For Seriously Serious Guitarists!
Mastering Fretboard HARMONY part two
GUITAR DVD 1
TYPES OF VOICE-LEADING FIGURE 1 parallel motion major thirds
6 6
5 5
4 4
5 5
5 5
5 5
perfect fifths
10 7
9 6
8 5
9 6
8 5
5 5
3 3
5 5
8 8
8 5
10 7
12 9
13 10
15 12
13 10
12 9
10 7
8 5
interval: M3
m3
m3
M3
M3
m3
m3
M3
6 7
8 9
10 10
12 12
13 14
15 16
17 17
5 5
FIGURE 3 oblique motion
interval:M3
5 5
P4
M3
6 5
8 9
11 11
14 14
C
5 5
Csus4
5 5 5 3
G7
11 11
8 8
5 5
minor sixths
major 10ths
8
6
8
12
10
12
9
7
9
10
8
10
6 5 5 3
NOTE: play this and all similarly-formatted examples both “forwards” and “backwards” (ascending and descending)
5 5 5 3
P5
m6
P5
3
3
3
5
4
5
FIGURE 4 contrary motion
interval: M3
tritone
M3
6 4
5 5
5 5
alternate voicings for last two chords
FIGURE 5 contrary motion chord progression A
similar parallel similar parallel
5 5
FIGURE 2 similar and parallel motion similar parallel similar
2 2
F7
E7
2 2 4 5
4 3 5 3
1 2 1 3 1
3 1 2 2 0
D9
B7 ¨9 #5
C9#11
5 5 4 5
2 3 3 2 3
B7 #9 #5
3 1 2 1 2
5 5 6 5 7 5
3 3 2 1 2
A7
A9
5 2 4 5 0
HEXATONIC SCALES FIGURE 6 C major hexatonic
scale degree: r
5
2 GUITAR DVD
2 7
3 5
4 6
5 8
6
(r)
5
8
5
7
5
6
8
5
8
5
8
6
5
7
5
7
5
8
7
5
8
FIGURE 7 C major hexatonic harmonized in 3rds and 4ths
5 5
6 7
8 9
8v a
8 8
10 10
10 10
12 13
13 15
15 17
15 17
13 15
12 13
FIGURE 8 C major hexatonic scale harmonized in triads C Dm C Dm C Dm C C Dm C Dm C Dm C
3 5 5
5 6 7
7 8 9
3 5 5
FIGURE 10 A major hexatonic scale
1 3 2
0 1 0
3 2 3
1 0 2
2 3 5
2
2
3
4
2
4
3
5 5
6
1
2
5
2 3 4
FIGURE 12 D minor hexatonic scale harmonized in triads Dm C Dm C Dm C Dm
8 8 9
10 12 10 13 10 12
13 15 14
15 17 17
8 9
6 7
7 7
5 5
2 3
0 2
3 5
2 3
3
3
3
0 2 3
3
2
0 5
3
2 7
5
5
8
7
7 10
10
9 12
12
10
14
15
12
FIGURE 11 harmonized A major hexatonic melody, à la “Jessica” A Bm A Bm A Bm A Bm A Bm A
7 9 10 12 7 10 12 14 7 9 11 14
5 6 7
5 9 10 12 5 10 12 14 6 9 11 14
10 9 5 12 10 5 11 9 6
5 6 7
3 4 4
2 2 2
3 4 4
5 6 7
7 7 9
5 6 7
FIGURE 13 D minor hexatonic scale
8va 5 6 7
5 5 6
5 5
10 10
3 3 3
harmonized A Bm A Bm A Bm A
0 2 2
13 12
let each chord ring 3
scale degree: 1
FIGURE 9 alternating C and Dm triad inversions up the neck C Dm C Dm C Dm C
10 12 13 15 10 13 15 17 10 12 14 17
15 14
octave lower 1
17 18 19
7
2
9
¨3 4
10
5
8
10
¨7 1 8
10
10
8
10
8
10
9
7
1
¨7 5
7
5
7
4
5
¨3 2
1
8
5
7
FIGURE 14 D minor hexatonic scale harmonized in thirds and fourths
8 10 12 13 12
3 5
5 7
5 5
7 8
5 5
7 7
FIGURE 15 C major hexatonic
scale degree:1
8
2
10
3
7
4
8
5
10
6
7
6 7
8 9
10 10
8
10
13
1 10
2 7
3 9
4 10
5
6
8
10
1
8
15
13
15 14
13 12
10 10
8 9
6 7
5 5
FIGURE 16 D minor hexatonic
scale degree: 1
10
2
7
¨3 4 8
10
5
7
¨7 1
10
7
7 7
5 5
7 8
5 7
3 5
2 9
¨3 4 10
8
5 10
¨7 8
1
10
GUITAR DVD 3
FIGURE 17 D Lydian hexatonic (a.k.a. “wonder” scale) harmonized in triads D E/D D E/D D E/D D E/D D
FIGURE 18 D Lydian hexatonic
8v a
4 5 4
5 7 7
7 9 9
10 12 14 10 12 15 11 13 14
16 17 16
scale degree: 1 2 3 #4 5 6 1
let ring throughout
2 3 2 0
17 19 19
7
7
9
1 6 5 #4 3 2 1
7 10
9 10
10 7
10 9
7
9
7
7
4
7
6
4
7
5
5
4
7
6
4
7
7
7
9
FIGURE 19 D Lydian hexatonic open-voiced triads D E/B D/A E/G# hybrid picking
8v a
3
3
14
14
12
5
7
7
10
7
2
4 GUITAR DVD
10
D
3
4
E
9
9
6
5
10
7
12
10
12
9
14
12
¨7
1 12
16
4
0
11
9
10
7
9
5
D/F#
4
2
4
5
7
7
9
FIGURE 20 E Mixolydian hexatonic alternating triad inversions E D E D E D E
17
0 0 1
2 3 2
4 5 4
5 7 7
7 9 9
11 10 11
12 12 13
0
11
12
10
9
10 12
10
12 10
12 10
12
10
12
10
9
11
9
11
9
7
9
7
6
9
12
9
12
11
9
3
3
2
1 2
7
E 3
0
3
6
D 3
4
0
9
E/B 3
7
let ring throughout
15
9
9
D/A
2
16
9
7
7
3
14
10
12
9
2
D
3
9
4
3
11
9
E
2
3
7
7
3
3
D
10
5
4
8v a
9
3
5
E/B
3
7
1
7
6
FIGURE 21 E Mixolydian hexatonic scale
scale degree:
D/F#
7
10
3
12
11
3
10
7
D/A
3
3
9
3
12
7
D/A
9
E/G#
9
9
9
7
12
10
FIGURE 22 E Mixolydian
E Mixolydian hexatonic
E 8v a
scale degree: 1
9
2
3
4
5
6
¨7
1
9
10
12
9
10
12
4
6
7
4
7
4
7
6
4
7
5
6
7
7
9
10
7
9
7
6
9 10
10 12
12 14
14 15
12 14
10 12
9 10
12 11
10 9
FIGURE 25 E Mixolydian hexatonic scale E D/E E N.C.(E) (w/pick and fingers)
2
3
4
5
9
11
10
12
¨7
1
10
12
4
7
6
7
4
7
9
7
9
7
9
7
10
9
7
7 7
5 6
7 9
6 7
4 4
(D/E)
10
10
9
7
9
7
5 7
7 9
9 10
2 2
7
harmonized in thirds and fourths (w/pick and finger)
4 5
5
7
10
4 5
2 4
(E)
0 2
7 7
6 7
9 9
7 9
4 5
2 2
0 0
(D/E)
4
7
4
7
5
7
3
7
5
4
5
4
4
5
7
10 12 9 11
9 11 11 12
(E)
let low E string ring throughout 4 2 4 5 3 5 5 4 2 4 4
9
9
FIGURE 24 A major hexatonic scale
7
E
9
7
1
11
5
8v a
FIGURE 23 D Lydian hexatonic run
3
2
3
2
5
0
0
(E) (D/E) (E) (D/E) E (D/E)
7
4
5
4
7
5
7
5
10 5
12
9
7
12 7
10
10 7
7
5 9
6
6
9
7
7
7
9 9 9 7
GUITAR DVD 5
FIGURE 26 C “sentimental” scale harmonized in triads C Dº C/E Dº/F C/G Dº/A¨ C 8va throughout
3 5 5
4 6 7
8 8 9
FIGURE 27 C “sentimental” scale
scale 1 degree:
10 9 10
12 13 12
13 15 13
15 17 17
5
FIGURE 28 comparing two parallel hexatonic scales/tonalities
let ring scale degree: 1
2
7
0
9
3 7
4 8
5 10
6
1
7
10 7
6
5 10
4
3
8
2
7
1
7
2
4
5
5
7
Eº/B¨ D/A
Eº/G
15 17 15
14 15 14
12 11 12
8v a
7
7
9
D/F#
10
Eº
D
10 10 11
6 8 9
5 7 7
8
FIGURE 30 same thing on strings 3-5
Eº
5 3 5
7 7 7
8 9 8
10 11 12
11 12 14
D/F#
15 14 16
FIGURE 32 A “sentimental” scale in triads on strings 1-3 A Bº/A A Bº/A
6 GUITAR DVD
let ring 0 2 2 0
8
3
4
7
9
5
8 10
Eº/Bb
9
7
7
Eº/B¨ D/A
7
8
Eº/G
8 9 8
7 7 7
5 3 5
let ring 3 2 4
6
¨6
1
¨6
4
8
4
b6
1
¨6 5
6
10
6
1 3 4
5 5 6
7 6 7
5
4
3
8
6
5
D
Eº
8
9
D/F#
3 2 4
11 12 14
3
10 8
7
2
2
4
10 10 11
12 11 12
3 5 7
2 4 5
0 2 1
2
3
2
1
7
5
5 5
¨6
1
1
5
Bº/A
A
8v a
Bº/A
A
9 10 9
10 12 10
12 14 14
13 15 16
17 17 18
0
D/A
14 15 14
Eº/G
D/F#
4 5 5
2 1 3
0 0 2
A
B°
2
A
Eº/B¨ D/A
0
7
D
4
9
Eº
3
1
Eº/G
1
2
D/F#
10 11 12
4
FIGURE 31 A “sentimental” scale
D/F# Eº/G D/AF Eº/B¨ D
5
8v a
3
5
2
7
FIGURE 29 D “sentimental” scale alternating triad inversions D Eº D/F# Eº/G D/A
4
1
9
7
3
D “sentimental” scale
D major hexatonic scale
2
2
0 4
3
1
FIGURE 33 A “sentimental” scale in thirds and fourths
9 10
9 10
8v a
let ring
2
2
3 4
5 6
5 5
6 7
7 6
10 12
12 14
13 15
17 17
13 12 15 14
10 12
12 10 10 9
6 7
5 6
7 9
0
FIGURE 34 A “odyssey” scale alternating triads A E¨/A
0
2
2
E¨/A
3
4
3
5
5
6
3
6
8
8
2 2
A
3
3
3
3
let ring
A
4 3
E¨/A A
6 7
3
9
10
9
3
11
11
12
14
14
12
0
FIGURE 35 A “odyssey” scale in triads and sixths/fifths A E¨/A A E¨/A A E¨/A A E¨/A A
2 2 2 0
4 3 5 0
*
5 6 7 0
8 8 8 0
6 8 8
10 9 11 0
9 10 9
FIGURE 36 A “odyssey” scale E¨/A A
11 8
12 10
16 11
17 14
* tremolo pick top note of chord or interval
FIGURE 37 A “odyssey” scale single-note runs
3
5
3
3
5
4
2
3
2
3
2
4
5
2
2
3
4
5
3
5
3
3
3
3
5
3
3
5
4
3
3
2
3
2
3
3
3
let ring 2
4
5
3
5
3
5
4
2
3
2 0
7
6
8
8
5
5
8
6
9
12
11 12 11
9 11
9
11
10
8
10
11
0
9
11
11
3
9
11
10
8
10
8
9
8
9
8
6
8
7
0
GUITAR DVD 7
FIGURE 38 A “odyssey” scale in thirds and fourths A E¨/A A E¨/A A E¨/A A
2 2
4 3
5 6
8 8
let ring
5 5
FIGURE 39 A “odyssey” scale in “mandolin” sixths
6 8
let ring
9 10
0
FIGURE 40 E¨/G
5 2
6 4
0
9 5
12 8
12 10
15 11
17 14
8v a
3 3 3 3 3 3 3 3 3 3 3 A/E
3
E¨
A/C#
E¨/B¨
A
E¨/G
A/E
E¨
A/C#
E¨/B¨
A
w/pick and fingers
11
12
11 9
9
10
6
8
8
5
6
5 8
8
8
7
5
6
4
3
5
2
2
2
5
6
3
2
4
2 1
0
1
5
4
2
FIGURE 41 A “odyssey” scale in open-voiced triad inversions
A 3
A/C#
3
3
E¨/B¨
2
3 3
3
2
5
4
5
5
8
7
6
6
9
0 2 3
2
1
0
4
3
5
5
5
7
8
FIGURE 45 A “dungeon” scale (Am and Ebm triads combined)
2
3
5
4
5
let ring
0
8 GUITAR DVD
5 5 7
12 10
15 11
17 14
18 16
21 17
11
13
14
17
19
6 8 9
7 6 8
9 10 10
Am/E
8v a
8 9 10
8 8 9
11 11 11
Ebm/Gb
C/G
8v a
(play in reverse order)
9 11 11
12 13 12
Am
3
3
2
11
8 8
3 4 4
3
9
5 7
FIGURE 44 alternating Am and Ebm triad arpeggio inversions Am Eb/Bb Am/C Ebm
3
play each inversion again in reverse order
3
3
6
4 5
A/C# E¨ A/E E¨/G A 8va E¨/B¨
FIGURE 43 alternating C and Gb triad inversions C G¨/D¨ C/E G¨ C/G G¨/B¨ C G¨/D¨ C/E G¨
3
3
3
3
7
FIGURE 42 alternating C and Gb arpeggios C G¨ C G¨
A
6
8
6
5
8
4
6
E¨/G
3
5
2
5
A
3
4
2
0
E¨
3
3
3
6 9
10
2
5
2
8 11
11
5
4
11 14
13
12
5
3
2
FIGURE 46 Am and Ebm inversions Am/C E¨m Am/E
E¨m/G¨
Am
E¨m/B¨
Am/C
E¨m
Am/E
E¨m/G¨
Am
E¨m/B¨
3 3 3 3
2
3
3
4
6
7
Am/C
5
7
8
9
8 12
3
17
17
17
17
14
4
17
1
16
4
9
10
17
15
14
11
4
2
4
1
3
FIGURE 47 combining A and Bb triads A B¨ A
0 2 2
0 2 2
1 3 3
3
2
14
15
14
15
16
18
3
1
5
14
13
10
4
3
1
14
5
1
5
3
2
14
13 16
16
15
12
9
4
4
1
12
11
4
16
15
8
3
6
1
14
2
3
2
0
4
5
1
3
12
13
14
13
2
13
13
11
3
3
3
8v a
3
3
3
2
8v a
3
3
1
1
0
FIGURE 48 Bb triad arpeggio with lower neighbors
7
8
6
7
5
6
5
6
5
6
6
7
FIGURE 49 creating a hexatonic scale with A and Bb triads
5
6
4
5
7
8
7
8
6
7
5
6
7
8
7
8
4
5
5
6
5
6
5
7
5
6
A
6
8
7
5 5 6 7
SEVENTH CHORD QUALITIES
6 8 8 10
6 7 8 10
FIGURE 54
Cdim7
Cm7¨5
5 7 8 10
* arpeggiate from low to high
6 8 9 10
FIGURE 53
7 8 9 10
FIGURE 52 Cm7
*
FIGURE 51 C7
FIGURE 50 Cmaj7
GUITAR DVD 9
3 3
FIGURE 56 Cmaj7b5 arpeggio
FIGURE 55 Cmaj7¨5
7 7 9 10
7 9 9 11
9
12
13
12
12
16
6 7 9 10
5 5 8 9
7
8
3
6
9
8
9
9
10 8
FIGURE 65
6 8 9 10
6 9 9 10
10 GUITAR DVD
13
12
8
11
9
10
13
9
9
10
8
9
9
10
11
11
13
12 14 12
7
11
8
13 11
11
9
10
9
11
9
10
8
9
7
8
FIGURE 66
C7
12
9
3
9
13
FIGURE 63 C7b5, or Gb7b5, arpeggio
10
12
7
6 7 9 10
let ring
14
FIGURE 64 C7#5
9
12
10
13
8
13
10
12
11
6 7 9 10
9
10
9
FIGURE 61 C7¨5
9
10
FIGURE 62 G¨7¨5
9
FIGURE 60 synonymous/interchangable chords C7¨5 G¨7¨5 C7¨5
7
FIGURE 59 C7¨5
7
FIGURE 58 Cmaj7#5 arpeggio
FIGURE 57 Cmaj7#5
10
7
9
C7#5
F
10 10 10 8
C7#5
6 9 9 10
F
10 10 10 8
C7sus4
C7
6 8 10 10
6 8 9 10
6 8 10 10
C7sus4
8
FIGURE 67 Cm(maj7)
FIGURE 68 Dsus2
D69
let ring
7 8 8 10
Dm(maj7)
0
5
5
7
5
7
5
7
9
0
7
7 9
7
9
7
0
10
10
9 10
10
10
10
FIGURE 69 C major seven chord inversions, open voicings, on the A, D, G and B strings Cmaj7
Cmaj7/E
5
3
5
4
Cmaj7/G
7
9
5
10
10
12
9
Cmaj7
8
Cmaj7/B
14
12
14
8v a
13 15
16
17
17
FIGURE 70 C major seven inversions on the top four strings Cmaj7
Cmaj7/E 5fr
Cmaj7/E
Cmaj7/G
13fr
1444
Cmaj7/G
17fr
2413
2413
Cmaj7/B
5fr
1114
8fr
1114
2311
FIGURE 71 C major seven inversions on the bottom four strings Cmaj7
Cmaj7/E 8fr
1423
Cmaj7/G
10fr
Cmaj7/C
Cmaj7/B
14fr
2413
2314
5fr
2314
3411
FIGURE 72 C
8
Cmaj7/B
5 5
7
8
7
C7/B¨
5 5
7
7
6
C7/B¨
C7/G
7
F/A
5 5 6
5
5 7
8
FIGURE 73 C7 inversions on the middle four strings C7
5 3 5 3
C7/E
8 5 8 7
C7/G
11 9 10 10
C7/B¨
13 12 14 13
C7
8v a
17 15 17 15
13 12 14 13
11 9 10 10
C7/E
8 5 8 7
C7
C7/B¨
C7
5 3 5 3
1 0 2 1
5 3 5 3
GUITAR DVD 11
FIGURE 74 C7 inversions on the top four strings C7
C7/E 10fr
C7/G
1324
17fr
2314
C7/G
C7/B¨
13fr
1112
C7/E
8fr
5fr
1311
1113
2314
FIGURE 75 C7 inversions on the bottom four strings C7
C7/E 8fr
1312
2413
C7/B¨
C7/B¨
C7/G 10fr
14fr
2314
17fr
C7/G
5fr
2311
2311
2314
FIGURE 76 G7 inversions on the top four strings G7
G7/B
7 6 7 5
10 8 10 9
G7/D
G7/F
13 12 12 12
15 15 16 15
19 18 19 17
8v a
G7
G7/F
G7/D
15 15 16 15
13 12 12 12
G7/B
G7
10 8 10 9
7 8 7 5
G7/F
G7/D
G7/F
G7
3 3 4 3
1 0 0 0
3 3 4 3
7 6 7 5
FIGURE 77 G7 inversions on the middle four strings G7
G7/B 10fr
1314
G7/D 12fr
2314
G7/F 16fr
2314
G7/F 19fr
G7/D 7fr
2413
2413
G7/B 4fr
2314
23 4
FIGURE 78 G7 inversions on the bottom four strings G7
G7/D
G7/B
1312
2413
G7/F 9fr
5fr
2314
FIGURE 79 Cmaj7 inversions drill Cmaj7 Cmaj7/E Cmaj7/G
5 4 5 3
12 GUITAR DVD
8 5 9 7
G7 12fr
2311
G7/F 15fr
1312
Cmaj7/B
Cmaj7
12 9 10 10
13 12 14 14
17 16 17 15
13
Cmaj7/G
13 12 14 14
12 9 10 10
Cmaj7/B
8 5 9 7
Cmaj7
5 4 5 3
FIGURE 80 C7 inversions drill C7 C7/E C7/G
5 3 5 3
8 5 8 7
11 9 10 10
13 12 14 13
17 15 17 15
13 12 14 13
11 9 10 10
C7/B¨
FIGURE 81 Cm7 inversions drill Cm7 Cm7/E¨ Cm7/G
4 3 2 3
8 5 8 6
Cm7/B¨
11 8 10 10
13 12 13 13
FIGURE 82 Cm7b5 inversions drill Cm7¨5 Cm7¨5/E¨ Cm7¨5/G¨ Cm7¨5/B¨
4 3 4 3
7 5 8 6
6 3 5 3
5 4 4 3
5 4 6 3
13 12 13 13
8 5 8 7
Cm7/E¨
11 8 10 10
11 8 10 9
13 11 13 13
16 15 16 15
13 11 13 13
11 8 10 9
Cm7¨5
C7/E
Cm7/G
8 5 8 6
Cm7¨5/B¨ Cm7¨5/G¨ Cm7¨5/E¨
C7
Cm7
Cm7¨5
7 5 8 6
8 5 8 8
11 10 10 10
13 12 15 13
18 15 17 15
13 12 15 13
11 10 10 10
8 5 8 8
6 3 5 3
17 16 16 15
13 11 14 14
12 9 10 9
7 5 9 7
12 9 10 9
13 11 14 14
9 5 9 7
Cmaj7¨5
C7sus4/B¨ C7sus4/G
C7sus4/F
Cmaj7¨5/B Cmaj7¨5/G¨ Cmaj7¨5/E
12 9 10 11
13 13 14 14
17 16 18 15
13 13 14 14
12 9 10 11
7 5 9 7
Cmaj7#5 Cmaj7#5/B Cmaj7#5/G# Cmaj7#5/E
9 5 9 7
4 3 4 3
C7sus4
4 3 5 3
C7sus4/B¨
5 3 5 3
FIGURE 85 Cmaj7#5 inversions drill Cmaj7#5 Cmaj7#5/E Cmaj7#5/G# Cmaj7#5/B
16 15 17 15
Cm7/B¨
C7/G
FIGURE 84 Cmaj7b5 inversions drill Cmaj7¨5 Cmaj7¨5/E Cmaj7¨5/G¨ Cmaj7¨5/B
Cm7
C7/B¨
FIGURE 83 C7sus4 inversions drill C7sus4 C7sus4/F C7sus4/G
C7
C7sus4
Cmaj7¨5
5 4 4 3
Cmaj7#5
5 4 6 3
GUITAR DVD 13
FIGURE 86 C7b5 inversions drill C7¨5 C7¨5/E C7¨5/G¨
5 3 4 3
11 9 10 9
13 11 14 13
17 15 16 15
13 11 14 13
11 9 10 9
7 5 8 7
5 3 4 3
C7#5/B¨
C7#5/G
C7#5/E
C7#5
11 9 10 11
13 13 14 13
17 15 18 15
13 13 14 13
11 9 10 11
7 5 8 7
C7¨5/B¨
FIGURE 87 C7#5 inversions drill C7#5
C7#5/E
5 3 6 3
C7#5/G#
9 7 8 7
C7#5/B¨
FIGURE 88 Cm(maj7) inversions drill
C7¨5
C7¨5/B¨
C7#5
C7¨5/G
12 8 10 10
13 12 13 14
16 16 17 15
13 12 13 14
12 8 10 10
C7¨5/E
C7¨5
9 7 8 7
5 3 6 3
Cm(maj7) Cm(maj7)/E¨ Cm(maj7)/G Cm(maj7)/B Cm(maj7) Cm(maj7)/B Cm(maj7)/G Cm(maj7)/E¨ Cm(maj7)
4 4 5 3
8 5 9 6
8 5 9 6
4 4 5 3
SIXTH CHORD QUALITIES FIGURE 89
FIGURE 90
5 8 9 10
Med. Swing C6 B6 C6 B6
10
9
5
8
5 2 5 3
8 10 9 10
FIGURE 91 C6 inversions drill C6 C6/E C6/G
8 10 9 10
7 9 8 9
C6
C6/A
8 5 7 7
10 9 10 10
13 12 14 12
7 9 8 9
C6
B6 C6 8 10 9 10
Am7/C
Am7/E
Am7/G 5fr
3 2
14 GUITAR DVD
2314
2314
Am7 9fr
2314
8 10 9 10
C6/E
13 12 14 12
10 9 10 10
8 5 7 7
Am7/C 12fr
1312
C6/G
FIGURE 92 Am7 inversions on the middle four strings Am7
7 8 9 10 8 9 9 10
C6
C6/A
17 14 17 15
C6
14fr
2314
8 10 9 10
8 10 9 10
8 10 9 10
8 10 9 10
8 10 9 10
C6
5 2 5 3
FIGURE 93 C6 arpeggio
FIGURE 94 Am7 arpeggio
8
7
7
10
10
7
10
7
8
FIGURE 95 overlapping arpeggios
Am7
7
9
10
8
9
10
7
8
9
10
FIGURE 96 Am7 arpeggio and chord
5
5
7
8
5
5
7
9
10
5
8
7
5
9
8
5
5
8
10
8
7
5
9
8
8 10 9 10 X 8
8
7
7
10
10
9
8
10
10
FIGURE 99 C Dorian mode
10
7
8
10
8
10
FIGURE 101 Cm6 inversions drill
4 2 5 3
6
8
8 5 7 6
10 8 10 10
13 12 13 12
8
9
10
7
8
10
7
8
8
9
10
7
5
10
8
9
10
5
5 5 5 5 7 5
8
FIGURE 97 C6 arpeggio and chord
7
10
5
7
8
C6
7
5
FIGURE 98 Cm6
let ring
10
5
8
8
5 8 8 10
FIGURE 100 Cm6
let ring
6
10
8
16 14 17 15
10
8
7
10
13 12 13 12
10 8 10 10
8 5 7 6
3
5
2
4
4 2 5 3
GUITAR DVD 15
FIGURE 102 Cm6 inversions on the top four strings Cm6
Cm6/G
Cm6/E¨ 10fr
13fr
1312
Cm6/A 16fr
1214
2314
12 12 12 10
12 11 12 10
Cm6/G 7fr
1333
FIGURE 103 mutating chord qualities Cmaj7 C7
Cm6/A 19fr
1333
2314
Cm7
3
6
5
7
11 11 12 10
3
FIGURE 105 synonymous chords Cm6/A Cm6 Cm6/E¨ Cm6/G Am7¨5 Am7¨5/C Am7¨5/E¨ Am7¨5/G
3 4
2413
2314
5
7
5
6
Cm6/A Am7¨5
8fr
2314
Cmaj7
11 10 12 10
5fr
1214
Cm6
FIGURE 104 overlapping relative arpeggios Cm6
Cm6/E¨ 4fr
C7
Cm7
Cm6
3 1 4 2
3 1 3 2
3 1 3 1
3 1 2 1
Am7¨5
6
3
5
6
8
5
Cm6 Am7¨5/C
12fr
14fr
1324
2413
DIATONIC SEVENTH CHORD SCALES IN INVERSIONS FIGURE 106 root-position diatonic seventh chords in C major, middle four strings Fmaj7 G7 Cmaj7 Dm7 Em7
6 5 7 5
8 7 9 7
10 9 10 8
5 4 5 3
Am7
Bm7¨5
Cmaj7
12 10 12 10
13 12 14 12
15 14 15 14
17 16 17 15
FIGURE 107 first-inversion diatonic seventh chords in C major, middle four strings Cmaj7/E Dm7/F Em7/G Fmaj7/A G7/B Am7/C Bm7¨5/D Cmaj7/E
8 5 9 7
10 7 10 8
12 9 12 10
13 10 14 12
15 12 15 14
17 14 17 15
18 16 19 17
19 17 21 19
Bm7¨5/D Am7/C
6 4 7 5
5 2 5 3
FIGURE 108 second-inversion diatonic seventh chords in C major, middle four strings Cmaj7/G Dm7/A Em7/B Fmaj7/G G7/D Am7/E Bm7¨5/F Am7/E
13 10 12 12
15 12 14 14
17 14 15 15
12 9 10 10
16 GUITAR DVD
8v a
18 16 17 17
20 17 19 19
10 7 9 8
8 5 7 7
G7/D
6 4 5 5
G7/B (play in reverse order)
3 0 3 2
Fmaj7/C Em7/B (play in reverse order)
5 2 3 3
3 0 2 2
FIGURE 109 third-inversion diatonic seventh chords in C major, middle four strings
Dm7/C
Fmaj7/E
G7/F
Am7/G
Bm7¨5/A
Cmaj7/B
Dm7/C
Em7/D
Em7/D
3 2 3 3
5 4 5 5
6 5 7 7
8 7 9 8
10 9 10 10
12 10 12 12
13 12 14 14
15 14 15 15
17 16 17 17
Cmaj7/B
1 0 2 2
FIGURE 110 chord progression in C using diatonic seventh chord inversions G let ring
G7/F
C/E
G7/D
Cmaj7
10
8
7
9
8
8
7
9
7
8
5
5
5
To
6
4
5
3
5
4
5
FIGURE 111 root-position diationic seventh chords in G major, top four strings Gmaj7
Am7
Bm7
Cmaj7
7fr
1444
9fr
1423
D7
Em7
10fr
1423
12fr
1444
1324
Gmaj7
F#m7¨5 14fr
Gmaj7
16fr
1423
17fr
1333
1333
Em7
F#m7¨5 5fr
D7
4fr
1444
1333
1423
213
FIGURE 112 first-inversion diationic seventh chords in G major, top four strings Gmaj7/B
Am7/C
8fr
2413
Bm7/D
Cmaj7/E
10fr
1314
12fr
1314
D7/F#
13fr
2413
F#m7¨5/A Gmaj7/B
Em7/G 15fr
17fr
2314
19fr
1324
F#m7¨5/A Em7/G
8fr
1312
2413
D7/F#
7fr
1312
1324
Cmaj7/E Bm7/D
3fr
5fr
2314
2413
2 3
FIGURE 113 second-inversion diationic seventh chords in G major, top four strings Gmaj7/D
Am7/E
Bm7/F#
Cmaj7/G
D7/A
Em7/B
5fr
2
1324
1324
1114
7fr
F#m7¨5/C 8fr
1113
Gmaj7/D
10fr
1324
Am7/E
12fr
1214
1114
Cmaj7/G
Bm7/F# 13fr
2314
15fr
2314
D7/A
17fr
1114
19fr
1113
FIGURE 114 third-inversion diatonic seventh chords in G major, top four strings Gmaj7/F# Am7/G
Bm7/A 5fr
2311
1111
Cmaj7/B 7fr
1111
D7/C
8fr
2311
Em7/D 10fr
1311
F#m7¨5/E 12fr
1111
Gmaj7/F# Am7/G
12fr
2314
15fr
2311
Bm7/A 17fr
1 1o 1 1
Gmaj7/F# F#m7¨5/E Em7/D 19fr
1111
3fr
2311
2314
GUITAR DVD 17
HARMONIC MINOR DIATONIC SEVENTH CHORDS FIGURE 115 A harmonic minor diatonic seventh chords, close-position voicings on top four strings Am(maj7) Bm7¨5
4 5 5 7
5 6 7 9
Cmaj7#5
7 9 9 10
Dm7
E7
8 10 10 12
10 12 13 14
Fmaj7
13 15 16 18
16 17 17 19
G#o 7
12 13 14 15
Am((maj7)
Am(maj7) G#o 7
Fmaj7
4 5 5 7
1 3 4 6
0 1 2 3
FIGURE 116 root-position A harmonic minor diatonic seventh chords, raise-two voicings on top four strings Am(maj7) Bm7¨5 Cmaj7#5 Dm7
8 9 9 7
10 10 10 9
12 12 13 10
E7
8v a
13 13 14 12
16 15 16 14
FIGURE 117 Am(maj7) arpeggio
5
3
7
6
7
5
5
4
5
Fmaj7
G#o 7
17 17 17 15
19 18 19 18
Am((maj7) Am(maj7)G#o 7
20 21 21 19
8 9 9 7
7 6 7 6
Fmaj7
5 5 5 3
E7
Dm7
4 3 4 2
1 1 2 0
FIGURE 118 E harmonic minor scale
2
4
2
5
Em
4
4
5
5
5
4
5
4
2
5
4
2
5
4
2
1
0 0 0 2 2 0
2
FIGURE 119 E harmonic minor diatonic seventh chords, root-position raise-two voicings on top four strings Em(maj7)
3 4 4 2
F#m7¨5
Gmaj7(#5)
5 5 5 4
7 7 8 5
8 8 9 7
11 10 11 9
Am7
B7
Cmaj7
D# o 7
12 12 12 10
Em(maj7)
14 13 14 12
Em(maj7)
15 16 16 14
FIGURE 120 first-inversion E harmonic minor diatonic seventh chords on top four strings Em(maj7)/G
F#m7¨5/A
5fr
7fr
1413
1312
D# 7/F# o
18 GUITAR DVD
2314
Em(maj7)/G 5fr
1413
B7/D# 10fr
1314
17fr
1413
Am7/C
8fr
Em(maj7)/G
16fr
1324
Gmaj7(#5)/B
Cmaj7/E 12fr
2314
D# 7/F# o
Cmaj7/E
13fr
2413
B7/D#
4fr
1324
2413
13 4
D# o 7
3 4 4 2
2 1 2 1
MELODIC MINOR DIATONIC TRIADS AND SEVENTH CHORDS FIGURE 121 A melodic minor scale
scale degree: 1
2
2
b3
4
5
3
5
4
5
6 2
7 4
1 5
FIGURE 122 A harmonic minor scale
scale degree: 1
2
2
b3
4
5
4
5
3
5
b6 1
1 5
7 4
FIGURE 123 A melodic minor root-position diatonic triads on the top three strings Am
Bm
C+
D
E
5 7 7
7 9 9
0 1 2
2 3 4
4 5 5
G#o
Am
8 10 11
10 12 13
12 13 14
F#o
Bm
C+
D
E
14 15 16
16 17 17
17 19 19
19 21 21
8v a
FIGURE 124 A melodic minor first-inversions diatonic triads on the top three strings Am/C
Bm/D C+/E
5 5 5
7 7 7
8 9 9
D/F#
10 10 11
E/G#
F#o/A G#o/B Am/C
Bm/D
12 12 13
14 13 14
16 15 16
17 17 17
19 19 19
8v a
C+/E
20 21 21
Am/C
G#o/B
F#o /A E/G#
5 5 5
4 3 4
2 1 2
0 0 1
FIGURE 125 A melodic minor second-inversion diatonic triads on the top three strings Am/E Bm/F# C+/G# D/A
8 10 9
10 12 11
12 13 13
E/B
F#º/C G#º/D Am/E
G#º/D F#º/C E/B
D/A
C+/G#
14 15 14
16 17 16
17 19 17
19 21 19
8 10 9
7 9 7
5 7 5
4 5 4
2 3 2
0 1 1
8v a
FIGURE 126 symmetrical inversions C+
4 5 5
C+/E
8 9 9
C+/G#
8v a
12 13 13
C+
C+
16 17 17
4 5 5
C+/G#
G#+
0 1 1
0 1 1
C+
4 5 5
E+
G#+
8 9 9
12 13 12
8v a
C+
16 17 17
GUITAR DVD 19
INTERVALS IN MELODIC MINOR
FIGURE 127 E melodic minor scale
0
2
3
5
7
9
11
FIGURE 128 E melodic minor scale in fourths on the top two strings
12
let ring
5 5
7 7
8 9
10 10
let ring
21 20
3 4
5 5
9 8
11 10
12 12
14 13
16 15
17 17
19 19
20 21
0
2
3
5
7
9
11
0
2
4
6
8
9
11
12 12
14 14
15 16
17 17
19 19
5 5
4 3
2 1
0 0
8v a
12
14
15
17
19
20
12
14
16
18
21
21
0
let ring
5
7
8
5
7
9
8v a
10
12
14
16
17
19
11
13
14
16
17
19
20
5
4
2
0
21
5
4
2
1
0
FIGURE 132 E melodic minor in 10ths on the low E and G strings
0
2
4
6
8
9
11 12
14 16 18 20
21
0
2
3
5
7
9
11 12
14 15 17 19
20
16 17 19 20
22
8
7
5
4
2
7
14 16 18 19
21
7
6
4
2
0
20 GUITAR DVD
8v a
3
5
7
9
11 12 14 15
17 19 21
3
2
2
4
5
7
9
16 17 19
2
1
11 13 14
FIGURE 135 A melodic minor 10ths on the low E and G strings
8 10 12 14 9 10 12
FIGURE 133 E melodic minor in 10ths on the D and high E strings
FIGURE 134 E melodic minor in 10ths on the A and B strings
7 7
2 2
FIGURE 131 A melodic minor in sixths on the G and high E strings
0 0
0
8v a
FIGURE 130 E melodic minor in sixths on the G and high E strings
8va
0
FIGURE 129 A melodic minor scale in fourths on the top two strings let ring
5
7
9 11
13 14 16 17
19 21
5
4
2
1
5
7
8 10
12 14 16 17
19 20
5
4
2
0
FIGURE 136 A melodic minor scale 10ths on the A and B string
FIGURE 137 A melodic minor 10ths on the D and high E strings
1
3
5
7
9
10 12 13
15 17 19 21
22
0
2
3
5
7
9 11 12
14 15 17 19
21
8v a
8 10 12 14
16 17 19 20
22
8
7
5
4
2
7
14 16 18 19
21
7
6
4
2
0
9 10 12
FIGURE 138 A melodic minor open-voiced triads on the A, D and B strings Am
Bm 3
C+ 3
1 2
0
D 3
3 4
2
E 3
5
G#º
9
7
Am
3
10 9
3
9
7
5
3
7
6
3
F#º
10
11
13 12
C+
15
14
14
16
3
3
3
12 12
Bm
D
8v a
E 3
17 15
18
3
19 17
19
20 19
19
FIGURE 139 A melodic minor open-voiced triads on the D, G and high E strings
8
10
12
9 7
11 9
13 10
Am
Bm
C+
D
E
G#º
Am
16
17
19
20
16 14
17 16
19 18
21 19
8v a
14 14 12
F#º
FIGURE 140 A melodic minor diatonic seventh chords on the middle four strings Am(maj7) Bm7
Cmaj7#5
D7
E7
F#m7¨5
G#m7¨5
3 2 4 2
5 4 6 3
7 5 7 5
9 7 9 7
10 9 10 9
12 11 12 11
1 1 2 0
Am(maj7)
Bm7
Cmaj7#5
13 13 14 12
15 14 16 14
17 16 18 15
D7
E7
8v a
19 17 19 17
21 19 21 19
FIGURE 141 A melodic minor diatonic seventh chords on the top four strings Am(maj7)
Bm7
7fr
1342
Cmaj7#5 9fr
1423
D7
10fr
1423
E7 12fr
1324
F#m7b5 14fr
1324
G#m7b5
16fr
1333
Am(maj7) Am(maj7) G#m7b5
18fr
1333
19fr
1342
7fr
1342
F#m7b5
6fr
1333
E7
D7
4fr
1333
1324
234
GUITAR DVD 21
MELODIC MINOR’S MOST APPEALING USEFUL MODES
FIGURE 142 A melodic minor scale
2
4
3
5
2
5
4
5 4
7
5
5
7
4
7
FIGURE 143 D Lydian-dominant mode
5
5
4
7
6
4
7
5
7
FIGURE 144 vamp and improvised solo using D Lydian-dominant
3
Medium Swing = D7
10 11 10
10 11 10
10 11 10
10 11 10
10 11 10
10
10
10
10
10
9
12 11 12
10 12
3
3
9 10 12
9 11 13
10 12 14 10 12
10 12 13
9 10 12
9 11 12
13
10
13 12 10
9 10 12
9 11
D7
13 9
3 5 4 5
10
8 10 12 10
8
12 10 9
11 9
12 10
3 5 3 5
3 5 4 5
X
5
3
3 5 4 5
4
4
5 7
3
6
7
4
5
4 5 4
7
6
4
6
7
4
5
7
5
7
9
7
9
8
5
7
8
7
5
9
5
5
4
6
7
4
5
7
5
7
5
9
7
8
10
8
7
9
9
10
9
7
6
9
7
5
3
7
5
6
7
22 GUITAR DVD
4
7
5
7
5
6
7
5
4
7
6
4
7
5
5
3 5 4
5
3 5 4
3 5 4
3 5 4
4
5
3
7
7
5
3
7
8
7 5
7
4 0
4
7
FIGURE 145
5 5
5
5 7 5
A7
E melodic minor scale
6
4
7
5
5
4
7
4
6
5
FIGURE 146 A Lydian-dominant mode
5
7
6
9
7
6
9
7
8
9
9
5
7
9
7
8
10
FIGURE 147 A Lydian-dominant improvised line
7
0
9
6
8
9
7
10
8
8
7
9
8
8
5
2
5
2
4
2
4
5
2
7
9
3
3 5
5
7
6
8
9
5
4
7
7
8
5 0
9
8
6
9
7
0
8
7
9
5
8
7
5
8
7
9
11
12 11
3 3
1/2
7
7
7
1/2
11
4
1/2
7
9
8
6
let ring
4
6
4
6
3
4
7
5
4
5
4
7
5
4
1
2
2
0
1
2
4
3
1/2
8
2
5
7
7
5 4
1/2
4
6
4
7
5
5
4
GUITAR DVD 23
THE DIMINISHED WHOLE-TONE SCALE (A.K.A. THE SUPER-LOCRIAN MODE) FIGURE 148 G# Super-Locrian mode improvised melody
(G#7#9)
4
5
3
7
5
4
7
6
6
4
7
5
7
5
4
7
4
5
5
7
4
4
7
5
7 7 8
7
3
4
5
3
3
6
3
3
7
5
7
4
6
4
7
5
4
5
4
4
7
7
6
4
6 4
FIGURE 149 the “Hendrix” chord
FIGURE 150
G#7#9
12 11 10 11
E Super-Locrian
7
0
E Super-Locrion
0
7
24 GUITAR DVD
0
7
8
10
3
5
7
8
6
8
10
5
6
8
6
10
8
7
9
7
5
5
5
7
9 8
3
6
7
10
F melodic minor
6
10
8
10
8
6
8
7
5
7
10
0
7
9
10
10
8
FIGURE 151 Freely E7#9
E Super-Locrian mode improvised melody
8 7 6 7 0
7
8
6
10
8
8
11
9
8
10
9
7
5
8
6
8
3
9
0
13
17
E7#9
8 7 6 7
9
8
15
9
16
13
8 7 6 7
8 7 6 7
11
8
10
12
8
10
5
9
11
8
11
9
5 12
15
8
8
10
9
13
15
13
11
13
14
15
12
12
13
12
15
13
13
12
10
8
6
10
8
7
14
15
13
12
13
15
15
8v a
15
7
8v a
13
10
(swing feel)
5
9
7
3
3
7
10
9
10
0
12
15
14
12
10
11
10
13
12
10
3 3
3
3
7
8
10
9
7
5
8
6
6
10
5
8
8
7
10
7
9
5
10
8
9
8
11
E7#9
8 7 6 7
10
12
10
8
11
8 7 6 7
GUITAR DVD 25
UPPER-STRUCTURE HARMONY: STACKING THIRDS The Lydian 13 Sharp-11 Chord FIGURE 152 C major scale
scale degree:
1
3
chord tone:
3
9
10
3
5
11 1
12 3
13 5
2
3
4
5
6
7
8
2
3
5
2
4
5
3
5
2
5
1
5
FIGURE 153 stacking thirds in C major C
1
0 2 3
3
3
5
2
5
7
chord tone:
1
3
5
2
3
7
3 3
2
5
2
5
5
3
4
4
FIGURE 156 Cmaj13#11 arpeggio, 2nd position
2
3
5
3
26 GUITAR DVD
2
0 7
5
4
5
4
3
5
9
3
4
3
Cmaj9#11
2
4
5
4
2
Bm
3
2 3 4 2 3
5
3
4
D
4
5
5
2
5
4
3
2
7
7
5
3
2
3
FIGURE 158 Cmaj13#11
Cmaj9#11
5fr
7fr
3 4221
2
3 4 2 3
3
2
3
2
FIGURE 157 overlapping triads in C Lydian C Em G
2
3
4
3
2
7
#11
3
3
4
5
Cmaj9
3 3
3
3
3
3
FIGURE 155 Cmaj9#11 arpeggio run
3
9
4
5
1
0 0 2 3
4
FIGURE 154 Cmaj9#11
Cmaj7
21311
FIGURE 159 Cmaj13#11 arpeggio w/position shifts
3 3 3 3 3
3
3
3
7
8
10
7
9
10
9
10
12
9
3
11
12
FIGURE 160 Cmaj13#11 arpeggio, 4th position
3
4
5
7
12
5
7
7
11
11 14
12
11
12
9
12
9
7
9
10
4
5
2 3 4 2 3
3
2
5
4
2
5
4
3
5
2
5
3
5
3
2 3 2
10
7
3 4 2 3
8
3
/
3
2
5
7
7
let ring 3
freely
10
FIGURE 161 improvising in C Lydian over Cmaj9#11 Cmaj9#11
3
7
Cmaj9
2
3
5 5 /7
5
3
2
5
3
Cmaj9#11 5 7 8 7 2 1/2
3
5
4 5 4 2 4
2
5
4
2
0
2
4
5
4
5
2
4
5
7
5
7
8
7
7
5
7
8
3 4 2 3
The Lydian-dominant 13 Sharp-11 Chord FIGURE 162 C Lydian dominant mode
scale degree: 1
3
2
5
3
#4
5
6
b7
1
2
4
5
2
3
5
FIGURE 164 C9 arpeggio and chord
chord tone: 1
3
3
2
5
5
b7
3
FIGURE 163 G melodic minor scale
3
5
1
3
5
2
4
5
FIGURE 165 C9#11 arpeggio and chord
9
3
C9
2 3 2 3
chord tone: 1
3
3
2
5
5
b7
3
9
3
#11 2
C9#11
2 3 3 2 3
GUITAR DVD 27
FIGURE 166 overlapping building blocks of C9#11 C
2
3
E
o
5
2
Gm
3
5
C13#11 arpeggio
chord tone: 1
3
5
2
3
b7
9
5
#11 2
3
3
FIGURE 168
C13 chord
13 5
2
3
3
5
2
5
FIGURE 170 C13#11 arpeggio C13#11
6
2 5
3
6
3
2 5 2
3
3
5 2
3
X
3
3
3
3
2
3
3
2 X
5
3 2
3
3
28 GUITAR DVD
5 2
5
3
3
8
5
7
7
5 7 7 8
C9
X 3
C7
2 3 3 5
3 3 5 7
3 5 7 8
FIGURE 171 improvising with upper-structure arpeggios over a dominant ninth chord
3
*T 4 2 3 1 *Thumb
B¨maj7#5 Gm(maj7) Em7¨5
2
3
3
5
5fr
3 4221
let ring
3
3
C13#11
5fr
B¨maj7#5
let ring
C13#11
5 3 3 2 3
FIGURE 169 overlapping seventh chords in C Lydian-dominant C7 Em7¨5 Gm(maj7)
2
3
3
FIGURE 167 stacking thirds in C Lydian-dominant
3
3
5
B¨+
2
5
2
5
2
3
3
3 3 2 3
X X X X
3 X 3 X 2 X X
X X
3 3 2
X X
X X X X X X X X X X X X
X X X X X X X X X X X X
3
3 3 2 3
3 3 2
3 3 2
3
2
5
3
2
3
5
3 3 2 5 2 3
X
5
2
3
5
2
3
3
2
5
3
2
5
3
3
3
3
3
3 2
3 3 3 3 3 3
2
3
3
5
2
3
2
5
3
3
2 5
2
5
2
3
2
3
3
3
3
5
3
5
2
5
2
3
FIGURE 172 C13#11 arpeggio, 5th position
5
7
8
7
8
8
7
7
7
8
5
7
8
8
7
8
8
10 7 10
8
10
12
12
FIGURE 176 C13(9) C13(9)
3
10
7
10
8
7
7
7
8
11
10
7 10 7 10 7
7
7
8
8
8
10
10 7 10 7
8
FIGURE 175 C Lydian-dominant mode in two octaves
11
7
3
12
8
10
12
8
3
5
2
4
2
5
3
5
7
5
7
5
8
6
8
10
7
9
7
8
10
6
8
10
8
6
10
8
7
9
7
B¨13(9) B13(9)
C13(9)
Medium Fast Swing
10 10 9 8 8
7
7
8
10
FIGURE 177 improvising with C Lydian-dominant over C13(9)
8
3
FIGURE 174 C13#11 arpeggio, 9th position
7
3 3 3 3
7
3
3
10
5
7
FIGURE 173 C13#11 arpeggio, 7th position
10
10 10 9 8
10 10 9 9
10 10 9 8
8 8 7 6
9 9 8 7
8
8
8
6
7
/
10 10 9 8
10 10 9 8
8
8
7
9
10
7
8
10
7
9
7
8
10 10 / 11
10 8
7
10
8
9
7
8
7
10
9
10
7
9
10
7
8 10
7
8 10
7
9 11
8 10 11
8 10 12 8
11
10 8
7
9
7
8
7
10
9
7
10 8
10 10 9 8
10 10 9 8
10 10 9 8
8
8
8
GUITAR DVD 29
FIGURE 178 improvising with Bb Lydian-dominant over Bb13(9) B¨13(9)
8 8 7 6
6
8 8 7 6
8 8 7 6
6
6
5
6
4
8
8
6
4
8
6
5
7
5
8
6
5
8
7
5
8
6
8 8 7 6
8 8 7 6
6
6
The Dorian Minor-13 Chord FIGURE 179 building a Dm7 chord Dm
chord tone: 1
5
b3
3
1
2 3 5
7
b3
5
3
5
b7
1 2 3 5
5
7
5
FIGURE 180 the D Dorian mode Dm7
FIGURE 181 Dm9 arpeggio and chord
chord tone: 1
b3
3
5
5
b7
9
5
5
7
7 8 10
10
7 9 10
7
9 10
8 10
7 8 10
FIGURE 182 Dm11 arpeggio and chord Dm9
5 7 9
5 7 8
5 7
5 5 3 5
chord tone: 1
b3
3
5
5
b7
9
Dm11
11 3
5
5
7
3 5 5 3 5
FIGURE 183 D Dorian mode and Dm11 arpeggio D Dorian mode
5
7
3
5
4
7
5
7
5
6
Dm11 arpeggio
1
3
b3
5
3
5
b7
9
11 3
5
5
7
FIGURE 184 overlapping triads in D Dorian Dm
F
2 3 5
..
7fr 9fr
30 GUITAR DVD
..
5fr 7fr 10fr
F
3
Am
3
C
3
5
FIGURE 185 Dm11 arpeggio fretboard shapes 3fr 5fr
Dm
3 5 5
5 5 7
5 7 8
3
C
Am
.
3
7
3
7
FIGURE 186 Dm13 arpeggio and chord 7fr 10fr
chord tone: 1
5
b3
3
5
7
b7
5
9
5
5
5
7
11 3
13 7
5
5
Dm13
7 5 5 3 5
5
3
3 � =
FIGURE 187 improvising over Dm13 with the D Dorian mode Medium Swing
5
7
8
7
5
7
5
Dm13
5
7 5 5 3 5
5
8
6
5
7
7 5 5 3 5
7
5
5
6
5
8
7
8
1/2
9
12
10 12 13 12
10 12
12 10
12 10
9
12
7 5 5 3 5
7 5 5 3 5
Dm13
9
7
5
10
12
3
5
4
3
7
8
5
3
10
8
E¨m13
7 5 5 3 5
10
9
8 6 6 4 6
3
5
7
Dm13
7 5 5 3 5
5
3
10
3
7
5
5
13TH CHORDS IN THE KEY OF G FIGURE 188 upper-structure arpeggios and chord voicings in G Lydian
Gmaj13#11
10
9
12
9
10
11
12
9
10
11
12
9
10
Gmaj9
Gmaj9#11
Gmaj13#11
9 10 11 9 10
10 11 9 10
12 12 11 11 10
FIGURE 189 upper-structure arpeggios and chord voicings in G Lydian-dominant Freely G13
G13#11 arpeggio
12 10 10 9 10
10
9
12
10
10
9
10 12
9
10 12
9
12
9
10 12
10
12 11 12
9
10 12
12
Medium Swing G9
12 10
9
12 11
9
12
10
8
10
G9
10 10 10 10 9 9 10 10
10 10 9 10
10 10 9 10
10 12
9
11 12
9
10
FIGURE 190 D melodic minor scale
10 12
8
10 12
9
11 12
GUITAR DVD 31
DIATONIC NINTH CHORDS FIGURE 191 the I and ii ninth chords in the key of C Cmaj9 Dm9
FIGURE 192 Cmaj9 and Dm9 arpeggios Cmaj9
Dm9
5 5 3 5
3 4 2 3
3
2 5
4
3
4
5 2
5
FIGURE 193 viable diatonic ninth chords in the key of C I9 Cmaj9
ii9 Dm9
5 5 3 5
3 4 2 3
G9
IV9 Fmaj7
8 9 7 8
vi9 Am9
10 10 9 10
12 12 10 12
10
9
12
10
10
10
12
9
5
5
5
7 3
Fmaj9
3
2 5
3
4
4
5 2
3
8
Am9
10 10 9 10
3 7
Cmaj9
FIGURE 194 the IV9, V9 and vi9 chords in C
V9 G9
12 12 10 12
10
8 9 7 8
7 10
9
8
9
10 7
12
10
14
12
12
12
14
8
10
12
FIGURE 195 viable diatonic ninth chords in the key of G I Gmaj9
ii Am9
IV Cmaj9
V D9
vi Em9
10 11 9 10
12 12 10 12
3 4 2 3
5 5 4 5
7 7 5 7
FIGURE 196 relative minor and major chords in the keys of E minor and G Em
7 8 9
32 GUITAR DVD
Em7
10 12 12
10 12 12 14
G
Gmaj7
8v a
14 15 16 17
Em9
7 7 5 7
FIGURE 197 Gmaj9
10 11 9 10
Gmaj9
Em9 5fr
1341
5fr
21 34
SYMMETRICAL SCALES The Whole-half and Half-whole Diminished Scales FIGURE 198 C diminished seven arpeggio
chord tone: 1
b3
5
b5
6 5
7
8
FIGURE 199 C whole-half diminished scale
1 8
chord tone: 1
5
7
8
5
2
b3 4 b5 #5 4 6 7 7 8
5
6 5
FIGURE 200 using the whole-half scale over a diminished seventh chord C o7
4 2 4 3
5
7
8
6
4
7
5
7
8
10 11 10 8
7
7 7
1 8
7
5
4
7
10 9
7
6
8
6
8
7
7
5
4 2 4 3
5
FIGURE 201 the two modes of the C diminished scale C whole-half
D half-whole 4 5 7 8 7 8 10 8 7
5
7
8
6
7
7
8
FIGURE 202 D half-whole diminished scale on one string
b2
b3
3
#4
5
6
b7
1
8
10
11
13
14
16
17
19
scale degree: 1
7
10
7
9
10
10
9
7
10
8
17
16
14
7
13
11
10
8
7
FIGURE 203 soloing over D7#9 with the D half-whole scale D7#9
6 5 4 5
6 5 4 5
6 5 4 5
5
6 9
4
6
7
4
5 7
4
6
7
FIGURE 204 A half-whole scale on one string
4
5 7
5
4
7
6
4
7 5
4
7
6
4
2
14
8
6
5
8
D7#9
6 5 4 5
5
let ring
3
5
6
8
9
11
12
12
11
9
8
6
5
3
2
0
2
0
GUITAR DVD 33
FIGURE 205 A half-whole scale in thirds and fourths on the G and B strings
10 9
13 12
let ring
2 2
4 3
5 6
7 6
8 8
11 11
14 14
16 15
16 17
2 2
1 0
2 2
0
FIGURE 206 A half-whole scale diatonic triads on the top three strings A
C
F#m
E¨
Am
F#
8 10 9
9 11 11
0 2 2
2 4 3
3 5 5
5 7 6
6 8 8
let ring
E¨m
Cm
A
E¨m
C
12 14 14
14 16 15
15 17 17
8v a
11 13 12
0
The Augmented Scale FIGURE 207 A augmented arpeggio
chord tone: 1
3
#5
6
6
7
1 5
FIGURE 208 A augmented arpeggio with lower chromatic neighbors
let ring 6
6
7
6
0
7
5
6
5
FIGURE 209 A augmented scale, two notes per string, “mode 1”
5 8
4 7
3
6
2 5
1
2 5
4 1
5 2
5
2
6 3
7
4
6
5
5
4
6
5
6
5
7
5
7
6
8
7
9
8
4
8 5
8
9
7 8
6 7
5
6
5 6
4 5 4
0 2 2
5 5
8 6
1 5 5
4 6 6
5 9 9
8 10 10
9 13 13
12 14 14
0
FIGURE 212 A augmented scale in fourths and fifths on the top two strings
16 14
13 13
12 10
5 5
5 5
let ring
0
34 GUITAR DVD
9 9
6 5
12 10
13 13
16 14
17 17
9 9
8 5
4 2
1 1
4 2
6
Fmaj7no3
let ring
5
0
FIGURE 210 A augmented scale, two notes per string, “mode 2”
FIGURE 211 A augmented scale diatonic triads on the top three strings A Fmaj7no3 C# Amaj7no3 F C#maj7no3 A
6
12 17 17
FIGURE 213 A augmented scale triads on top four strings w/lowest note doubled one octave higher *A Fmaj7no3 C# Amaj7no3 F C#maj7no3 A Fmaj7no3 G#
let ring
5 2 2 2
0
9 6 6 6
12 9 9 7
8 5 5 5
8v a
13 10 10 10
16 13 13 11
20 17 17 15
A half-whole
21 18 18 18
5
6
8
5
7
5
8
6
2
E¨ half-whole
8 8
9
8
11
10 11
Moderate Fast Swing = A7#9
8
9
3
2
5
4
2
5
3
5
*tremolo pick top note of each chord
C half-whole
17 14 14 14
FIGURE 214 symmetrical modes of the half-whole scale
F# half-whole
11
11 13 14
11 12 14
11 12
14
FIGURE 215 soloing with the half-whole scale over symmetrical dominant-seven sharp-nine chords 3
13 12 11 12
13 12 11
13 12 11 12
13 12 11 12
12 11
14 13 11
13 12 11 12
12
13 13 12 12 11 11
13 12 11
12
A7#9
14 12 11
14 13 11
15 13
12
13 12 11
13 12 11
E¨7#9 8
11 10 8
11 9
8
11
10
7 6 5 6
13 12 10
13 12 11
12 13 15
F#7#9
13 12 11
12 14
3
3
9
10 9 8
9 10 12
8
8 10 11
7 6 5
9
6
7
9
7
C7#9 5
7
8
5
6
8
5
8
7
5
8
6
5
8
7
11 12 14
3
9 11
8 10 11
8
9
11
9
6
11 13 14
3
10 9 7 9
7 6 5 6
11 13 14
11
6
9
7
6
4 3 2 3
5
7
8
6
5
6
8
7
4 3 2 3
GUITAR DVD 35
PENTATONIC CHORDS
7 10 12 15 12
FIGURE 216 E minor pentatonic scale
2
0
2
4
3
5
7
7
10
9
7
8
9
10
15 12
14 12
14 12
14 12
15 12
FIGURE 217 E minor pentatonic chords (interval stacks) on the top four strings Em7add4
Emadd4
Em7add4
4fr
1134
E7sus4
7fr
2134
Em7
Em7add4
9fr
1131
12fr
1134
14fr
1111
1134
FIGURE 218 E minor pentatonic diatonic triads on the top three strings Em
Gsus2
Asus2
7fr
G/B
10fr
321
Asus2
12fr
311
311
211
2
211
Dsus2
4fr
412
10fr
312
412
311
Am7
Am7
2
1
0 5
3
3
5
7
5
8
9
14fr
412
Am Asus4 Am7add4
3
3
3
3
let ring
Asus4
Gsus2 12fr
FIGURE 220 A minor pentatonic triads on the top three strings Am7add4
311
Em
7fr
412
Am
Dsus2 5fr
FIGURE 219 same thing on the D, G and B strings Em Gsus2 Asus2 G/B
2
G/B
15fr
3
8 12
10
3
10 14
13
3
12 17
3
15
15
17
19
0
MAJOR ADD2 AND ADD9 CHORDS FIGURE 221 Aadd9
FIGURE 222
7 5 6 7
2
4
2
0 0 6 7
FIGURE 225 adding the second/ninth to standard barre chords E Eadd2 A Aadd2 D
241
Gadd2
234
G 3fr
4211
36 GUITAR DVD
Gadd2 3fr
134211
142
Aadd2 3fr
134211
132
134211
134211
134211
12431
3 3 0 2 3
0 3 0 0 3
G 3fr
3211
Dadd2 7fr
8fr
7fr
34
Eadd2
Cadd2 6fr
Dadd2 5fr
341
141
Bbadd2 5fr
D
Dadd2
Cadd2
0 2 4 2 0
2fr
231
FIGURE 224 Cadd9
5
5
FIGURE 223 Aadd2
Aadd2
Aadd2 5fr
12431
12fr
12431
17
“FRENCH HORN FIFTHS”
FIGURE 226 Aadd2 arpeggio
5
4
7
7
7
6
9
10
9
9
12
12
4 5
7 4
7 7
10 6
12 9
6 7
9 7
9 9
12
9 10
12 12
12 12
9 10
FIGURE 227 Aadd9 arpeggio played in “French horn fifths” double stops
9
17 14
10
9
6
12 9
10 11
9
9 9
6 7
7
7
4
9 7
7
5
7 4
7 7
4 5
FIGURE 229 minor “French horn fifths”
FIGURE 228 Am(add2)
0 1 4 2 0
3 5
7 3
7 7
9 7
7
10
9 9
8 10
9
10
12 17 12 13
12 12
8 10
7 5
FIGURE 231 popular minor add2 voicings Dm(add2) Em(add2)
FIGURE 230 Dm(add2)
5 7
5
5 4
5
5 7
7
7 3
2 2
3 5
FIGURE 232 Am(add2)
6fr
5fr
32
0 6 7 0
4
14
31
BORROWING CHORDS FROM THE PARALLEL MINOR KEY FIGURE 233 borrowing the iv chord from the parallel minor key I C
5 5 5 3
5 5 5 3
V G
3 3 4 5 5 3
3 3 4 5 5 3
IV F
1 1 2 3 3 1
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
1 1 2 3 3 1
FIGURE 234 borrowing the bVI chord from the parallel minor key IV I F C
iv bor. Fm
1 1 2 3 3 1
1
1 1 1 3 3 1
1 1 2 3 3 1
1 1 1 3 3 1
¨VI bor. A¨
1
I C
4 4 5 6 6 4
5 5 5 3
4
4 4 5 6 6 4
I C
1 1 1 4
5 5 5 3
GUITAR DVD 37
FIGURE 235 I F
X X X X
10 10 10 8
10 10 10 8
10 10 10 8
10 10 10 8
V7 C7
3 5 3 5 3
5 3
3 5 3 5 3
I F
iii Am
5 5 5 7 7 5
5 5 5
vii 7/ii F#o 7
X X X X X X
5
7 5
5 6 5 7 8
5 6 5 7 8
8
*
ii Gm
10 8 10 9
10 8 10 9
9
3 3 3 5 5 3
*D7, the V7/ii, may be substituted here
I F
V6 C/E
vi Dm
6 5 7 8
5 5 5 7
6 7 7 5
6 7 7 5
II7/V G7
3 3 4 3 5 3
3 3 4 3 5 3
3 3 3 5 5 3
3 5 3 5 3
3 5 3 5 3
3 3 3 5 5 3
iv bor. B¨m
3 3 3 5 5 3
3
V7 C7
4 4 4 6 6 4
ii Gm
5 5 5 7 7 5
o
¨iii A¨m
6 6 6 8 8 6
6 6 6 8 8 6
I F
6 5 7 8
DIMINISHED SEVEN CHORD RESOLUTIONS The Leading-tone Diminished Seven Resolution FIGURE 236 leading-tone resolution to a major chord Bo 7 C
1 3 1 3 2
FIGURE 237 mutating from a half-diminished seven to a fully diminished seven Bm7¨5 Bo 7 C
0 1 0 2 3
3 2 3 2
3 1 3 2
1 0 2 3
FIGURE 238 symmetrical diminished seven voicings on the middle four strings Bo 7
Do 7
A¨o 7
Fo 7 4fr
2314
2314
7fr
Bo 7 10fr
2314
Do 7 13fr
2314
15fr
2314
2314
FIGURE 239 symmetrical diminished seven voicings on the top four strings Do 7
Fo 7
Bo 7
A¨o 7 6fr
3 4
1324
Do 7 9fr
1324
Fo 7 12fr
1324
15fr
1324
1324
FIGURE 240 using the diminished seven chord as a “pivot” chord for modulating C Do 7 E¨ Fo 7 G¨ G#o 7 A Bo 7 C Bo 7 A
5 5 5 3
38 GUITAR DVD
6 4 6 5
8 8 8 6
9 7 9 8
11 11 11 9
12 10 12 11
14 14 14 12
15 13 15 14
G# 7 F#
17 17 17 15
15 13 15 14
14 14 14 12
o
12 10 12 11
11 11 11 9
Fo 7
E¨
Do 7
C
9 7 9 8
8 8 8 6
6 4 6 5
5 5 5 3
The Common-tone Diminished Seven Resolution FIGURE 241 the common-tone diminished seven resolution C C o7 C
Co 7
8 9 10 10 8
7 8 7
8 9 10 10 8
5 5 5 3
C
4 2 4 3
5 5 5 3
8
FIGURE 242 bluesy common-tone diminished seven resolution to a parallel dominant seven chord B7 Bº7
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
10 9 10 9
11 10 11 9
109
11 11 11 11 11 11 11 11 11 11 11 11 10 10 10 10 10 10 10 10 10 10 10 10 11 11 11 11 11 11 11 11 11 11 11 11 9 9 9 9 9 9 9 9 9 9 9 9
109
B7
CLASSICAL HARMONIC TEXTURES AND “TRICKS” FIGURE 243 J.S. Bach’s “Bourrée (from Suite #1 in E minor), first part Moderately q = ca. 138
(Em/G) (B7/F#)
(Em)
fingerstyle
0
2
3
3
2 1 2
0 3
2
(G)
0 3 3
(Em/G)
0 3 2
(Am6)
(Am7)
(B)
2
0
4 2
2
2
4
2 1 1
4
2
0
2 4 1
(G)
0
2
0
0
0
3
1
2 4 2
0
2
1
2
0
2
3
(D7/F#)
1
(Em/G)
0
2
3
2
(Baug)(B)
0
(Em)
4
1
(Am6)
0
4 1
(F#m6)
(Am7)
0
(B)
1
(G)
0 3 3
(Em)
4
2
4
0 2
(F#m6)
0
2
4
3
2 1 1
2
(Em/G)(B/F#) (Em)
0
2
3
2
3
1
3
2 1 1
0 3
(Am7/C)
(D)
2
0
3
4 5
5
1 2
1 2
2
(Em)
(D7/F#)
0
0
(Am6)
(B)
2
0
4
0
2
1
4 1
0
3
1
2 4 2
1
(Am6)
0
2
0 1
G
0 0 2 3 1 2
GUITAR DVD 39
FIGURE 244 E melodic minor scale, traditional
ascending form scale degree: 1
2
2
b3 4
0
4
2
5
6
7
0
2
4
*descending form
ascending
1 0
1 0
b7 b6
5
3
0
1
4
b3
2
0
2
1
4
2
descending
7
9
7
10
9
8
11
9
9
7
10
9
7
10
9
7
*identical to E natural minor
FIGURE 245 “Bourrée,” second part (D/F#) (D7)
0 3
(G)
(G/B)
1
2 0
2 4 2
3
(G/B)
(C)
3
0
(E7/G#)
3
0
0
3
2
3
3
4 1
3
3
(E)
(B9/D)
9
7
4 3 2
1
0
7
(Am)
1
0
4
4
4 1
5
2
(D/F#)
0
4
3
4 1
2
0
0 2
0 2
40 GUITAR DVD
3 2 3
4 2 3
2 1
1 1
3 3
1
4 0
2
1 2
2
3
1
1 2
3
2 1 2
0
2 4 1
(F#m)
3
6
3 1 1
4
(B/D#)
2 1 1
6
3
3
3 4 3 4
0
4 1
0 0 2
2
(D/F#) (D)
0 2
2
2
1
3
2
3
1
(C) (C6/B) (F#m/A) (F#m7)
7
0
2 1
4
2
1
2
4
6
2
1
2
1
3
2
0
2
0
0
(B)
3
2
4
7 1 1
(B)
7
1
(E/G#)
0
5
3
2
0
4 1
2
(Em) (Am6)
0 4
2 1
1
2
2
3 1
(F#)
3 4 3
2
0
1 2
3
2
0
2
0
(Am)
1
3 1
3
3
0
1
(G/B) (G7)
3
2
(C/E)
0
3
3
1
1
(Am/E) (E)
0
2
0 3
(Am)
(F#7/A#) (Bm) (Em6)
0
(Gaug)
3
7
(D) (D9/C)
3
3 1
1
(D)
5
5
5
5
0
4 3 2
1
5
(E)
(A/C#) (A7)
3
(Am) (A/C#)
3
4
3
4 3
4 1
2
0
3
2
3
1
3
(C) (E7/G#) (Am) (Bm7/D)
3
0
(G)
0
2
(B)
2
5
2 1 1
4
(Am6)
4
4 0
2
2 0
3
1
12
1
2
3
2
4 1
3
2
(Em/B) (B)
1 2
0
0
4
5 2
3
4 1
4 5 4 34 3
(Em)
2
2
2
0 2
0
4 3
0
FIGURE 246 “The Star Spangled Banner” Moderately q = 100 (F)
*w/pick
10 X 8
1
7 X 5
4 6 5 7 8
(B¨/D)
7 X 5
16
6 8 7
(B¨)
Gm
7 8
6 5 7
6 3 X 5
6
10 X 8
8 X 6
10 6 X 8
8 10 8 10
7 X 5
Aº/C
8 6 X 7
10 X 10 8
11 10 X 10
B¨/D
B¨
Eº/G
F
7 8
5 3 5
6 5 7 8
11 8 X 10
D/F#
10 10 7 X 9
Gm
8
11 10 X 10
7 X 5
(B¨)
8 X 6
6 6 7
3 3 5
Bº/D
Cm/E¨ Eº
B¨/F
10 12 10 12
8 8 8
6 6 7 8 8 0
5
8 8
5 3 5 3
B¨7/A¨ 13 11 13
E¨/G
E¨m6/G¨
11 12
13 11
B¨/F
10 11 10
B¨/D
B¨
6 6 7
6 6 7 8
8
B¨
10 X 10 8
10 X 10 8
10 X 10 8
Aº/C
B¨/D
11 10 X 10
13 11 X 12
B¨
F/A
10 X 10 8
8 6 8 7
Eº/G
F
11 9 X 10
10 10 10 8
F7/A
B¨
Cm7
B¨/D
6 8 7
6 6 7 8
6 4 5
6 6 7
F
F7/E¨
*
10 10 10 8 0
6 8
6
E¨/F
F7
11 8 10
8 10 8
let ring
10 X 8
11 10 X 10
10 X 10 8
F9/E¨
10
5
8 8
E¨
E¨/B¨
G/B
8 8
8 8 8
8 7 9
B¨/D
Aº/E¨
B¨/F
F7
6 6 7
8 10 8
10 11 10
11 10 10
B¨
8
(B¨/F)
Aº/C B¨
13 11 X 12
*pause and hold
23
C7
6 3 X 5
F9/E¨
5 6
8
11 10 X 10
9 11 8
F
(B¨/D)
B¨
8 8 8 10
Aº/C B¨/D
2.
F/A
6 6 7
B¨
(F)
Cm 20
F/A
F7/A
8
12
8 X 6
B¨
*This arrangement may be played fingerstyle or w/pick and fingers. For a sparser texture, omit the inner notes of some of the chords, such as those in C #/E# (bar 2).
F
1.
(B¨)
0 6 6 7 8 8 6
GUITAR DVD 41
FIGURE 247 from Beethoven’s “Symphony No. 7 in A Major, III” (originally for orchestra) Moderately Slow
Am
E/G#
fingerstyle
5 5
5 5
5 5
5 4
5 4
5
5
5
4
4
C
E5
E5/F#
E/G# Am
C/G
5 4
5 4
5 4
5 5
5 5
5 5
5 5
0
2
4
5
5
5
5
Am
Am
Bm
Bm6 A
2
3 5 5
3
B
8 9
8 9
10 9
7 7 8
7 7 8
7 7
7 7
9 7
5 5 6
5 5 5
5 5
5 5
5 5
8
8
8
7
7
7
7
7
5
5
5
5
5
3 3 4
3
E/G#
Fadd9/G G
3 5 5
C6
G
Am
E5
3
3
5 4
5 5
5 4
4
5
0
3 3 4
3 5 5 3
B5/F# E/G# Am
4
4 5 4
5 5 5
2
4
5
3 1 2
3
C
2
THE NEOPOLITAN TRIAD FIGURE 248 introduction from Beethoven’s “Moonlight Sonata” (originally for piano) 6
C#minor: i C#m
VI A
i 42 C#m/B
fingerstyle let ring throughout
IV6 D/F#
V7 G#7
i 64 Vsus V7 C#m/G# G#sus4 G#7
2
1
0
2
1
0
0
2
1
1
2
0
1
4
2
0
1
2
0
0
2
1
2
1
0
2
0
2
2
2
2
0
3
2
0
2
3
2
2
5
6
2
7
6
2 4
2
1
2
0 1
6 4
0
2
1
0
2
V7 B7
I E/B
5
6
6
4
5
4
E major: ii iv F#m
i C#m
(beginning of first theme)
1
V 65 G#7/B#
C#minor: i C#m
5
4
FIGURE 249 “Moonlight Sonata” first theme i C#m
6
1
0
2
2
1
0
1
2
0
1
2
0
4
1
4
2
1
4
2
1
2
4
1
2
4
1
3
2
0
1
0
2
4
2
2
2
2
2
6 4 3
E minor: i Em
2
2
C major: V G7/D
0
1
0
1
0
0
4 2
2
2
4
4
4
2
0
0
1
0
0
1
0
0
1
0
0
0 2
0
0
0
0
0
0
0
0
0
0
0
0
0 0
1
0
0
1
0
0
1
0
0
6 4 2
viiº7 iiØ C#m7¨5/B A#º7
B minor: I C
1
6
i Bm
6
ii 43 ii 42 i 64 C#m7¨5/E C#m7¨5/G Bm/F#
Vsus F#sus4
V7 F#7
i Bm
0
1
0
3
42 GUITAR DVD
0 2
2
0
0 1
2
0
0
2
0
4 2
4
3
4
4
3
5 0
4
2
2 3
4
2
4 2
4
3
4
4
3
4 2
4
2
2
3
2
5 7
4
4 5
4
4 4 4 5 7
0
1
THE AUGMENTED-SIXTH CHORD FIGURE 250 contrary motion chromatic approach to the octave (A¨6) (A¨7) (G)
Cm G/B Cm G/B Cm G A¨7
(A¨7/G¨) (G)
FIGURE 251 from Beethoven’s “Symphony no. 9, I” (originally for orchestra)
3
4
5
6
5
4
4
3
2
3
3 3 1
1
4
3
3
1
1 3
4
2
3
1
4
2
3 3 4 5 5 3
5 4
3
4
THE DECEPTIVE CADENCE FIGURE 252 augmenting the sixth interval A¨6
A¨(#6)
I G
G
5 4
4 5
4
4
3
V D
V7/iii B7
IV C
10 10 11 12
11 10 11 9
12
7
10 9 10
7 5
8
I G
V7 D7
I G
10 7
10 8 0 12 14
8 7
7
9
V7/ii E7
I6 G/B
12 10
7
ii 6 Am/C
V6 D/F#
5 3
FIGURE 253 from Beethoven’s Sonata No. 8 (“Pathetique”), II
9 7
9
V D7
8 8
7 7 5
10 8
ii7 Am7
V6/V A/C#
8v a
10 10 7
7 5
7 5
vi Em
15 12
17 17 14
14
9
16
iiº bor. Aº/G
I G
7
7
V6 D/F#
5
8
5 4 5
7
5
5
4
5
3 3 4
3
3
EVOLVING AND MUTATING PROGRESSIONS FIGURE 254 Chopin’s “Prelude in E Minor,” first part (left-hand piano part arranged for guitar) Slowly
Em/G
B7sus4/F#
B7/F#
F7
F6
Fm6
E7
3 1 3
3 1 2
Em7
Em6
3 0 2
2 0 2
5 4 5
5 4 5
C/E
5 4 5
5 4 5
5 4 5
5 4 5
5 4 5
5 4 5
5 2 4
5 2 4
5 2 4
Am6/E
5 2 4
4 4 4
4 4 4
4 4 4
D#º7
4 4 4
4 2 3
4 2 3
4 2 3
4 2 3
3 2 3
3 2 3
3 1 3
D7
3 1 2
3 1 2
3 1 2
Dm7
3 0 2
2 0 2
Dm6
5 5 7
5 5 7
5 5 7
Cmaj7
C6
4 2 3
2 2 3
5 5 7
5 4 7
5 4 7
5 4 7
5 4 7
5 4 7
5 4 7
5 4 7
5 4 7
5 4 6
B7sus4 B7
5 4 6
5 4 6
5 4 6
5 4 5
C6
5 4 5
5 4 5
5 4 5
5 4 5
5 4 5
B7
5 4 5
5 4 5
5 3 5
5 3 5
C6
5 3 5
B7
4 2 3
2 2 3
2 2 3
2 2 3
2 2 3
2 2 3
2 2 2
2 2 2
2 1 2
2 1 2
2 2 3
2 2 3
2 2 3
2 2 3
2 1 2
2 1 2
2 1 2
2 1 2
2 2 3
2 2 3
2 2 3
2 2 3
5 3 5
4 3 5
4 3 5
4 3 5
4 3 5
2 1 2
GUITAR DVD 43
FIGURE 255 Chopin’s “Prelude in E Minor,” second part Em/G
F#m7
F7
Fm7
Fm6
E7
Em7
Em6
C#º7
C6
3 2 4
2 2 3
5 4 5
5 4 5
5 4 5
5 4 5
µ(B) Aº7
5 4 5
5 4 5
5 4 5
5 2 4
Am
Gmaj7#5
5 7 5 7
5 7 5 7
C5
2 4 4 5
5 4 5
5 4 5
C7
5 4 5
5 5 7
C6
5 3
5 2 4
Em/G 5 7 5 7
2
5 4 5
5 3
5 3
5 3
3
3
3
3
2 2 3
2 2 3
5 2 4
5 2 4
4 2 3
Am6
4 2 3
Bsus4
4 2 3
4 2 3
4 1 3
C6
4 1 3
3 1 3
3 1 3
3 1 2
Bsus4
3 1 2
3 1 2
7 5 7
C6
7 5 7
6 5 7
6 5 7
Bsus4
3 2 4
B
2 2 3
B7
0
5 4 7
5 5 7
4 2 2
Esus4/B E/B
4 2 2
2 2 3
2 2 3
4 2 2
Em/B
4 2 2
4 2 2
4 2 2
2 2 3
C/B¨
2 2 2
3 1 2
2 2 2
1 2 2
1 2 2
0 2 2
0 2 2
0 2 2
2 2 3
2 2 3
4 2 2
4 2 2
Bsus4
1 0 2 1
0 2 2
2 2 3
4 2 2
4 2 2
4 1 2
4 1 2
B
Em
5 4 4 2
4 4 4 2
0 0 0 2 2 0
2 1 2
2 1 2
BLUES HARMONY The Mixolydian/Dominant Seven Connection FIGURE 256 C Mixolydian mode
8
10
7
8
7
10
C7 arpeggio
8
10
7
8
C7
3 5 3 5 3
8
10
The 12-bar Blues Progression FIGURE 257 basic I-IV-V blues progression in C
1
I C7
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
V G7
8
IV F7
repeat previous bar
IV F7
8 10 8 10 8
8 10 8 10 8
8 10 8 10 8
8 10 8 10 8
I C7
10 12 10 12 10
10 12 10 12 10
10 12 10 12 10
10 12 10 12 10
8 10 8 10 8
8 10 8 10 8
8 10 8 10 8
8 10 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
V G7
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
8 8 9 8 10 8
(beginning of next 12-bar chorus)
turnaround
44 GUITAR DVD
I C7
10 12 10 12 10
10 12 10 12 10
10 12 10 12 10
10 12 10 12 10
I C7
1
8 8 9 8 10 8
FIGURE 258 the “quick change” (to the IV chord) in a C blues (first four bars) I IV I C7 F7 C7
9 8
9 8
9 8
9 8
9 8
8
8 7 8
9 8
8
8 7 8
9 8
8
8 7 8
9 8
8
8 7 8
8
8
8
8
FIGURE 259 basic 12-bar blues progression in C with the “quick change” I IV I C7 F7 C7 1
I C7
9 8
9 8
9 8
9 8
8
8
8
8
9 8
9 8
9 8
9 8
8
8
8
8
8 7 8
8 7 8
8 7 8
V G7
7
8 7 8
IV F7
9 8
9 8
9 8
9 8
8
8
8
8
IV F7
8 7 8
I C7
10 9 10
10 9 10
10 9 10
10 9 10
8 7 8
8 7 8
8 7 8
8 7 8
8 7 8
9 8
9 8
9 8
9 8
8
8
8
8
8 7 8
8 7 8
V (turnaround) G7
I (next chorus) C7
10 9 10
10 9 10
10 9 10
10 9 10
9 8 8
Blues Turnarounds FIGURE 260 descending blues turnaround in C (last two bars of progression using 10ths) Shuffle Feel
= 3
(same feel)
C7 µ(C7/B¨)(F/A)
(Fm/A¨)
(C/G) A¨7 G7
8 8 9 8 10 8
8
8
8
8
8
8
8
8
8
7
7
6
6
5
11 10 11
10 9 10
(same feel) C7 C9/E
9 8 10 8
F
F#º7
8 7 8 7
8 7 8 7
10 10 10 10 10 10 8 8 10 10 10 10 8 8 9 9
(same feel) A5 A
C/G A¨7 G7
8 9 10 10
5 4
4 3
4
3
(Fm/C)
(C)
11 12
11 12
8
10 11
10 11
9 10
A¨7 G7
9 10
8 9
11 10 12
10 9 10
= 3
Bº
Cº
5 5 6
5 5 6
7 6 7
7 6 7
8 7 8
2 0
5
5
5
5
5
5
5
5
5
4
4
3
3
2
87 8
7 6 7
FIGURE 265 descending variation of previous turnaround A7
8 7 8
µ(A) (A7) (D) (Dm) (A/E) F7 E9
F7 E7
7 5
(Cº7)
Shuffle Feel
FIGURE 264 ascending turnaround in A
µ(C)
FIGURE 263 Robert Johnson-style turnaround in A
FIGURE 262
FIGURE 261 descending turnaround in C, thirds
9 8 9
8 7 8
7 6 7
(same feel) A7
Cº Bº A µ(E7)
5 5 6 5 7 5
9 8 9
9 8 9
8 7 8
8 7 8
7 6 7
7 6 7
5 5 6
5
6
7
GUITAR DVD 45
FIGURE 266 contrary motion ending for a blues progression in A A5 µ(A7) (D) (F7) (E) B¨7 A7
(same feel)
5 4
7 5
5 4
4 5
4 5
3 6
3 6
6 6 7 6 8 6
7
5 5 6 5 7 5
FIGURE 268 contrary motion ending in A µ(A) (A7) (D) (same feel)
5
3
3
4
4
0
0
5
4
4
3
3
2
2
5
5
4
4
3
3
2
Shuffle = I C7 Dm7
IV F7
9 9
10 10
11 10
12 10
8
10
11
12
Gm7
G#º7
F/A
7
7
6
6
5
5
5
6
6
7
10 8
11 10
12 10
13 10
10
11
12
V G7
4 3
IV F7
Am7 A#º7 G/B
4
4
B¨7
A7
6 6 7 6 8 6
5 5 6 5 7 5
7
6
6
5
5
5
6
6
7
5
5 7 6 7
6
alternate ending (substitute for prev. bar)
µ(E)
G7
G#7
3
3 3 4 3 5 3
5 7
4 4 5 4 6 4
A7
5 5 6 5 7 5
Gm7
D#º7
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 6
5 7 5 7 6
G#º7
F/A
10 8
11 10
12 10
13 10
8
10
11
12
Gm7
3
G#º7
10 8
11 10
12 10
13 10
10
11
12
6 5
7 5
5
6
7
4 3
5 3
3
4
5
9 8 8
D#º7
C/E
10 10
11 10
12 10
10
11
12
D#º7
C/E
Dm7
8
5 5
3 3
9 8
9 8
I C7
Gm7 G#º7 F/A
Dm7
I C7
F/A
5 7 5 7 6
I C7
8
46 GUITAR DVD
0
7
1
3
2 1
3
Shuffle = D7
8
E7
FIGURE 270 the sharp-four diminished chord substitution in a 12-bar blues in A
F7
(E)
IV F7
C/E
D#º7
hybrid picking
FIGURE 271 “walkin’ bass” blues in C 3
5
5
µ(A)(A7/G)(F#º7) (Dm6/F)(A/E)
2
(same feel)
(F7/E¨)
FIGURE 269 descending sixths turnaround in A
FIGURE 267 contrary motion turnaround in A µ(A) (A7) (D) (F7/E¨) (E)
10 10
11 10
10
11
A7
5 7 5 7 6
5 5 6 5 7 5
12 10
5 5 6 5 7 5
C7
Dm7
9 8
V G7
10 10
11 10
12 10
10
11
12
3
10 10
11 10
12 10
10
11
12
Dm7
D#º7
C/E
10 10
11 10
12 10
10
11
12
turnaround
Dm7 D#º7 C/E
5 5 6 5 7 5
8
C/E
C7
9 8
D#º7
8
12
5 5 6 5 7 5
8
3
(bar 1 of next chorus)
Am7 A#º7 G/B
4 3
5 5
6 5
7 5
5
6
7
I C
98 8
FIGURE 272 slow blues progression in G Slow
I G7
1
3 3
3 3 4 3 5 3
3 4
3 5 3
I G7
4
3 3 4 3 5 3
3 3 4 3 5 3
5 3
I G7
I 3 3 4 3 5 3
X X X X X X
X X X X X X
3 3
3 3 4 3 5 3
3 4
3 5 3
3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 3 2 3
IV C9
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
7 7 7 7 9 7
7 7 7 7 9 7
3 3 3 2 3
¨iii B¨m7
3 3 3 2 3
X X X X X
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
X X X X X
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
I G7
3 3 4 3 5 3
ii Am7
6 6 6 6 8 6
3 3 4 3 5 3
3
5 5 5 5 7 5
5 5 5 5 7 5
4
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 3 3 2 3
3 4 5 5 3
3 4 5 5 3
3 3
3 4
33 32 3
5 5 5 5 7 5
3 3 4 3 5 3
iv Cm
5 5 5 5 7 5
3 3 4 3 5 3
4 4 5 4 6 5
4 4 5 4 6 5
4 4 5 4 6 5
3 3 3 2 3
3 3 3 2 3
3 4 5 5 3
3 4 5 5 3
3 4 5 5 3
3 4 5 5 3
4 4 5 4 6 5
3 4 5 5 3
FIGURE 273 optional substitute chord voicings for bars 9 and 10 of previous example
V+ D+
3 3 4 3 5 3
3 5 3
3 3 4 3 5 3
5 5 5 5 7 5
¨II A¨7
6 6 6 6 8 6
I G7
3 3 3 2 3
iii Bm7
IV C9
3 3 4 3 5 3
3 3 4 3 5 3
5 5 5 5 7 5
turnaround
11
3 3 4 3 5 3
5 5 5 5 7 5
I G7
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
ii Am7
7
IV C9
substitute for Am7
substitute for Cm
Am7/D
Cm/Eb
5fr
4fr
11111
4231
3 3 4 5
5
MINOR BLUES PROGRESSIONS FIGURE 274 minor blues progression in B minor Moderately i Bm
1
7 7 7 9 9 7
7 7 7 9 9 7
X X X X X X
7 7 7 9 9 7
i Bm
X X X X X X
()
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
7
7 7 7 9 9 7
X X X X X X
7 7 7 9 9 7
7 7 7 9 9 7
X X X X X X
iv Em
7 7 7 9 9 7
VImaj7 Gmaj7
7 8 9 9 7
7 8 9 9 7
7 8 9 9 7
7 8 9 9 7
continue funky strumming simile
(repeat previous bar)
3 4 4
3 4 4
3 4 4
3 4 4
3
3
3
3
Vsus4 F#sus4
2 2 4 4 4 2
V F#
2 2 4 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
i Bm
turnaround
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
V F#
2 2 3 4 4 2
2 2 3 4 4 2
GUITAR DVD 47
FIGURE 275 alternative/substitute voicings for previous minor blues progression (use for turnaround)
Bm7
Em7
Gmaj7
7fr
7fr
2 3333
F#sus4 7fr
1 243
F# 9fr
43111
F#7#9 9fr
1334
8fr
1333
2134
FIGURE 276 Led Zeppelin-style slow minor blues progression i i *iv Cm Cm Fm 1 ad lib rhythm
3 4 5 5 3
3 4 5 5 3
v Gm
VI A¨
iv Fm
4 4 5 6 6 4
1 1 1 3 3 1
v
3 3 3 5 5 3
1 3 1 4 1 5 3 5 3 3 1 *the “quick change to the minor four chord”
i Cm
7
iv Fm
i V i III¨7 Cm G7 Cm E¨7
3 4 5 5 3
3 3 4 3 5 3
1 1 1 3 3 1
II7 D7
¨IImaj7 D¨maj7
3 4 5 5 3
6 8 6 8 6
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
4 6 5 6 4
4 6 5 6 4
4 6 5 6 4
4 6 5 6 4
JAZZ HARMONY FIGURE 277 ii-V-I (two-five-one) progression in C
ii Dm7
(bass guitar plays missing root notes throughout)
V G7
I Cmaj7
3 4 3 5 3
5 4 5 3
6 5 7 5
FIGURE 278 ii-V-I in C with “hipper” upper-structure voicings and voice leading Dm9
G13
5 5 3
G7#5
Cmaj9
5 4 3
4 4 3
3 4 2
FIGURE 279 various ii-V-I voice leading options in C with upper-structure “tension tone” Dm9 G13(9) G7¨9 C% Dm9 G13 #5
5 5 4 3
4 4 4 3
5 5 5 3
Dm9
8 6 9 7
48 GUITAR DVD
G9sus4
3 3 2 2
G7åÅ
C%
8 6 7 7
9 11 10 9
10 8 7 7 7
G7 #9 #5
5 5 5 3
5 5 4 3
6 4 4 3
Dm7
G9
10 10 10 10
10 10 10 9
11 11 10 9
G7 #5 #9
Cmaj7%
7 8 7 7 7
Cmaj7
12 12 12 10
4 6 5 6 4
FIGURE 280 contrary-motion tensions on the dominant seven chord G13¨9
G7 #9 #5
4 5 4 3
6 4 4 3
FIGURE 281 ii-V-I in C with contrary motion
Cmaj7%
Dm9
G7áÁ
7 8 7 7 7
5 5 5 3
=
Cmaj9
4 2 4 3
FIGURE 282 ii-V-I-VI progression in C with upper-structure “tensions” *VI ii V I A7b9 Dm7 G13 Cmaj9 #5
3 3 4 2
6 5 3 5
5 4 3
3 3 4 2
6 6 6 5
*may also be thought of as “V of ii” (secondary dominant)
FIGURE 283 jazz-style “comping” (accompanying) over a repeating ii-V-I-VI vamp Medium Swing Dm7
3
6 5 3
6 5 3
6
5 5 4 3
6 5 3
5 4 3
G7 #9 #5
Cmaj7%
10 10 9 9
16
G7#5
4 4 3
C% Cmaj7% A7åÅ
6 4 4 3
11
G13
1
7 8 7 7 7
8 8 7 7
10 10 9 9
11 13 12 11
13 13 12 11
13 13 12 11
15 13 14 15
G13
21
Dm9
8v a
17 17 17 15
17 17 17 15
12 10 10 10
8 6 7 7
5 5 5 3
3 5 4 3
A7#5 A13
3 4 2
3 4 2
A13
7 8 7 7 7
7 8 7 7 7
11 13 12 11
15 13 14 15
4 4 3
Dm11(no9) 8v a
Cmaj9
A7 #9 #5
7 7 6 5
D9
12 10 11 10
12 10 11 10
G7 b5 b9 (no3)
8 7 9 7
12 10 11 10
15 13 14 15
15 13 14 15
15 14 13 15
15 14 13 15
15 14 13 15
15 14 13 15
G7#5 Cmaj9
Cmaj7%
5 4 3
3 4 2
4 4 3
3 3 4 2
5 3 4 2
Dm9
G7 #5 b9
12 10 10 10
11 9 10 9
C%
Cmaj7%
9 9 11 11 10 10 9 9
10 10 9 9
10 10 9 9
Cmaj7%
A7 #5 #9
10 10 10 10 9 9 9 9
13 13 12 11
A7 b5 b9 (no3)
15 15 14 14
15 15 14 14
15 15 14 14
A7b9 #5
A7#9 #5
6 6 6 5
8 6 6 5
15 16 15 14
15 16 15 14
5 3 4 2
5 5 4 3
G7åÅ
8 7 9 7
G13
3 5 5 3
5 5 3
D9
Dm11
6 6 5
8 6 6 5
11 13 12 11
7 6 5
Dm9
6 4 6 5
5
6 4 6
15 15 16 16 15 15
14
Dm13(no11)
G7¨9sus4
7 5 5 3
7 5 5 3
7 5 5 3
8 6 7 6
GUITAR DVD 49
C%
8 6 7 6
8 6 7 6
8 6 7 6
10 8 7 7
26
C%
8v a
14 15 14 14
9 10 9 8
6 7 6 5
8v a
Cm(maj9)
11 11 12 11
Dm13(no11)
18 19 18 17
19 17 17 15
17 18 17 17 16
11 11 12 11
A7#9
12 13 12 11
A7âÅ
Aadd¨9 A13¨9 Dm7
36
A13¨9
15 15 14 14
10 10 8 8 7 7 7 7
A7âÅ
31
11 11 12 11
17 17 17 15
19 17 17 15
12 12 13 13 14 14
13
16 16 16 15
18 16 16 15
3
5 6 5
5 6 5
5 5 5
3
6 4 4 3
17 15 16 14
Cmaj9(no3)
7 8 7 10 7
7
14
10
5
7
8
15 15 15 15 14 14
15 16 15 14
C%
7
14 15 14 14
A7b5 b9
C%
let ring
5 6 5 3
13 14 13 15
b9
18 16 16 15
12 14 13 15
G7#5 G7 #9 #5 Cmaj7%
G7 #9 #5
C%#11
12 14 14 15
Dm9
G7 #9 #5
G7b5 b9 (no3)
Dm9
10 8 7 7 7
Cyclical Diatonic Progressions FIGURE 284 ii-V-iii Ø-VI vamp in C Dm11(no9)
3 1 2 3
3 1 2 3
3 1 2 3
1
8 6 9 7
9
8 6 9 7
3 0 2 3
15 13 14 15
50 GUITAR DVD
12 10 10 10
G7¨9
8 6 9 7
G7¨9
13 10 10
10 10 10
3 0 2
3
8 6 9 7
Dm9 Dm7
Em7¨5(add11)
9 10 9
3 1 2 3
5
G9
7 6 7 6
3 0 2
5 3 3 2
6 5 7 5
G7#9-9
11 10 9
9
3 3 3
2
Em7¨5
7 6 7 6
A7áÁ
5 3 3
6 4 6 5
A7¨9
10 8 9 8
9 8 9 8
11 12 12
11 12 12
Em7#5
13 12 12
Em7áÁ
13 11 12 12
12 11 12 11
Dm9
8 6 6 5
8 6 9 7
Dm11(no3) 12 11 12 11
A7¨9 Em7¨5
A7#9 #5
A7 b5 b9
11 11 12 11
15 14 15 14
15 13 14 15
A7¨9 Dm11(no3) 12 11 12 11
15 13 14 15
13
15 13 14 15
15 13 14 15
15 13 14 15
15 14 13 15
G7 b5 b9 (no3)
Em7¨5(add11) 8v a
17 15 15 14
15 15 15 14
17 15 15 14
15 15 15 14
17 15 15 14
3
15 14 13 15
G13(9)
15 13 14 15
Dm9
21
13 13 14 15
5 5 10 10
9 10 9 9
Dm9
29
8v a
17 17 17 15
5 5 10 10
5 5 10 10
Dm%(maj7)
25
Dm7
10 10 10 10
12 10 10 10
Dm9
33
8 6 9
8 6 9
6 8 9 7
12 12 14 15
15
11 12 13 15
6 6 8 9
9
11 11 10
11 11 10
10 11 12 12
10 11 12 12
Dm9
12 10 10 10
7 7 12 12
Em7¨5
7 7 12 12
7 7 12
3
10 8 9 8
6 5 7 5
4 4 3
4 4 3
3 3 3 2
5 3 3 2
3 3 3 2
10 8 7 7 7
3 3 3 2
17 19 18 17
#9
A7#5
9 11 12
8 8 10 11
3 3 3 2
3 5 4 3
12 9 10 9
17 17 17 15
A7¨9
Em7¨5(add11)
18 18 18 17
12 11 12 12
C%
7 7 12
18 18 18 17
G13¨9
18 18 18 17
A7#9 #5
5 6 5
9 11 12
8 6 7 7
A7¨9
Em9
6 6 8
10 11 12 12
6 8 9 7
10 11 12 12
A13 Dm9
15 15 15 14
G13
5
6 6 8
11 11 10 9
Dm7
#5
11 12 13 15
3
G7#9 #5
G7 #9
9
Em7¨5
12 12 14 15
5 5 10 10
10 10 10 10
15 14 13
G7b5 b9
Dm11(no9) Dm7 17
15 14 13
A7 b9 #5
8 8 10 11
9 8 9 8
5
6 4 6 5
8 8 10 11
8 8 10 11
8 8 10 11
6 5 6 5
A7áÁ
8 8 10 11
12 11 12 11
15 14 15 14
A7 #9 #5
4 6 5
6 4 6 5
8 6 6 5
7
Cmaj9#11
let ring
10 7 10 10 7
10 8
9 7
9 7
10 7
8 7 8
7 10
7 7 9
GUITAR DVD 51
Adding Passing Chords and Substitutions FIGURE 285 ii-V-iii-VI progression in C with passing chords added * Dm9
A¨13
G13
5 5 3 5
F9
G
6 5 4
5 4 3
4
3
8 8 7 8
D¨13(9)
E¨13(9)
Dm9
5 3 3 2
8 8 7 6
6 6 6 5
13 13 12 11
12 10 10 10
6
5
11
10
10 10 9 10
11 11 10 9
10 10 9 9
10
8
=
A¨9
( ) 11 11 10 11
FIGURE 286 tritone substitution of a dominant seven chord V7 ¨II7 Imaj7 G7 D¨7 Cmaj7
Cmaj7%
G
G
G
*On video, Bass plays lowest note of each chord (the root)
G9
A7 ¨9 #5
Em7¨5add11 B¨13(9)
4 3
4 3 4
4 2 3
3
FIGURE 287 vamping on a minor ii o-V-i-vi o progression Medium Swing Em7¨5
1
3
A7¨9 #5
3 3 3 2
3 3 3 2
5
10 8 9 8
E7#5 #9
9 8 8 7 6
5
A7#9 #5
6 6 6 5
8 6 6 5
A7#5
6 5 7 5
8 6 6 5
6
8 8 7
13
15 15 15 14
52 GUITAR DVD
12 11 12 12
10 8 9 8
6 5 7 5
A7 b9 #5
5
A7b9 #5
5 6 6 5
6 6 6
6 6 6 5
8
8 6 6
9 8 9
12 11 12 11
A7¨9
5 5 5 3
5 5 5 3
5 5 5 3
Dm9
Bm7¨5
5 5 10 10
5 5 10 10
Dm9
Dm7
12 10 10 10
10 10 10 10
Dm%maj7
9 10 9 9
5 5 10 10
Dm7
12 10 10 10
10 10 10 10
8 6 7
8 6 7 7
7
Bm7¨5
7 6 7 7
10 10 10 9
Em7¨5
10 8 9 8
Bm7¨5
8 7 7
7
6 7
Em7¨5
13 12 14 12
Dm9
12 10 10 9
Bm7¨6
5 6 7 7
10 10 10
5 6 7 7
Bm7¨5
Bm7¨5add11
10 10 10 9
6
8 6 6 5
A7#5
8 6 6 5
Bm7¨5
5 5 5 3
5 6 6 5
8 8 7
6 6 6 5
A7 #9 #5
A7#9 #5
8 8 7 6
Dm9
10 10 10 9
13 12 14 12
15 15 15 14
E7#9 #5
7 6 7 7
5 3 4 3
5 3 4 3
3 3 5 6
17
3 3 5 6
3 3 5
2 2 4 5
A7#9
8 7 6
8 7 6
6 6 6 5
11 11 12 11
12 10 10 9
b9
Dm%
5 4 3
5 4 3
10 10 10 9
12 10 10 9
B7#9
5 5 5 3
7 5 5 3
9
12
12
9
10
9
10
10
9
#5
8 8 8 7
8 8 8 7
7 7 7 5
7 7 7 5
7 7 7 5
12 10 10 8
10 10 10 9
11
8 7 6
Em9
12
8 8 7
Bm7¨5add11
10 8 8 7
10 8 8 7
B7 b9 #5
3 2 1
#5
7 5 5 3
A7 b5
13 13 12 11
5 4 3
5 6
5 4 3
Dm13(no11)
5 6
7
B7#9
6 4 6 5
A7 b9 #5
5 6 7
13 13 12 12 11 11
Dm%
E7#9 Bm7¨7add11 B7#9 #5
Bm7¨5
8 8 10 11
13 12 11
A7b9 b5
26
30
3 3 5
Dm
6
21
A7#9 #5
A13(9)
12
A7b9
Em7¨5add11
17 15 15 14
15 15 15 14
8v a
6 6 6 5
Dm%maj7
8
7
9 10 9 9
8
Diminished Seven Chord Substitutions FIGURE 288 I-VI-ii-V-I progression in C Cmaj7 A7
3 5 4 5 3
5 5 6 5 7 5
Dm7
5 6 5 7 5
G7
3 3 4 3 5 3
FIGURE 289 I-vi o/ii-ii-V-I progression in C
Cmaj7
Cmaj7
3 5 4 5 3
C#º7
Dm7
G7
3 5 4 5 3
3 5 3 5 4
5 6 5 7 5
3 3 4 3 5 3
Cmaj7
3 5 4 5 3
FIGURE 290 same progression with “hipper” voicings (bass plays root) Cmaj9
3 3 4 2
3 3 4 2
3 3 4 2
C#º7
3 2 3 2
3 2 3 2
3 2 3 2
Dm11
3 5 4 3
3 5 4 3
3 5 4 3
G13
G7#5
Cmaj9
3 5 4 3
3 4 4 3
3 3 4 2
GUITAR DVD 53
FIGURE 291 iii-biii O-ii-V-I progression in C Em7 E¨º7
7 8 7
7 8 7
7 8 7
7
7
7
5 7 5 7 6
5 7 5 7 6
5 7 5 7 6
Dm7
FIGURE 292 same progression with jazzy rhythm and varied voicings Em7 E¨º7
Dm11(no9)
1
3 3 4
2
2
Em11(no9)
5
3 3 4
7 8 7
7 8 7
11 10 11 10
E¨º7
5 3 3
3 3 4
5
5 3 4
8 7 8 7
5 4 5 4
3 1 2 4
8 7 8 7
11 10 11 10
Cmaj7 9
3 5 4 3
6 6 4 3
7 8 7 7 7
G13
G7
G13
3 4 3
5 4 3
3 1 2 3
1 1 2 3
54 3
0 0 3
Dm9
8 6 7 7
5 5 5 3
5 5 3
4 3 3
3 3 4 2
Dm9 Dm7 E¨m9
15 13 14 15
14 13 14 13
3 1 2 4
Dm11(no9)
5 4 5 4
Dm7
6
G7 #9 #5
G13
12 10 10 10
6 6 6 4
G7©5
4 3 3
5
Cmaj9
FIGURE 293 ii-V-I-VI vamp in G
1
Am7
D13
5 5 5 5
5 5 5 5
5 5 5 5
5
5
5
Am11(no9) Am9
5
7 8 9 10
Am7
D13(9)
8 9 10
5 5 5
6 6 5 4
5 7 7 5
6 5 4
D7
#13 #9
5 7 7 9
D/G
4
6 5
7 7 7
E7#5 #9
5
8
6 7 8 10
4 5
8 8 7 6
9
Gmaj7
10 11 9
5 7 7
3 3 5 6
B¨/E
11 10 12
8 8 7 6
Am7
5 7 7
8 8 7 6
E7#9 #5
Gmaj9
7 7 9 10
Gmaj9
7 5 5 4
D7#9
5 5 5
54 GUITAR DVD
10 8 9 10
D7 #5 #9
3
7 5 6
10 11 11 12
5 5 5
A9#11
11 12 12 11
13
11 12 12 11
12 12 12 11
12 12 11
A13(9) A9
14 12 12 11
7 5 5 5
D7#5
10 12 12 10
11 11 10
12 12 10
10 8 9 7
7 5 5 5
7 5 5 4
7 5 5 4
6 6 5 4
6 8 7
6
Gmaj9
12 10 11 9
10 10 11 9
10 10 11 9
D7 #5 #9
D13(9)
6 8 7 6
11 11 10
Am9
A13
8
Gmaj9(13)
A7sus4
Am11
6 8 7
5 7 6 5
13 11 13 12
13 11 13 12
E7
Am9
7 5 7 6
7 5 5 5
E7 #11 #9
6 6 5 4
5 7 6 5
5 7 6 5
5 7 6
5 7 6
6 8 7 6
5 7 6 5
E7 b9
Gmaj9¨5
D7 #11 #9
b5
4 6 5 4
5
G6
4 6 5 4
35 45
4 6 5 4
FIGURE 294 “Coltrane changes” Medium Swing B%
1
14 14 13 13
10 12 11 10
D13
E¨maj7 F#13
6
Gmaj7
Bmaj7
C#m9
4 3 2
F#7¨9
7 7 7 5
8 7 6
E¨maj7
66 75
B¨7
2 4 3
2 4 3
2
2
3 4 5 6
6 7 6
B%
11 9 9 9
9 8 9 8
14 14 13 13
8v a
Fm7
Am9
6 6 7 5
Fm9
8 7 8 6
B¨13
B¨7¨9
E¨maj9
667 5
E¨%
15 13 13 13
13 12 13 12
18 18 17 17
7 5 5 5
5 4 5 4
6 6 7 5
D7¨9
Am9
Gmaj7
B¨13
68 76
10 10 11 9
7 5 5 5
D7¨9
10 10 11 9
5 4 5 4
C#m11
Gmaj9
F#13
14 16 16 14
14 16 15 14
10 10 11 9
Bmaj7
11 11 11 9
GUITAR DVD 55
