ˙ ˙ 4 3 3 2

6 5 7 6

˙ b ˙˙˙

b ˙˙ ˙˙

5 1 3 2

6 5 5 7

10 7 9 8

12 11 11 12

# ˙˙˙ b ˙

b ˙˙˙ ˙

10 9 9 8

12 11 13 12

8 10 9 8

12 11 14 10

˙˙ b ˙˙˙ ˙ b ˙˙

6 5 7 7

10 10 9 8

˙˙ b ˙˙˙ b b ˙˙ ˙ 3 2 3 2

b ˙˙˙ ˙

˙˙ b ˙˙˙ ˙ b ˙˙

˙˙ b ˙˙˙ b ˙˙ ˙ 5 3 3 2

b ˙˙˙ b ˙

6 5 6 5

12 11 14 12

b ˙˙ b ˙˙ ˙ b ˙˙ b ˙ 9 8 9 8

12 11 12 11

45

Chapter 8 / Chord Inversion Part 2

Cï

9th Series

b & b ˙˙˙ b ˙˙˙˙ b ˙ 5 2 4 6

6 8 7 8

Cñ

# & # b ˙˙˙ ˙˙˙ ˙ b˙ 3 2 6 3

8 5 7 6

Cñ

9th Series

# & # ˙˙˙ b ˙˙˙˙ b ˙ 5 2 6 6

8 8 7 8

Cî

& b b ˙˙˙ # b ˙˙˙ #˙ b˙ 3 2 4 4

6 6 7 6

# & # b ˙˙˙ # ˙˙˙ #˙ b˙ C©

3 2 6 4

46

8 6 7 6

b ˙ ˙ b ˙ b ˙ ˙˙ ˙ b ˙ 9 10 13 9

b ˙˙˙ # ˙ 9 8 10 11

11

# ˙˙˙ ˙ 12 13 13 12

˙ # b b ˙˙˙

15 13 15 12

b # ˙˙˙ ˙

9 8 11 9

13 11 13 12

˙ # # b ˙˙˙

# # ˙˙˙ ˙

9 8 11 11

13 13 13 12

˙˙˙ b˙

2 3 2 3

11 15 12

b ˙ ˙ # ˙ b ˙ ˙˙ ˙ # ˙ 9 10 13 11

b b ˙˙ ˙˙

5 5 8 9

b ˙˙˙ # ˙

# ˙˙˙ ˙

5 3 5 6

8 8 8 7

b # ˙˙ ˙˙˙ ˙˙ # ˙ 4 3 2 3

b b ˙˙˙ b ˙ 5 3 6 4

5 5 8 6

b # ˙˙˙ ˙ 9 6 8 7

˙ # # b ˙˙˙

# # ˙˙˙ ˙

5 3 6 6

9 8 8 7

b˙ b b ˙˙ ˙ 6 6 8 7

˙ ˙˙˙ 13 9 11 13

b ˙ # ˙˙˙

# ˙˙ b ˙˙

11 9 13 10

16 12 14 13

b ˙ ˙ # ˙˙ b ˙˙˙ ˙ 11 8 10 7

13 9 13 13

b ˙˙ # b ˙˙˙ b # ˙˙ b ˙ 11 9 11 11

14 13 14 13

b ˙˙ # # ˙˙˙ # # ˙˙ b ˙ 11 9 13 11

16 13 14 13

b ˙ ˙˙ b ˙˙ b ˙˙ ˙ 6 2 5 2

8 5 6 8

˙˙ b ˙˙˙ # b ˙˙ ˙ 3 4 3 2

6 5 8 5

b ˙ ˙ # ˙˙ b ˙˙˙ ˙ 6 4 5 2

8 5 8 8

b ˙ b b # ˙˙˙ ˙˙ ˙ # ˙ 4 2 3 2

6 5 6 6

b ˙ # b # ˙˙˙ # ˙˙˙ ˙ 4 4 3 2

6 5 8 6

b b ˙˙˙ ˙˙˙ ˙ b ˙ 9 11 9 10

12 13 15 11

# ˙˙ b ˙˙˙ b ˙˙ # ˙ 11 8 9 8

12 11 12 13

b # ˙˙˙ ˙˙˙ ˙ # ˙ 11 11 9 10

12 13 15 13

˙ # b ˙˙˙ b b ˙˙˙ b˙ 9 9 9 8

12 11 13 11

˙ # # ˙˙˙ # b ˙˙˙ b˙ 11 9 9 8

12 11 13 13

Chapter 8 / Chord Inversion Part 2

C•

˙ & b b ˙˙˙ b ˙˙ ˙ b˙ 3 2 4 5

6 7 7 6

C¶

& # b ˙˙˙ # ˙˙˙ ˙ b˙ 3 2 6 5

b˙ & b b ˙˙˙ b ˙˙ b˙ b˙

# & # b ˙˙˙ b ˙˙˙ b˙ b˙ 8 4 7 6

9 8 12 11

14 13 13 12

˙ b b b ˙˙˙

b b ˙˙˙ ˙

9 8 9 9

11 11 13 12

˙ b # b ˙˙˙

# b ˙˙˙ ˙

C\

˙˙˙ b˙

b ˙˙˙ ˙

3 3 3 3

5 5 8 6

10 8 10 8

& b ˙˙˙ ˙

9 8 9 11

b ˙˙ b ˙˙˙ b ˙˙ b ˙ 2 2 2 1

14 11 13 12

˙ b ˙˙˙ # ˙˙˙ # ˙

6 4 7 6

Cù

3 2 6 2

9 8 12 9

8 7 7 6

Cú

3 2 4 2

˙ b ˙˙˙ b ˙˙ ˙ b ˙

11 13 13 12

˙ ˙˙˙

12 10 13 13

5 3 7 4

# ˙˙ b ˙˙˙ b ˙˙ # ˙ 4 2 2 1

5 3 7 6

˙ b b b ˙˙˙

b b ˙˙˙ ˙

5 3 4 4

7 6 8 7

˙ b # b ˙˙˙

# b ˙˙˙ ˙

5 3 4 6

7 8 8 7

b ˙˙˙ ˙

˙ ˙˙˙

6 3 5 3

8 5 8 8

˙˙ b ˙˙˙ b b ˙ ˙ ˙ 10 6 8 7

11 9 11 12

10 8 8 7

11 9 13 12

˙˙ b ˙˙ # b ˙ ˙˙ ˙

b ˙˙ b b ˙˙ b b ˙˙ b ˙˙ 11 9 11 9

11 9 13 9

b ˙˙ ˙˙˙ ˙˙ b ˙ 11 10 10 10

5 2 3 2

13 12 15 13

6 5 6 7

5 4 3 2

6 5 8 7

b ˙ b b b ˙˙˙ b ˙˙˙ ˙ 2 2 3 2

12 11 14 11

11 10 9 8

12 11 14 13

˙ b b ˙˙˙ b b ˙˙˙ b˙

6 5 6 4

b ˙ # b b ˙˙˙ ˙˙ ˙ b ˙ 2 4 3 2

16 11 14 13

9 10 9 8

# ˙˙ b ˙˙˙ b ˙˙ # ˙

˙˙ b ˙˙ # b ˙ ˙˙ ˙

14 11 14 13

b ˙˙ b # ˙˙˙ # b ˙˙ b ˙

b ˙˙ b ˙˙˙ b ˙˙ b ˙

˙˙ b ˙˙˙ b b ˙ ˙ ˙

9 7 9 8

12 11 11 11

˙ b # ˙˙˙ # b ˙˙˙ b˙

6 5 8 4

11 7 9 8

12 11 11 13

˙ b ˙˙˙

b ˙˙ ˙˙

˙˙ ˙ b ˙

b ˙˙˙ ˙

3 1 3 3

6 6 5 5

8 8 10 8

13 11 12 10

47

Chapter 9 / Chord Voicing Series

CHORD VOICING SERIES There are different SERIES of chords to which we can apply the concept of inversion. Out of the many possible configurations, I’ve narrowed it down to some of those that seem the most useful. Low Density Series This is the series we’ve already been working with: 3 5 7 R 7 R 3 5 5 7 R 3 R 3 5 7 Medium Density Series Using the Low Density Series as a starting point, move the second tone from the bottom of each chord and put it up an octave. Now the chord is spread out over larger intervals: 5 7 R 3 3 5 7 R 7 R 3 5 R 3 5 7 Here’s how you play the C∆7 chord voicings in the Medium Density Series:

& c ˙˙˙ ˙ T A B

1 4 2 3

˙˙ ˙ ˙

˙˙ ˙ ˙

5 5 5 7

8 9 9 8

˙˙ ˙˙ &˙ ˙˙ ˙ High Density Series

˙˙ ˙˙

˙˙ ˙ ˙

12 12 10 12

˙˙ ˙ ˙ 3 5 4 3

˙˙ ˙ ˙

˙˙˙ ˙

7 8 5 7

8 12 9 10

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙˙

˙˙ ˙˙

13 12 14 12

5 5 3

8 9 7

12 10 10

˙˙ ˙ ˙ 12 13 12 14

˙˙ ˙˙

Using the Low Density Series as a starting point, move the third note from the bottom of each chord and put it up an octave: 7 8 12 15 5 8 4 5 7 R 3 5 3 7 3 7

3 5 7 R 5 7 R 3 R 3 5 7

& ˙˙˙ 48 ˙

˙˙˙ ˙

12 9 10 8

˙˙˙˙ ˙˙˙˙

˙˙˙˙ ˙˙˙˙

˙ ˙˙˙

˙˙˙ ˙

˙˙˙˙

˙ ˙˙˙

13 14 14

˙˙˙ ˙

˙˙˙˙

3

7

8

12

Chapter 12 9 / Chord Voicing Series 1 5 8 12 5 8 13 T 4 5 9 12 4 5 9 12 A 2 5 9 10 3 High Density 7 10 14 Here’s how you play the C∆7 chord voicings in the Series: B 3 7 8 12

˙ & ˙˙ ˙

˙ ˙ ˙˙

˙ ˙ ˙ ˙

5 4 3 3

8 5 7 7

12 9 10 8

˙˙ ˙˙

13 12 14 12

˙ ˙ ˙ ˙

˙˙ ˙˙

˙˙ ˙˙

˙ ˙ ˙˙

7 5 5 3

8 8 9 7

12 12 10 10

15 13 14 14

˙

˙

˙˙

7 8 9 10

8 12 12 14

˙˙ ˙˙ ˙˙˙ ˙˙˙ Cluster Series ˙˙ ˙˙ ˙˙ ˙˙˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Series˙˙ because ˙ the notes are really close ˙ together. Look at the ˙˙˙ the˙˙Cluster I& call ˙ series ˙˙this ˙ formula for these chords and you’ll notice that the notes are right in logical ˙˙˙ order.˙˙˙ The ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ starting ˙ ˙ ˙ c ˙˙chord is ˙˙R, 3, 5, and˙˙ 7:

&

˙ ˙ ˙ ˙ 4 7 R 3 5 0 5

9 10 14 15

2 5 9 5 7 R 3 3 7 10 7 8 12 3 5 7 R 1 5 T R 3 5 7 4 5

˙

1 4 5 7

˙

5 5 9 10

˙ 8

9 10 14 3 5 4

12 12 14 15

˙

0 1 4 5

˙

3 5 5 9

˙˙ ˙˙˙ ˙ ˙ ˙3 ˙ ˙ ˙˙ ˙˙ ˙˙you end ˙˙˙ notes ˙˙ thing˙˙on ˙ up ˙˙ of a˙chord ˙˙close˙together ˙ the ˙˙ guitar ˙˙that when It’s are & a˙˙˙strange ˙˙ fingers ˙this isn’t the case ˙ when you’re using ˙˙ ˙ far apart. ˙ ˙ really ˙˙ open stretching your However, ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ away from using open strings. I ˙mostly stay ˙ chord inversions ˙˙ When I˙˙work on these ˙˙ strings ˙ ˙ ˙ because ahead the other˙keys. Transposing ˙˙ about transposing ˙ information & ˙ I’m thinking ˙ ˙ to ˙˙ open 7˙ 7 8 10 12 to other keys when strings are involved complicates matters. 5 3 5 13 3 5 12 13 ˙ A B

2 3

5 2 5 These 7

8 9 9 8

5 7

7 9 7 chords 8

5 9 hard 10

12 12 10 12

16 12 15 to12play

4 2 3

5 9 5

7 10 7

7 8 5 7

9 12 14

8 12 9 10

5 7

7 9

12 13 12 14

9 10

16 12

are and some are pretty much impossible to pull off. But for the 7 8 12 15 ones5 that work8out it’s well 12 worth the 13stretch. 5 8 12 13 4 3 Here’s 3

how

& ˙˙˙ ˙

ICP

5 7 you7

˙˙˙ ˙

play the

9 10 C∆7 8

˙˙˙˙ ˙˙˙˙

ICP

0 2 3 7

4 5 7 8

5 9 10 12

9 10 14 15

5 7

7 8

10

15 12

chord

12 14 voicings 12

˙˙˙˙ ˙˙˙˙

ICP 1 4 5 7

5 5 9 10

5 3

9 7

in the Cluster Series:

˙ ˙˙˙

˙˙˙ ˙

8 9 10 14

12 12 14 15

ICP

˙˙˙˙ 0 1 4 5

10 10

14 14

˙˙˙˙

˙ ˙˙˙

˙˙˙ ˙

3 5 5 9

7 8 9 10

8 12 12 14

˙

˙

ICP

ICP

˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ Ninth Series ˙ ˙ ˙ ˙ ˙ ˙and ˙˙ series ˙˙ omits˙˙the 5th˙˙in the˙chord ˙˙ a ˙9th. ˙˙ that ˙ includes ˙ Most˙of us˙will This & ˙˙is˙ a unique ˙ ˙ ˙ ˙ ˙ ˙ inversions already ˙ practical use and it turns out that the ones we ˙ know˙ a few˙of these from know already are probably the chords that make the most sense and are the most playable. Some of the others are a little strange and off-balance. I still think it’s interesting to see 7 7 8 10 12 how they all are connected to each 5 3 other: 5 13 3 5 12 13 5 16 4 5 7 9 5 7 9 16 5 7 49 9 12 2 9 10 12 9 10 12 2 9 3

5

7

14

7

3 3

7 7

10 8

˙ ˙˙˙˙ ˙ ˙ ˙ & ˙ ˙ 9 3 7 R ˙ ˙˙˙ ˙˙

Chapter 9 / Chord Voicing Series

7 R 9 3 3 7 R 9 R 9 3 7 0 2 3 7 Here’s

& ˙˙˙ ˙ 5 2 5 7

4 5 7 how8 you

˙˙ ˙˙

7 9 7 8

5 9 10 12 play

the

9 10 14 15 C∆9

˙˙˙ ˙˙˙ ˙ ˙

5 5 9 10

16 12 15 12

14 12

3

˙˙˙ ˙˙˙˙ ˙ 1 4 5 7

5 5 9 10

7

10

˙˙˙˙

˙ ˙˙˙

˙˙ ˙˙

˙˙˙ ˙

0 1 4 5

3 5 5 9

7 8 9 10

8 12 12 14

ICP

˙ ˙˙ ˙

˙ ˙˙˙

˙˙ ˙˙

˙˙˙ ˙

13 9 12 14

7 3 5 7

8 5 7 9

10 12 9 10

12 13 16 12

˙ ˙˙˙

˙˙˙ ˙

8 9 10 14

12 12 14 15

˙ ˙˙ ˙

˙ ˙˙˙

chord voicings in the Ninth Series:

˙˙ ˙˙

˙˙˙ ˙

3 4 2 3

5 5 9 5

7 7 10 7

14

The next thing to explore is to practice taking the different CHORD FORMULA CONFIGURATIONS through the different CHORD VOICING SERIES. So, for example, you’d take the chord formula for C13 b 9 and plug it in first to the Low Density Series and then move all the way through to the Cluster Series. Then see if it makes sense to adapt it to the Ninth Series. One thing to note about the Ninth Series: it only works for chords that have a 9, b 9, or a # 9 in them. To be thorough, next you’d work out all of these options in all twelve keys. You can see quite quickly that someday you’ll know almost every chord. See you in ten years, pal...

50

Chapter 10 / Chord Synonyms

CHORD SYNONYMS Below is a list of chords that have different names but are essentially the same. The only difference between them would be what is considered the root. We call these Chord Synonyms. Again, within some of the inversion families, Symmetrical Qualities are present and I’ve notated this by putting SymQual after the formula’s listing. Symmetrical Qualities means that the chord voicings repeat themselves in some manner. 1. C∆7 = A-9 2. C∆6 = A-7 3. C∆7 b 5 = A-6/9 = D13add9 = A b 7 # 5# 9 4. C∆9 = E-7 = G∆6 5. C∆6/9 = Asus.7 6. C∆7 # 5 = A -∆9 7. C-7 = E b ∆6 = A b ∆9 8. C-6 = A -7 b 5 = F9 = B7 # 5b 9 9. C-7 b 5 = D7 # 5b 9 = E b -6 = A b 9 10. C-9 = E b ∆7 11. C-∆9 = E b ∆7 # 5 12. C-9 b 5 = E b -∆7 13. C-∆7 = A-9 b 5 14. C-6/9 = F13add9 = B7 # 5# 9 = E b ∆7 b 5 15. C7 = G b 7 b 5 b 9 16. C7 b 5 = G b 7 b 5 = A b 9 # 5 = D9 # 5 SymQual 17. C7 # 5 = G b 9 b 5 18. C9 = G-6 = E-7 b 5 = G b 7 # 5 b 9 19. C9 b 5 = G b 7 # 5 20. C9 # 5 = B b 7 b 5 = E7 b 5 = G b 9 # 5 SymQual 21. C13 = G b 7 b 5# 9 22. C13 add9 = G b 7 # 5# 9 23. C7 b 9 = E b 7 b 9 = G b 7 b 9 = A7 b 9 = Edim.7 = Gdim.7= B b dim.7 = D b dim.7 SymQual 24. C7 # 9 = G b 13b 9 25. C7 # 5 b 9 = D b -6 = B b -7 b 5 = G b 9 26. C7 # 5 b 9 =G b 13add9 = E∆7 b 5 = D b -6/9 27. C13b 9 = G b 7 # 9 28. C13# 9 = G b 13# 9 SymQual 29. C7 b 5b 9 = G b 7 30. C7 b 5# 9 = G b 13 31. C7sus. = E b 6/9

51

& ww w

&

Chapter 11 / Arpeggios

&

œ

œ

œ

ARPEGGIOS

œ

œ ofœ the same notes as in a chord, & An arpeggio consists only ww the notes are played separately ww rather than all at once:

C∆7 chord

C∆7 arpeggio

& www w

&œ

œ

œ

œ

In jazz, chords change usually once or even twice per bar. The ideal way to play melodies over this rapid movement is œto use the arpeggio of the chord as the mainstay, and &chord œ œ œ etc., as the “filler” between the arpeggiated notes. With the four the scale, chromatics, notes of the arpeggio, the sound of the chord is defined more clearly and quickly than the scale’s eight or nine notes. In a lot of instances there is not enough time to use scales because the chords are changing too rapidly. Also, the arpeggio shapes the melodic line to be more vertical, compared to the scale’s horizontal approach, and this I think is a nice feature. Arpeggios are concise while scales can be more vague. Have a listen to John Coltrane’s solo on “Moment’s Notice” or Charlie Parker’s solo on “Why Do I Love You?” Notice the extensive use of arpeggios and vertical melodic lines. Here is a list of arpeggios you should be familiar with. Practice them and be able to plug them into any given chord progression. Again, they should be worked out in five positions on the neck, utilizing the full range on the guitar within each of these positions, and using good fingerings.

MAJOR FAMILY

Triad

&

5

&

œ

œ

œ

œ

Major 7 # 5

œ

œ

œ

œ

œ

Major 7

œ

œ

œ

œ

Major 7 b 5

œ

œ

œ bœ

Major 9

œ

bœ

œ

# #

Major 7 5 9 # œ œ œ œ #œ œ œ œ œ # œ œ œ œ œ #œ œ œ œ œ œ

#œ œ œ œ

& 52 œ b œ 8

Major 6

œ

œ

œ

bœ

œ bœ

œ

bœ

bœ

bœ

œ & œ œ# œ œ & œ 5 œ

Chapter 11 / Arpeggios œ œ œ #œ œ # œ œ œ œ #œ œ œ œ # œ œœ œ œ œ MINOR œœ œ œ œ FAMILY bœ œ œ œ œ œœ œ œ

Triad

Minor 6

Minor 7 b 5

Minor 7

œ œ œb œ# œ œ # œ b œ & œ bœ œœ bœ œ œ œ œ b œ œ # œ œ #œœ œb œ œ b œ œ œ # œ œ & 8 œ œ œ œ œ œ 5 MinorMajor 7 Minor 9 Minor 9 b 5 bœ œ b œ b œ œ œ bœ œ b œb œ œ œ & œ œ b œ b œ b œ b œ & œ bœ œ œ œ œ bœ bœ œ œ b œ b œ b œ 12 œ œ œ œ 8 MinorMajor 9 œ Diminished 7 œ bœ œ bœ œ œ b œ œ œ b œ œ & b œœ bœœ b œ bœ œ œ b œb œ œ œ œ œ b œ & œ b œ b œ 15 œ œ œ 12 œ

œ œ œ b œ b œ œ œ b œ b œ b œ œœ 7 FAMILY #œ bœ & œ DOMINANT œ & œœ b œ œ œ œ œ œ bœ 17 15

Dominant 7



Dominant 9 b 5

œ b œ b œ & & œœ œœ œ b œ 21 17

Dominant 7 b 5

œ b œ # œ bœ œ œ œ œ bœ Dominantœ 9 # 5 œ

Dominant 7 # 5

& œ œ #œ œ 25

Suspended Triad

œ œ œ œ œ œ

œ bœ

œ

Dominant 9

bœ œ bœœ b œ œ bœ œ # œœ œb œ # œ œ œ œ œ œ œ Dominant 7 b 9

œ œ œ bœ bœ œ # œ œ œ & œ œ b œ b œ œ & œœ œ b œ œ œ œ #œ œ œ bœ œ œ 25 21 Augmented Triad

œ

œ

Dominant 7 # 9

bœ œ #œ œ œ

Suspended 7

bœ œ œ œ

53

Chapter 12 / Triads

TRIADS

Melodic lines that are based on triads are extremely effective in creating a modern, almost pentatonic quality. By playing the triads through at least two octaves within a melodic line, a unique sound is created because of both the triad’s vertical nature and the way in which you hear the same notes repeat, but in a different octave. For us guitarists, playing triads are a real challenge. It’s weird that such a basic concept, one which most of the other instruments address early on, turns out to be such a challenge for us. The problem is that triads are hard to finger on the guitar. There are ways to overcome this and here again we have the opportunity to expand the horizons of our instrument. Plus there’s a lot of great music inside those triadic notes. Here are some exercises that are divided into two sections. The SERIES ONE patterns are basic triad melodic patterns, while the SERIES TWO exercises are based on tones that surround the actual triad notes. All these patterns should be played in five positions on the neck, using the full range within each position, in all 12 keys and using good fingering.

SERIES ONE up

1.



œ œ œ œ œ œ œ c & œ œ œ œ œ œ œ œ œ 2.

up



down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

down

3 œ œ œ œ 3 œ 3 œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ 3

3

3

3

3

up



up



down

up



down

œ œ œ œ œ œ œ Œ &œ œ œ œ œ œ œ 3.

down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

œ œ œ œ œ œ # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ & œ œ œ #œ œ œ #œ #œ œ 4.

5.

#œ œ œ œ #œ œ #œ œ œ œ & œ #œ œ #œ œ #œ œ œ

54

#œ œ

#œ œ

œ œ

œ œ œ #œ #œ œ #œ œ

œ œ & œ # œ œ œœ œ #œœ œœ # œœ œ œ œœ # œ Œ & œœ œœ œ œ œ œ œ 6.

up

#œ œ œ œ œ œ # œ œœ œ œ œ # œ œ œ œ Œ œ œChapter /œTriads œ œ 12 œ



(continued)

œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œœ œ œ œœ œœ œ # œ œœ # œ œœ œ œ œ œ œ œ & œ œ œ #œ œ œ #œ œ #œ œdown œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œœ œ œ œ œ & #œ œ #œ œ œ œ #œ œ #œ œ #œ œ œ œ œ œ & œ #œ œ #œ œ œ #œ #œ œ Now try converting the SERIES ONE triad exercises to:3 3 3 triads 3 • minor œ œ3 œ œ œ3 œ œ œ & œ • diminished œ œ œ œ #arpeggios œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ & œ œ œ • augmented triadsœ œ œ œ œ triads œ • suspended

& 1.

œ

œ œ œ œ œ œ œ

œ

3

œ œ œ œ œ œ

œ

#œ œ

3

œœ n œœ # œ œ œn œ œ œ œ œ œ œ œœ œ œ œ œ

œ œ œ œ œSERIES œ œTWOœ œ œ œ œ œ œ œ

Patterns based on tones that surround the actual triad notes:

up

3

down

3

3 3 3 3 œ œ œ œ œ œ œ œ &œ œ œ #œ nœ #œ œ nœ œ œ œ œ œ #œ œ #œ

2.

3

3



up



down œ œ #œ œ nœ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ &œ œ œ œ # œ œ œ #œ œ œ œ John Coltrane’s ending phrase on “Giant Steps”

3.

3 3 œ # œ3 œ œ œ3 n œ œ # œ3 œ œ œ3 n œ œ 3 œ œ œ3 œ œ œ #œ œ œ œ nœ &

4.

up



5.

up



down

œ œ œ œ œ œ # œ œ œ œ œ # œ œ œ œ œ œ œ #œ œ œ œ & œ œ œ #œ œ œ œ #œ œ œ

down

œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ #œ œ & #œ œ œ œ #œ œ œ œ œ œ œ œ 3

3

3

œ

3 # œ œ œ # œ n œ3 œ

n œ3

3

55

œ #œ œ œ œ œ œ œ œ # œ œ œ œ & #œ œ œ #œ œ œ œ œ œ œ # œ œ œ œœ # œ œ œ œ œ œ œ œ œ œ œ œ #œ œ Chapter œ œ & 12 œ/ Triads #œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ & œ œ œ # œ œ œ œ # œ up down œ œ 6. 3 3 3 3 œ œ 3 # œ n œ 3 œ # œ œ œ œ œœ #œœ n œœ œœ #œœ & œ œ # œ œ œ # œ œ œ œœ œ# œ œ œ & #œœ œ œ # œ œ œ œ œ œ œ 3œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ & #œ œ œ œ #œ œ œ œ œ œ œ œ

#œ œ œ œ œ nœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ 3

œ œœ œ #œ œ œ nœ œ œ œ #œ œ œ œ nœ œ œ

The SERIES TWO patterns3 convert well to minor triads. of how 3 33 Here is3 an example 33 œ 3 33 œ 3 3 3 3 # œ n œ 3 pattern 1 would look when converted C natural œminor œ œœ œœ to both n œand œ C Dorian minor: 3œ œ # œ

& œ œ3 # œœ œ3œ bœœ#bœœ #œ3œ œ œ œ œ œ b œ n# 3œ œœ n œœ n 3œ b œ # œ œ3 œœ # œ œ œ #œ œ œ œœ œ & œ œ œ #œ œ œ #œ œ œ œ 3œ # œ œ Pattern 1 in C natural minor up 3

3 3

3



down

3 3

3 3 3 œ œ 3 œ œ œ œ œ œ œ œ œ œ &œ œ 3 œ 3 œ œ œ œ n œ # œ # œ b œ b œ b œ b œ 3 3 & œ œ œœ3 œœ œ œœ b œ b œ # œ œ œ3 œ œ œ3 œ b œ # œ n œ œœ b œ œœ œœ3 œœ &œ #œ œ nœ œ bœ œ œ œ bœ #œ œ œ œ œ œ 3 3

3

3 3

3 3

Pattern 1 in C Dorian minor 3 3 up

3

œ 3

œ

3 down

3

3

3 & œ 3 œ œ œ3 b œ œ # œ œ œ 3œ œ œ œ3 œ œ # œ3 œ n œ œ3 b œ œ 3 œ œ œ œ œ œ œ #œ œ nœ bœ & œ œ œ œ bœ œ #œ œ œ œ œ œ œ œ

56

3

Chapter 13 / Scales

SCALES

As discussed earlier on in this book, I think the best way initially to weave through chord changes is by using mostly arpeggios. Scales fit into this model by acting as a link between the arpeggio notes. This brings us to the realization that an excellent knowledge of scales is needed (as well as the ability to play them, of course). Below I have listed the types of chords and the possible scales that would fit each of these chords. It turns out that the chromatic scale fits all types of chords. Also listed are some pentatonic scales that I like playing. Pentatonic scales consist of only five notes, and I find there’s something magical about working with this limited palette. Each pentatonic scale has a unique feeling and vibe. The idea of using only five notes might sound limiting, but check out how beautifully it’s used in examples of John Coltrane’s modal playing and also the music of India.

MAJOR FAMILY 1) Major Scale Works with the Major triad and the Major 7 chord.

2) Lydian Scale Works with the Major 7 b 5 chord.

&

œ

R

&œ

R

3) Japanese Pentatonic Scale Works with the Major 7 b 5 chord.

œ

œ

œ

œ

3

4

5

6

7

œ

œ #œ

œ

œ

œ

œ

3

5

6

7

8

2

&œ

#4

#œ

œ

#4

3

8

œ

œ

6

7

œ

œ

œ #œ #œ

œ

œ

2

3

6

7

& œ #œ

œ

œ #œ

œ

œ

3

5

7

8

&œ

R

5) Major Augmented # 9 Scale Works with the Major 7 # 5# 9 chord.

œ

2

R

4) Lydian Augmented Scale Works with the Major 7 # 5 chord.

œ

œ

R

#2

#4

#5

#5

8

57

Chapter 13 / Scales

MINOR FAMILY

1) Natural Minor Scale Works with the minor triad and the minor 7 chord.

&œ

œ bœ bœ

œ

b7

8

œ

2

b3

4

5

œ

œ bœ

œ

œ

œ bœ

4

5

6

œ

bœ

&

3) Japanese Pentatonic Scale Works with the minor triad, the minor 6, and the minor 7 chords.

&œ

4) Half Diminished Melodic Minor Scale Works with the minor 7 b 5 chord.

&

5) Half Diminished Japanese Pentatonic Scale Works with the minor 7 b 5 chord.

&

6) Locrian Mode Scale Works with the minor 7 b 5 chord.

&

R

b3

2

b

R

2

œ

œ bœ

œ

bœ

R

b3

2

R

8

œ

œ

5

6

4

b5

b6

bœ

b5

b7

œ 8

bœ

b7

œ

b3

4

b5

b6

b7

8

œ bœ

œ bœ

4

5

b6

œ

œ

b3

œ

7

œ

œ

œ

œ

4

5

6

7

8

œ bœ bœ nœ

œ

4

7

b2

2

&œ

œ bœ

9) Diminished Scale Works with the diminished chord.

&œ

œ bœ

R

b7

œ bœ bœ bœ

8) Melodic Minor Scale Works with the minor Major 7 chord.

R

b6

œ bœ bœ bœ

4

œ bœ bœ

&œ

3

œ

b3

R

R

58

œ

R

2) Dorian Mode Scale Works with the minor triad, the minor 6, and the minor 7 chords.

7) Harmonic Minor Scale Works with the minor Major 7 chord.

œ bœ

2

2

b3

b3

b5

#5

6

8

œ

Chapter 13 / Scales

DOMINANT 7 FAMILY 1) Mixolydian Mode Scale Works with the dominant 7th, 9th, 11th, and 13th chords.

& œ œ œ œ œ œ bœ œ b &R 2 œ 3 œ 4 œ 5 œ 6 œ 7b œ 8 œ œ

2) Altered Scale (melodic minor) Works with the dominant 7 # 5, 7 b 5, 7 # 9, and 7 b 9 chords.

& œ bœ #œ œ #œ #œ bœ œ b # # # b &R 9b œ 9# œ 3 œ 4# œ 5# œ 7b œ 8 œ œ

3) Whole Tone Scale Works with the augmented triad, the dominant 7 # 5, and 7 b 5 chords.

&œ &Rœ

2

#œ

œ

œ

œ

3

œ

#4

#œ

#œ #5

#œ

bœ

b7

bœ

4) Diminished Dominant Scale Works with the dominant 7 b 5, 7 # 9, and 7 b 9 chords.

& œ bœ bœ nœ #œ œ œ bœ b # # b &R œ 9b œ 9b œ 3n œ 4# œ 5 œ 6œ 7b œ

5) Lydian Dominant Scale (melodic minor) Works with the dominant 7 b 5 chord.

& œ œ œ #œ œ œ bœ œ # b &R œ 2 œ 3œ 4# œ 5 œ 6 œ 7b œ 8 œ

CHROMATIC SCALE 1) Chromatic Scale Works with all chords.

& œ #œ œ #œ œ œ #œ œ #œ œ #œ œ & œ #œ œ #œ œ œ #œ œ #œ œ #œ œ

59

Chapter 13 / Scales

PENTATONIC SCALES 1) Major Pentatonic Scale Works with Major 7 and minor 7 chords. In this example it would be C∆7 and A-7. 2) Japanese Pentatonic Scale Works with Major 7 b 5, minor 6, altered dominants, dominant 13, and minor 7 b 5 chords. In this example it would be C∆7 b 5, A-6, A b 7 # 5# 9, D13, and F # -7 b 5. 3) Dominant Pentatonic Scale Works with Major 7 b 5, minor 6, altered dominants, dominant 13, and minor 7 b 5 chords. In this example it would be C∆7 b 5, A-6, A b 7 # 5# 9, D13, and F # -7 b 5. 4) Hindu Pentatonic Scale Works with dominant suspended chords. In this example it would be C7sus. 5) Hindu Major Pentatonic Scale Works with major chords. In this example it would be CMaj. 6) Dominant 7 b 9 Pentatonic Scale Works with dominant 7 b 9 chords. In this example it would be C7 b 9. 7) Dominant 7 # 9 Pentatonic Scale Works with dominant 7 # 9 chords. In this example it would be C7 # 9.

8) Blues Pentatonic Scale Works with minor 7 and dominant 7 chords. In this example it would be C-7 and C7. 60

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b7

Chapter 14 / Pentatonic Patterns

PENTATONIC PATTERNS Here are a number of patterns for the pentatonic scales. The patterns are written out for the C Major pentatonic scale but it would useful to work them out with the other pentatonic scales as well. As always, these should be played in five positions on the neck, using the full range of the guitar in each position, and using the proper fingering for each movement. up down 1.

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61

Chapter 14 / Pentatonic Patterns

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62

Chapter 15 / The Five Scales

THE FIVE SCALES It seems as though there are a lot more than just five scales, but disregarding the chromatic scale, the pentatonic scales, and some exotic ethnic scales, the basic structure of music has as its foundation five unique scales. By considering that any one note of the scale could be the root, you start to see the possibilities generated. For example, we start with the C Major scale and let’s say that C is the root. This scale is known as the Ionian Mode. If we take the same scale but now we call D the root, we have a type of minor scale known as the Dorian Mode. As we keep moving up the scale and calling each new note the root, the result is many different scales or modes, each having a unique character and place in music where it works. We can repeat this same process with all of the other scales that we’ve explored earlier in the book to come up with a wide palette of possibilities. It’s helpful to see how these systems fit together and are related to each other. Here are the five scales. Note that I’ve also included the possible outcomes that would stem from considering each different note of the scale as the root. When I refer to a scale as (questionable), this means that the scale functions poorly in that particular instance.

œ

œ

# 11 (Lydian),œ This scale could be: C∆7 (Ionian), D-7 (Dorian), E-7 F∆7 & (Phrygian), œ œ œ œ œ (questionable). G7 (Mixolydian), A- (natural minor, Aeolian), and B-7œb 5 (Locrian) œ œ

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1) MAJOR SCALE

&

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& œ œ bœ

2) MELODIC MINOR SCALE

The melodic minor scale normally ascends one way and descends in a slightly different way. The way I work with this scale is in the ASCENDING order.

œ œ

œ

œ

œ

& œ œ bœ œ œ œ bœ & & œœ œœ b œœ œœ œœ œ

&(Lydian œ F7b#œ11 œ This scale could be: C-∆7, C-∆7/D, E b ∆7# 5 (G/Eb) augmented), b œ œ œ (Lydian dominant), G7# 5 (questionable), A-7 b 5, B+7 & b 5 # 9 b 9 (altered bœ bœ b œ œ scale). & œœ œœ b œ

3) HARMONIC MINOR SCALE

œ

œ

& œ œ bœ œ bœ bœ nœ œ bœ œ & & œœ œœ b œœ #œœ #œœ b œ œ œ

& œb #œ œ # œ # œ b œ b œ This scale could be: C-∆7, C-∆7/D (questionable), E ∆7 5 (questionable), F-7 5 bœ nœ œ (questionable), G7 b 9, A b ∆7 (questionable), B+7 b 9& (questionable). œ œ bœ œ bœ œ

63

& bœ œ œ bœ & œœ œœ b œ œ œ

œ

Chapter 15 / The Five Scales

& œ œ bbœœ œœ b œœ bbœœ n œœ œœ & œ œ

4) DIMINISHED SCALE

This scale could be: Cdim., E b dim., G b dim., Adim., or D 7 b 9, F7 b 9, A b 7 b 9, or B7 b 9.

œ

& œ œœ bœœ # œœ #bœ b œ n œ & œ

5) WHOLE TONE SCALE

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bœ œ #œ #œ

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This scale could be: C7 b 5# 5, D7 b 5# 5, E7 b 5# 5, F# 7 b 5# 5, G # 7 b 5 # 5, or B b 7 b 5 # 5.

Here are some examples of when you would use each particular scale within a song type format:

CJ

GÑ

& c .. ’

’

’

CJmajor scale

& c .. ’ ’ ’ .. & & c ’ .. ’ ’ ’ ’’

DÑ CJ

’ ’ ’’

DÑ

& & &

.. ’ EÑ DÑ .. ’ .’ .. ’ FJ EÑ ... ’ ’ FJ

& & &

64

’

’ ’’

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’ ’’

’ FJ ’’

’ ’’

E Phyrgian over both chords

’ ’’

’ ’’

’

’

altered

’EÑ ’ dim.dominant ’ ’ FJ ’ ’ GÑ C7 whole tone .. ’ ’ ’ ’ ’ ’’ ’’ ’ ’ ’’

.. .. .

’ ’’

’ ’’

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’ ’’

’ ’’

.. .. .

’ ’ EÑ ’ ’ ’ FJ D’ Dorian ’’ chords ’’ ’’ ’ ’’ over both ’ ’’

’

Dorian / Mixolydian GÑ C7 FJ major scale

FJ

’ ’’

b

FJ

EÑ

EÑ

& & &

’

C7

’ ’’

’ ’’

’

’

’

’

B ô

’ ’ ’ ’ b B ô Mixolydian

Lydian dominant

b’ ’ B ô ’

’

modal type tune

modal type tune

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’

’

’

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& & &

...DÑ . ’’ .. ’ DÑ

& .. FJ ’ FJ ..EÑ & & .. ’’ & .EÑ ’ & .. ’

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FJ ’’ ’’ ’’ ’’ ’F major ’ or FFJ ’Lydian’

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E7 E7

’

... . ..

Chapter 15 / The Five Scales

.. .. . ..

modal type tune

.. .. . ..

modal type tune

..

E7 E7

... ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . .. ’’ ’’ ’ ’ ’ ’ ’ ’ ’ ’’ ’’ ’’ ’.. ’ ’ altered natural min. altered G\natural min. harmonic min. harmonic min. b & ..E’bbJ ’ ’ ’ E bb7 ’ ’ ’ ’A bbJ .. D b7 J a minor tonality isEthe 7 song’s resting placeAorJ“home base,” use natural D 7 or harmonic minor Note:.E when . & ’’ more ’’ of ’’a pullE7towards ’’ ’’ the’’minor’’tonalA -’’center.’’ ’’ ’’ E7’’ ’’ ’’ ’’ scales & .. A’’to- create & .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. & & &

A-

E7

A-

E7

&GÑ.. ’ ’ ’ ’ C7 ’ ’ ’ ’ F7’ ’ ’ ’ FÑ’ ’ B bb’7 ’ GÑ C7 F7 FÑ B 7 b b b b ’ ’ ’ ’ & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ & ’E J ’ ’ ’ ’E 7 ’ ’ ’ ’A J ’ ’ ’ ’D 7 ’ ’’ ’’ & ..E’bJ ’ ’ ’ E’b7 ’ ’ ’ A b’J ’ ’ ’ D’b7 ’ ’ ’ major Mixolydian major Lydian dominant & .. ’ ’ ’ ’ ’altered ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ diminished dom. b GÑ C7 F7 FÑ B 7

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C7

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whole tone

Dorian Phrygian b E /G bass

altered Lydian dominant diminished dom. whole tone

b

E J

& .. ’

C-

& .. ’

Dorian

B 7

Mixolydian altered diminished dom. whole tone

F7

’

’

’

’

major

’

’

’

’

’

’

’

Lydian dominant

(when the 2 chord is dominant, use the Lydian dominant scale)

Dº

’

’

’

’

’

’

’

’

’

’

’

’ G7

’

.. ... .

65

& .. ’b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7 E J b Chapter & ..E’bJ15 / ’The Five ’ Scales ’ ’ ’ ’ ’ F7’ ’ ’ ’ ’ ’ ’ ’ F7 E J & ... C’b- ’ ’ ’ ’ ’ ’ ’ Dº ’ ’ ’ ’ G7’ ’ ’ ’ F7 . E J & .’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ & . C’b- ’ ’ ’ ’ ’ ’ ’ Dº ’ ’ ’ ’ G7’’ ’’ ’’ ’’ F7 dim. melodic min. E J natural minor half altered ’ ’minor ’ ’ ’ ’ ’ Dº ’ ’ ’ ’ G7’ diminished ’ ’ dom. ’ & .... C’-harmonic & .. C’- ’ ’ ’ ’ ’ ’ ’ Dº ’ ’ ’ ’ G7’ whole ’ tone ’ ’ ’G7 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ & .C’- ’ ’ ’ Dº G7 . C ’ ’ ’ ’ ’. ’ ’ ’ ’ ’ ’ ’ & .’ ’ ’ ’ . . & ’ ’ ’ ’ ’ ’ ’ ’ ’G7 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ & .C’- ’ ’ ’ Dº G7 C & ....C’- ’ ’ ’ G7’ ’ ’ ’ .. ’G7 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ & C’- ’ ’ ’ & ... G7’ ’ ’ ’ A b’J ’ ’ ’ ... & ..C’natural ’ minor ’ ’ G7 ’ harmonic ’ ’minor’(this.. scale makes a G7 b 9 sound) C & & .. G7’’ ’’ ’’ ’’ A b’’J ’’ ’’ ’’ .. CG7 b & .... G7’ ’ ’ ’ A b’J ’ ’ ’ .... G7 A ’J ’ & & ... C’’ - ’’ ’’ ’’ ’ ’ ’’ ’’ ... b G7 & .. G7’ ’ ’ ’ A ’J ’ ’ ’ . & ’ ’minor ’’ chords ’’ ’(this ’is’ a commonly ’.. ’ used ’ FLAMENCO ’ ’ progression). ’ ’ ’ & ..CC’’harmonic ’ ’’over both ’ - ’ G7 b G7 A J & ... C’ - ’ ’ ’ ’ ’ ’ ’ ’. ’ ’ ’ G7’ ’ ’ ’ . C & ’ ’’ ’’ ’ ’ ’. ’ ’ ’ G7’b ’ ’ ’ & ...E’’bJ ’’ ’’ ’’ G b’¥ & .. C’ - ’ ’ ’ ’ ’ ’ ’ FÑ ’ ’ ’ ’ BG7’7 ’ ’ ’ & ’’ ’’ ’’like this ’’ period ’’ ’’of time’’ on the ’b ’’ ’’chord,’’ it b’ ’’ you’’ have’’ a longer & ..E’’bInJ a progression G ’¥where FÑ B’7 C minor Cbsounds G7b nice to use the bmelodic minor scale, highlighting the 6th. & ....E’bJ ’ ’ ’ G b’¥ ’ ’ ’ FÑ ’ ’ ’ ’ B’b7 ’ ’ ’ & ..E’J ’ ’ ’ G ’¥ ’ ’ ’ FÑ ’ ’ ’ ’ B’7 ’ ’ ’ & Cô ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’b ’ ’ ’ b b ¥ ’ & ...E’J ’ ’ ’ G ’C´ ’ ’ FÑ ’. ’ ’ ’ B’7 ’ ’ ’ .. ’’ ’’ ’’ ’’ ’’ ’’ ’ ’ ’ ’ ’. ’ ’ ’ & & Cô ’b ’ ’ ’ C´ b b G ¥ FÑ. B 7 ..E’J major scale diminished scale ’ Dorian Mixolydian C´ . & Cô ’ ’ ’ ’ ’ ’ . . & Cô ’ ’ ’ ’ ’C´ ’ ’ ’ ’ ’ ’ ’ ’ altered ’ ’ ’ & ... ’ ’ ’ ’ ’ ’ ’ ’ ... diminished dom. . & Cô ’ ’ ’ ’ C´ ’ ’ ’ ’ . whole tone . . & .’ ’ ’ ’ ’ ’ ’ ’ . Cô

& .. ’

C´

’

’

’

’

’

’

whole tone over both chords

66

’

..

.. .. .. .. .. . .. .. .. .. .. ..

.. .. .. .. .. . .. .. .. .. .. ..

Chapter 16 / Diatonic Patterns

DIATONIC PATTERNS Here are some patterns that move up the scale diatonically (in a scale-wise motion). Most of them contain a sequence of notes based in thirds. In my years of transcribing solos I would occasionally recognize a fragment of a pattern emerging. When this happened, I would expand, permute, and experiment with the series of notes. Below are my findings. Try taking one pattern at a time and play it until you can smoothly fit it into your improvisations. As we talked about before, each pattern should be played in five positions, in all keys, using the full range within each position and with good fingering.

1)

cc & & c & &c

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up

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2) up

& œ & & & œœœ

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3 6) up down 3 3 3 œ œ 3 33 3

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down

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œœ œœ

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down

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down

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67

&œ œ œ œ œ œ œ œ œ œ œ œ

3

Chapter 16 / Diatonic Patterns

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3

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3

down

#œ œ œ œ nœ œ #œ œ œ #œ nœ œ & œ œ #œ œ œ #œ œ œ œ œ œ œ 3 3 3 3 3

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8) up 3

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& #œ œ œ œ œ nœ #œ œ œ #œ œ nœ 9) up

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œ œ œ #œ nœ œ œ œ œ œ œ #œ œ œ œ # œ œ & œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ 10) up

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& #œ œ œ œ œ œ nœ œ #œ œ œ œ #œ œ nœ œ 11) up

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ 3 3

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3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ 3 3

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68

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Chapter 16 / Diatonic Patterns

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œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œœ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ & œ œœ œœ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œœ œ œœ œ œœ œœ œœ œ œœ œœ œœ œ œ œœ œ œ œ œ & œ œ œ œ œ & œœ œœ œ œœ œœ œœ œ œœ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œœ œœ œœ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œœ œ œœ & œ œ œ & œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œœ œ & œœ œ œœ œœ œ œœ œœ œœ œ œ œ œœ œ œœ œ œ œœ œœ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œœ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ & œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ # œ n œ œ œ # œ œ œ & œ œ #œ nœ œ œ œ œ œ #œ œ œ œ œ ## œœ œ œ & œœ œœ œœ œ ## œœ œœ œ œ ## œœ œœ œ œ œœ œ œ # œœ œœ œ œ œ nn œœ œ œ # œ œ œ # œ n œ œ œ # œ œ œ œ œ œ œ #œ œ œ œ #œ nœ œ œ & # œ œœ œ œ ## œœ œœ n œ œ ## œœ œ œœ œ œ œ nn œœ œ œ & œ #œ œ œ nœ œ œ œ

69

Chapter 16 / Diatonic Patterns

25) up



down

26) up



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27) up



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28) up



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29) up



down

œ œ œ œ œ œ œ œ # œ n œ œ # œ œ œ œ #œ œ œ & œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ 30) up

3

down

3

3

&œ œ œ œ œ œ œ œ œ œ œ œ 3

31) up

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ 3

3

3

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3

œ œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ 3

3

...down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ & #œ œ n œ #œ 3

70

3

3

3

Chapter 16 / Diatonic Patterns

32) up

3

3

#œ œ œ œ #œ œ nœ œ œ œ nœ œ & #œ œ œ œ œ œ œ œ ...down

&

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œ

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33) down only

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3

(Keith Jarrett “Forest Flower”)

œ œ œ œ œ œ œ & œ

œ œ œ œ œ œ œ œ

34) down only

œ œ œ œ œ œ œ & œ

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35) up



36) up



down

œ & œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ nœ #œ œ œ œ &

down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

37) up



œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ 38) down only

&

œ

œ œ œ œ 3

œ œ œ œ 3

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71

Chapter 16 / Diatonic Patterns

39) up

down

œ œ #œ œ œ nœ œ œ # œ œ œ œ œ #œ & œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ # œ œ œ œ œ #œ & œ œ œ #œ œ œ œ #œ œ œ œ 40) up down œ œ #œ œ œ nœ œ # œ œ œ #œ œ œ œ œ œ nœ & #œ œ œ œ #œ œ nœ œ œ #œ œ œ nœ œ # œ œ & #œ œ œ nœ œ #œ œ œ œ œ œ nœ œ œ # œ 41) up 3

3

œ œ œ œ œ œ œ œ #œ œ œ 3 3 œ œ œ œ œ & œ œ œ #œ œ œ ...down œ œ #œ œ œ œ œ œ nœ #œ & #œ œ3 œ # œ œ œ œ3 œ nœ #œ & #œ œ &

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& #œ

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œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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3

œ #œ œ œ 3 œ œ nœ œ œ 3 3 œ œ œ # œ œ œ nœ œ œ 3

3 œ œ # œ œ œ œ œ œ œ nœ œ œ nœ 3 3 3 œ œ œ # œ n œ œ n œ œ œ œ œ œ œ

3 The next three3 patterns fit over D-7:

œ œ œ #œ œ œ œ œ œ # œ œ # œ 43)# œupœ œ & œ œ œ #œ œ œ œ œ œ # œ œ # œ & #œ œ œ

72

œ

3

œ œ œ #œ œ 3 œ # œ & œ œ œ #œ œ ...down œ œ #œ œ œ œ œ œ #œ &œ œ 3 œ #œ œ œ œ3 œ œ œ œ œ #œ &

œ 44)œ up & #œ œ bœ œ œ #œ œ & œ #œ œ bœ œ œ #œ

œ œ œ #œ 3 œ #œ œ œ

œ œ œ #œ œ œ nœ œ œ œ #œ œ œ nœ

bœ œ #œ

œ œ

œ œ œ œ 3 œ œ œ œ 3

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3

œ œ nœ œ œ3 n œ

3 #œ œ œ #œ œ nœ œ œ #œ œ œ down œ #œ œ œ #œ œ œ #œ œ nœ œ œ #œ œ œ œ #œ œ œ nœ œ bœ œ nœ #œ œ bœ œ ˙

bœ œ #œ nœ œ bœ œ nœ

#œ œ bœ œ ˙

Chapter 16 / Diatonic Patterns

...down

&

œ #œ œ bœ œ #œ œ nœ

45) up

bœ œ œ #œ œ bœ œ œ

#œ œ bœ œ ˙

œ bœ œ œ nœ #œ œ bœ œ œ œ b œ œ œ # œ œ & œ #œ œ bœ œ œ œ #œ 3

3

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3 3 œ ##œœ œœ b œb œ œ œœ ##œœ œ nnœœ b œ b œ œ œ bbœœ œœ œ œ # œ œ # œ œ b œ & œ œ ##œœ œ b œœ œœ ˙ 3

3

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Where we’d go from here is to convert the Diatonic Patterns to theseœ other scales. b œ 33 33 œ œœ b œ n œ # œ œ œ œ œ œ b œ œ œ (They are the other “four” of œthe “five scales”): œ œ # œ œ œ œ œ # œ œ œ œ œ b œœ œœ scale œ œ œ œ œ œœ # œ minor • &melodic 33 33 3 3 • harmonic minor scale 3 3 33 3 3 • diminished scale • whole tone scale

œ bœ 3 œ & &œ œ œ œ œ œ 3 3 FIRST INVERSION

3œ œ of patterns œ œœ# œ œ œbfrom Hereœis# another set œ œdiatonically œ œ the œb œ move œ œdifferent œtriad inversions. œ# œ œ n œthat

1) up

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œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ & œœ œ œ 3 3 3 3

3 3

3 3

2) up

3 3

3

3

3 3

3 3

down

œ œ œ œ œ œ œœ œœ œœ œ & œ œ œ & œ œœ œ œ œ œ œ

œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ

3) up

down

33

33

33

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3 œœ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ 3

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73

3 œ œ œ œ œ œ œ œ &œ œ œ œ Chapter 16 / Diatonic Patterns 3 3 3 3 œ œ œ œ œ œ œ & œ œ œ 4) œupœ 3 3 3 œ œ 3œ œ œ œ œ œ & œ œ œ œ 3 3 3 3 œ œ œ œ œ œ œ œ & œ œ œ œ SECOND INVERSION œ œ œ œ œ œ3 œ œ œ3 œ œ &œ 1) up 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ &œ 3

3

3

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3 œ œ 3 œ œ œ œ œ œ œ œ down 3 3 œ 3œ œ œ œ œ œ œ œ œ 3 3 3 œ œ œ œ œ œ œ œ œ œ 3 œ 3 œ 3 œ œ œ œ œ œ œ œ

3

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3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ 3

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2) up

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3

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ 3

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3) up

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ 3

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4) up

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down

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ 3

3

3

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Now try converting these patterns to the... • melodic minor scale • harmonic minor scale • diminished scale The reason we don’t convert these patterns to the whole tone scale is because they would sound the same as patterns #11, #12, #13, and #14. An explanation on how the conversion works with the diminished scale is coming up in the next chapter.

74

Chapter 17 / The Diminished Scale

THE DIMINSHED SCALE There are many incredible things that happen inside the diminished scale. The scale itself is completely symmetrical, made up of a half step followed by a whole step. The reason all of these patterns hold together and produce a common sound is because of the diminished scale’s symmetry. Here follows an exploration into the diminished scale with some ideas of things to practice. If you have a dominant 7 chord, say E7, an F diminished chord or arpeggio fits over the E7 chord and produces an E7 b 9 sound:

&c œ cc œ & & & c bœœ9

#œ ## œœ #3œ

Eï Eï &Eï# œ

œ œœ œ

œ œœ œ

œ œœ œ 5

w # www ## wwwww # www

7

Since Eïthe diminished chord or arpeggio repeats every minor third, this is possible:

œ & #œ & & œœœ ## œœ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ #œ œœ ### œœœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

Here of how the E7Ab 9 resolve to an Eïare some examples AEï - would Eï A -A- chord: Eï

Eï

Eï &Eï œ #œ & & œœœ ### œœœ &

œ œœ œ

œ œœ œœœ & & &

œ œœ œ

AAAœ-& Aœ-

Eï Eï #œ Eï Eï & #œ

œ œ ## œœ œœ & & &

AA -A˙-

œ œœ œ

Eï Eï Eï #œ

œ ## œœ œœœ #œ

˙˙ ˙

Eï Eï Eï œ Eï #œ œ

œ œœ ## œœ œœœ œœœ œ #œ œ œœœ

AAAœ-A-

AAAœ-A-

œ œœœ

œ œœœ

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œ œœ œœœ œ

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Eï Eï Eï Eï œ #œ

œ œœ œœ œœ œ œ œ œ œœ œœ œ œ # œ œ œœ œœ ## œœ

œ œœ œ

Eï Eï œ Eï

œ œœ œ

œ œœ œ

AAA -Aœ-

œœ œ

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#œ ## œœ #œ

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œ œœ œ

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œ œœ œœœ œ

Eï œ Eï Eï

Eï Eï Eï Eï œ # œ

œ œœ œ

œ œœ ### œœœ œœœ œ

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œœ œ

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˙˙

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˙ ˙˙˙

œ œ œœ œœœ œœ œœ œ œ œ œœ œœ œ

Here’s a common the DÑ a solo over Gï chord progression CJusing the diminished FJsound on all of . œ œ œ œ œ Gï dominant œ. œ œ œ DÑ œ chords: CJ FJ

œ œœ œœœ & œ & & DÑ DÑ œ &DÑ

Bº Bº Bº œ #œ &Bº

œœ ## œœ & & & œ #œ

œ œœ

œœ œœ œœœ œ

œ œœ

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œ œœ

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œ œœ

œ œœ œ

#œ œ œ œ Gï œœ Gï Gï œ œ œœ ### œœœ œœ œ œœ œ œ œ œœ œ œ œœ œœ œ

œ Eï œ œ #œ œ Eï œœ Eï œœ œœ # œ œ œ Eï œ œ ## œœ œ œ

AAA -Aœ- œ

œ œ œœ

œœœ œ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ

CJ CJ œ CJ

œœ œ

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œ bœ œœ bb œœ œ bœ

œ œ œœ

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FJ œ FJ FJ

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œ. œœ ..

Aï œ bœ œ Aï Aï œ bœ œ Aï

œ œœ œœ bb œœ œœœ

œ œœ œ

œ œ œœ

œ bœ bœ #œ œœœ bbb œœœ bb œœ # œ b œ ## œœ

œ œœ

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DÑ DÑ DÑ DÑ œ

œœ œ

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˙. ˙˙ .. ˙.

75

Bº

AAï DÑ œ Eï œ œ b œ b œ œ œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ œ œ œ #œ Chapter 17 / The œ Diminished Scale œ bœ #œ œ œ œ œ # œ & œ ˙. Now let’s look into the structure of the diminished scale. All of these patterns are contained within the scale.

1) C7 diminished dominant scale:

& œ bœ bœ nœ bœ nœ & bb œœ &Allœ minor b œ n œ b œ b œ 2) thirds: b œ n œ b œ b œ & œ bœ bœ nœ bœ bœ œ & bœ bœ nœ bœ bœ œ

œ bœ

33 33 triads: 3)&All diminished b œ 33

nn œœ nœ nœ

nn œœ nœ nœ

etc. 3

nœ 3 bœ b œ n œ b œ n œ b œ œ œ & & œœ bb œœ3 bb œœ bb œœ nn œœ3 nn œœ bb œœ bb œœ3 œ nn œœ nn œœ3 b œ & œ b œ3 b œ b œ n œ3 n œ b œ b œ3 œ n œ n œ3 b œ etc. & œ bœ bœ bœ nœ nœ bœ bœ œ nœ nœ bœ 4) All diminished sevenths: 3 3 3 3 & œ b œ bbbœœœ b œœœn œ n œn œb œ nnbœœœ bb œœ n œb nœœ bbbœœœ œœ œœ n œ nn œœ bb œœ bb œœ & & b œœ n œ bœ n œ b œ b œ etc. œœ b œ b œ b œ œ œ & œ bœ bœ nœ nœ bœ bœ nœ nœ bœ bœ bœ œ bœ œ b œ (each œ from 5) major triads a minor third up the preceding one): &Four b œ n œ b œ n œ b œ n œ b œ n œ œC b b b EE b G AA C G 3 b b 3 œ 3 & Cœ b œ3 b œ œE b œ n œb œ n œG œ b œ b œAœ œ œœ œ œœn œ n œ b œ b œ & & Cœ œœ3 œœ bbEœœb œœ3 b œ bbGœœb œ b œ Aœ œ œ œ 33 & œœ œ3 œ b œ œ3 b œ b œ œ33 b œ œ œ b œ œ œ b b &Four œ œ b œ 6) minor triads (each a minor third up bEœ G 3 A 3 from the preceding one): œC œ b 3 bb - 3 C -- 3 EE b -G AA -- 3œ œ b œ C G b œ œ 3 œ &C - 3œ œ Ebbœ- 33œ bbœ 3 G A œ 3 œ œ- œœ œœ Both the major and minor triads have the b œ 3 bb œ œ b b b œ & œ b œ œ 3 3 œ œ 3 same roots. & Cœœ- bb œœ3 œ Eœœ- b œ Gœ A œ b œ œ 3 b œ œ œ & œ b œ3 œ œ b œ3 œ 33 œ b œ œ b œ b b œ œ & œ b œ œ 3 C E G A b œthe fourœ major triads and The œway the four minor triads combine to form the diminished 3 3 3 3 bb bThese next bb put together b note of scale is quite interesting. examples were by moving each C G EE b AAb œ-- œ œ œ G C EE b -b œ C Ga scale - b œ tone Gscale) to create C -- a newAAchord. The œ & chord œ œ the up (using the diminished patterns b œ œ b b b b b œ œ b b œ n œ b œ b œ C G œ-in a chordal AœœG bCœœ- inversion b Eœœindicat## nAœœœ is also are shown both line fashion. Each triad’s bbEœœb and single & œ b œ n œ n 3 bb b b œ œ œ b b b b œ b n b œ n œ & œ b n œ b œ ed—and symmetrical bCœb Eœœb bEœœ nArelationship: œœœCœœ notice bGœœœ bGb œœœtheir # nAœœœ b & œ n œ b n œ b œœ b œ n œœ b œ b œ n œ b 1) œ œ b œ œ # œ b œ b œ œb œœ œ & œœœC bGœœbœ- n b Eœœb b Gœb n Cœn b A A E 3 3 3 33 33 3 b œ n œ bb œœ bb œœ b œ b œ œ b œ n œ œ œ b œ b œ n œ b œ œ b œ b œ œ b œ œ œ œ œ œ 3 œ œ # œ & & & œœœœ œœ3 œœ bbbbœœœœœbb œœ3 œn bbbbœœœœœ nn œœ3 bb œœ nnnœœœœ œ œ b bbb œœœœ bb œœ b œ nnn œœœ œ b œ œœ œ n œ œœœ b œ b œ 33 b œ & œœ œ3 œ b œ b œ3 œ b œ n œ3 b œ 33 n œ 33 b œ œ 33 n œ n œ œ3 œ b œ b œ œ œ œ 3 2nd œ root b œ 2nd œ œ 3 2nd root & root broot œ b œ3 2nd nœ 3 œ œ œ b œ b œ b œ n œ3 n œ 3 3 3 3 nœ 3 bœ 3 bœ b 3œ b œ œ œ œ b œ b œ œ œ nœ & œ œ œ bœ bœ œ bœ nœ nœ œ bœ 76

3

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3

Chapter 17 / The Diminished Scale

2)

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root

E -

œ # n œœ

root

1st

root

bœ œ bœ nœ œ nœ œ bœ bœ bœ b œ bœ G

b

C-

3

root

3

b bœ b œœ

A

œ b n œœ

b b b œœœ 1st

3

3

3

3

3

b b b b œœœ

A

b n œœœ

1st

bœ nœ bœ œ œ & œ œ œ bœ œ nœ bœ 3)

C-

E -

#œ n œœ 3

1st

3

root

bœ œ bœ œ bœ œ œ b œ n œ b œ n œ b œ b b b Cœ œ œG œ- b œ E b œ b œ A - œ n œ G bœ C -b œ An œ E œ b b bGœœb n œœœb bEb bœœœ- 3 b n œ b œ n œ b b Cœ G œœE A C A # œ œ b œ b n œœ œ & inversion œœ b œ relationship The of the major triadsbto œœ the minor b b b œœœ b n œœœ triads is:# n œœœ b œ n œ b b œ œ œ b œ b œ œ & œœ b œœ n œ 3 3 3 3 3 œ œ bœ bœ bœ œ counter nclockwise œ œ n œ direction) & œ 3 œ œ œ b œ bbœœ œ b œ b œn œ b œ œ nnœœ œ (move b œ inb a b œ œ bœ œ & œ 3œ b œ 3œ n œ b œ b œ œ b œ n œ œ n œ3 œ b œ b œ3 b œ b œ n œ b œ b œ œ œ 3 bœ 3 œ 3 & œ œ b œ œ n œ b œ3 3 3 3 3 3 3 3 example:3 3 Here is an 3 œ bœ bb œ b œ major if & theC 2ndCinversion œ œtriad bAœ- œ1stn œ G b G - isb œin bthe E n œ root A E œ then the minorbtriad is in bthe 2nd root b 1st inversion b #Aœœ C G E A G Cn œœEb œœœb œ œ b œ b & œœ b œ n œ bœ n œ b b œœ n œœ b œ b œœupwards: When moving b œœ œ œ # œœ b œ œ b œ n œ b œ & œœminor triad b œ n œ Each is a tritone away from the major triad. bœ n œ b œ n œ b œ b œ œ b œ œ is a minor third lower than the minor3 triad. 3 Eachœmajor triad 3 3 3 3 & www 3 bœ bœ œ bœ œ b œ œ 3œ b œ n œ b œ n œ & moving 3 When downwards: 3 n 3œ bœ nœ bœ 3œ œ 3œ œ from b œ bthird œ isb 3œa minor bœ bœ œ bœ œ œ Each minor triad up the major triad. b œ œ œ b œ n œ b œ n œ & 3 œtriad b œ n œ b œ n œ b œ b œ Each major is a tritone away from the minor triad. œ œ b œ œ œ 3 & b wwww The next step is to transpose the DIATONIC PATTERNS to fit the diminished scale. Here is 3 3 #11 and 3#12 look once how diatonic patterns converted: 3 œ b œ & œ 3œ œ b œ b 3œ œ b œ n 3œ n œ 3œ œ & & bœb wwwœ œ b œ b œ œ b œ n œ b œ n œ œ &

3

3

3

3

root position

2nd Inversion

1rst Inversion

3

3

3

3

œ 3œ b œ n 3œ œ b 3œ & œ 3œ b œ nœ bœ œ œ b œ œ nœ & œ œ œ œ bœ bœ nœ bœ

77

œ bœ bœ œ bœ nœ bœ nœ œ œ œ œ 3 Chapter 173 / The Diminished Scale 3 3 œ œ can & œ b œwithin b œ œtheb œdiminished n œ b œ n œscale Seventh chords most easily be interpreted like this: œ œ 3 3 3 3 œ œtriad and then add one more note on top. The œ n œ or minor First œ existing & œstartœ with an b œ b œ bmajor b œ nœ œ note that you add on top would be a minor third interval from the highest note of the triad. 3 3 3 example: 3 Here is an œ œ bœ nœ œ bœ &œ œ b œ nœ b œ œ The triad &

& ww w

and then attach a note a minor third up from G.

Now you have a C7:

& ww w b & wwww

This bisw how it would look doing the same process to G b minor, our next triad in the dimin& wscale: ished w w

& b ww

The btriad w

& b b www

and then attach a note a minor third up from A.

Now you have G b minor with both a natural 5 and a b 5:

& b b wwww

& b b wwww

Here is how the rest of the scale would look harmonized in this same fashion:

C7

G

b- à 5 b 5

1) Root Position

˙˙˙ & b C7 ˙

˙b b bGb ˙˙-˙à 5 5

b

E 7

b bb ˙˙˙˙E b7

A-à 5

b

b5

C-à 5

G 7

b5

b ˙˙˙ b n ˙A - à 5 5

b˙ b b b ˙˙˙˙ G b7 b n ˙˙˙ C - à b 5 5

n n ˙˙˙˙

b b b ˙˙˙˙

A7

# ˙˙˙˙

b- à 5 b 5 b b b ˙˙˙˙ b b A7 E -à 5 5 E

˙˙˙ b b ˙˙˙ b ˙˙ ˙˙ b b ˙˙˙ b ˙ # b ˙ œ b b œ˙ œ ˙˙ b ˙ n˙ bœ n bœ œ bœ bœ bœ œ œ bœ bœ bœ œ nœ œ bœ b œ œ b œ & œœ œ bœ nœ bœ bœ œ bœ bœ œ b œ œ b œ œ b œ b œ b œ œ œ œ b œ b œ b œ œ b bœ œ & œ œ œ #b œ b œ œ bb œ œ bœ nœ b n œ E Cñ F Ñ E ñ AÑ G ñ CÑ Añ b ˙Ñ & b ˙˙˙˙

b ˙˙˙˙ b œ bœ bœ œ œ

b ˙˙ Inversion 2) First b n ˙˙ b ˙˙# Cñ F Ñ

& ˙˙

b ˙˙ bb œ n ˙˙˙ b œ n œ & & œ˙˙ œ œ b b˙œ œ bœ nœ & œ œ œ bœ œ bœ w

78&

ww

b bb ˙˙˙˙

b b b ˙˙˙ ˙b

Eñ

b b b ˙˙˙ b œ b œ œ b˙œ œ bœ

AÑ

n n ˙˙˙˙n œ n œ

œœ

bœ bœ

œ

œ nœ nœ

n b b ˙˙˙˙

˙˙ # ˙˙

b b b ˙˙˙

b b EÑ CÑ Añ ˙˙œ b b b ˙˙˙b œ b ˙ ˙ b ˙ n ˙ b œ b b b œ˙˙b œ œ œ bbœ n˙˙œ b œ œ #œ˙˙ b œ b œ b œ˙ bœ Gñ

œ bœ nœ bœ bœ œ œ œ bœ bœ bœ bœ b œ œ bœ bœ

# ˙˙ ˙˙ b ˙˙ b ˙˙ b ˙˙ b ˙˙ b ˙˙˙ b ˙ b ˙ n b b ˙ n ˙ b ˙˙ ˙˙ b ˙˙ b b ˙˙ n ˙˙ b b ˙˙ b n ˙˙˙ # ˙ b˙ ˙ Chapter 17 / The Diminished Scale bœ œ œ bœ bœ bœ bœ œ b œ n œ b œ n œ œ b œ n œ b œ b œ n œ bœ bœ œ œ b œ b œtriadsœ brings œ bœ Taking inversions of the up a different It œ œ issue. & œ this œ œ same b œ œ idea to theœ bsecond b œ b œ œ b œ n œ b œ b œ n œ œ top note b œ second b œ a note doesn’t work b œ n œif you attach b œ œ on the œ b œ bbecause œ n œa minor bthird œ b œ aboveœ bthe b œ œ œ & œ œ œ œ that note ends up being a repeat of the lowest note in the triad. inversion, & ˙˙˙ b˙ & ˙˙˙

For example, here is the triad in the second inversion:

w & ww w & ww

Now attach a note a minor third above the E.

ww & www w & ww

The note G is repeated and to continue this process would be to repeat an inversion cycle that we have already addressed.

DIMINISHED SCALE PATTERNS Here are some diminished scale patterns derived from the four MAJOR triads within the diminished scale: 1) up

C C

3

& œ3 œ & Cœ œ C 3 & Cup 2) œ œ3 & Cœ 3œ & œ œ3 & Cœ œ C 3 & œC œ3 & œC œ3 3)& up œ œ3 C & œ Cœ 3 & Cœ œ3 & Cœ 3œ & œ œ3 4) & Cup œ œ C 3 & œ œ3 & Cœ 3œ & Cœ œ3 & Cœ œ3

b b G b 3 b bœ E G œ b œb œ3 b œ b œb œ œ bEœb œ3 b œ bGœb œ3 b œ E G œ bEœb œ3 b œ bGœb œ3 b œ œ bEœb œ3 b œ bbGœœb œ3 b œ bœ œ œ bEœb œ3 b œ bGœb œ3 b œ œ bœ œ E b 3 b œ bGœb 3 b œb 3 b œ3 œ bEœb œ3 b œ bGœb œ b œ œ bœ œœ bEœ œ3 b œ bGœ 3œ b œ b b œ G b 3œ b œ E b œ œ b œ3 b œ b œb 3 E G bœ œ bEœb œ3 b œ bGœb œ3 œ bEœb 3œ b œ bbGœœb œ3 b œ bœ œ bœ œ 3 b œ œ b b œ b œb œ3 E G 3 bœ b œ bEœb œ3 G b œ œ3 3 bœ œ Eb bœ œ b œ Gb œ œ b œA œ b bœ œ b œ b b œ 3b œb œ œ Gœ A œ Eœ b œ 3 œ Eœb b œ3 b œ Gœb b œ3 b œ Aœ b b bœ E

down

A A

œ Aœ A Aœ œ Aœ Aœ Aœ Aœ Aœ Aœ Aœ Aœ Aœ Aœ A œ œ nœ n œ3

œ œ3 œ3 œ œ3 œ3 3 œ3 œ œ3 œ3 3 œ3 œ œ3 œ33 œ3 œ 3 œ 3 œ œ

œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ

C

œ Cœ œ3 Cœ œ3 Cdown œœ œ3 C œ œ œ3 C 3 Cœ œ3 Cœ œ 3 Cœ œ down 3 œC œ3 Cœ œ3 C œ œœ 3 C œ œ œ3 3 Cdown Cœ œ3 œ œ Cœ

3 3

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

A

œA œA A œA œœA œA œA œA œA œA œA œA œA œA œA œ

bœ b œ3 b œ3 bœ b œ3 b œ3 3 b œ3 bœ b œ3 b œ3 3 b œ3 bœ b œ3 b œ33 b œ3 bœ 3 3

œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ

b b G bœ bœ b bGœb b œ3 G bGœb b œ3 bGœœb b œ3 bœ 3 b Gœ b œ b 3 Gœ b bœ Gœ 3 b bœ G b œ3 bœ 3 b bGœb b œ3 G bGœb b œ3 bGœœb b œ3 bœ b 3 Gœ b œ3 b Gœ b œ 3 œ bœ G

3 3

œ œ œ œ bœ bœ bœ b œœ œ œ œ bœ bœ bœ bœ

b b 3 E b œ b n œ3 b œE b n œ3 E b œE b n œ3 b œœE b n œ3 n œ3 b Eœ n œ b 3 E œE b n œ3 œ b n œ3 œE n œ3 œE b n œ b 3 E œb E n œ3 œb n œ3 E b œ b n œ3 b œE b n œ3 E b œ n œ3 bœ nœ E

œ œ œ œ bœ bœ bœ bœ bœ bœ bœ b œœ œ œ œ 79

3

œ œ œ & œ œ œ bœ œ bœ bœ œ bœ Chapter 17 / The Diminished Scale 3

3

3

3 œ œ œ œ bœ œ bœ bœ œ œ nœ bœ 3

3

Permute the following patterns. The permutation formula is: b b C A C E G A • up 3 œ œ œ œ • down3 b œ œ b œ œ œ œ œ œ bœ • &up/down bœ œ œ 3 • down/up 3

G

C

E

b

G

b

b

E

3

3

A

bœ œ bœ bœ œ nœ œ œ b œ &œ œ œ 3

6)

C

E

3

3

3

b

b

A bœ œ bœ œ b œ œ b œ n œ bœ & œ œ bœ

8)

& bœ nœ Cñ

œ

10)

C addà 5

E ñ

b

G ñ

b

Añ

E ñ

b

G ñ

bœ œ œ œ œ bœ œ bœ

œ bœ bœ nœ bœ

bœ œ œ œ œ b œ b œ œ

œ bœ nœ bœ bœ

œ

œ bœ

œ bœ

b

œ bœ

bœ bœ bœ b

G ñ

œ bœ nœ bœ bœ bœ nœ b5

&œ 80

Añ

E ñ

&œ C addà 5

b

b

Cñ

11)

G ñ

E ñ

Cñ

&œ

3

b

Cñ

& œ bœ nœ

9)

3

3

3

7)

G

E

baddà 5b 5

œ bœ nœ bœ b5

E

baddà 5b 5

bœ bœ

G

œ

œ bœ

baddà 5b 5

bœ bœ

G

baddà 5b 5

Añ

œ

œ

œ bœ

œ bœ

b

3 bœ œ œ bœ bœ bœ nœ œ

3

5)

3

Añ

œ

A addà 5

b5

œ A addà 5

b5

œ

œ

œ

œ

œ bœ

œ bœ nœ

C addà 5

&

addà 5 5

E

5

œ bœ nœ bœ

œ

12)

C addà 5

b5

E

œ

& œ bœ nœ 13)

œ bœ

œ

baddà 5b 5 œ

addà 5 5

G

G

bœ œ bœ

baddà 5b 5 bœ

œ bœ

œ bœ bœ

5

œ bœ nœ œChapter 17 / The Diminished Scale

b5 œ bœ nœ

A addà 5

baddà 5b 5 b A addà 5 5 b œ œ œ bœ bœ œ œ bœ bœ bœ nœ œ & bœ nœ C addà 5

14)

C addà 5

&

b5

E

b5

E

G

baddà 5b 5

G

œ

œ bœ bœ bœ nœ

œ

œ

baddà 5b 5

bœ bœ

A addà 5

baddà 5b 5

œ

bœ bœ bœ

A addà 5

œ

b5

œ

œ bœ

œ bœ bœ

Now Cñ we’ll make chords out of exercises 9, 10, 13, and 14. I wish excercises 7, 8, 11, and Añto play. b œ œwork too, but they’re pretty hard 12 would œ

œ

œ bœ

œ

& are the chords: Here

b b œœ œ b œ œœœ bbœ œœ bœ

Exercise 9 with chords

& bcœ # œ# œœœ œ œœœœœ b œ & Añ

T A B

2 4 4 6

G ñb œ

4 5 5 7

5 7 7 9

& b œœœœ 2 5 7 7

b b b œœœœ

3 7 8 8

6 10 11 11

œ b b œœœ

b b b œœœœ

Exercise 13 with chords

# œœ

5 7 6 8

b b # œœœœ

5 8 10 10

n œœ

b # œœ E ñ # œ œ # bœœ b œ

7 8 8 10

Exercise 10 with chords

# œœœœ

œ

œ

œ bœ bœ

œ

œ

˙˙ .. ˙˙ ..

œ

œ

Cñ

bœ nœ bœ

8 10 9 11

81

Cñ 5

E ñ

8 10 10

G ñ

11 11 b œ n œ b œ n œ b œ œ b œ & œ 17 / The Diminished Scale Chapter 7 7

8 8

bœ bœ

b œœ b œ œ b œ b b b b n œœ E addàb5 5œœ œœG baddà 5b 5 C add#àœœ5 5 & # œ # œœ & bœ nœ bœ œ œ bœ bœ bœ œ œ

œ bœ

Añ

Exercise 13 with chords

2 2 2 6 C addà 5 5

5 5 5 9

b

E

œ

& œ bœ nœ

baddà 5b 5 œ

2 5 6 6 C addà 5 5

5 8 9 9

b

6 7 6 10

baddà 5b 5

G

bœ œ bœ

bœ

bœ œ bœ

E

4 6 7 7

5 8 8 8

7 9 10 10

Cñ

& 2)

Añ

& 3)

bœ

Cñ

& 4)

& 82

bœ

œ

œ

œ

baddà 5b 5

œ bœ

œ

b bœ

G ñ

œ bœ bœ bœ

b5 bœ bœ

A addà 5

A addà 5

œ

œ

b5

œ

b5

œ

G

baddà 5b 5

œ

œ bœ bœ b

b

œ

œ

œ bœ bœ

œ

Añ

œ

œ bœ

œ bœ nœ

b5 œ bœ nœ

A addà 5

8 11 11 11

œ # 9 and b œ Cb7œb 5: œ & are œsomeœ nice b œ licks using n the œ C7 Here the b œ b œ bœ œ 1)

A addà 5

œœ b b ˙˙˙ .... œ b œ b œ #b# œœœ b n n œœ bb œ b b ˙ b n œ E addà 5 5 G addà 5 5 A addà 5 5 œ œ bœ bœ œ œ bœ bœ bœ bœ nœ

Exercise 14 with chords

&C addbàœœ5œb 5 b b b œœœœ b œ & bœ nœ œ

3 4 3 7

œ bœ

œ

œ

A addà 5

b5

œ

œ

œ bœ

œ bœ bœ

œ bœ bœ

b Cñ œ bœ bœ bœ nœ bœ

œ

œ

œ

œ

etc.

E ñ

Añ

œ bœ bœ nœ

œ

œ

œ

baddà 5b 5 œ bœ bœ œ bœ

œ

œ

œ bœ

etc.

G

b

b

œ bœ. J b

etc.

A addà 5

œ à 5 b5œ b œ 5 b œ bb œ œ œ b œ b œ œ œ G add œ bb œ b œ b œ œ b œ . & A addà 5 5 œ œ b œ b œ œ œ G badd b œ JœChapter à5 5 b œ . 17 / The Diminished Scale & bœ bœ œ œ bœ bœ J œ bœ bœ œ œ bœ œ bœ. 5) & A addà 5b 5 J b b b b b E addà 5 5 C addà 5 5 bA add œ à 5b 5 œ b œ G baddœ à 5b 5 b b œ E baddœà 5b 5 G addà 5 5 add C à b œ œ b œ 5 5 bœ b œ b œ bœ œ bœ œ nœ b œ b œ œ b œ œ b œ & A addà 5 5œ œ œ b b b b b G addà 5 b5œ E addà 5 b5 œ b œ C addà 5 5 œ œ n œ & bœ b œ œ bœ œ œ œ bdiminished œ b œ b œ the nœ œ b œ Permute the dominant 7 possibilities that reside within b œ œ œ scale: & b b E 7 G 7 A7 6) C7 b b7 C7 E 7 G bœ b œ œ A7œ œ œ œœ b œ œ b œ & œ œ b œ bEœb7 œ œ b œ bGœb7 b œ b œ œ A7œ œ œ œ C7 &œ œ œ bœ bœ œ bœ bœ œ œ œ œ œ b œ œ b œ & b bœ œ œ b bœ œ œ 7) C7 E 7 G 7 A7 b b C7 E 7 b œ bGœ 7 b œ œ b œ A7œ œ n œ œœ b œ œ b œ œ bœ œ œ nœ &œ œ œb b œ œ b b œ b œ œ b œ œ b œ Eœ7 G 7 A7 & C7œ œ b œ bœ bœ bœ œ œ œ nœ œ b œ œ b œ œ &œ œ œ b b E 7 G 7 A7 8) C7 bœ b b b œ œ œ b œ n œ C7 E 7 G 7 A7 œ œ bœ bœ bœ œ & œ b œ œœ œ œb bb œœ b œ œ b œb œ b œ b œ œ n œ œ Eœ7 G 7 A7 & C7œ b œ bœ b œ œ œ b œ n œ œ œ œ b œ bœ œ bœ & œ bœ œ b b E 7 G 7 A7 9) C7 b b C7 E 7 G 7 A7 b œ œ œ b œ b œ œ & œ œ b œ n œ œ œ œb b bœ & bC7œ œœ œ œ bbEœœ7 b œ œ b œ Gœ 7 b œ b œ b œ nA7œ œ œ bœ bœ œ bœ bœ bœ nœ œ œ œ & œ œ œ seventh bEœbÑ b œpossibilities residing b œ minor Permute scale. These could b œ the CÑ G Ñ within theb diminished AÑ b b alsoCÑ be viewed as Major 6 chords. Remember that Cm7 = E ∆6: œ E Ñ G Ñ AÑ œ œ b œ b œ œ b œ œ œ œ & œ bœ œ 10) œ bœÑ b œ œ b œ Gb œbÑ œœ b œ œ AÑ œ b œ CÑ E œ & œ bœ œ bœ œ bœ œ œ œ œ œ b œ b œ b œ œ œ & œ bœ œ bœ œ bœ b b E bÑ G bÑ AÑ 12) CÑ CÑ E Ñ G Ñ b œ œ b œ AÑ œ n œ œ b œ b œ œ & b œ œ bb œœ œ b œ œœ b œ b œ œ b œ œ b œ œœ œ n œ œ œ & bœ œ bœ 12)

CÑ CÑ

& œ bb œœ &œ

œ bb œœ œ

b

E bÑ E Ñ

œ bb œœ œ b

œ bb œœ œ

b

G bÑ Gb œÑ

bœ

b

œ bb œœ œ

œ œ

AÑ AÑ œ

nœ œ nœ

œ œ

œ œ 83

œ b œbœ œ & bœœ b œœ œb œ b œ œ bœb œ b œ œ œ CÑ E Ñ G Ñ AÑ œ bœ nœ œ œ b œ Chapter 17 / The Diminished Scale œ œ b œ œ b œ b œ œ & œ bœ œ 13) b b bÑ CÑ E EÑbÑ GGÑ AÑ CÑ AÑ œ œ œ b œ n œ b œ œ œ b œ œ bœ & œCÑ b œ œb œ œ œE bÑb œ œ b œ b œ G œbÑ b œ œ b œ nAÑ œ œ œ œ bœ bœ œ bœ œ œ b œ œ œ b œ n œ & œ b œ œb bœ b bœb œ œ b œ b b CÑ the dominant E7 Ñ9 possibilities residing AÑ Permute diminished scale: Cï E ï G GïÑ within theAï bœœ 14) œ œœ b b œ œ œ b œ b œ œ b b b œ n œ & œ b œ œ &Cï œ nœ bœ nœ œ œ Gb œï Aï bœœ b œœ œb œ œ Eb œï œ & bœ œ œ bœ nœ œ bœ bœ nœ bœ bœ œ œ œ œ bbï bï b Cï E G Aï Cï E ï G ï Aï œ bbœœ 15) b œ œ b œ œ b œ œ œ œ b b œ œ & Cï œ œ b œ n œ b b Eb œœï n œœ G œï Aï bœœ b œœ œœ b œ bœ bœ œ œ œ œ b œ b œ œ & bœ œ œ œ œ œ b b b ï bï Cï Aï Cï E Eï GG ï Aï bœœ œ œ œœ b œ b œ n 16) b œ b œ n œ b œ b œ b œ œ œ bœ bœ bbœœ b œ &Cï bœœ œœ œ E bœïœ œ G ï Aï œ bœ b œ n œ b œ n œ œ b œ b œ œ bœ &œ œ œ œ bœ bb bb Cï EEï G Gï Aï Cï ï ï Aï œ bœ b œ n œ 17) b œ n œ œ b œ b œ œ bœ œ œ œ &Cï œ œœ b œ œ Ebœbœïb bœœ n œ œ bGœbbœï b œ n œ b œ Aï œ œ bœ œ bœ œ & œ b œ n œ œ bbœ œ b œ œ bbbœ b œ n œ œ b Cï ï ï Aï Aú Cô GE ú EGô bœœ œ œœ b œœ b œ b œ & œ b œ n œ b œ b b œ œ b œ n œ &Cô œœ nœ œ œ within theAú bbœô ndiminished œ Gbbœú Eresiding œ7 b 5œ possibilities Permute scale: œ œthebbdominant bœ bœ b œ œ & œ œ bœ bœ bœ œ nœ œ bœ œ œ 18) nœ b b Aú Cô G ú E ô bœ bœ œ b œ b œ œ œ & b œ œ n œ œ bœ nœ bœ œ œ 19)

Cô

& 84

œ Cº

b

E ô

bœ œ bœ bœ nœ Cï

b

œ bœ

G ô

bœ bœ

b

E º

œ

œ

Aô

œ bœ bœ

b

E ï

œ

Cô

&

œ

b

E ô

œ b œ b œ Ebbô œ nœ

b

œ bœ

G ô

bœ bœ b G ô

œ

œ

Aô

œ

Chapter 17 / The Diminished Scale

bœ œ bœ

Cô the minor 7 5 possibilities residing within the diminished Aô Permute scale.

œ œ bœ bœ œ b œ b b œ b œ b œ œ Eb œô n œ Gb œô Aô 20) &Cô œ bœ b b œ Cº Cï E º E ïb œ b œ œ œ b œ œ œ & œ œ bœ bœ bœ nœ œ bœ bœ b œ œ b œ bœ bœ œ & bœ bœ n œ b œ n œ b b nœ bœ nœ œ Cº Cï E ºœ E ï œ E bº b œ œ b œ E bï n œ b œ b œ b œ Cï & Cº b œ n œ 21) bœ b nœ bœ b nœ œ bœ Cº E º G º Aº b œ b œ b œ & œ bœ bœ bœ bœ nœ nœ œ bœ bœ œ nœ nœ œ bœ œ œ b œ œ b œ œ b œ œ &Cº bœ œ E œº G º Aº œ bœ bœ œ œ œ bœ œ b b œ b œ b œ œ œ E œº œ Gb œº Aº & Cº bœ bœ œ Here is an interesting pattern that isb demonstrated bothœin a chordal andœ single line fashb œ œ b œ œ b b b b œ œ E œC Aœ ion: & Cœ˙ b œ b œG bœ œ G E A œ b ˙ ˙˙ ˙ b b ˙˙ bb˙˙˙ b ˙˙ 22) ˙ # ˙ # ˙˙ # # #b˙˙˙ n ˙˙˙ b b b b &C G A E G C E ˙ A ˙ ˙˙ ˙˙ b b b ˙˙˙b ˙C b ˙˙˙b nC˙˙˙ # ˙ #A˙˙ # # #G˙˙˙b b bE˙˙˙b b G A E & ˙œ ˙ ˙˙ œ œ bœb bb˙˙˙œ b œ b œ œ # ˙˙˙œ b œ œ œb ˙˙œ b œ œ # # ˙˙b œ b œ nœ˙˙ œ œ œ b ˙b œ b ˙ bœ # ˙ bœ & ˙ œ œ b ˙˙ œ b œ # ˙˙˙b œ œ œ œ œ œ œ bœ bœ œ œ œ bœ bœ œ œ œ bœ bœ œ bœ bœ bœ œ œ œ œ bœ bœ œ bœ œ œ œ œ &œ œ œ b œ œ œ œ bœ œ œ bœ bœ œ bœ bœ bœ œ œ œ œ bœ bœ œ bœ œ œ b œ œ b œ œ b b œ & C7 œ œ E 7 G 7 A7 b œ b œ œ nœ œ œ bbœ œ b œ œ bœ b œ b œ œ b œ More interesting patterns: & C7 œ E 7 G 7 A7 bœ b œ œ b œ n œ œ 23) œb b œ œ œ b œb œ b œ E 7 G 7 A7 & bC7œ œ œ bœ nœ œ œ bœ œ b œ œ b œ œ bœ b œ œ E badd b b œb b b & C addbàœ5 5 œ G addà 5 5 A addà 5 5 à5 5 bœ œ œ œ bœ bœ œ b œ b œ n œ œ bœ bbœ badd b b bœ b b C addœà 5 5 œ E à5 5 G addà 5 5 A addà 5 5 & bœ bœ 24) œ œ b œ œ b œ n œ b œ œ E badd b œà bb œ b b b b œ C addœà 5 5 œ G addà 5 b5 œ A addà 5 5 5 5 & bœ bœ bœ œ œ œ b œ n œ b œ b œb b œ œ œ œ œ bb œ &Cï E ï G ï Aï bï bï b œ b œ Aïœ œ œ œ b œ Cï E G & œ œ b œ n œ œ bœ nœ 25) œ b œ œ œ bï bœï n œ b œ b œ Aï b œ œ œ E G &Cï œ œ b œ bœ nœ œ bœ œ œ & œ bœ œ œ bœ nœ bœ œ bœ nœ bœ bœ œ œ 85

Chapter 17 / The Diminished Scale

26)

b

Cñ

E ñ

œ bœ bœ œ œ bœ œ &œ 27)

b œ bœ bœ œ œ œ œ & œ

28)

&

C

C7

œ

29)

C addà 5

& 30)

œ

E

A7

œ œ œ bœ b5

Cñ œ

œ bœ

œ œ œ

œ

A addà 5

œ

b5

b

G ñ

bœ bœ bœ

b bœ bœ G

œ bœ œ œ

Añ

b œ bœ œ

G 7

G

b

œ bœ

œ

A

œ bœ

baddà 5b 5 œ bœ bœ bœ bœ

Añ

œ

œ

bœ bœ

œ

bœ œ

baddà 5b 5 œ bœ bœ œ

G ñ

œ bœ b

E 7

œ bœ œ

bœ bœ

œ œ

j bœ œ œ bœ œ bœ.

j œ

œ bœ

E

J œ œ bœ. bœ œ œ œ bœ œ. bœ œ bœ bœ bœ œ. ‰ & J J

86

œ

œ

œ b

E ñ

Chapter 17 / The Diminished Scale

Here are some interesting diatonic chordal treatments using the diminished scale:

b E •

C•

Cº

6 7 7 6

8 8 9 8

9 10 10 9

F ñ

CÑ

Añ

bœ & c b œœœ b b œœ œ bœ T A B

#

& # œœœ ## œ

b bn œœœœ

2 4 4 6

b G 7

nœ n b œœœ

& b b œœœ # # œœœ bœ nœ 3 2 4 2

5 7 7 9

A7

bœ œœ œ

5 4 6 3

6 5 7 5

G ô A•

Aô

b

b

b

E Ñ

6 8 9 11

b b E -à 5 5 bœ b œœ bœ 8 7 9 6

C•

& b œœœ bœ

œœ b b n œœ

œ n bb œœ œ

bœ œœ n b œ

3 2 3 2

5 4 4 3

6 5 6 5

7 7 7 6

C•

Cº

E •

b nœ n b œœœ

b b œœ b œœ

9 10 9 8

11 11 11 10

12 13 12 11

14 14 14 13

# œ # # # œœœ

b bn œœœœ

5 7 6 8

6 8 8 10

b A• Aº œ bœ n œœœ b b œœ b n œœ œ bœ n œ

G • G º

œ b b œœœ

7 6 7 6

œœ # # œœœ n # œœ # œ

3 5 6 8

b C -à 5 5

b E º b œœ b œœ

8 8 8 7

Cñ

#

F Ñ

b œœ œœ

# #n œœœœ

4 5 5 7

5 6 7 9

C7 G

b œœœ œ 5 3 5 3

6 7 6 5

10 9 10 9

8 8 8 7

b AÑ b b b œœœ n n n œœœœ œ E ñ

7 8 8 10

8 6 8 6

F ñ

8 9 10 12

b-à b 5 E b7 A -à b 5 5 5 b œœ b n œœ b œœ œ œ b œœ b œ n œ 7 5 7 4

b œœ b b b œœœ œ b œœ

b bœ b b œœœ

G 7

6 5 6 4

10 8 10 7

œ b b œœœ

b b œœ b n œœ

b b n œœœ bœ

b

b œœœ nœ

5 3 4 3

7 5 5 4

8 6 7 6

10 8 8 7

Cô E • E ô G •

CÑ

C -à 5

œ # #n œœœ

b5

8 7 8 5

E º

b œœ # # œœ n # œœ # œœ Añ

E Ñ

8 10 9 11

9 11 11 13

b œœ œœ

b-à b 5 b œœ 5 b œ bœ

9 8 9 7

11 10 11 8

A7

E

b b œœ b œœ

œœ b b n œœ

n bb œœœ œ

b œœ b n œœ

6 5 5 4

8 7 6 5

9 8 8 7

11 10 9 8

G ô A•

Aô C•

87

Chapter 18 / Diatonic Chords

DIATONIC CHORDS Learning to play chords diatonically on the guitar is one of the most effective ways to expand your ability to improvise with chord forms. It’s one thing to improvise single line melodies, but it’s a whole other world having the same fluency with chord shapes. By working with diatonic chords you’ll start to see this happen in your own playing. Let’s explore how diatonic chord inversions are put together. Let’s start with a C∆7 voicing that we’re all familiar with:

CJ

w & c ww w CJ CJ ww w c ww54 & T c w w & A w53 B

To 55 TTA invert 4 this chord diatonically, we first determine what scale we are going to use as a 4 template. AB 55 3 There are usually several choices of scales that would work. For this example, B DÑ let’s try3using the C major scale, (the Lydian scale would also have worked). We then move each note of this chord one scale step higher to make a new chord. The new chord is D-7.

w & www DÑ DÑ wwwww & & www65 7 5

66 55 77 55

CJ

œ & œœœ CJ CJ œœœœœ & & œœœ 5 4

DÑ

œœ œœ DÑ DÑ œœ œœœ œœ œ 6

EÑ

œœ œœ EÑ EÑ œœ œœœ œœ œ 8

œœ œœ

œœ œœ G7 œœ œœ

AÑ

œœ œœ

œœ œœ AÑ œœ œœ

7 6 7 5

7 6 7 5

8 8 9 7

8 8 9 7

FJ

G7

œœ œœ

œœ œœ FJ œœ œœ 5

G7

5 5 5 3

5 5 5 3

By continuing this process, we would arrive at this:

5 3

55 44 55 33

Cé

5 7 5

6 5 7 5

6 5 7 5

7 9 7

8 7 9 7

8 7 9 7

FJ

5 5 3

ww w This referred to as a chord scale. & isb sometimes w Cé 88 Cé ww

7 6 7 5

AÑ

8 8 9 7

œœ œœ Bº CJ œœ œ œœ œœ œ

œœ œœ CJ œœ œœ

10 10 10 9

12 12 12 10

Bº

œœ œœ

Bº

10 10 10 9

10 10 10 9

12 12 12 10

CJ

12 12 12 10

4 5 3

5 7 5

7 9 7

5 3

7 5

9 7

10 9

12 10

Chapter 18 / Diatonic Chords

For another example, let’s create a chord scale using this chord as our starting point:

Cé

w & b www 8 5 9 6

What scale are we going to use? There are two choices, the harmonic minor or the melodic minor scale. Let’s use the harmonic minor scale for this example:

& œ œ bœ œ œ bœ œ œ & œ œ bœ œ œ bœ œ œ 3

5

3

5

3

6

5

3

6

5

4

6 4

6

5

5

By raising each note of the C-∆7 chord up one step in the harmonic minor scale, we arrive b at this diatonic chord scale: E bT Cé B¥

Cé

b œœ Dº œ

C霜

& œb œœ & b œœœ

b œœ œ œœ 4 3 5 4 3 3 5 3

8 5 9 8 6 5 9 6

œ FÑ œœ œœb œ œ bœ

b œ E T b œœ œ œ b œœ œ

Dº

FÑ

7 4 7 7 5 4 7 5

œ G7 œœ œœ œ œœ

bA œœJ b œ bA œœJ œ œœ

œœ œ B¥ œ œ œœœ

œœ œ Cé œ œ œœœ

10 8 10 10 9 8 10 9

11 9 12 10 11 9 12 10

13 12 13 13 12 12 13 12

15 13 16 15 13 13 16 13

G7

8 6 8 8 6 6 8 6

Learn to do this process of diatonic inverting onCyourDinstrument without - EF G writing A - the B¥ C chords out. We want to work towards a place where we can see all of the chords that are C sooner D - ifEall - of the F information G œ A - œis B¥ œœœ C œœœ œ connected by a scale. I think you’ll arrive there internalœ œ œ œ œ œ œ œ œ œœ it mapped œœœ œœ &rather œ œ out on œœ œ œ œ œ œœ ized œœ œœthan œœhaving œ paper.œœœ

œœœ œœ œœœ œœ œ œœœ œœ & œœ œœ œœ œœ œœ œœ œœ œ œœœ œ Another benefit of diatonic chord inversion is using diatonically converted chords as substitute changes for an already-existing chord progression. Here is an example... 2

4

3 4

5

5 5

0

2 the 3 chord 5 chart 3 has 5 this 7 progression: 2 Let’s say 3 5 3 5 7 2 4 5 4 5 0 3 2 2 3

DÑ

&c ’

CJ CJ

& œœ

3 5

5 7

’

3

’

DÑ DÑ

œœ

5

’

7

2 3

G7

’

EÑ EÑ

œœœ

’

’

FJ

FJ

œœœ

’

3 5

CJ

’

G7

G7

œœœ œ

2 3 5 4 5 7

’

4 5 1 7 2 3

’

AÑ

œœœ œ œ

AÑ

1 2 3 3 4 5

’

3 4 5 5 5 7

’

Bº

œœœ œ œ

Bº

1 3 4 3 5 5

5 5 1 7 3 4

’

’

œœœ œœ œ

CJ

CJ

3 5 5

’ 89

bbb

G7

DÑ

&c ’

’

’

’

CJ

’

Chapter 18 / Diatonic Chords

’

’

’

’

’

’

’

’

’

’

’

Try using one of these substitutions instead:

&DÑ &œ & ’œ

FJ 3 3

&’

œ œ œ bEÑ ’œ b’œ ’œ

œ FJ

bœ œ bœ ’ ’

œ G7

œ œ ’

EÑ

5DÑ 5

4 G7

5 5

5 5

’

6 6

’

3 3

’

œ ’

6 6

’

4

’

b

’

CJ

’

’

’

’

’

’

’

’

’

’

’

’

’

’

’

CJ

’

’

b E Tfrom either B¥scale toCé The substitutions finally arCé Dºare derived FÑ movingG7up or down A J the chord œ b œ b b œ œ œœ œœ exrive at the dominant create more E œTThese substitutions œœ than what œCé Cé FÑ G7 Aœ J movement b Dº œœ 7 chord. œB¥ œ œ œ œ b œ b œ œ œ œ œ isted œin œ be theœright way œto œ the original œ Thisb œmay œœœ bœ œ progression. œ go sometimes. œœ

œ & b œœœ œœ œœ b œœœ œœ œ œ œ œ œ œ b œ & œ œ b œ way to begin working with this concept of diatonic chord inversion is by first A logical

practicing thirds up the scale diatonically. Next, progress by working with triads and then finally seventh chords. 4 7 8 10 11 13 15 8 3 4 6 8 9 5 54 77 88 10 12 10 11 98 33 54 66 9 10 8 9 Here is65 how the major scale would look using this approach: 5 7 8 10 12 9 3 5 6 9 10 6

Thirds

&œ & œœœ 2 3 2 3

œœ œœ 3 5 3 5

Triads

œœ œœ 5 7 5 7

CJSeventhsDÑ CJ DÑ

& œœœœ & œœœ œ 0 0 2 30 0 2 3

90

œœœ œœ œœœ

1 2 3 51 2 3 5

œœ œœ

œœ œœ

œœ œœ

2 3 2 3

4 5 4 5

5 7 5 7

œœ œœ

œœ œœ

3 4 3 4

5 5 5 5

EÑ EÑ œ

FJ FJ œ

3 4 5 73 4 5 7

5 5 7 85 5 7 8

œœœ œœœ œ

œœœ œœœ œ

C C

DD-

EE-

0 2 30 2 3

2 3 52 3 5

4 5 74 5 7

œœ œœ œœ

œœœ œœœ

œœœ œœ œ

12 13 13 12 12 13 12

F F

G G

1 2 31 2 3

3 4 53 4 5

œœœ œœœ

œœœ œœœ

13 16 15 13 13 16 13

A - B¥ œ œA - B¥

œœ œœœ

œœ œœ œ

1 3 41 3 4

5 5 75 5 7

G7 G7 œœ

AÑ œœ AÑ

Bº œœœ Bº

CJ œœœ CJ

1 3 4 51 3 4 5

3 5 5 73 5 5 7

5 6 7 95 6 7 9

7 8 9 107 8 9 10

œœ œœœ œ

œœ œœœ œ

œœ œœœ

œœ œœœ

C œœC

œœ œœ

3 5 53 5 5

bbb bbb

Chapter 18 / Diatonic Chords

Here is the same idea only this time the scale being harmonized is the harmonic minor scale: Thirds Triads b b

bbbbbb & & b bb & b &b b

œœ œœ œœ

œœ œœ œœ

œœ œœ œœ

1 3 11 33

3 5 33 55

5 6 55 66

1

3

5

3 5 6 Sevenths

Cé Cé Cé

bbbbbbb Cé nn œœœ & b nœ & b & œœ b & b b n œœœœ

œœ œœ œœ

œœ œœ œœ

nn œœ n œœ n œœ 4 5 4 4 5 5

5 6 5 5 6 6

1 3

4 5

5 6

1 3 1 1 3 3

Dº Dº Dº

œœœ Dº œœ œ œœœ œ

b

E bbT T EE T

bœœœ E T œœ œ œœœ œ

œœ œœ œœ

œœ œœ œœ

3 4 3 3 4 4

4 5 4 4 5 5

3 4

4 5

FÑ FÑ FÑ

œœœ FÑ œœ œ œœœ œ

CCC --

D¥ E bbØ D¥ EE Ø Ø D¥

œ Cœœ- D¥ œœ œœœœ œ œœ œœœ œ 0 1 0 0 3 1 1 3 3 0 1 3

1 3 1 1 5 3 3 5 5 1 3 5

G7 G7 G7

œœœ œœ G7 œ œœœ œ

b Ennn œœœØ œœ n œœœ 4 5 4 4 6 5 5 6 6 4 5 6

FFF --

G G G

A bb AA

1 1 1 3 1 1 3 3 1 1 3

3 4 3 3 5 4 4 5 5 3 4 5

4 5 4 4 6 5 5 6 6 4 5 6

œ Fœœœœ œœ œ

b œœœ b A œœJ œ œœœ œ

A bbJ J AA J

œœb Aœœ œ œœœ

œ Gœœœ œ œœ œ

B¥ B¥ B¥ œ

œœœ B¥ œœ œœœ œ

B¥ B¥ B¥

CC C --

1 3 1 1 4 3 3 4 4 1 3 4

3 4 3 3 5 4 4 5 5 3 4 5

œ œ œ B¥ œœ œœ œ

œœ œ Cœœœœ œ

Cé Cé Cé nœ

nn œœœ Cé œœ n œœœ œ

1 3 4 7 1 3 4 7 0 1 3 4 3 4 6 8 1 3 4 7 3 4 3 4 6 0 1 4 5 4 5 7 8 0 1 3 4 3 4 6 8 0 1 4 5 4 5 7 8 1 3 5 6 5 6 9 10 01 13 4 5 4 5 7 8 5 6 5 6 9 10 3 5 6 8 13 35 5 6 5 6 9 10 6 8 1 3 4 7 3 5 6 8 0 1 3 4 3 4 6 8 0 1 4 5 inversion4of the triads 5 and then 7 run them 8 up the Another idea to explore is to change the 1 3 5 6 5 6 9 10 3 5 6 8 scale. This is how it would look inverting the triads from the previous harmonic minor ex-

CC -D¥ D¥ Triads/2nd C - Inversion D¥ ercise:

bbbbbbb Cœœ& & b b œœ & œ b & b b œœœ

œœ D¥ œœ œ œœ œ

CC -C-

D¥ D¥ D¥

4 5 44 55 5 4 5 5

6 7 66 6 77 66 6 7 6

5 5 55 6 56 6 5 5 6

3 1 33 3 11 33 3 1 3

Triads/3rd Inversion

bbbbbbb Cœœœœ& &b b œ & b œ & b b œœ

œœ œœ D¥ œ œœ œ

EEbbØ Ø E Ø

b

FF -F-

4 4 4 4 5 4 5 5 4 4 5

6 6 5 6 5 6 5 6 6 6 5 6

bœ Ennn œœœØ œ n œœœ

b œ nEnbœœœØ nœ œ n œœ

EEbbØ Ø E Ø

3 3 4 3 4 4 4 3 4 4

œœ Fœœœ œœ œ

b

G G G

AA bb Aœ

B¥ B¥ B¥ nœ

C C Cœ--

3 3 3 3 4 3 4 4 3 3 4

4 4 4 4 5 4 5 5 4 4 5

7 7 6 7 6 7 6 7 7 7 6 7

8 8 8 8 8 8 8 8 8 8

œœ Gœœœ œœ œ

œœb Aœœ œœ œ

b

n œœ nB¥ œœ n œœ œ

œœ Cœœœœ œ

FF -Fœ-

G nGGœ

AA bb Aœœ

B¥ B¥ œœ B¥

C C Cœœ--

4 4 6 4 6 5 6 5 5 4 6 5

7 7 8 7 8 7 8 7 7 7 8 7

8 8 9 8 9 8 9 8 8 8 9 8

10 10 12 10 12 10 12 10 10 10 12 10

11 11 13 11 13 12 13 12 12 11 13 12

œœ Fœœœœ œ

nn œœœ Gœ n œœ œ

œœb Aœ œœ œ

œœ œ B¥ œœ œ

œœ Cœœœ œ

91

Chapter 18 / Diatonic Chords

We could conceivably invert the 7th chords and follow the same line of thinking. However, many of the voicings are unplayable on the guitar. This would lead to frustration but please, forge on with the sevenths if you’ve got an extra wide reach. Here is the diatonic chord inversion exercise fleshed out using the C melodic minor scale as its template: Thirds

Triads

b &b b

œœ 1 3

œœ 3 5

œœ n œœ n œœ

œœ

2 3

5 7

5 6

4 5

Sevenths

b

œœ

œœ

3 4

4 5

Cé

DÑ

E T

F7

0 0 1 3

1 2 3 5

3 4 5 6

4 5 7 8

b & b b n œœœœ

n œœœœ

C-

b

D- E Ø

b œ œ & b b œœœ n œœ n œœ 5 5 6

CÜ

b w & b b www 92

3 2 3

4 4 5

F

œœ œ

6 5 7

œœ œ

n œœ œ

E Ø

0 1 3

2 3 5

4 5 6

A¥ B¥ C -

œœ œ

3 3 4

8 8 8

5 4 5

7 6 7

F

G

1 2 3

3 4 5

A¥ B¥

œœ œ

œœ œ

œœ œ

œœ œ

n œœ œ

1 3 4

4 5 7

Aº

œœœ œ

B¥

n œœœ œ

Cé

1 3 4 5

3 4 5 7

5 6 7 9

7 8 8 10

Triads/3rd Inversion

C-

b œ n œœ

F

n œœ œ

n œœ œ

3 4 4

5 6 5

7 8 7

D- E Ø

œœ œ

œ n œœ

4 5 5

6 7 7

G

C-

œœ œ

3 4 5

n œœœ œ

G7

œœœ œ

œœ n œœ n œœœ œ œ

G

b

D-

œœœ œ

œœœ œ

Triads/2nd Inversion

C-

œœ œ

œœ œ

8 10 8

10 12 10

A¥ B¥

C-

œœ œ

11 13 12

6 5 5 6

3 2 3

4 4 5

3 3 4

6 5 7

5 4 5

7 6 7

8 8 8

4 5 5

3 4 4

6 7 7

5 6 5

7 8 7

8 10 8

10 12 10

11 13 12

Chapter 18 / Diatonic Chords

These last examples explore the diatonic chord scales for this C-11 chord:

CÜ

b ww & b b CÜ ww b & b b ww w 4 3 3 3 4 3 3 3

First we use the C Dorian scale:

bbbbbb & &

b

CÜ CÜ

DÜ DÜ

EE bS S

4 34 3 3 3

6 56 5 5 5

8 78 7 67 6

œœ œœ œ

œœ œœ œ

œœ nn œœ œ

nn œœ œœ œ

GÜ GÜ

œœ œœ œ

AÜ AÜ œ

BB b∆∆ 77 s u ss œ su

CÜ CÜ œ

5 45 34 3 3

6 6 6 5 5 5

8 8 8 7 7 7

10 10 10 8 8 8

11 11 11 10 10 10

and now the C minor pentatonic scale:

bbbbbb & &

b

CÜ CÜ

EE bM M

4 34 3 3 3

6 56 5 65 6

œœ œœœ

œœ œœ œ

b

F\ F\

œœ œœ œ

F\ F\

œœ œœ œ

GÜ GÜ

3 43 34 3 3

6 6 56 5 5

œœ œœ

b

b CÑ/B CÑ/B œ œœ œœ

8 8 8 8 8

œœ œœ

œœ œœ

CÜ CÜ œ

œœ œœ

11 11 11 10 10 10

To sum up the big picture in working with diatonic chord inversions, check out the diagram on the next page.

93

Chapter 18 / Diatonic Chords

Diatonic Chord Inversion Parameters thirds triads / root position triads / 1st inversion triads / 2nd inversion sevenths (cluster series) Chord Formula Configurations

(all of the ones that are pertinent to each of the Five Scales)

low density series medium density series high density series ninth series

interfacing with

The Five Scales Major melodic minor harmonic minor diminished whole tone

Imagine what happens to your fretboard knowledge when you interface all of these chord types with the different scales and then put this whole tonal circus into all twelve keys. Infinite! See you in fifteen years this time, friend.

94

Chapter 18 / Polychords

POLYCHORDS Polychords are chords that are made up of two parts. The upper part is a triad which is imposed over the lower part, which is a bass note. The bass note (the lower part) of the polychord is sometimes a note within the triad’s parent scale, and other times it’ll be a note that is not related to the scale at all. In instances in which the bass note is unrelated, a somewhat dissonant-sounding chord is created. Polychords are also useful in creating a chord progression that has a strong and deliberate bass movement. This will be demonstrated in the examples on the next page. Also, there’s a cool effect of having the bass stay on one note, a pedal point, while different triads move around above the bass. Here’s a look into some musical situations in which a polychord might be a good solution:

b b www b &c w

D /C

1)

T A B

2)

b

# www & w 10 11 12 8

w

CN

# ww www 2 3 2 5 3

b b www b & w

w b b www w

8 8 8 8

8 8 8 7 8

3)

E /C

E/C

Could be used in a C flamenco (Phrygian) kind of tune

8 9 10 11 8

9 10 11 8

D/C

b b wwww

D J/C

Cö

b ww w b ww 2 3 2 2 1

Could be used as D7 with C bass, # # C∆7 11, or C7 11

Cñ

Aè

Could be used as Cm7 or C7 # 9

D§

# F ª9

b A ™

b B 13 9 s us

95

8 8 8

8 8 8 7 8

E/C

Aè

Chapter 18 8/ Polychords

4)

# ww & w w

F/C ww 5) F/C w

& &

10 10 10 10 10 8 10

7 9 9 10 0

7 9 9 10 10

b

G /C Gb w wb/C 11 11 11 11 11 8 11

ww 7) G/C w

G/C

7 8 77 8 78

b

A /C bw b Ab ww/C

& b b www & w 8 9 88 9 88 8

Cô Cô bw

b b ww b b b www ww 2 2 23 22 33 2 3

8

& www &w 8

# # wwww bw

F ª9

7 9 9 10 9

b # wwww bw

A ™

7 9 9 10 11

b 9 s us # wwww

B 13

w

7 9 9 10 7

Could be used as FMaj. with the fifth in the bass

bb w & b b b www & w

6)

96

# wwww w

ww w w

8

8)

# wwww

D§

w

9 9 9 8

Could be used as C∆7 # 5 (Lydian augmented), A -∆9, D13 b 5, F # -9 b 5, A b 7 # 5 # 9, or B13 b 9sus

b

G ô bwô b G b w

b b ww b b bww w b ww2 2 23 22 33 22 3 2

CK CK w

Cè Cè ww

0 7 05 77 58 7 8

0 7 05 76 58 6 8

w wwwww ww

C™ b www bC™

bw b bb www w 8 9 88 98 87 8 7

bwwww b www

Could be used as C∆9 or C-∆9

#

C-7 5 #5 w C-7 b ww

bb www b ww w 8 8 10 8 11 88 10 11 8

Could be used as G b 7 b 5 or C7 b 5

Could be used as Ab with the third in the bass, C+7 # 9, or C-7 # 5

8 9 8

8 9 8 8 7

8

ww # & w w

9)

ww # b ww w

b b ww & ww b B /C b ww6 6 & ww7

b ww b ww w C\ b ww6 b ww678 w8

10) B /C

7 7 8

b ww w b b www CÜ b ww6 ww67 b b ww86

CÜ

C\

8

8

Could be used as C13 b 9

5 5 6 8 8

10 9 11 8

b/C B/C B11) w b& ww #8# ww w & ww B/C ww7 # w78 # 6 & 6 7 w8

Chapter 18 / Polychords

C•

A/C

6 6 7

8 8 10 11 8

6 6 7C¥ 8 8

w b ww # # www b ww w w C¥ ww7 # ww78 # 6 6 7 w78 8

C\

8

7 7 8 7 8

Could be used as Csus. or C-11

8

b b bb wwwww b A ñ b bb wwwww778 10

6 6 7 D• A ñ Bï Fô 8 CÜ 68 b b b Could be used as Cdim.7, D13 9, F7 5, A 7 # 9, or B7 b 9

w b ww b b www ww w b b ww D• b wwww77 b 6 8 6 10 w 7 8 6 8

b b wwww w

b b wwww778 w8 10

Fô

10

7 7 8 10 D• 10

b b wwww w Bï b b wwww778 10 w7

11

7 7 8 10 8

7 7 8 10 11 ñ

b b bb wwwww ˙

7 7 8 10 7

˙ ˙b b www # #˙www b wwww ˙ b ˙ b b wwww ˙ # www ˙ b # # w w & &w w w w w ˙ ˙ 77 a bmelody 7 ˙ 7 # ˙77 to re-harmonize One interesting way to7create a new ˙ 77 is by˙using polychords 7 7 ˙ 7˙ 8 how you want 8 8 &8progression. 87The first step108is to decide 10 chord on the bass 10 movement to 10 B/C

8

C¥

Fô

A

Bï

8 11 move.8Next, use one Here’s an 8 of the three10triads that will work with each melody note. 7 example...

b #/A #we wantG/A This is the to add chords A/Bmelody Fthat B/A to: ˙ ˙˙ # ˙ b b ˙˙ ˙ # ˙ b ˙ & & ˙ b F #˙/A # A/B ˙˙ b ˙˙ b # ˙ b ˙ & ˙ b ˙7 10

˙˙ b ˙ ˙ ˙ G/A ˙˙ ˙ ˙8

b˙ ˙ b ˙˙ bB/A ˙ b

b˙ b ˙˙ b ˙4

C/G

B/F

#

˙˙ ˙ ˙ ˙ b b ˙˙ # ˙ bB/F ˙ C/G ˙˙ ˙ b b ˙˙˙ 5

D/F

˙

˙ # ˙˙ ˙ D/F ˙ # ˙˙ 3

D/E

˙ # ˙˙˙

D/E ˙

# ˙˙˙ 5 7

97

b˙

&

˙

Chapter 18 / Polychords

˙

˙

Let’s have a bass line that moves chromatically downwards starting from B. Here is one possible harmonization:

A/B

˙˙ # & ˙ ˙

# # b b b ˙˙˙ b ˙ F /A

10 9 11 7

G/A

7 6 8 6

B/A

˙˙ ˙ ˙

b˙ b ˙˙ b˙

8 7 9 5

4 4 4 4

b

C/G

B/F

˙˙ ˙ ˙

b b ˙˙˙ b˙

5 5 5 3

4 4 6 2

#

D/F

˙ # ˙˙ ˙

D/E

# ˙˙˙ ˙

5 7 7

3 2 4 1

0

Here is another example. For this one I’m using the same bass movement and the same melody but with different triads:

F/B

˙ &˙ ˙˙ & ˙

˙˙ F/B 5 6 5 5 76 5

b bD/B ˙˙ b ˙ b ˙˙ ˙ b˙ D/B

7

7 7 7 67 7 7 6

F/G

B/A

C/A

˙ ˙˙˙

˙˙ C/A ˙

3 5 5 3 55 5

b b b b b bE˙˙˙/A bb ˙˙˙ b˙ E /A

A/G

˙˙˙ #A/G #˙˙ ˙ 0 2 2 0 32 2

5

4 3 5 44 3 5 4

C/A

A /B

b b b bA˙˙˙/B b ˙˙ b ˙ b˙

C/B

4 5 6 64 5 6 6

5 5 5 75 5 5 7

# # E/F ˙ b ˙˙ bb˙˙˙ ˙ b˙ E/F

G/F

0 1 2 20 1 2 2

3 4 5 13 4 5 1

3

˙˙˙ G/F ˙˙ ˙

A/E

˙˙ #A/E ˙ ˙ # ˙˙ ˙ 5 5 6 5 05 6 0

Here’s another example using the same melody, but this time the bass line moves up b G: b chromatically from b b

˙ &˙ ˙˙ & ˙

˙˙ F/G 5 6 5 5 36 5 3

˙˙ b b bB/A ˙ bbb˙˙˙ b˙

˙ ˙˙˙

˙˙ C/A ˙

2 4 4 2 44 4

3 5 5 3 55 5

4

5

˙˙ C/B ˙ ˙˙ ˙ ˙

B/C

B/C ˙

b b ˙˙˙ ˙ b b ˙˙˙ 4 4 6 84 4 6 8

G/D

˙˙ G/D

b ˙˙ ˙˙˙ b˙ 3 4 5 43 4 5 4

b

F/D

˙ n ˙˙ ˙ n˙

˙˙ F/D 5 6 5 55 6 5 5

As you can see, there are many possibilities for harmonizing music with this approach. 98

Chapter 18 / Polychords

Here are some more polychord ideas that would sound good both with single lines and chords. Remember, the top part of the polychord is a triad and it’s imposed over a bass note or an actual chord. For the single line examples, you’ll notice that at the beginning of each phrase I first establish the tonal center of the melody and then I move into the polychord triad. Also, I try to travel up or down the triad through at least a couple of octaves since I think most of the magic in playing triads comes from covering a lot of vertical ground.

E-

ECJ

www & ww

1) CJ

7 8 9 9 8

7

EW CJ

www & ww CJ

8 7 10 7 8

AW CJ

˙˙

10

7

GW CJ

œ 7

8

œ

8

AW CJ

7

œ 7

10

œ

10

7

7

œ

8

9

œ

10

œ

10

7

10

9

12

œ

œ

œ œ œ œ œ œ œ œ

7 10 9 9 8

3) GW

7

8

9

9

7

8

EW CJ

www & ww

2)

œ

œ

œ

œ

œ

œ

w

œ

œ

œ

œ

12

10

˙

10

œ œ ˙ œ œ

œ

10

œ

8

8

7

œ

œ

10

œ

7

˙

99

8 7 10 7 Chapter 8 18 / Polychords

4)

AW CJ

10

8

DW CJ

DW CJ

˙˙˙ & ˙

œ

5 8 7

10

8

E-

˙˙˙ & ˙ ˙

7 8 9 10 0

7)

D AÑ

# ˙˙˙˙ & ˙ 0 8 11 12 0

100

G

10

8

10

10

Ó

7

10

œ 7

œ

10

7

7

8

œ

œ

8

7

10

10

9

œ

œ

œ

7

7

10

EAÑ

œ œ œ œ œ œ œ œ

5

8

7

7

7

10

9

9

D AÑ

œ œ #œ œ œ œ œ œ

5

G

8

7

7

7

4

7

œ

œ

10

12

œ

œ œ œ œ œ œ œ œ

10 10 9

6) AÑ

7

8

AW CJ

˙˙ ˙ & ˙

5)

7

7

8

7

10

œ

œ

8

10

œ

œ

7

8

#œ 7

œ 5

œ

10

œ

˙

10

12

œ 8

œ

œ

12

10

˙

12

˙

10

œ

œ

˙

10

8

12

0 8 11 12 0

5

G 8) AÑ

G AÑ

˙˙ & ˙˙ ˙

5

F 9) AÑ

5

E

E AÑ

# ˙˙˙ & ˙ ˙

10) AÑ

œ œ

7 9 9 10 0

EØ AÑ

w & # ww w 5 5 6 5

DØ

7

EØ AÑ

œ

7

DØ

œ 5

7

œ

8

œ

7

œ œ

9

7

œ

œ

7

8

7

œ

7

6

7

œ

8

5

4

œ #œ

7

7

7

#œ œ œ œ

7

8

7

œ

8

œ œ

5

10

œ

œ

7

8

5

8

œ

œ

œ

5 6 5 5 5

11)

7

8

F AÑ

˙˙ & ˙˙ ˙

4

œ œ œ œ

œ œ

7 8 7 10 0

7

7

8

7

6

5

10

8

Chapter 18 / Polychords

œ

œ

œ

7

8

10

œ

œ

œ

5

8

7

œ #œ

œ

œ

4

7

œ

8

œ 6

5

œ 5

12

œ #œ 5

4

10

˙

10

˙ 5

˙

8

œ

˙

8

7

101

5 5 6 5

7

Chapter 18 / Polychords

12)

DØ C7

13)

14)

8

b

b

D bD C7 wC7

102

10

7

8

D bD C7 C7

#œ bœ

9

10

0 90 69 86 8 8 8

6 6

8 8

b

10 10

7 7

8 8

6 6

7 7

9 9

10 10 12 12

8 8

9 9

9 9

11 11

11 11

11 11

œ œœ œœ j œ œ c ‰ œ & c ‰ j œj œ œ œ œœ œ œ œœ œœ œœ œœ œ œ œ œ & ‰ & œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ j j j

D/C D/C D/C

& ‰‰ &‰ &

7 7

7

10

j œjj œ œœ œœ j jj

10 10

7

œ œœ

2 2 2

7 7

8

œ œœ

3 3 3

3 3 3

8 8 7

œ œœ 5 5 5

7 7

10

5 5 5

j & ‰‰ œjj œ œ œ & ‰ œœ œœ œ œ œœ œœœ œœ & œ œœ œ j j 7 7 7

10 10 10

7 7 7

8 8 8

7 7 7

10 10

10 8 10 10 9 8 10 10 8 10

œ #œ œœ ## œœ

D/C D/C D/C

10 10 10

˙

8

10

9 9

12 12

8 8

Extra Extra Polychord Polychord Lines Lines

10 10 10

4 4 4

9 9

7

7 7

7 7 7

8 8 8

2 2 2

3 3 3

3 3 3

2 2 2

3 3 3

2 2 2

œ œ œ ## œœ œœ œœ œ œ œ ###œœœ œœ œœ # œ œœ œœ 8 88

7 7 7

8 8 8

8 8 8

#œ œ œ œ œ œœ ##œœ œœ œœ œœ œ œœ œ œœ œœ œ 2 2 2

10 10 10

9 99

7 77

7 77

7 77

10 10 10

10 10 10

9 9

9 9

8 8

Peter Sprague 9 Peter 9 Sprague Peter Sprague

œ œ œ œœ œœ œœ œœ ˙˙ ˙ œ

G/C G/CG/C

10

œ œ

bœ bbœœ bbœœ b œ œœ ˙ ˙

bœ bbœœ œ œ œœ œœ bbœœ bbœœ bbœœ b œ 8 8

10 10

7

10

9 9

9 9

DD bW W C7 C7

bbb bbwwwwww w & & b www

8

bœ œ ˙ œœ bbœœ b œ œ ˙

b

DD bW W C7 C7

6

7

7

8

bbœœ œ œ b œ bbœœ œ œ œœ bbœœ œœ b œ

5 5 5

17)

6

7

8

bbbbbwwwwww & & b www

T TA BA B

16)

7

bœ œ œ œ œ œ œ #œ

0 90 119 11 11 11 8 8

15)

7

8

DØ C7

# ww & b www 7 7 8 7 8

5

4

5

5

5 5 5

œ. œœ.. 7 77

7 7 7

10 10 10

9 9 9

w ww 4 4 4

œ ˙ œJœ ˙˙ JJ j jj 9 99

9 99

Chapter 19 / Trills

Trills

Here are some different types of trills that will help embellish any melody. After learning them in the major scale, try converting them to the Five Scales. 1) Constant Trill (Pharaoh Sanders)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ &c œ œ œ œ œ œ œ œ œ œ œ œ œ œ &c œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

2) Harry Belafonte

œ &œ & œ &œ &

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3

œ3 œ œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3

3) Coltrane

œœœœ &œœœœ & 3 œ 3œ œ œ &œ œ œœ & 3

4) Sitar

3

œ œ œ &œ œ œ & œ œ œ &œ œ œ &

3

œœœœ œœœœ 3

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3

3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3

œœœœ œœœœ 3

3

œœœœ œœœœ 3

œ œ œ œ œ œ œ œ œ œ3 œ œ œœœœ œ œœœ œœœœ 3 3 3 3

3

3

3

3

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

5) Spanish Corea and œ œ3 (Chick œ œ3 Al Dimeola) 3

œ œ œ œ œ & & 3 œ œ3 œ œ & œ œ œ œ & 3

3

œ 3 œ œ œ œ œ œ

œ œ3 œ œ œ œ œ œ

3 œ œ3 œ œ œ œ œ œ

3 œ œ3 œ œ œ œ œ œ

3 œ œ3 œ œ œ œ œ œ

3 œ œ3 œ œ œ œ œ œ

œ bœ œ bœ œ œ œ 3

3

3

3

3

103 3

& œ œ œ œ

3 / Trills Chapter 19

&

3 œ œ œ œ

3 œ œ œ œ

3 œ œ œ œ

Here’s a nice diminished lick using trills. Play this over C7 b 9: 3

3 œ b œ œ b œ œ œ3 œ œ b œ n œ3 b œ 3 3 3 œ b œ n œ b œ b œ œ b 3œ œ b œ œ œ œ & œ bœ nœbœ œ bœ nœ bœ bœ

104

Chapter 20 / The Bebop Surround

THE BEBOP SURROUND I call it the Bebop Surround and I’ve heard some folks refer to it as “target notes” or “surround notes.” What I’m referring to is the concept of surrounding one of the triad notes of a chord by approaching it from both above and below chromatically. These phrases are a big part of the bebop musician’s vocabulary. Here’s how it’s done. First, get clear what the triad notes of a chord are. They are the root, the third, and the fifth. I don’t use the bebop surround on the seventh of the chord because it ends up sounding too removed or ungrounded. You start the phrase out by playing one note higher than the triad note. Next you go down a minor third and then proceed upwards by half steps, ending on the triad note. Here’s an example: The triad notes for F, F∆7 and F7

&b c œ

œ

œ

Œ

Surround the root,

the third,

& bb c œ œ œ Œ & bœ bœ nœ œ ˙

and the fifth.

bœ œ nœ œ ˙

œ œ #œ œ ˙

Here are some examples that were from some classic bebop solos. I’ve identib extracted F7 B B¥ C7 part of theF7phrase inside a box. F fied when the bebop surround happens by enclosing that b œ ˙ down a minor third œ œ # œnote œ n note, œ œ move œstart œ ˙n œthan Remember formula: one higher the triad œ œ b œ œ & bb b‰œ bjœthe œ # œ œ œ œ ˙ œ œ œ n œ œ œ & then œproceed # œ œThese œ n œexamples and chromatically up, finallyb œarriving at the triadœnote. b œ w are all in the key of F. 1)

F AÑ

3

b

F7 œ D7œ

B GÑ

B¥

C7 C7 b œ

F7

F œ œ b œ œ # œ œ œ b œ n œ œ œ œ œ œ œ n œ œœ b œ jœœ ‰ b œ w & œ #œ œ œ nœœ #b œœ w œ bœ œ #œ œ œ œ œ b œ œ œ & œ œ 3œ #œ #œ b

3rd of D 7

GÑ

C7

35th of G-7

b œ wF D7 GÑ œ œ œ bœ œ œ nœ œ & b b œ œ nœœ œ œœ œ œ b œ œ b œ œ œ œ œ # œ b œ œ # œ n œ œ #œ œ œ œ œ ‰J 3 &b Ó

3)

C7

D7

3rd of F

3

F b œ œ œ œ n œ b œ œ #œ w œœ b œ œ # œ b œœ wF œ œ œ b œ #œ œ & œœ bœœ œ œ # œ œ œ œ œ n œ b & 3 Root of C7 3rd of F

2)

AÑ C7

3rd of B

œFJœ

Root of C7 3

C7

FJ

œ œ b œFJœ b œ œ œ

D7

3

GÑ

œ bœ œ

105

œ bœ œ œ œ & b bœ œ nœ œ

w

Chapter 20 / The Bebop Surround

3

FJ

4)

&b Ó

D7 GÑ œ œ bœ œ bœ œ œ œ œ #œ œ œ œ bœ œ œ nœ œ # œ n œ œ œ b œ œ #œ œ œ œ œ ‰J 3

C7

Root of D7

FJ

œ œ #œ œ œ b œ œ J œ œJ ˙ œ nœ &b Root of C7

106

3rd of F

3

Chapter 21 / The Tritone Substitution

THE TRITONE SUBSTITUTION You can replace any dominant 7 chord with another dominant 7 chord whose root is a tritone (flat 5th) away. We call this the tritone substitution. For example, if the progression is:

AÑ c AÑ

D7 D7

GJ GJ

& ’ ’ ’ ’ ’ ’ ’ ’ &c ’ ’ ’ ’ ’ ’ ’ ’

you couldb substitute A b 7 for the D7. Now the progression would be:

AÑ AÑ

A 7 b A 7

GJ GJ

&’ ’ ’ ’ ’ ’ ’ ’ &’ ’ ’ ’ ’ ’ ’ ’ D7 GJ for doing the AÑtritone D7 substitution GJ DÑ an G7 CJ bass line. TheAÑ main advantage is to create alternative AÑ

D7

GJ

AÑ

D7

GJ

DÑ

G7

CJ

& ’reason ’ ’ D7’ two ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ The AÑ these GJ chords can be substituted for each other is because they both share the & same ’ ’ 3rd ’ and ’ flat ’ 7. ’ The ’ most ’ ’important ’ ’ ’notes ’ of ’ a’dominant ’ ’ 7’ chord ’ ’are ’its ’3rd’and’ c flat 7. These are the notes that must be in the chord to make it be a dominant 7th chord. & ’ ’ ’ ’ ’ ’ ’ ’ You can leave out the root and the 5th in a chord (a lot of times the bass player will play these notes) but the 3rd and the flat 7 really define the character of the dominant 7th.

b GJ third is F # and the flat 7 is C. In an A b 7 chord the third is C and the flat A 7 the In aAÑ D7 chord 7 is G b or F # . You can see the overlap. These two chords are a tritone apart and are perfect & ’ ’ ’ ’ for’ each ’ other. ’ ’ substitutions Here is an example. The original progression is:

AÑ

D7

GJ

AÑ

D7

GJ

DÑ

G7

CJ

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ And here I’ve used the tritone substitution whenever a dominant 7th chord comes along.

# c ˙˙˙ ˙ & ˙

AÖ

T A B

7 5 5 5 5

b n b œœœ b œ œ bœ A ;

6 6 5 4 4

4

b

b b ˙˙˙ b ˙˙

GK

AÜ

A ;

GJ

DÖ

D ¢

CM

5 3 4 4 3

3 5 5 5

1 1 3 4 4

2 3 4 2 3

3 5 5 3 5

3 4 4 3 4

3 3 2 2 3

ww ww w

˙˙˙ b n ˙˙˙ ˙ ˙ b˙

www w w

˙˙˙ n ˙˙

ww ww w

107

Chapter 21 / Brazilian Rhythms

BRAZILIAN RHYTHMS I love Brazilian music! In this style of music, the guitar plays a very important role, supplying both harmony and the wonderful syncopated groove known as Bossa Nova. On the guitar, the high strings play a syncopated pattern while the bass strings play on beats one and three. It sounds like 2 people playing at once. Combining these two rhythmic elements is a bit tricky at first, but with practice it becomes second nature. Here are some examples... For slower tempos this is a common two bar pattern:

CM

& c ..

œœ œ˙

œœ œ

œœ œœ œœ œœ œ œ œ œ ˙

j œœ œœ œ˙ œ

j œœ œœ œœ œœ œ œ œ œ ˙

..

This is a two bar pattern that works well when the tempo is a bit faster:

Œ.

&Ó

j CMj œœ .. œœ œœ œ œ˙ œ

j œœ œœ œ œ ˙

œœ œ

œœ œ˙

‰ œœœ ˙

œœ œ˙

œœ œ

‰ œ œœ ˙

j œœ .. œ

œœœ ˙

œ œ ‰ œ ˙

j œœœ ..

This is a pattern that guitarist Joao Gilberto likes to use:

Œ.

&Ó

j CM œœ .. œœ œ œ˙

j œœ œ

‰ œ œœ ˙

œœ œ

This is one of Joao Bosco’s favorite samba patterns:

&Ó

Œ.

j j œ . œ œ œœ . œœ ˙ CJ

j œœœ œœœ ˙

œ

j œœ .. œ

œœ œ

This is a two bar pattern that has synchopation in the bass line on the 2nd bar:

CM

& .. œœœ ˙

œœ œ

j œœ œœ œ œ ˙

j œœ œ

j œœ œœ .. œœ . œ .

œœ œ œ ˙ J

œœ œ

..

This is another pattern that has synchopation in the first bar of the bass line:

&Ó 108

Œ.

j CM œœ .. ‰ œœ .. œ œ. œ.

œœ .. œ. œ ˙ J

j œœ œ

œœ œ˙

œœ œ

j œœ œœ œ œ ˙

j œœ .. œ

Chapter 22 / Special 11th Chord Voicings

SPECIAL 11th CHORD VOICINGS I promised you much earlier in the book to give some examples of 11th chord voicings that include both the 3rd and the 4th (same as the 11th) together. As you know, most 11 chords omit the third to avoid the clash between the 3rd and the 4th. These voicings work best in modal situations—when your tonal center is the 11th chord and when you’re spending a longer time on the chord. These have an East Indian sound, probably because they include the same notes as one of the Indian pentatonic scales. Here’s the scale I’m referring to: b7

& & ccc œœ œœœ œœœ œœœ bbbœœœ ˙˙˙... & œ R

T T TAA B BA B

3 3

3

3 4 5

2 2 2

3 3 3

5 5 5

3 3 3

5 5 5

Here are some C11 chord voicings that have both the 3rd and the 4th in them:

wwww b b & & wwww

& b0wwww 0 1 1 3 3 3 3 0 3 3 1

3 3 3

wwwww b b & & www

www 0 b 0 & 636ww 3 5 5 3 3

0 6 3 5 3

www b b & & ww

w & b www 9 9 8 8 8 8 8 8

9

bb wwwwwww ww

b ww 1 1 5 5 3 3 5 51

5 3 5

bb wwwwww wwb wwww

w

0 0 6 6 5 5 8 8 0 8 8 6 5

8 8

bb www ww

bb www www

b www w 12 12 11

b www w 6 6 6 6 9 9 10 10

6 6 9 10

www bb wwww

11 10 10 10 10

www w bb wwww

5 5 3 3 7 7 6 6

ww w b w

5

13 10

ww b ww

13 13 10 10 14 14 13 13

12 11 10 10

bb wwwwwww ww

b ww w 6 6

6 9 9 8 8 10 10 6

9 8 10 8

bb www ww

b www w

5 5 3 3 3 3 3 3

www w bb wwww

5 3 3 3

ww w b w 8 8 6 6 9 9 8 8

13 10

109

Chapter 23 / Flash Cards

FLASH CARDS An important factor in practicing is being able to navigate through the Basic Tools even when the points of reference are constantly changing. If you practice only in the key of C, what will happen when you’re asked to transpose the music to F # ? By working out the exercises in all twelve keys your fretboard knowledge becomes well rounded. I came up with the idea of using Flash Cards to keep the point of tonal reference in a constant state of change. This is just like how it is when you’re improvising over chord changes. On the next few pages I’ve included some cards for you to cut out and start using in your studies. To use the flash cards, first divide them into two piles. One pile will be the names of the keys, (C, C # , D, etc.) and the second pile will be the names of the different things you’ll practice. These are derived from the elements in the Basic Tools (major scale, minor triad, dominant 7 arpeggio, dominant 7 # 5 chord, etc.) First draw a card from the “KEY” pile, then practice—in that key—the exercise that the card from the other pile would indicate. When you integrate this process into your practicing, you’ll see immediate improvement in that coveted realm of “all keys are created equal.” I’ve left some of the cards blank so you can add more things that you want to work on. Keeping it random prepares you for the real world of jazz.

110

C

# C

# D

E

F

G

b A

# F

Chapter 23 / Flash Cards

D

111

A

b B

B

Maj.7 scale

Maj. triad

Maj.7 arp.

Maj.7 chord

min.7 scale

min. triad

Chapter 23 / Flash Cards

112

Chapter 23 / Flash Cards

min.7 arp.

min.7 chord

Dom.7 scale

Dom.7 arp.

Dom.7 chord

Dom.7 b9 scale

Dom.7 b9 arp.

Dom.7 b9 chord

Dom.7 #5 scale 113

Chapter 23 / Flash Cards

Dom.7 #5 arp.

114

Dom.7 #5 chord

Chapter 24 / Additional Fingerings

ADDITIONAL TRIAD, ARPEGGIO, AND SCALE FINGERINGS & T A B

&

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115

Chapter 24 / Additional Fingerings

C suspended triad

œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ

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SAtyam Music © BMI 2015

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Cy 6 arpeggio

Chapter 24 / Additional Fingerings

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C y 9 arpeggio

Chapter 24 / Additional Fingerings

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œ œ & œ œ œ œ œ œ Position 1

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C y 7 b 5 arpeggio

Chapter 24 / Additional Fingerings

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C y7 # 5 arpeggio

Chapter 24 / Additional Fingerings

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C y 7 # 5 # 9 arpeggio

Chapter 24 / Additional Fingerings

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Chapter 24 / Additional Fingerings

C-6 arpeggio

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Chapter 24 / Additional Fingerings

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10

11

œ

12

13

16

Ó

10

œ bœ œ

14

Ó

7

bœ œ œ

9

œ

4

5

œ

12

Ó

œ œ bœ

œ bœ

7

Œ

bœ

2

œ

6

œ

œ

5

œ bœ

10

9

œ

3

œ

œ bœ

12

œ

6

œ bœ

œ bœ

16

œ bœ

Ó

13

135

Chapter 24 / Additional Fingerings

Dø 7 locrian scale

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb

T A B

&

Position 1

3

bbb

4

6

3

5

6

3

5

6

3

5

3

4

6

3

4

6

4

3

6

4

3

5

3

6

5

3

6

5

3

6

4

3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ Position 2

6

8

5

6

8

5

6

8

5

7

8

6

8

9

6

8

10 8

6

9

8

6

8

7

5

8

6

5

8

6

5

8

6

œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ Œ Ó œ œ œ œ œ &b b œ œ œ œ œ œ œ œ œ œ Position 3

8 10 11

8 10 11

8 10

7

8 10

8

9 11

8 10

11 10 8

11 9

8

10 8

7

10 8

11 10 8

11 10

8

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ Œ Ó b œ œ œ œ œ œ œ & œ œ œ œ œ Position 4

10 11 13

10 11 13

10 12

13

10 12 13

11 13

10 11

13 11 10

13 11

13 12 10

13 12 10

13 11 10

13 11

10

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ Œ Ó &b b œ œ œ œ œ Position 5

13 15 16

136

13 15

12 13 15

12 13 15

13 15 16

13 15

16 15 13

16 15 13

15 13

12

15 13 12

15 13

16 15

13

D ø7 melodic minor scale

Chapter 24 / Additional Fingerings

œ œ œ œ œ œ œ nœ œ œ n œ œ œ Œ Ó œ œ œ œ nœ & b nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb

T A B

Position 1

3

4

3

6

5

7

3

5

6

3

5

3

5

6

3

4

6

4

3

6

5

3

5

3

6

5

3

7

5

3

6

4

3

œ œ œ œ œ œ œ œ nœ œ œ n œ œ œ œ œ œ œ œ Œ Ó & b œ œ œ œ n œ n œ œ œ œ œ œ œ œ œ bb

Position 2

4

6

5

8

7

8

5

6

8

5

7

5

6

8

4

6

8

6

4

8

6

5

7

5

8

6

5

8

7

5

8

6

4

œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ b œ nœ œ œ œ œ nœ Œ Ó & b b œ œ nœ œ œ œ œ œ œ œ Position 3

8 10

7

8 10 11

8 10

7

9 10

8

9 11

8 10

12 10 8

11 9

8

10 9

7

10 8

11 10 8

7

10

8

œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ b nœ nœ œ œ œ œ & b b œ nœ œ œ œ œ œ œ œ œ nœ œ Œ Ó Position 4

10 12 13

10 11 13

10 12

14

10 12 13

11 13

10 12

13 12 10

13 11

13 12 10

14 12 10

13 11 10

13 12

10

œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ b nœ œ œ œ œ &b b œ œ œ œ œ œ Position 5

13 15 16

13 15

12 14 15

12 13 15

13 15

12 13 15

13 12

15 13

15 13 12

15

14 12

15 13

16 15 13

137

Chapter 24 / Additional Fingerings

bb

& b œ œ œ œ œ œ œ œ T A B

Position 1

3

bb

& b

&

4

5

5

6

3

5

8

8

5

6

6

7

8

8

10

10

11

10

8

10

10

&

bbb

11

12

œ œ œ œ œ œ œ œ Position 5

13

138

13

10

10

15

16

15

12

15

12

13

3

12

8

8

9

9

8

9

10

8

13

13

10

13

10

œ œ œ œ œ œ œ œ

13

6

3

5

6

8

6

9

8

15

13

15

16

15

13

15

13

13

5

3

5

7

5

6

5

8

13

10

7

3

5

8

4

10

11

10

8

10

8

œ œ œ œ œ œ œ

12

12

4

œ œ œ œ œ œ œ

10

12

10

œ œ œ œ œ œ œ œ 13

3

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ bb œ œ b & œ œ œ œ Position 4

10

4

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ Position 3

7

3

6

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ 5

œ œ œ œ œ œ œ œ

5

Position 2

4

bbb

3

3

D ø7 pentatonic scale

15

12

15

16

15

11

10

œ

13

13

Œ

10

Ó

Chapter 24 / Additional Fingerings

&

####

T A B

&

E lydian dominant scale

œ œ #œ œ œ œ nœ œ œ œ n œ œ œ #œ œ œ œ œ œ œ #œ n œ nœ œ œ #œ œ œ œ # œ œ

Position 1

4

####

&

&

&

5

3

4

4

6

4

2

5

3

2

4

3

1

4

2

5

4

2

1

4

6

7

4

5

7

4

6

8

4 6

7

5 7

4

6

7

6 4

7 5

7 6 4

8 6 4

7

5

4

7

6

4

#œ œ œ œ #œ œ œ œ nœ œ œ œ n œ œ œ #œ œ Œ Ó œ #œ œ œ œ œ œ œ n œ n œ œ œ œ #œ #œ œ Position 3

7

9

10

7

9

6

8

9

6

7

9

7 9

6

7

9

7

6

9

7

9

7 6

9

8 6

9 7

10 9

7

6

12 10

9

œ nœ œ nœ œ œ #œ œ œ # œ œ œ œ œ nœ œ œ œ nœ œ Œ Ó œ # œ #œ œ œ œ nœ œ œ nœ œ œ œ

Position 4

9

####

4

1

2

5

œ œ œ #œ œ #œ œ œ œ nœ œ œ n œ œ œ Œ Ó #œ œ œ œ nœ œ #œ œ œ n œ œ œ œ #œ œ œ #œ œ

6

####

2

4

3

Position 2

4

####

1

2

2

10 12

9 11 13

9 11

12

9 11

9

11 12

9

10

12 10 9

12 11 9

11 9

12 11 9

13 11 9

œ nœ œ œ œ nœ œ œ #œ œ œ # œ œ œ œ nœ œ œ œ œ nœ œ œ # œ #œ œ œ œ œ œ œ

Position 5

12 14

11 13 14

11 12 14

11 13

11 12 14

10 12 14

12 10

14 12 11

13 11

14

12 11

14 13 11

14 12

139

Chapter 24 / Additional Fingerings

G altered dominant scale

œ œ bœ bœ bœ œ œ bœ bœ b œ b œ Œ Ó œ bœ bœ œ œ bœ & bœ œ œ bœ bœ nœ b œ b œ b œ n œ œ b œ bœ œ œ bœ Position 1

T A B

3

4

6

2

4

3

6

5

6

3

4

4

6

6

3

4

6

4 3

6

4

6 4

3

6 5 3

6

4 2

6

4

3

bœ nœ bœ œ bœ bœ œ œ b œ œ œ b œ bœ bœ œ bœ bœ bœ œ bœ Œ Ó b œ & œ œ œ bœ bœ œ bœ nœ bœ bœ œ bœ Position 2

6

7

9

6

6

8 10

8

9

6

8

6

8

9

6

7

bœ bœ nœ bœ œ œ b œ & bœ bœ œ œ bœ bœ nœ bœ œ Position 3

7

9

11

Position 4

& bœ œ œ

11 13

8 10 11

8

9

11

8 10

8

9

11

7

bœ bœ b œ n œ b œ œ œ bœ bœ nœ bœ bœ

10 11 13 14

11 13

10 12 13

11 12 14

9

9

7

6

9

6

8

6

9

8

6

10 8

6

9

7

6

bœ bœ œ bœ bœ œ œ bœ bœ œ bœ bœ œ œ bœ Œ Ó bœ œ 11

9

7

11

œ œ œ bœ bœ

11 13

8

15 13 11

9

8

10

8

11 9

8

11 10 8

11 9

7

œ bœ bœ œ œ bœ bœ œ bœ bœ œ œ bœ Œ Ó

14 12 11

13 12

10

13 11

14 13 11 10

13

11

16 15

13

œ œ bœ œ œ bœ bœ œ bœ b œ b œ b œ n œ bœ bœ œ œ bœ bœ bœ œ œ bœ œ bœ bœ b œ n œ b œ &œ œ œ œ Œ Ó Position 5

13 15 16

140

13 14 16

13 15

17

13 15 16

14 16

13 15

16 15 13

16 14

16 15 13

17 15 13

16 14 13

Chapter 24 / Additional Fingerings

G diminished dominant scale

œ œ bœ bœ œ œ œ œ œ #œ œ bœ œ œ # œ b œ n œ Œ bœ œ œ œ & œ bœ œ œ œ œ # œ # œ œ bœ bœ œ œ bœ bœ nœ Position 1

T A B

3

4

6

2

4

2

5

3

5

3

6

4

6

3

5

3

6

4

6

4 3

6 5 3

6 4

3

6 5 3 2

5

4

2

6

4

3

œ œ œ bœ bœ nœ bœ œ œ œ œ œ #œ œ bœ œ # œ b œ n œ Œ bœ œ œ œ œ & œ bœ œ œ œ # œ # œ œ bœ bœ bœ bœ nœ Position 2

4

6

4 5 7 8

7

5

6

4

8

6 7

4

5 6 8

6

7

6

4

8 6 5

7

6 4

8

6 5

8 7

5

4

7

6

4

bœ bœ œ #œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ #œ œ bœ bœ œ œ Œ & œ œ bœ bœ œ #œ œ œ œ œ # œ # œ œ œ Position 3

7

9 10

7 8 10 11

8

9

11

7 9 10

8

9

7

11

9 10 9

7

11

9

8

10 9

7

11 9

8

11 10

8 7

10 9 7

#œ œ œ œ œ œ bœ bœ œ œ b œ n œ b œ œ œ œ œ #œ œ bœ œœ Œ bœ œ œ œ œ & #œ œ œ œ œ bœ bœ nœ #œ #œ Position 4

9 10 12 13

10 11 13

9

11 12

9 10 12

9

11 12

9 10 12 10 9

12 11

9

12 10 9

12 11 9

13 11

10

13 12 10 9

œ œ œ œ œ œ œ #œ œ bœ bœ œ # œ b œ n œ b œ œ œ œ œ #œ œ bœ œ œ bœ œ œ Ó & œ œ bœ bœ nœ #œ œ Position 5

13 15 16

13 14 16

12 14

15

12 13 15

12 14 15

12

13 15 13 12

15 14 12

15

13 12

15 14 12

16 14 13

16 15 13

141

Chapter 24 / Additional Fingerings

& T A B

Position 1

œ bœ

3

2

4

3

5

5

bœ œ œ œ œ œ œ œ

œ

œ œ bœ

œ œ

G7 b 9 pentatonic scale

3

4

6

4

5

7

5

8

6

6

7

7

8

10

10

11

9

8

10

10

13

10

11

9

12

œ œ bœ œ œ & œ œ bœ Position 5

13

142

15

16

14

12

15

12

13

3

12

9

7

œ

œ

7

4

œ

10

7

13

10

12

13

10

œ bœ œ œ œ œ œ œ

12

6

3

4

6

8

6

œ

œ

9

8

15

13

15

16

15

13

15

12

13

5

3

5

7

4

œ

6

5

8

13

10

7

3

5

7

4

9

11

10

8

10

7

œ œ œ bœ œ œ œ

12

12

4

œ œ bœ œ œ œ œ

10

12

9

11

œ bœ œ œ œ œ bœ œ 12

2

œ bœ œ œ œ œ bœ

œ œ œ bœ œ œ œ œ

œ œ & œ œ œ bœ œ œ Position 4

10

4

8

œ bœ

œ œ œ b œ & œ œ œ œ Position 3

7

4

œ œ bœ œ œ œ œ œ

œ & œ bœ œ œ œ bœ œ Position 2

4

3

6

bœ œ œ œ œ bœ œ

15

12

14

16

15

10

œ

13

13

Œ

10

Ó

Chapter 24 / Additional Fingerings

G7 # 9 pentatonic scale

œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ

Position 1

& œ #œ œ œ œ œ #œ œ T A B

3

2

6

3

5

5

3

3

4

3

6

6

5

7

5

8

8

œ œ œ # œ & œ œ œ œ

7

10

8

10

8

9

7

10

œ œ & œ œ œ #œ œ œ Position 4

10

13

10

13

9

12

10

12

œ œ #œ œ & œ œ #œ œ Position 5

13

15

13

14

12

15

12

6

7

Position 3

15

7

6

3

6

3

4

3

5

œ œ #œ œ œ œ œ œ

œ & œ #œ œ œ œ #œ œ Position 2

4

6

8

œ #œ

8

11

6

œ

7

7

œ

10

6

œ

7

8

6

œ

œ

11

8

7

12

10

13

10

12

11

œ

10

12

œ œ œ œ œ œ œ #œ

12

15

13

15

13

15

12

5

15

2

œ

6

Ó

3

œ #œ œ œ œ œ #œ 4

œ œ œ #œ œ œ œ œ

11

3

Œ

8

5

8

5

7

6

œ œ #œ œ œ œ œ 7

9

8

10

8

10

7

œ œ œ #œ œ œ œ 10

12

9

13

10

13

10

œ œ œ œ #œ œ œ 12

15

12

14

13

15

13

143

Chapter 24 / Additional Fingerings

G whole tone scale

œ œ œ œ œ œ bœ bœ œ b œ b œ œ œ œ œ bœ & bœ œ œ œ œ b œ bœ œ œ œ œ œ œ

Œ

Position 1

T A B

3

2

5

4

6

3

5

2

4

4

6

3

6

5

7

5

3

6

4

6

4

2

5

3

6

4

2

5

3

œ bœ œ œ œ œ bœ œ œ œ b œ bœ bœ œ œ & bœ bœ œ œ œ œ œ œ bœ bœ œ œ Position 2

4

7

6

8

5

4

7

6

6

8

5

8

7

9

7

5

œ bœ bœ œ œ œ œ b œ & bœ bœ œ œ œ œ bœ œ

7

9

11

8

10

7

9

11

bœ bœ œ & bœ œ œ œ œ Position 4

11

13

10

12

9

11

13

10

bœ œ œ b œ œ œ &œ œ Position 5

13

144

15

12

14

16

13

15

12

10

8

10

7

9

11

9

7

bœ œ œ œ œ œ œ bœ

12

10

12

9

11

13

11

6

8

6

4

7

5

8

6

œ œ œ œ bœ bœ œ œ

Position 3

8

8

9

10

8

10

8

11

9

7

10

12

10

13

11

9

10

12

œ œ œ œ bœ œ œ œ bœ bœ œ œ œ bœ bœ œ

14

12

14

11

13

15

13

11

14

12

14

12

15

13

16

7

Œ

œ œ bœ bœ œ

œ œ œ œ bœ bœ œ œ 12

4

Ó

14

8

11

9

œ œ bœ

10

Ó

13 11

œ œ œ

12

7

15 13

Ó

Chapter 24 / Additional Fingerings

C blues pentatonic scale

bœ œ œ nœ bœ œ bœ œ bœ œ #œ œ œ #œ nœ bœ

Position 1

& œ #œ œ bœ b œ œ œ bœ T A B

3

6

3

6

3

4

3

5

4

5

6

3

7

6

3

7

6

4

5

3

5

4

3

œ bœ œ

6

3

6

3

bœ œ œ œ #œ nœ bœ œ œ # œ b œ œ bœ œ #œ nœ & œ bœ œ œ # œ b œ bœ œ bœ œ bœ Position 2

6

8

6

8

9

5

8

5

8

11

8

9

10

8

10

7

6

8

8

6

8

7

6

8

5

8

5

9

8

6

bœ œ œ œ #œ nœ bœ œ œ #œ œ bœ œ bœ œ #œ

bœ & œ bœ œ #œ œ bœ œ Position 3

8

6

8

10

11

8

11

8

11

8

11

8

11

10

8

10

8

10

9

8

11

œ bœ œ œ œ bœ œ b œ œ #œ nœ bœ œ bœ bœ œ #œ & bœ œ #œ œ bœ œ œ #œ nœ bœ

11

13

14

10

13

10

13

bœ œ #œ & œ #œ œ bœ œ Position 5

13

14

15

13

15

13

15

16

11

12

11

13

11

13

11

bœ œ #œ œ œ œ bœ œ

12

15

13

16

13

14

15

14

13

11

12

11

10

13

10

13

œ bœ œ bœ œ #œ nœ bœ 13

16

13

15

12

16

15

13

10

Ó

8

Position 4

10

Ó

6

œ bœ œ

8

Ó

Ó

14 13 11

œ bœ œ #œ nœ

15 13

Œ

15 14 13

145

Chapter 25 / Books and Recordings

BOOKS AND RECORDINGS Here is a list of books that helped me to learn about music:

Chord Chemistry Ted Greene D.Z. Publications P.O. Box 202 Canoga Park, CA 91305

Joe Pass Guitar Style Joe Pass Erwyn Publishing Co. P.O. Box 5900 Sherman Oaks, CA 91413



The Art of Music Copying Clinton Roemer Roerick Music Co. 4046 Davana Road Sherman Oaks, CA 91402



Coltrane Solos

Andrew White Music 4830 S. Dakota Ave., N.E. Washington, D.C. 20017 202-526-3666 Andrew has transcribed pretty much all of Coltrane’s solos. Incredible undertaking and very accurate! I’ve put together five books of transcribed solos and these have helped me a lot.

Charlie Parker Solos Sonny Rollins Solos Chick Corea Solos McCoy Tyner Solos Assorted Jazz Solos

My books and recordings are available at: Peter Sprague P.O. Box 762 Del Mar, CA 92024 www.petersprague.com

146

Chapter 25 / Books and Recordings

RECORDINGS When I created the first version of this book back in 1989 I went through my record and CD collection and compiled a list of some of my favorite recordings. Here’s that list—and these are still some of my most treasured albums: Artist African Mbira Al Jarreau Ancient Future Andy Narrell Bach Barbara Streisand Barry Harris Blue Mitchell Chaka Kahn Charles McPherson Charlie Parker

Chet Baker

Selected Recordings Music of the Showa People of Rhodesia (Nonesuch Records H-72043) Al Jarreau Breaking Away Visions of a Peaceful Planet Slow Motion The Hammer All plus the Brandenburg Concertos Well Tempered Clavier, Books. 1 & 2 Yentl The Broadway Album Magnificent The Thing To Do I Feel For You Beautiful The Definitive Vol. 2 The Definitive Vol. 4 The Definitive Vol. 7 Charlie Parker on Dial Vol. 4 Charlie Parker on Dial Vol. 5 Charlie Parker on Dial Vol. 6 The Complete Charlie Parker BYG Vol. 5 The Verve Years 1948-50 Live in Washington She Was Too Good to Me

Comments

Bird was one of the all-world greats, so any record with him on it is worth checking out.

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Chapter 25 / Books and Recordings

Chick Corea

Clare Fischer Djavan

Don Grolnick Donald Fagen Earl Klugh Freddie Hubbard George Duke Gilberto Gil Harry Belafonte Herbie Hancock

Jaco Pastorius James Taylor

Joao Bosco Joe Farrell 148

Light as a Feather My Spanish Heart Piano Improvisations Vol. 1 Three Quartets Now He Sings Now He Sobs Chick Corea with Gary Burton/ Duet Friends Eye of the Beholder Mozart Double Piano Concerto The Electrik Band Touchstone Children’s Songs The Lyric Site Crystal Silence Hymn of the Seventh Galaxy Trio Music Tap Step The Madhatter Secret Agent Delphi Salsa Picante 2 +2 Luz Lilias Abrimento Flor de Lis Hearts and Numbers The Nightfly Finger Paintings Crazy for You Red Clay First Light Brazilian Love Affair Nightingale Calypso Up Jumped Calypso Thrust Herbie with Foday Musa Suso / Village Life Maiden Voyage Man Child Word of Mouth Greatest Hits That’s Why I’m Here Never Die Young Joao Bosco Moon Germs

Chapter 25 / Books and Recordings

Joe Pass John Coltrane

John McLaughlin Joni Mitchell Keith Jarrett Lee Ritenour Lyle Mays McCoy Tyner Michael Brecker Miles Davis

Virtuoso #1 Atlantic Records Giant Steps Coltrane’s Sound My Favorite Things Coltrane Jazz Impulse Records Duke Ellington / John Coltrane Coltrane (blue tinted) Africa Brass Live at Birdland Ballads Prestige Records Coltrane Two Tenors With Kenny Burrell Pablo Records Afro Blue Impressions Bye Bye Blackbird Handful of Beauty Natural Elements My Goal’s Beyond Blue Standards Earth Run Lyle Mays Street Dreams Song for My Lady Samba Layuca Inner Voices Michael Brecker Don’t Try This at Home Kind of Blue Someday My Prince Miles Davis (Prestige PR24001) My Funny Valentine Round Midnight Milestones Basic Rules Miles Davis in Europe Live at the Blackhawk Live at Carnegie Hall Workin’ and Steamin’ Four and More

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Chapter 25 / Books and Recordings

Milton Nascimento Mozart Oregon Pat Metheny

Paul McCandless Paul Simon Paul Winter Ralph Towner Sergio Mendes Simone Sonny Rollins

Stan Getz

Stanley Turrentine Steps Ahead Stevie Wonder

Sting The Beatles 150

Meetings and Farewells All Distant Hills Offramp 80-81 As Falls Wichita, So Falls Wichita Falls Still Life Talking Travels Bright Size Life First Circle Heresay Graceland Rhythm of the Saints Canyon Solstice Blue Sun Primal Roots Brasiliero Vicio Newks Time Sonny Rollins (Prestige PR 24004) Sonny’s Next Album Sonny Rollins Freedom Suite Plus Way Out West Saxophone Collosus and More The Bridge Live at the Village Vanguard Getz/Gilberto Sweet Rain Getz au Go Go Stan Getz Meets Gerry Mulligan Cherry Steps Ahead Modern Times Magnetic Songs in the Key of Life Innervisions Fulfillingness’ First Finale Hotter than July Talking Book Secret Life of Plants Original Musiquarium In Square Circle Dream of the Blue Turtles Nothing Like the Sun Everything they did.

One of my favorite musicians and composers.

Chapter 25 / Books and Recordings

Tony Scott Tracy Chapman Wayne Shorter Weather Report

Wes Montgomery Yellow Jackets

Music for Zen Meditation Tracy Chapman Adam’s Apple Speak No Evil Black Market Heavy Weather Tale Spinnin’ Procession Night Passage Weather Report Mysterious Traveler 8:30 Bumpin’ A Day in Life Going Out of My Head Four Corners

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Chapter 26 / About the Author

ABOUT THE AUTHOR Peter Sprague was born in Cleveland, Ohio on October 11, 1955. He was raised in Colorado until 1963, when his family moved to Del Mar, California. Inspired by his father’s love of jazz, he took up the guitar when he was twelve. By the age of fifteen he was devoting all his time and energy to learning music and surfing. He studied with San Diego jazz guitarist Bill Coleman, played in his high school stage band, and formed his first group, the Minor Jazz Quartet. Following a year’s study at the Interlochen Arts Academy, Sprague studied privately and performed around the San Diego area until 1976. That year found him moving to Boston to study with many notable musicians including Pat Metheny, Madame Chaloff, and Albin Czak (a classical guitarist). Peter returned to San Diego in 1978 and formed a jazz group called The Dance Of The Universe Orchestra that featured Kevyn Lettau, John Leftwich, and Peter’s brother, Tripp Sprague, on saxophone. Peter has recorded many of his own albums on the Concord, Xanadu, and SBE record labels and has been a guest artist on many other records. Chick Corea, Hubert Laws, Dianne Reeves, and Sergio Mendes are only a few of the many great artists Peter has worked with. His debut with the Chick Corea band was a series of concerts at Disneyland on Memorial Day weekend. In a review the following day in the Los Angeles Times, Leonard Feather called Peter “...[O]ne of the emergent great guitarists.” Peter also worked with Chick on the film score to the movie “The Cat Chasers” starring Kelly McGillis. Sprague is active in the music book world having self-published nine of his own books (The Sprague Technique, SpragueSongs, Soliloquy Songbook, Blurring the Edges Songbook, BrazilJazz Songbook, Soliloquy Songbook, Jazz Solos of Charlie Parker, Jazz Solos of Sonny Rollins, Jazz Solos of McCoy Tyner, and Assorted Jazz Solos) all available on his website. Peter’s The Jazz Solos of Chick Corea is published nationally with Sher Music. Sprague was the chief organizer and transcriber for Chick Corea’s music books for several years. Hal Leonard Publishing has released Chick Corea’s Light Years, The Eye Of The Beholder, Inside Out, Chick Corea Collections, Beneath The Mask, and Paint the World, all books executed by Peter. Peter has been involved with GRP Records on a number of projects. He arranged Chick Corea’s song “Spain” for the GRP All-Star Big Band record and video. This tune was played by the likes of Dave Grusin, Lee Ritenour, Dave Weckl, Ernie Watts, etc. Peter was featured on David Benoit’s GRP releases Letter To Evan and Shaken, Not Stirred. Peter toured with pianist David Benoit worldwide for three years. Also on GRP, Sprague played with Eric Marienthal, Russell Ferante, Jimmy Haslip, Alex Acuna, and Ivan Lins on Eric’s GRP record One Touch. Sprague taught music at both Musicians Institute in Hollywood and California Institute of the Arts in Los Angeles for three years. One of Peter’s musical groups called Blurring the Edges released their CD and it was awarded the best contemporary jazz recording of 1994 from the San Diego Music Awards. His CD Nikki’s Rose was nominated for the Best Jazz CD in 2000 by the SDMA. Sprague was voted the Best Jazz Musician of the Year 2000 by the San Diego Music Awards orga-

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nization. Peter’s group Pass The Drum released their debut CD in 2003 and it was nominated for CD of the year by the SDMA. The San Diego Reader voted Peter the Best Jazz group for the 2002 Best Of issue. Peter won the Best Jazz Artist for both 2004 and 2007. Peter is now touring with jazz vocalist Dianne Reeves. He also has a group called the Peter Sprague String Consort that was awarded the Chamber Music of America’s 2010 New Jazz Works Grant. The group performs regularly and has released one CD called The Wild Blue. In May of 2002 Sprague composed a guitar concerto and performed it as a featured guest with the San Diego Symphony. Peter also produces other artists and has been part of over two hundred and fifty CD projects. With his wife, he runs a recording studio called SpragueLand, and this is where you’ll find him wearing the hats of producer, engineer, guitar player, and arranger. Please visit Peter at his web site at petersprague.com.

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