.
Anie Berle's
Fretboard Fundamentals
Amsco Music Publishing Company New York • London • Tokyo • Sydney • Cologne
The illustrations in this book were taken from Handbook of l:."arly Advertising Art, Dover Publications, Inc. Book design by Ira Haskell
© Amsco Music Publishing Company, 1974 A Division of Music Sales Corporation All Rights Reserved International Standard Book Number: 0-8256-281 J-3 Library of Congress Catalog Card Number: 73-91386 Distributed throughout the world by Music Sales Corporation: 33 West 60th Street, New York 10023 78 Newman Street, London W1 4-26-22 Jingumae, Shibuya-ku, Tokyo 27 Clarendon Street, Artarmon, Sydney NSW Kelner Strasse 199, 5000 Cologne 90
Foreword This book has been designed to help the guitar student gain complete knowledge of the guitar fingerboard in two ways: 1. The student is taught to play and read music in all the Major keys, from the simple open position on to each higher position, one fret at a time. 2. The student is taught to play all types of chords, from the basic open position chords to the more advanced chord forms, all over the fingerboard. The book can be used by teachers with beginning students since it begins with the first notes a student learns in the open position, and it can be used by the more advanced players who wish to increase their facility in the higher positions. The material is divided into two parts-single string studies and chord studies, so that the teacher can assign lessons according to the needs and abilities of each student.
Single String Studies
The first part of this book begins with a review of the notes played on open strings, first position, and can be used by a beginning student. However, for the more advanced student, the second position may well be the starting point. In the second position the student will find scales and related exercises based on four of the most commonly used Major keys. It is not necessary to play through all the four keys before proceeding to the next position. The student may wish to come back to a key that may seem difficult at this point. Supplementary material such as a collection of popular tunes or pieces, or exercise books for other instruments would aid greatly in developing the student's sight-reading ability. This material should be in the same key as the student is working on in this book. Only after the student feels comfortable in the second position should he then move on to the third position with the Major keys and related exercises in that position. The same procedure is followed through all the positions, fret by fret. In this way, the student will soon learn to play in all the Major keys all over the fingerboard, in a logical and systematic manner. 4
.•
I
Open Position The open position refers to the notes played on the open strings and notes on the first, second, third, and fourth frets. The open string is not touched by the left hand.
Lesson 1
• •
'"
First String
(E)
®
E'irst String
©
4
6 5 4 3 2 1
E
F
G
r
F
r
ope n s tring
1st fr et 1st finger
3rd fret 3rd finger
Exe rcises On Firs t String
4¥ F \
.
4F
F
F
r r
Ir
r
F
IF
Ir F F IF
r r r F
I t" I
r
I
r r
I
E IF r r E IF L L
I
rr
1
4tE Err IE EFFIE E r L IFF 4F F L L IFF E E IFF r rIFE 4tL Err 1L r
r
4r r r F 1E r
r F 1r r
1F r
r
5
Lesson 2
Second String
. ®
Second Stri ng
©
4
<$)
B
c
r
r
open string
n ·
r
1st fret 1st finger
3rd fret 3rd finger
6 5 4 3 2 1
Exer cise On Second String
41 r r r r 4r r r r
1
1
rrr
rrr rrr
1
rrrr ~ rr
11
1F
rr r
1
1
1
Combining Notes On Fir st Two Strings
41 F r F r 4r r r r ..
r r I r F E F IF E F ~ r r r rr rr
IF F 1
F
41 r r r r I F F r F 4r r r r 6
Ir F F
1
1 "
11
r r r IF
F F F I
r I r r r r Ir
F F F II
Ir
i •
• ;
Lesson 3
Third String
(G) Third String
ct
G
' 6 5 4
3
A
J
J
open string
2nd fret 2nd finger
2 1
Exercise On Third String
f
1 f
4t J J J J I J J J J
I J J J J I J J J J II
Combining Notes On First Three Strings
4tJ
J
4r
r r
r r J lr r r r lr r r r 4r r r r IE r r r 1r r r r IF r r r rJ
iJ
r 1r
41 J J J r
r r
r 1r
r
IJ J J F IJ J J
u
J
1"
II
r IJ J J r I
r IJ J J r IJ J J
F
I J J J F .I
J J J F IJ J J F I J J J
r
IJ J J l I
J J J
'4
7
Fourth String
Lesson 4 (D)
Fourth String
®
~
(F)
6
5 4
D
E
F
J
J
J
open string
2nd fret 2nd finger
3rd fret 3rd finger
J g
IJ J J
3 2 1
Exercise On Fourth String
~f J J J
IJ
IJ J J
I
Combining Notes On First Four Strings
~~
J J J J IJ J J J IJ J J J IJ J J J
~
J J J J Ir J J J IJ J
~
J
' ~~
F
J IF r J J
r F J I r F r J Ir F r r IF
r
J J
F F Ir F
r IJ J
~ r r r 8
r
r
r
F
r
,, J J I I F r r
F
IF F J
IJ J
r
IJ J r
IJ F I
r·
I
r
I I
Lesson 5
Fifth String
@
Fifth String
@
4
cb
A
B
c
J
J
J
open string
6 5 4 3 2 1
2nd fret 2nd finger
3r d fr et 3r d finger
Exe rcise On Fifth String
41 J JJ J IJJJJ IJ JJJ IJJJ J I · Combining Notes On First Five Strings
Il I '
4t J 4 J J I J J J J I J J J J I J J J J J J J Ir J r IF J r F J J I 4 4r r F r I r F r r I r F r F I r F F F r r 4 r r Ir r F F IF F F r Ir F r r I 4J r J I J r J J I J J J J I J J J J . I II 4J J J J I J J J J I J J J J j
w
w
w
F
-e-
9
Lesson 6
Sixth String
(E)
Sixth String
@)
'
<};)
6 5
F
E
4 3 2 1
~
open string
I
J 1st fret 1st finger
G
I
g 3rd fret 3rd finger
Exercise On Sixth Str ing
4I ggg ~ . 4J J J J
IJ J J J lg J g g I~ ~ I g g J J I~ J g J I ~
gg
g~
t
I
Exercise On All Six Strings
4t gJJJJJ4@ lgJJJJJJJIJJJJJJJJ IJJJJJJJJ I i
4JJ JJJ JJ g IJJJ JJ JJJ IJJJ JJJJ j I jJ JJj JJj I . 4JJJJ JJJ] 1JJJJ j JJ3 lerr; JJJJ I[E[H fFr I 4cr Er ELEF IUfrrf U ICf Er rfFr I[Erf F I 10
Lesson 7
Sharps and Flats
A sharp(#) raises a note one half-step-one fret higher.
(F) ~ 6 5 4 3 2 1
A fiat (b) lowers a note one half-step- one fret lower.
' r br
6 5 4
3 2
F# and Gb occupy the 2nd fret. In the exercises below, observe that the sharps and fiats occupy the same fret. Second Fret 1st String
'I E ~
r
r
r
r
r
II
r
F
r
II
Second Fret 2nd String
t r
r
r First Fret
J
J First Fret
4th String
*I
II
J
J
I J
J
II
4
II
First Fret
J
J
I J
J
Second Fret
g
I
g
II 11
.
Lesson 8
Crossing Strings
To flat an open string note, cross over to the string below. For example, to flat the note E which is the first open string, play the 4th fret on the second string. To flat the note B which is the second open string, play the 3rd fret on the third string. Below is an exercise illustrating the flatting of the open-string notes. 4th Fret
3rd Fret
4th Fret
2nd String
1 4th Fret
g
II
r
II
~J
j
II
#J
J
II
3rd String
4th String
J 4th Fret
r J 5th String
I1 6th String
I
g
~
II
C Chromatic Scale A chromatic scale begins on any note and progresses by half steps through the entire octave. Ascending and descending.
Chromatic Tones In Open Position. Ascending and descending.
"!
~
6th String
5th String
,
'=;
4th String
3rd String ,
2nd String
,
lstt ri ;
t
~ ~ JJJ~J#JJ#dwJ J JnJ JaJ J~ r rDr r•r r r r; I 1st String
2nd String
12
.
..
3rd String
4th String
Lesson 9
Chromatic Scale Study
The fo llowing exercise is based on all the notes in the open position, including the chromatic tones. The exercise begins on the low E, open sixth string, and ascends through the use of sharps to the G played on the first string, third fret. The notes then descend through the use of fiats back down to the low E.
4i gJ #J J '~g #J J J ' J J #J ' qJ
p
' •J §J
J lqJ #J J J IJ J J f1 I J ~ nJ J
J #J Ip qJ
' J qJ ,J
'#g wJ J 'J # J J
W
DJ ;
#J
;
Iqi #J J J I#J J J #J
I~J iJ
W 1J
I§J
J J IDr:
#J
I,; ~; •J J F
FD r
lqJ
,J J #J
I F §r #t F
•c 1E F lqr 1F E ~ I'E F F #f 6 ' r QE ~E r 1t T c E 1t r r ~r 1r !E t r @qr t r ~ 1'Pr ~a r 1•r ~r c; 1~r c d; I c ~r T1 ' §E #E E 1F IDr
1
1
1
' ~J ~J J ~,J I~J gJ bJ J IgJ bJ 3 ~J IbJ •J ~; J ' •J ~; J
'
~J
qJ
3 I~J J ~J ~J I J ~J ~J J IqJ ~; J ~J
~J 3 I1J ~J 3 3 I&J 3 J W IJ ijJ W3
' qJW JQ IW¢@ g IJU JJ IQJJ J IJ J J @ I 13
r "
.
Second Position This position includes all the notes from the second fret to the fifth fret. The first finger is placed at the second fret, the second finger at the third fret, the third finger at the fourth fret, the fourth finger at the fifth fret. The major keys most played in this position are C, G, D and A.
Lesson 10
Key of GMajor Contains f# Notes Covered In The Second Position
6th String
5th String
4th String
3rd String
2nd String
lst String
4#J g# JJJ p J J J "J J 'J fiJ r r Ur r •r c-r r #t r
11
The Diagram shows all the notes in the key of G major. Notes in the shadowed area show the two-octave scale from G to G.
Below are the notes as shown in the diagram above. The scale is contained within the brackets. (This arrangement is followed throughout the book.)
GMajor Scale
,- d [J J j j ® 1
(i)
4
'M 14
@
@
4
r@r 1
® 4
F
2
r
4
J ®
i
3
4
®
J J J
3
4
r
F
@
4
3
F
r
4
3
®
co
4
2
1
@ 1
4
1
r r r 2
J J J j J J
gr 4
® 4
J J JJ
J
II
The following exercises are to be played very slowly using down-u p picking. The left hand should be kept in a position which would permit the fingers to fall on each note properly.
Exercise 1
2nd Position
4•tfJJJJJJJ IJJJJJJJJ
lcrrrcrcr 1crrrr
4• ECF;Er[J lfJJJJJJ)IJJJ)JjJj IJJJ@ J Exercise 2
I
2nd Position
f•t J)JZl RJO IJ)JJ JJJJ I ~] J] !J 311JJ JJ !J J] I II
Exercise 3
2nd Position
f•t gJJgJJJJ IJJ]j]J J) IJJJJ)JJj IJJJjjJJJ I
f• l E[ [ ( t: EFIE r rF[ r: Ef IrrrrJ3JJ IJJJJJJJJ f- Jj JJ Jj JJ I Jj 3JJJJJ IJ J3J J4g3 I u: I
I
15
lesson 11
Key of DMajor Contains F# and C#
The diagram shows all the notes in the key of D major.
6
5
4
3
2
1
Notes in the shadowed area show the one-octave scale from D to D.
0 Major Scale
~~
® 1
2
4
dgJ ~~ r r r 4
2
(j)
1
® 1
@
4
®
J r
J [ ~ m
j
J J
1
j
3
1
@
Exercise 1
16
•
®
j
J J F
[j
4
J
3
4
@
3
3
1
®
(j)
F
aF r r r
~
J J J
1
®
2nd Position
4
8
1
1
4
®
2
4
g d II 2
1
Exercise 2
2nd Position
4~ J JJJ[ ECFIf r Er fEE r I[ ECr f E[ r IrE [FE f Lf I
4~ Ef F! tU! ItF U LE rf Il H± JJ JJ IaU JJ3J I 4~ jJJJjJJJ idJJJjJJJ IJJJJjJJJ ljJJ] J I Exercise 3
2nd Position
Exercise 4
2nd Position
4~"1 ugg;HJJ 1HJJJJJj UjjJtJH 1JJJJJJJj I 4~ JjjJiJJJ IHcrJJJj IJjJJEJN lrF[!JJJj I
u a 1crErr crr 1J JJ J cr u 1Ercrcr c; 1 4~" J J J J u nr 1eErr cr EJ 1rt Ercr u 1Err cr 1 4~ JJJJ
17
Lesson 12
Key of AMajor Contains F~. C#. G#
The diagram shows all the notes contained in the key of A major. Notes in the shadowed area show the two-octave scale from A to A.
6
5
4
3
2
1
Fret L 1-+--+-~---1-------l 2
·1
5
Notice that the first finger must move one fret down in order to play the G#. It then returns to its normal position to play the rest of the scale. The G# may also be played on the fourth string, sixth fret with the fourth finger. Many guitarists alternate between these two possibilities. The choice would depend on which notes come before and after the G#.
AMajor Scale
,#~
®
®
g d nJ 1
1
@
3
1
4
®
1
8
®
1-~
J J J J J
'U# [f r r r r 8
4
2
8
® 1
4
r F r F r
( ( J J J J J J J 1-
®
Exercise 1
1
8
@
1
1
4
®
3
1
r t] 3
II g m 4 ®
3
1
2nd P ositio n
4UitJJJJJJJ3 liJH£lN lr:rrFcfE11CHJf
4u~ Fr f r f r Ef IEr CJ JJ JJ I J JJJJ j Jj IJJJj J 18
I
·, Exercise 2
2nd Position
4 ~1JJJJ JJJJ IJJJJJJJJ IJJ)JJJJJ IJJJJJJJJ I
4•# JJ H rrr r rr rr rr rr rc rr rr rr rr rc r 1
1
Exercise 3
4~~ j1)
1
11
2nd Positio n
Jfa IJP h11J JJ!JJ ljJ1 ffl IJ J1 ffl I
4~ fJ1 C:U Itd EO ItcJ (£] I( rJ Dr; I(FJ EE:t I 4~ tfJ Ci11 t£1 EEJ IE1J EO IJJ] E1J I~ JJ ffi l 4~ fJ:3 £J J IjJ J f3 3 I;1 1 fJ] IJJ J JJ J I 4 I Exercise 4
2nd Position
4•#t=t1J1JJEiiiJJ)fJJJ IDJlJHJ 1£JJJ tFrl I
4*i gHaU IUrlrFFofiEE&UU IElc:tFFEJ I 4~ 0 EJ fJ E IJJ JJ .U J] IfJJ J 8 JJ InnJJ JQ I #
-
-
~
19
Lesson 13
Key of CMajor
The ~iagram shows all the notes contained in the key of C Major.
6
5
4
3
2
1
Notes in the shadowed area show the one-octave scale from C to C. Notice that in the fingering given below for this scale form, the first finger moves one fret up on the second string, causing a temporary shift into a new position. It is important that the student understand that no one set of fingerings will work well for all situations. The guitarist must constantly evaluate and make adjustments according to each new sequence of notes as they occur in a given piece of music.
CMajor Scale ®
®
@
J J J [j 2
4
'tr ' 3
1
1
4
®
3
4
J J J
r r r 4
2
1
1
j
®
J
3
r
[ J J J
f!
1
4 @
2
® 1
Mr j 1
r r r 8
4
3
t
J 4] J J J 4
®
1
4
®
II
2
Exe rcise 1 2nd Position
'I iJJ3 [.J J]
liJJ)
tf r IJJJJfJ JJ I!J J]J)J
for all situations
20
II
·. Exercise 2
Exercise 3
2nd Position
2nd Position
Exercise 4 2nd Position
Exercise 5 2nd Position
~~JHJJQJJ IIJJQfJJJ lfJJJJJJJ I!JJ]}JJ"3 I ~ i33Qf9JJ IJJ JJ EJH 1HJJJJJJ
,nnnn 1
~ CEer:rri IEE~UE E IEr g U !$IEEE; ~
I 21
Third Position The third position includes all of the notes from the third fret to the sixth fret. The first finger is placed at the third fret, the second finger at the fourth fret, the third finger at the fifth fret, the fourth finger at the sixth fret. The major keys most used in this position are Bb, Eb , Ab and Db.
Key of B~ Major
Lesson 14
Contains Bb. Eb Notes Cover e d In The Thir d Position 6th String
5th String
4th String
3rd String
2nd String
1s t String
4JJ J #j J tl J#j J #J J•J' fiJ r r fir' r •r E r' ,r #r rt ,II 6
The diagram shows all the notes contained in the key of Bb major. Notes in the shadowed area show the two-octave scale from Bb to Bb. Notice that the first finger must move one fret down in order to play the A. It then returns to its normal position to play the rest of the scale. The A may also be played on the fourth string, seventh fret with the fourth finger. The choice would depend on what notes come before or after the A.
5
4
3
2
1
6 7
.. BbMajor Scale
~~
®
g J [j 1
3
,~~ r 3
22
F 1
® 1
®
@
3
4
1
8
1-1
8
® 1
4
r
J J J J J J
rrr
r
J J J JJ
4
®
F 2
rr 1
3
®
~ [_1
8
@
1
4
®
F
8
1
rr~ 1
8
~J ®
8
J 1
II
Exercise 1 3rd Position
'W i ;fi Jf5 IfJ J JJ J I i J1 JJ J Ii J J J JJ
I
'V· i J 3 fJ J I J J J A J I r r1 ECJ lc CF E~ ; I 'W
cr1 UJ
I Cr:; Cr; I CEJ LFJ ICr; t
I
Exercise 2 3rd Position
@lf'IJJJJJjJJ ljJJ]JjJj IJJJJJJJJ IJJJ]JjJJ I @~' '
JJJJ!Jn iJJJJJJJJ
~b r FE r r~ rr 1r rrr rr
1JJJJJJJJ lrFrrFrrr I
rr 1~ rrr rr rr 1r rr r r
1
Exercise 3 3rd Position
'w uJJJ ua 1cr ann 1c:r a rr E11 tr r; cr u 1 ,W, LJ a HCJ ILE LI oE
t
I 23
Lesson 15
Key of E~ Major Contains Bb, Eb, Ab
The diagram shows all the notes contained in the key of Eb major.
6 Fret l
Notes in the shadowed area show the one-octave scale from Eb to Eb.
5
4
3
2
1
f--t-+---+--+---l
Eb Major Scale
tb
® 1
2
4
® 1
3
JJJ J J
4Wi t t r r [~ 4
2
1
4
®
@ 1
4
3
® 1
3
uJ
J J
[
[ J J ·J
c
®
4
@
One Octave E~ toE~
24
1
r r r 3
1
Exercise 1 3rd Position
I
®
f]
®
CD
4
ar r r r 4
1
2
J J J Jg 3
1
4
®
2
1
II
Exercise 2 3rd Position
I
I r f F r r FE F IEEE r r Err I
@V\ FrE F F:
@#1. J J J J j J J J I J J 3 J j J J J I j J 3 J J
I
.Exercise 3 3rd Position ~
.
/3'
' Wt t frE.t erst 1LF1 cr~ 100 cr:J If e; ~r r 1 .
l
@V1, CEJ crJ IQEJ UJ I FJ l J J J llJ J J J1 I
p
~'
~J !'7
3i J J I £) ] J J J IJ J1 i -
J J IJ J J J I
Exercise 4 3rd Position
.
@ ~ lgJJJJJJgiJJJJJJH IJJJJiJJOIJJJJBJJ I @ ~ jJJJJ)JQ I]JJJIJJ] IJJJJijJJ
1JJJJ£
@~, ~err CE u IrF Er Er EJI HFr EF U I U fJ CE U I @W\ H Er Er El ICEf! CE& IErr~ £l J] IJ] JJ J I 25
Lesson 16
Key of Ab Major Contains Bb. Eb. Ab. Db
The diagram shows all the notes contained in the key of Ab major.
6
5
4
3
2
1
Notes in the shadowed area show the two-octave scale from Ab to Ab.
Ab Major Scale ®
@
@
a
4W1 g [J J J J J J J 44" t ! F r F t [ [ 1
4
4
1
2
4
®
2
4
1
®
Exercise 1
4
J
®
@
1
3
4
@
r rrrr
J J J J 3 4
2
1
4
@
1
F
t] r 4
J J J ij g
2
1
4
®
II
1
3rd Position
4W1l fJJJ J3 JJJ 13 JJ9 D N IcUi cfFJ IE Erff
4WJ? f H H HJ IEr t; J3J JIJJJ jJ JJ J IJJ JJJ F
A~, B~, C, Db,
E~, F, G, A~
26
•
I
{ I
: t
, ~ tnaunn ' w,.~
Exercise 2
3rd Position
Exercise 3
3rd Position
1nnnn IJ:JJJDD IJHJ urr
1
DY3 g rr IJJ 3J c:HJ IDJJ CE U Ic: UT EO rJ I
' vv trueru 1traJJJJ 1aunn IFEufJJJ
1
, ~ Q:gJJJQ liJJJJJJQ li:JJJfJjJ I!JJJJJJg I Exercise 4
3rd Position
' wv J J J r r r 1t c F r r r 1r r r r r r 1r
'Wrtf
F f L IF EF r [ r I r F r E [ F Ir r r J J J
' W1.~ J J 3 J J J I J J 3 J J J I j J j
J J j IJ
I 27
..
Key of Db Majpr
Lesson 17
Contains Bb, H. Ab, Db, Gb The d~agram shows all the notes contained in the key of Db major.
6
5
4
3
2
1
Notes in the shadowed area show the one-octave scale from Db to Db. Be sure to note that in the fingering given below, the first finger moves one fret up on the second string causing a temporary shift into a new position. The purpose of moving into the new position is to better accommodate the notes which are in the second octave of this scale form and to avoid too much finger-stretching. (See the C major scale, second position.)
Db Major Scale ®
J
J [j
r
r r r
1
1
4
®
@ 1
@
3
1
4
J J 1
2
j
r
r r 3
1
® 3
1
F
F
J 2
J 1
4
®
Exercise 1 3rd Position
The purpose of moving Into the new position is to better accommodate the notes which are in the second octave of this scale form and to avoid too much finger-stretching.
28
...
1
3
r r f t 3
J J 1
4 ®
J 2
II
Exercise 2
3rd Position
4~ FrEf Ft EFI;J JJ J JJJJ IJ JJJJJJ J IJj JJ Exercise 3
3rd Position
Exercise 4
3rd Position
Exercise 5
3rd Position
I
4MI JJJJ J1 3J IJJ JJ J1 31 IJJ JJ iJ JJ IfJ JJ OF U I '~ tjt 07% EFEJ Er CJ I "
!! ·~ ICFC J ( F FJ I Er F Fc: F L1 · I
4~i\ H n JJ JJ ID H H J3 IfJ JJ J3JJ I ., , I
I
Fourth Position The fourth position includes all the notes from the fourth fre t to the seventh fret. · The first finger is placed at the fourth fret, the second finger at the fifth fret, the third finger at the sixth fret, the fourth finger at the seventh fret. The major keys most played in this position are D, A, E and B.
Lesson 18
Key of DMajor Contains F#. C# Notes Cover e d I n The F ourth Position
6
The diagram shows all the notes contained in the key of D major.
5
4
3
2
I
The notes in the shadowed area show the oneoctave scale from D to D. Be sure to note the change in fingering on the second string. The first finger moves one fret up, causing a temporary shift into a new position. (See C Major scale 2nd position).
0 Major Scale
~ ~fi ~~D
® 2
1
4,
j
@
@
1
1
J j J r
4J Jm r r r r F [[ a a
30
4,
®
1
4,
®
i
@
F 3
®
@
a
w
~
1
r nr r r r 3
j J J [ 4,
1
2
1
4
®
4,
a
~
J J J 1
4
®
2
II
Exercise 1 4th Position
Exercise 2 4th Position
(
fI
Exercise 3
4th Position
' ~ I JJJ JJj JJ IJJJ JJ3J J I JJJ JJ3JJ I Fr LF r '
~ FFr U [ U IE[ U eFrr IJ JJ3 JJ3 J I JJJ]J I Exercise 4
4th Position
,-~iJJ)if11JJj£JJ IJJa;J"J IJJ]JJJ I ,~ fJ J l rJ I J J J t r F I LJ LJ ( FoJ I F
,-ft r F~ Cr; I ( Ff I •
EE=i IL F1 fJ J It: r1 fJ J
,~ J J J J J 3 I i J J J 3 J I i J J J J J I
~ 31
Lesson 19
Key of AMajor Contains F#. C ~. G#
The diagram shows all the notes contained in the key of A major. Notes in the shadowed area show the two-octave scale from A to A.
AMajor Scale ®
*~ gGJ j J r [! r r r *~ i
4
CD
@
@
2
4
1
4
®
2
4
1
j
J
j
J
F
[ [ J
4
4
@
®
Exercise 1
®
@
8
1
3
4
2
i
rr
rrr
F
j
JJ J
3
J i
j 4
®
2
i
4
®
4
f] ~
~
g II i
4th Position
*~lpgJJJJJ I ~ J HfJf31crr£rFrfiCEr;r
*-~ fHEEC(JIEt[JJHJ IJJJJJJJJIJJJJJ DULCET SYMPHONIES
32
I
I
t
Exercise 2 4th Position
,~IJJJJJJJJ IJJjjJj)J IJJJJJJJJ ljJJJJjJJ I 4~ 3JJj JJJ J iJ JJ JJJJ J IJJJ 3ij JJ IJJJ JJJ n I
4-~ r r rr [u r tf rrE rr r r rrr rr rr 1
1
1
rf U r
11
Exercise 3 4th Position
t . Exercise 4
I t
4th Position
,~ r Ef rr Hr I EE fr EEf r I EE EU r f r I
4~
I
&
rrr rr rc r rr r rr rr r rr r rcr rr n JaJJ JJ 1
1
1
4*~ JJjJJJjJ IJJ]JJjjJ IJJJJJJjJ I
&
1
II 33
Lesson 20
Key of EMajor Contains F#, C#, G#, O·#
The diagram shows all the notes contained in the key of E major.
6
5
4
3
2
1
Notes in the shadowed area show the one-octave scale from E to E. 7
8 1-----+----+----1--+---l 9
EMajor Scale @
1
J
3
4
j J
®
®
1
3
r
F r
1
'----'-----'----'-----__._________,
1
ar F
[ [ J J J t] J J J 4
®
@
8
1
®
8
1
4
®
2
r
r 4
JJ 2
II
1
Exercise 1 4 t h Position
~ ~~ DDJJJJ 1tPJ EEr:r lar1rFH lrJfi FfrF I ~ ~ trf1 Ff H Ic:f ri rf r EIcr f f Ef rE I "
34
I
Exercise 2
4th Position
~~~ ffa EELE 1Ecurrrr lEEr:: rccr IFr e crrr 1 ~#h
EctJrrEr 18 JJJJJJ 1IJJ]JJJJ IBJJw 1
l
~
f
Exercise 3
4th Position
I
I
l
~~ 1J
n r:r a r u n JJ J n H tJ r u u e 1
1
1
1
~~ r aLEEfiC fJCFg lr SJJJ] IJ n£JJJ I ~~#• F EJ fJ J] IJ £3 cE FE IF U JJ J3 I J ~ J II Exercise 4
4th Position
~~~ rECftEU lcHJEEU lcrEJCFrrlurrcru
I
4-h r:E Ef EEEJ IiJ J"il Er U I JJ JJ iJ JJ ID JZl £J JJ I ~*h ;JJJ!)J] IJlHiUJJ IJJJJJJJ] liJJ JnJJ I i:- #
! H i]JJ JJJQ ljJJJ klJJ liJJ -
)
Ug IEJQ J I 35
Lesson 21
Key of BMajor Contains F#, C#, G#, o#. A#
The diagram shows all the notes contained in the key of B major. Notes in the shadowed area show the two-octave scale from B to B. Notice that the first finger must move one fret down in order to play the A#. It then returns to its normal position to play the rest of the scale. The A# may also be played on the fourth string, eighth fret with the fourth finger. The choice would depend on what notes come before or after the A#.
B Major Scale
,~
® i
®
3
g J [J
4~ [f
1
4
3
1
1
3
J J J J J
rrFr a
®
@
4
®
2
F [ 1
®
Exercise 1
~- 1
rr
~ [_
1
1
4
F F F
J J J J J 3
@
1
4th Position
may also be played on the fourth string
36
3
®
4
®
3
1
1
r
3
f
tl
4] J g ®
3
1
II
.. ;
I
!
~
Exercise 2
4th Position
,~ljJJJJj)J ljJJ]JjJJ IJJJJJ]JJ I]JJjJJJJ I ( (
t
4~ JJJjtJJJ idJJJJJJJ iJJJJJJJ) lrfEFfrEF I
(
'
4~ EEFrf r Fr Ir FEF[ EEFIEfEr [ EEr IE[ EF f Exercise 3
I
4th Position
\
4~1JJJJTJ IJJJJJJ IJJJHJ 1JJJru I ·
1
,~ r r r r E r 1 r E r
E
r r 1 r Er r t r 1 r
4##fft E: r t Er EIC F C Er E IEEE E r E Ir r r JJ J I
'~~ ffi J J J I J 3 J J J J I J J J J J J I J Exercise 4
\
I
4th Position
,~IJJJJ-fl£J IJJJJBH liJHtlD lrU~crrll ,~ c:UicFC!ICCCfUffiCEEJErU ltHJ EF[J
1
,~ ECCJBgliJJJJJJJ lilJ]iJJQIJJJ]JJJJ I 37
Fifth Position The fifth position includes all the notes from the fifth fret to the eighth fret. The first finger is placed at the fifth fret, the second finger at the sixth fret, the third finger at the seventh fret, the fourth finger at the eighth fret. The major keys most played in this position are C, F, Bb and Eb.
lesson 22
Key of CMajor Notes Covered In The Fifth Position
6th String
5th String
. 3rd Strmg
4th String
2 nd String
1st String
' J~J 4 J ·hJ 3 J J1J Jni r Dr r ~· r r t r' rt r f 6
The diagram shows all the notes contained in the key of C major.
5
4
3
2
11
1
Notes in the shadowed area show the two-octave scale from C to C. Notice that the first finger must move one fret down in order to play the B. It then returns to its normal position to play the rest of the scale. The B may also be played on the fourth string, ninth fret with the fourth finger. The choice would depend on the notes played before and after the B.
CMajor Scale ®
J J [j 1
3
®
j J J J J 1
'4r. t r r
38
3
1
@
4-
®
3
4-
®
1-
r
1
3
® 1
2
F F F F
F. F F F F J J J J 2
1
3
®
1-
1
3
@
1
4-
®
3
1
3
~
Ja 4
r r r El 4-
J 1
1
II
Exercise 1 5th Position
Exercise 2
5th Position
4t ffiJjjJJJJJJ IJ130)D3JJJ I)JJfflftlDJ 1J18Jwffl1 --:::-..33
4mcurrrwiE!fEffrrrrrrlccHtrrrrrrrl Exercise 3
.,
1
5th Position
'IJJHflJ1 IJJJJ r:rtr li:JJ) UF-f IJJJJ EJE11
4DD crrc luarrrJ 1c:rucrrJ ICfrJ~EEfl fH& [E CJ 1tEu EU:t 1EE Er Erg I DE E1 fJ JJ
I
4EEafWJJ IF[r~EJJ IErgfJ)J 1£lJJJJJ)II (
39
Lesson 23
Key of FMajor Contains Bb 6
The diagram shows all the notes contained in the key ofF major. Notes in the shadowed area show the one-octave scale from F to F.
5
4
3
2
1
5 ~""--
8
FMajor ® i
i
i
4~ J J J J 4~ f r r r i
@ i
® 2
2
i
4
®
3
4,
j
Dj J r
r.
F F F i
3
i
®
Exercise 1
40
r 4
® i
3
F F J j 3
i
@
5th Position
$• c~ r r
®
i
i
~]
®
j 3
r •
4
~
+=
J J J J i
4
®
2
i
II
Exercise 2
5th Position
, I
' (
~
,
II
t
r f
Exercise 3
5th Position
4~ i J D U rJ Ir ti f-J JJ IJ g CJ Cf If L1 EEr~ I
J
4~ r
gcra 1E acre; lr n nn1a
4~
CJ JJ H IJ fi (C c; IC U cr e IJ
E
Exercise 4
Rc::cCll
aJ
I
5th Position
41
Key of BbMajor
Lesson 24
Contains Bb, Eb 6
The diagram shows all the notes contained in the key of Bb major.
5
3
4
2
I
Fret -1
Notes in the shadowed area show the two-octave scale from Bb to Bb.
5 6 i
8
Bb Major Scale ®
4 ~' J [j i
4~ f 4,
9 @ i
2
4,
@ i
@ i
j ' J J rF J J J '
rrFr ~ ' 2
i
®
4
® 3
r
' F
2
r r
i
E
F F ( J J J J J J 3
3
i
i
@)
®
Exercise 1
4,
®
2
i
4
®
4
Fj f
~
J
II
i
5th Position
4Wif=JjJJJJJ IJJJJ (ErJ lcEftrCFf 1t£rft
4? fHtr Cr Et IEr rJ J JJ 3IJJJJ JjJ 3 I!J J) J Bb M A JOR CON T AIN S Bb AN D Eb
42
I
Exercise 2
5th Position
~ f I j JJJ i1J JJ 1j JJ] 1J JJ IJJJ JiJ JQ IJJJ HJ JJ I • )
•
~w HJJJJJJ 1JJJJJJJJ lrrrrrrrr IEErrrrrr I ~ W F f FF f rF r IECE FCE Er Ir f Fr f r Er IcHI f Exercise 3
(
'
~
I
5th Position
~WI Lrfrcrrc 1frf[frrr 1EEHEFEE IEELErFrFI ~#EEEFfFEFIEFfFErrriFEfrJJJJ I Exercise 4
a
I
5th Position
43
Key of Eb Major
Lesson 25
Contains B~ . H. A~ The diagram shows all the notes contained in the key of E~ major.
6
5
5
Be sure to note the change in fingering on the second string. The first finger moves one fret up causing a temporary shift into a new position. (See C Major scale, 2nd position.)
6 7
H Major Scale 2
4
® 1
'd\ J J J u ,~
4
J
f r f r r 3
I
4
®
3
i
@ 1
®
I
2
1
3
J
r
F r
~ r
F
r
j
3
®
Exercise 1
1
4
®
ar r r I
J J J 2
1
@
4
®
l
3
r f
3
I
~
J J J 1
"
®
II
2
5th Position
'rt rFFrrFFr IEfErrfFF 1JJJJj JJj ldJJ]j SHIFT TO NEW POSITION!
44
1
Fret -1-
Notes in the shadowed area show the one-octave scale from E~ to Eb.
®
2
3
4
I
Exercise 2
5th Position
4~tfJJZlJJJ31JJ3JJJJJ lf]Y3rcer lflErccr 1 II
Exercise 3 5th Position
44t rf; tTJ
IJ
J1 J JJ lfJJ f3J 1£JJ
c:u 1
4Wt t JJ crJ IEry ( rJ IEEJ CEJ I r 4~ C: Lfi EGr ICF4 r b; IEri c: ry IcEl fJ J 4~t EU fJ 1 IJ J J fJ J I fJ
Exercise 4
?.l J 3 J
I :J
I
5th Position
4Wti1JJJJJH IJJJ)iJH 1n13!3JJ 11DJJtJD I 4~ iJJ]flJJifJJJDN IOEuc:rUIEfUUE!I
4rt. Eruua ICfEJCEGf IEC(Jc;U=f 1tE~ r
I 45
Sixth Position The sixth position includes all the notes from the sixth fret to the ninth fret. The first finger is at the sixth fret, the second finger at the seventh fret, the third finger at the eighth fret, the fourth finger at the ninth fret. The major keys most played in this position are E, B, F#, C#.
Lesson 26
Key of EMajor Contains F#. C#, G#, 0# Notes Covered In The Sixth Position 2nd Strin
~
,
5th String
,
4th String
,
3rd String
,
The diagram shows all the notes contained in the key of E major.
6
5
t ft 1st String
4#J 4 ; #:i#J J J#hJ J nJ rur r •r r rtr r r 6th String
,
4
r
3
2
11
1
Notes in the shadowed area show the one-octave scale from E to E. Be sure to note the change in fingering on the second string. The first finger moves one fret up, causing a temporary shift into a new position. (See C Major scale, 2nd position.)
EMajor Scale ®
,~
2
4
1
4
i
2
~
r
J J J J J J D
,~ f 3
46
@
®
rErr i
4 ®
3
l
®
3
®
®
1
F
r
1
4
@
3
i
J j J 2
i
4
®
~
J J
1
3
rf
I
r r r E] r r r 4
i
3
4
®
J 2
II
Exercise 1 6th Position
Exercise 2
6th Position
4~ I FE FEE Fr rIfr fF EF rr IFr FF JJH Irr EF JJ JJ I ,~ J jJ J JJ H IdJ J3 JJ J J IJJ JJ JJJ 3 I .. Exercise 3
I
6th Position
()
Exercise 4
6th Position
,~~ fJ) ifa IJJ J fJJ IRJ flJ lA J c:U I ,.,. RJcr± lcr 1 trJ lcr:;crr 1 r
'*" #
Err E0 ICEJ F r:r It F FEJ fJ Ice;f fJ J I
,.,. r rJ FJ 3
i f
-
I J 3J EJ J I J J3 J 3 J I J
I 47
Lesson 27
Key of 8 Major Contains F#, c#, G#, 0#, A# 6
The diagram shows all the notes contained in the key of B major.
5
3
4
2
1
Notes in the shadowed area show the two-octave scale from B to B.
BMajor Scale ® i
®
4~ J [J
4~
f 4
4,
i
J J
2
j
4,
J
@ i
3
J
j
4
2
i
®
4
®
a
i
Exercise 1
r ~~ f
J j J J J a 2
J ¥1 J
i
3
rFr
r r [f ' r F r F r 4. @
' r r F
®
i
4
4
®
6th Posit i on
4~ t iJJJ iJJ J IJ3JJ tJ a Itf rT
® 2
i
4
i
4
II
i
®
rr rr Ir rr ff
4~ fEEf Cr Q I Er p-r JJ JJ IJJJ 3J JJJ IJJ Jg J I I
48
I
Exercise 2
6th Position
,~trrrrrrfr lrFErEEEE!EEErFELE 1Effrf 1
,~
rrnrrrrrriEEcrrrrr IEFEfrrcr lrrrr r Exercise 3
1
6th Position
,~ljJJj]JjjiJUJJ]JjJIWJJJJJJJ 1JJ]JF I
4~ EtFrJJJJiJJJJJ]JJ IJJUJJJJJ IJJJJJ I Exercise 4
6th Po.;ition
,~~ fJJ1JJ1JI]JfiBJJ IJJiDIJJJ
,pnnun
1
(
II
Exercise 5
6th Position
4¥fit jJjjJJJJ ljJJJJ)JJ IJJJJJJJJ IJJJHJJJ I ,~ffl JJJJJJJJ 1JJJJJJJJ 1J JJJflJJ IrEEF Frrr I
4~ EffF fEEr IE fF r FEE r IE E.EE EE FE !EfEJ L I 49.
Lesson 28
Key ofF# Major Contains F#, C#, G#, 0#, A#, E#
The diagram shows all the notes contained in the key ofF# major.
6
5
4
3
2
1
Notes in the shadowed area show the one-octave scale from F# to F# .
F#Major Scale
,.., J
JJ J J
,~ f
rr
® 1
4
® 2
2
4
1
1
F 4-
®
3
[j
[! F 1
@
1
3
J J
r
3
@
F 1
®
®
2
4
r
F
r
F
0F r ~
~
r
J J
~]
J J J J
J
4.
4.
1
3
3
1
@)
1
®
4
3
i
1
4
®
2
II
1
Exercise 1 6th Position
4"-f! I tl iP r rrr IcJ r1 rEcFIct UF[ FFIc:F FiFE CFI ,~ e:E rJ FfrF 1cf f! EErr lEE t!FfE EI ..
50
I
Exercise 2 6th Position
4W I FLf FFFr FIF Ef FfEE r If E[ f Fr r r IF r fFiJ 30 I ~~ Fr U J3 JJ IJj JJJJJ J IJJ J3 JJ JJ I .,
I
Exercise 3 6th Position
4~1 JJJJdJJJ 1JJJJrrrr IE[trrErr 1r rrrr ~~ ErEF[rFFI(EffFrEF 1JJJJJJH IJ]JJ;J I
r
Exercise 4 6th Position
4~1
nJJ nn lc:r r; cr u 1c:r r1 ur11 rc Ecr
~~§11 EE Et Ef U IE1 U tJ JJ IiJ 3J fJ JJ IJJ JJJ I Exercise 5 6th Position ~
f
"3"
f*#f#1 tu err 1fLJ cc~ 1Er; c:r r ICEJ ccr 1
I
~
4~# f U
cr r lEt; cr11EU cr:J
~
lA] J JJ I
4~ lJ J J JJ IA ] iJ J Ii 3J i J J IJ J 3 J I 51
Lesson 29
Key of C# Major Contains F#, C~. G#, o#, A#, E#. 8# 6
The diagram shows all the notes contained in the key of C# major.
5
4
3
2
1
Notes in the shadowed area show the two-octave scale from c~ to c#. Notice that the first finger must move one fret down in order to play the B#. It then returns to its normal position to play the rest of the scale. The B# may also be played on the fourth string, tenth fret with the fourth finger. The choice would depend on what notes come before or after the B~.
C# Major Scale ~
i ®
,~ J "
3
~"
;J 3
i
@
i ®
3
4
i
3
J J J J J ' ®
2
®
i-i
r
rrrr i
3
®
Exercise 1
i-i
F
" r r f] r r r r 3
® i
i
2
J J J J J ® '
3
1
@
3
1
3
¥] J J ®
3
II
i
6th Position
, __ 1 JJJJ] J]3 ID Y3 cFE r ICFr1 Cf r1 If fr.ff
4W. frtr fEE r lEE EF U U IJ HJ Ij JJ IiJJJJ may also be played on the fourth string.
52
I
Exercise 2
6th Position
@~ 1 j J Jj J3JJ I3J Jj j JJJ IJJ JJj JJ3 Ir~ ~ r~
@~ FFr FJJ3 J IJJ JJJ JJ J IJJ JJJ JJ J IJJJ JJ I Exercise 3
6th Position
@~t JJJJJJJJIJJJoJJJJ IJJJHJJJ 1IJD rrrrl @~ [FEFffrFI~Fr~fFrJ 1EEEEffrF 1trrrf 1 Exercise 4
6th Position
"
Exercise 5
i~~ ~
;
7
!*'H rJJ fJJ
II
6th Position
uJn n IDJ n J lih rn ~
~ -
1
4~ £JJ £J J lc::U EJU lcrJ tr; IU ~ ~ r;;; 1
, . cr:± Cg;
IFf~ LEJ ICW'f:E; 1rrr F I 53
Bar Chords In this second part of the book, we will study some of the popular chord forms which have made such an impact on today's musical scene. These chord forms are called Barre, or more commonly, Bar chords. Some musicians object to the Bar chord because it duplicates some of its tones; nevertheless, because of its easy mobility, the Bar chord does allow the guitarist great flexibility and freedom in moving up and down the fingerboard with few fingering changes. It is this aspect of playing the guitar which has so affected the music heard today. Included also in this part of the book are some of the more common chord forms used by Jazz players. These chord forms eliminate the duplication of chord tones, and since th€y do not require the first finger for the bar, they allow the guitarist to play some of the more modern altered and extended chord forms. As each new chord form is presented, exercises and progressions which illustrate the use of the chord are also given. For a more detailed study of altered, extended, and substitute chords including theory and examples of many of the modern progressions, see ARNIE BERLE'S BOOK OF MODERN CHORDS AND PROGRESSIQNS FOR GUITAR. Since part 2 begins with a review of some of the easier, open-string chords, this section may be used by the beginning student. The more advanced player should start at the point in the book which deals with his particular weaknesses.
Introductory Material
D
Before beginning the study of bar chords, it will be necessary to explain the chord diagrams. ~)
Vertical lines: represent the six strings. Horizontal lines: indicate the frets. Letter X: notes the string not to be strummed. Circled numbers: left hand fingers to be used.
4~
f ;)
In the diagram the 1st finger is placed behind the second fret, of the third string and the 2nd finger is placed behind the second fret of the first string. The 3rd finger is behind the third fret on the second string. The sixth string is not strummed. The fifth string is open; it will be strummed but not fingered. The letter X designates where a string is not to be strummed. 54
I
Lesson 1
Open Chord Review
An open chord is one which contains at least one open string. These are rather easy to play and one hears them frequently in folk music as well as in rock and roll. Diagrams for the first three open chords are shown below.
l
1
c
X
G
G1
(t)
(t) (i)
(2) (a)
(2) _(a (3)
(2)
t f
t
Practice the following chord exercises until you can change from chord to chord without missing a beat. The /'s on the staff indicate the number of times to sound a chord. Strum the chord once for each I. G
4
I
4
f
4
I
I
I
•'
' L
I
I
I
I
I
i
I
I
II
c I
I
I
I
I
I
I
I
,
,.t
I
I
.(
I
G7 I
I
I
I
I
kl
I
G I
I
I
I
I
I
I
I
i
G I
I
I
I
I
I
I
II
I
I
I
I
I
G
I
,'
I
I
I
I
I
I I
I
I
I
I
I
I
I
I
I
I
I
I
j
I
:II
I
I
I
I
I
I
I
I
I
:II
c j
I
G
G7
I
I
I
I
G7 I
G7
c I
I
I
G
G
c
t
,
I
G I
c
G .(
I
I
I
I
I
I
I
I
I
I
I
I
:II
c I
I
I
I
I
•'
I
I
I
I
:II 55
X
D7
X
Am
X
Ern
(t)
®® G
' '
I G I
,
•
I
I
i
,
I
Em
, •
,
I
I
,
Am
,
II
I
I
, »
i
A
X
I
,
,
I
i
X
Am
,
I
I
,
,.t
D7
,
II
I
I
D7
II
II
I
I
D
X
I
G
, »
I
,
,
' '
I
I
,
, I
Am
I
I
,
j
x x
,
I
I
, ,
D
I
II
I
I I
, I
, I
,
, i
G
,
I
j
,
I
Drn
I
j
I
I
,
D
,
I ,'
I
, ;
,
I
I
,
,
cb
,
I
I
,
,
II
cb
I
I
,
A
I
I
,
I
Am
II
I
A7
X
(2)
E7
,
I
,
E7
(2)
A
j
, ,
I
I
I
,
)
, II
I
I
E
®
c2J
(3)
E
56
' '
I
I
I
E
I
I
,
I
,
I
,
i
G I
,
I
, ,
Dm
II
I
,
Dm
II
i
,
I
A7
•'
I
,
j
, ,
A7
I
i
,
I
E
I
j
,
I
,
E I
I
I
,
I
D
G
I
I
I
I
I
,
j
,
I
,
I
E I
,
I
, ,
II II
' I
Lesson 2 Bar chords eliminate the need for different sets of fingeri~gs for each chord, as is necessary in open chord playing. Each chord type (major, minor, dominant 7th, etc.) now calls for only one set of fingering, plus a possible optional fingering. The E Major open chord provides a good example of the possibility of using one set of fingering on all Major chords.
Bar Chords E
~· ~)
f~
The fingerboard, we all know, ends at the Nut. If the fingers forming theE chord were moved one fret higher and the Nut, if possible, moved one fret higher, the result would be a new chord- F major. ~
J t
t
Again, if we moved our fingers one fret higher and the Nut one fret higher, our new chord would be F# major. Obviously, it is impossible to move the Nut. But a substitute can be used which would enable us to easily maneuver up and down the fingerboard. This substitute Nut is the first finger of the left hand placed across all six strings. It is called a barre (bar). The chords formed by the first finger (the barre) plus the remaining fingers on their respective frets are called Bar Chords. The next diagram will show the first finger placed across all six strings at the first fret; notice that the second, third and fourth fingers are now used in place of the first, second and third fingers noted in the preceding diagram (theE Major chord). Our new chord therefore is F Major.
F
lmr ( :lwftl
' ~·
f
57
Lesson 3
Major Chord-Form 1
The first bar chord is the Major chord shown in the diagram below. We will call it the Major chord Form 1 in order to distinguish this form from another which will be learned later. F
Note: Although the diagram shows the first finger reaching across the lst string, it is not always necessary for that note to sound. In many instances the chord sounds better without it. Be sure, however, that the 2nd string does sound out.
Fnrrn l
,.,
~:
•
~
The letter name of the chord (also called the root) is based on the note which is played by the first finger on the sixth string. When the first finger is placed across the strings at the first fret, the chord is an F Major chord. Moving the first finger up one fret to the second fret produces an F# (or Gb) Major chord.
f i) (·)
Fret
1
2
3
4
5
6
7
8
9
10
11
12
Major Chord
F
F#
G
Ab
A
Bb
B
c
c#
D
Eb
E
Gb
~·
Db
Note: Chord Forms throughout this book are shown up to the 12th fret. However, where the fingerboard does not extend high enough to allow the chords to be played comfortably, forms up to the 8th fret should be used. It will be possible to play the missing chords in a lower position after other chord forms in this book are mastered.
The lettlr IIIIM
of the chord is also called
the root chord.
58
Exercises based on Form 1 of the Major chord.
ifi
F~
F
I
I
I
I
jl
I
I
I
jl
B~
4
I
4
I
'4
(
I
I
I
I
I
F#
,'
I
I
j
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I ,' I
I
A~
I
I
I
I
I
I
I
I
I
I
•'
I
I
I .f
I
I
I
,'
II
I ,' I
I
I
B~
I
I
I
A~
G
I
I
I
I
I
I
I
I
I
I
I
I
I
I
G I
I ,'
A
I
I
B I
A
I
I
c
j1111
I
I
B~
I
I
I
I
II
I
A~
I
G I
B
I
I
I
A
II
I
,•
I
F
c I
I
B~
I
I
r
I
I
c I
I
G
I
I
B
j1
F
A~
G
•'
I
I
I
I
I
I
I
II
I
I
G~ i
I
I
I
I
;'
II
c
B I
I
I
I
I
I
F I
I
I
i
I
I
.
"
G
~i "
4
I
F
I
j
I
I
I
I
G I
I
I
I
I
I
G I
I
j
I
I
I
I ,•
I
I
I
I
I
I ,'
I
B~
A I
A
,t
I
I
I
I
I
l
I
I
j
I
I
I
A
I
I
I
j
I
I
j
I
I
I
I·
G I
I
j
I
I
I
,.r
I
II 59
Lesson 4
Major Chord-Form 2
Another form for the Major chord, which we will call Form 2, is shown below. This form will make it possible to play those chords which could not be played comfortably on the higher frets with the Major chord Form l.
sb
Note: Although the diagram shows the first finger reaching across the 1st string, it is not always necessary for that note to sound. In many instances the chord sounds better without it. Be sure however, that the 2nd string does sound.
...
~) ~ •
,
1-"uru• .:!
. ~ ) ~t)
)
'
The letter name of this chord form, is based on the note which is played by the first finger on the fifth string. When the first finger is placed across the strings at the first fret, the chord is a B~ Major chord. Moving the first finger up one fret to the second fret produces a B Major chord. Fret Major Chord
Bb
2
3
B
c
4
5
6
7
8
9
10
11
12
c#
D
E~
E
F
F# Gl1
G
A~
A
D~
Exercises Based on Form 2 of the Major Chord.
c
B I
f
I
f
f
»
I
60
j
f
I
f
l
Eb
D f
I
f
, f
I
f
I
1/
f
I
d
f
I
I
f
i
I
I
I
f
I
f
I
j
f
I
f
I
I
j
I
F
E f
f
i
I
I
f
I
f
I
,'
I
I
II
'
B~
4
f
4
c
I
I
•
I
I
I
Eb I
4
I
I
I
Bb
4
I
I
)
I
I
I
I
I
I
d
I
I
I •'
I
I
I
,•
I
I
I
I
c
I
I
I
I
I
I
I
I
I
I
I
I
r
I
I
I
I
I
r
I
I•
I
•'
j
I
I
I
I
I
I
I
I
I
II
I
I
rI
r
Ir
II
1-
If.
I
I
Bb
I -1-
{
I
F
B
I
I
•'
j
I
I
I
D
I
I
Eb I
rI
I
c
I
I
i
E I
c
I
I
I
Ir
I
Eb
I
nb
D 11
Ir
I
I
D
D
I
I
I
I
Bb
I
Bb
,'
I
II
I
I
c
Eb
E
F
I
I
I,
I
c
'4
j
E
,.,
B
I •'
I
B
I
I
I
I
nb
I
I
I
D
I
11
I
I
I
I
I
Ir
I
1-
1-
rI
c
D I
I
-1
I 1-
r11
I
r11
I
----------------MOVABLE CHORDS
61
Lesson 5
Combining Form 1 and Form 2
The use of both forms of the Major chord, Form 1 and Form 2, eliminates having to make large skips over the fingerboard. For example, in the first exercise below, the F Major chord in the first measure is played at the first fret using Form 1. The Bb Major chord in the second measure is also played at the first fret using Form 2. This eliminates the long skip up to the sixth fret. The number placed over each chord symbol indicates the form to be used.
B~
F
' '
I
I
I
I
I
I
I .f:
;
I
I
I
1
I
I
CD I
I
I
I
I
I
I
I
I
I
1
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
11
1
D~
I
I
I
I
I
I
I
I
•
I
I
•
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
i
I
I
I
11
I
I
I
I
I
I
I
I
I
I
I
I
;
I
I
I
•.f
I
I
I
I
I
•
I
•
I
CD Ah
I•
I
I
F
I
I
•
I
I
I
•
I
I
I
I
I
I
® E
I
I
I
I
I
I
I
I
I
I
I
I
I
® c
G
•
I
II
I
CD I
I
®
I
II
I
I
Eh
I
11
I
i
®
Bh iI
I
nh
I
B
D
I
I
I
i
®
®
®
A
I
Eh
F#
I
I
®
CD
®
j
I
CD c
Bh
•
I
I
®
I
I
I
CD
II
I
I
I
A~
E
CD
62
I
F
I
I
B
I
CD I
I
CD
4
I
®
I
••
I
I
D
I
I
I
I
®
A
I
I
I .f:
®
F#
® c
B
~
I
G
CD
' '
I
CD
4
CD
®
CD
I
11
I
I
I
I
I
1
I
I
j
I
II
Lesson 6
Major Chord Form Exercises
The following exercises are based on a combination of both forms of the Major chords. The number placed over each chord symbol indicates the form to be used. After the student can play these exercises well, he may choose whatever form he prefers.
1
! i
®
CD
B~
F
I
I
r
4
I
r
»
11
I
I
I Y,
I
, ,
Y
I
I
I
®
I
I
I
I ,. ,.
rI
»
,I
,I
®
D~
nb
I
I
I
11
I
I
11
I
•
I
I
I
I
I
I
®
CD
I
Ir
E
~
/
I
CD
B~
4
I
,'
,'
I
I
(
®
•t
~
I
4
rI
-1
/
rI
I
I
I
I
I
G
I
II
®
CD
D
G
I ,•
I
I
I
I
•'
.1
Ir
I
I
I
I
Bb
II I
I
I
I
CD I
I
I
I
I
I
I
I
I
I
I
I
I
I
CD Bb
F I
rI
I
CD
I •'
I
D
I
,I
® c
Eb
CD
®
A
I
I
I
I
I
I
I
I
I
I
I
I
I
I
r,
.
I "'
'
f t t
r
I r (
t
I
'4
I
•
I
I
I
CD F I
•
I
I
I
I
I
II
I
I
•
I
I
I
I
®
CD
D
G
I•
I•
I
E
A
G
•'
®
CD
CD
® c
•'
I
I
I
I
I
;'
j
I
I
I
I
I
I
I
® c I
•
I
I
•
II
I
»I
I
I
/
I
I
I
I
i
I
I 63
Dominant 7th Chord-Form 1
Lesson 7
The Dominan t 7 t h chord plays an important role in popular music. The word is usually omitted from the chord symbol. For example, C' refers to a C Dominant 7th chord. The Form 1 Dominant 7 t h chord shown below is derived from the Form 1 Major chord. Note: two optional forms are also given, Form la and Form 1b. All of these forms are practical and used very often. Form 1b is used primarily for jazz and the more standard tunes. dom in<:~.nt
Form I
.. ,..
.....
4~
Form la
.....
4:
4)
~t ~)
Fun n I I.
~)
~
~)
E)
f)
'0
4)
~~ ~,
2
Fret
5
4
3
6
7
10
9
8
1·2
11
F7
Chord
This exercise is based on the Dominant 7 t h chord. Play the exercise three times using a different form each time.
~ ~ 64
F7
I
j
Fh
I
I
I
I
I
I
I
I
I
I
;
I
I
I
I
I •'
,,
,'
I
Bb7
A7 I
I
A~ 7
G7
I
,'
I
I
B7 I
I
I
I
I
I
I
I
I
I
I
I
I
1
I
I
I
C7 I
I
I
I
I
I
I
I
I
I
I
j
I
I
In this exercise, form 1 of the major chord moves to form 1 of the dominant 7th chord. F
4I
I
I
I
A
'
I
F#
F7
I
I
• I
I 4:
I
I
j
,'
B~
A7
I
Fh
I
;'
I
I
I
I
I
I
I
I
I
Bb7
I
I
I
I
I
G7
G I
I
B I
I
I
I
I
I
I
I
I ,'
I
I
I
j
I
c
B7
I
A~ 7
AI>
I
,.r
I
I
I
C7 I
I
j
I
I
II
I
Exercises based on the form 1 dominant 7th chord. Use also with the optional forms of the dominant 7th chord. F7
'~
I
G7
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
j
I
G7
' '
f
I
j
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
i
I
I
I
I
I
I
I
I
I
I
I
I
•
I
I
I
[Dominant 7th
I
I
Cho~
I
I
I
I
I
I
I
I
I
I
I
I
G7 I
I
I
I
I
j
I
I
I
I
I
I
I
A7
G7
A7 I
I
•
A~7 I
I
B7
II
F7
G7 I
I
I
Bb7
C7 I
A7
I
I
I
I
Bb7
A7
,'
I
I
j
in popular
)
I
I• I
I
I
I
I
I
G7
I
I
I
I
I
I
I
II
m~
65
LessonS
Major Chord Forms and the Dominant 7th Chord
The following exercises make use of both forms of the Major chord and Form 1 of the Dominant 7th chord. The numbers over the chord symbols indicate the form to be used. However, the student should also try his own combinations of forms.
CD
4
I
I
I
I
I
I
I
I
I
•
.f
I
CD
4
I
I
•
I
'
I
•
I
I
I
I
CD i
I
I
•
I
•
I
I
I
I
••
•'
I
I
I
I
i
I
I
•
I
I
I
I
•
I• I
I
I
i
I
I
•
I
I
I
•
"I
i
I
I
• I
I
I
••
• I
I
I
•
A
I
I
I• I
I
I
•
•
I
I
® c
G7
I
I
CD
CD I
I
II II
D
I
I
F
I
I
I
CD
®
® c
•
•
G~
I
I
••
I
A
I
•
I
i
® c
CD
I
I
G7
CD I
•
CD
I
I•
••
I I
I
•
•
G
II I•
I
CD
E~
I
I
G
® I
•
G
I
® c
I
I
CD
I
I•
•
B~7
I
I
)
I
CD
I•
I
B~
I
;
i
I
®
F7
I
I
•
CD
~ 66
i
® c
•
I
•
F7
I
I
B~
I
I
I•
I
D
I•
CD
I
4
I
®
•
I
F
I
I
A
I
®
I
F7
CD
4
I
I
CD
F
I
I
I
E~
D
'
I
I
CD
c
®
® i
®
CD
G7
G
I
•
I• I
• I
I
i
I
I
Dominant 7th Chord-Form 2
Lesson 9
Another form for the Dominant 7th chord is derived from the Major chord Form 2. Note that an optional form is also given, Form 2a. Fnrm :?a
Fnrm 2
...
~H •
..
.
.....
~H )
~-
e
~)
...
~) ~
) E) ·)
Fret Chord
Bl?
2
3
4
B7
C7
C# 7 D7 Db 7
5
6
7
Eb7
E7
9
8
10
11
12
The following exercise based on Form 2 of the Dominant 7th chord should also be practiced using the optional Form 2A. This form is more difficult to play and the student may have to come back to it at a later date. B~7
4I
4 1
B7
I
I
I
II
I
I
I
I
I
Eb7
D7 I
C7
I
I
,•
I
I
I
I
I
I
••
I
I
I
I
•
I
I
I
I
I
I
I
F7
E7 I
I
I
I
j
I
I
•
I
I
»I
I
I
II
I
I
In the next exercise, Form 2 of the Major chord moves to Form 2 of the Dominant 7th chord. Try also using Form 2a for the Dominant 7th B~
4f
4
B~7
I
I
D j
I
B
I
II
I
I
I
I
I
I
I
I
I
I
C
,•
I
I
I
E I
I
I
I
I
c#
C7
I
I E~7
E~
D7 I
B7
I
• I
E7 I
I
I
I
I
c#7 i
F I
I
,•
I
I
I
I
F7
• I
,•
I
I
II 67
Exercises based on Form 2 of the dominant 7 th chord. B~7
' '
i
I
I
i
I
i
C7
,
I
;'
E~7 j
I
nh7 I
I
I
I
j
I
I
C7
4!
I
I
I
I
I
I
'
68
I
, I
D7
, I
, 1
,•
, I
I
I
I
I
I
, I
I ,• I
I
I
I
I
I
I
I
,•
I
I
I
I
,•
I
1
I
I
,
.f
I
I
I
,
I
,
I
I
,
I
I
I
I
I
I
I
,•
I
I
I
I
D7
I
I
Eh7
, I
I
Bh7
B7
C7
D7 I
I
E7
, I
I
Bh7
,
C7
,
I
,
I
,
I
,•
I
D7 I
,
I
,
I
I
C7 I
I
I
I
I
i
I
I
I
I
I
II
Lesson 10
Dominant 7th Chord-Form 3
The Form 3 Dominant 7th chord shown below is used very often although it is not a bar chord. It is not a difficult form to play. Be sure, however, not to strum the 1st string. The string may be deadened by leaning the lower part of the 1st finger against it slightly.
C'
~)
-~ ~)
Fret
1
2
Major Chord
C7
C# 7 D7 D~
3 7
4
5
6
E~ 7
E7
F
7 7
F#
8 7
Gb7
0
7
C·)
9
10
11
12
Ab7
A7
B~7
B7
Form 3 of the Dominant 7th chord moves smoothly to Form 1 of the major chord. This resolution is used often in popular music.
·~
I
,'
I
I
4
D7
I
I
4
I
,
I
I
,
,
I
,
I
,
@
I
4
11
,
I
l
I
,
I
,
I
,
I
, I
F#
II
I
,
I
,
I
i
I
,
I
,
,
)
»
,
I
I
••
I •'
I
,
,
•
I
I
I
,
I
,
G7 I
11
I
I
,
I
I
,
i
,
;'
I
••
I
,
-, I
I
,
w
,
;'
i
,
11
CD c
@
B
,
CD
F7
,
I
CD
E~7
Be sure that the second string sounds!
70
I
,
®
,
I ,'
I
,
®
A
I
, I
I
CD
F#7 I
, I
CD
E7
I
, I
G
® 11
, I
c#7
CD
® I
F
,
CD
®
CD
® , I
C7
I
II
I
,'
II
I
Lesson 11
Review
The following exercise reviews some of the forms studied so far. Remember that the number placed above each chord symbol indicates the form to be used.
®
CD
C7
[
.
'
t
4I
i
I
I
I
•
I
I
I• I
4I 4
I• I
CD rl7
I
I
I
I
I
I
I
i
I
I
I
i f!
I
I
CD I
•
.. I
I
I
I
I
I
I
I
•
i
I
i
I
I .. I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
•
I
•
I• I
CD
CD
®
Ab
Ab7
ob
•'
I
I
l f!
I
I
I
I
I
I
i f!
I
CD
E7 I
I
I
•'
•
I
•
I
I
I
I
I
I
I
i -1
I
A7
I
I
I
•
I
•
I
I
I
II
I
I
II
I
I
I
I
I
I
I
I
I
I
I
I
II
•
I
II
I
I
•
I
II
I
i
I
II
I
®
CD
A
I
I
I
I
c
® I
I
®
Eb7 I
II
•
B
I
CD
j
•-1
I
I
®
G7
G
®
I
I
I
F~
07
'
I
I
CD
®
I
I
I
® I
Bb
F7
d7
I
®
CD
F
D I
I
I
I
I
I
I
I
•
I
(
,
'
CD
®
4I
I
I
I
I
•'
®
4
f
t
4
I
•
I
•'
I
I
I
I
I
I
I
II
•
I
•
I
I• I
I
I
I
•
• I
I ••
I
I
I
I
•
I• I
E
I
I
i
I
I
I
CD
I
I
•
I
•
I
i
I
I
I
I
I
®
C7 I
I
®
B7
c
I
I
CD
CD
@ G7 I
I
B
I
Eb
Bb7
CD
F#7 I
II
®
CD
Bb
F7
F
•-l
i -l
I
•
I• I
I
I
I
I
I
I
II 71
Lesson 12
Progressions I
A progression is the order in which chords move from one chord to another. The "blues" is a very common 12 measure progression. Below is a basic blues progression shown in three different keys.
'uf
II
•
l
I
11
I
I
II
® c
'#
I
,-
11
I
,•
11
I
I
11
® JJ
I
I
JJ
I
JJ
11
11
I
l
I
I
I
11
I
11
I
I
II
I
~
I
I
II
I
,•
•
11
I
I
'
11
I
II
11
I
I
I
11
I
11
I
11
I
I
11
I
I
11
,•
I
i
11
I
I
11
I
11
I
•
l
,'
I
I
I
11
I
I
,.t
JJ
I
I
I
11
I
I
11
11
•
I
11
I
II
•
;f
I
I
11
I
11
I
11
11
I
11
I
I
I
II
I
I
I
11
I
I
JJ
I
11
11
I
11
I
I
II
I
11
I
I
I
11
I
11
I
11
I
11
I
II
I
II
I
,•
II
11
•
I
I
I
II
I
®
C7
I
I
,'
11
I
I
11
Jl
I
11
® c I
11
I
I
Jl
I
I
JJ
I
Jl
I
Jl
I
II
I
® c
® c
••
I
F
I
® c I ,•
I
I
® c I
11
F7
11
F
11
I
11
G
I
11
I
F
II
11
I
G
11
F7 11
II
II
I
F
11
I
11
I
F
G7
72
I
JJ
JJ
II
II
I
G
F
F
I
I
I
11
11
I
11
®
11
Bb7 II
11
11
I
® c
'
l
G
~
I
11
i
I
C7
I
I
Bb
®
'&
11
B~
I
I
G7
JJ
I
'&
11
®
F
I
I
C7 I
4&1
11
11
I
I
G
® c
D7 I
c
G
I
11
- 11
I
I
Jl
I
11
I
11
I
I
Lesson 13
Minor Chord Form 1 Fm
Form 1 of the Minor chord is derived from the Major chord Form 1. In the Minor chord form the 2nd finger is omitted.
~~
~,
~
)
~)
4) Ct)
4
3
6
5
Fret
1
2
Chord
Fm
F#m Gm A~m Am Gbm
7
8
B~m Bm
10
9
11
12
C#m Dm E~m Em
Cm
D~m
Exercises based on Form 1 of the Minor chord. F~m
Fm
\
~,
t
(
' ' ' '
,,
I
i
11
I
11
I
I
I
•'
I
II
•
11
I
Fm
I
i
i
I
I
11
I
11
I
11
II
i
11
I
11
I
11
I
11
11
•
•'
Bbm 11
•
11
•
I
11
I
I
11
I •'
I
I
•'
I
I•
11
11
i
i
11
•
11
I•
11
11
I
I
11
•
I
i
11
I
Bm
11
I
11
I
I
#m 11
I
Cm
I
•
,'
•'
Am
I•
11
I
11
Bm I I
11
Gm
11
Cm 11
I
11
Bbm
Am
Abm
Gm
II
11
11
I
i
11
i
11
I
I
Gm I
11
I
i
11
I
I
11
I
I
I
11
I 73
Form 1 of the Major chord moving to Form 1 of the Minor chord.
' '
I
F
Fm
•'
,'
I
A I
74
I
I
j
I
I
I
I
F#m
I
I
I
Bb
Am
I
I
I
I
I
II
I
, I
I
1
B
I
•'
I
#
Gm
G
Bhm
,'
I
I
I
j
I
I
I
I
I
I
I
I
c
Bm I
I
I
Ahm
I
I
I
I
i
,'
I
Cm
I
I
I
I
I
I
I
I
Exercise based on Form 1 of the Minor chord. Gm
' '
F# I
I
I
I
I
Gm I
I
I
,
I
I
Fm
,
I
,'
I
I
Gm
, •
I
I
i
I
I
I
j
I
I
I
Am
I
I
Bbm
Am I
I
,'
I
I
I
II
,'
I
I
Am I
I
I
I
I
I
I
I
I
I
I
I
I
Gm I
I
II
I
j
I
j
I
I
"(
r
. I f
Lesson 14
Minor Chord Form 2 Bbm
Another form of the Minor chord is derived from the Major chord Form 2.
Furtu
,._
4H,
2
.) ~
~ ~ ~·)
Fret
1
Chord
Bbm Bm
''
B~m
4 {
3
4
5
Cm
C# m Dbm
Dm Ebm Em
6
8
9
Fm
F#m Gm Abm Am Gbm
7
10
11
12
Exercise based on Form 2 of the Minor chord.
i
I
2
'
4
I
I
I
I
I
I
I
Dm I
7
I
,'
I
I
Bm
,
I
I
,
I
Cm
,
I
I
I
E~m
,
I
,t
I
dm
,
I
I
I
I
I
Em I
I
I
,'
I
I
I
,
I
,
I
,
I
I
•
Fm I
I
I
I
I
I
I
I
I
I
I
;
I
I
( I
~; \ "'f'
f
B~m
' '
I
I
I
Cm
,
I
I
Fm
,'
j
7
I
I
,
I
j
Dm
,
I
E~m j
I
I
,
I
7
j
I
7
l
I
I
I
dm
I
I
I
I
I
,'
i
,
I
I
Em I
I
Bm I
I
I
I
,
I
,
7
I
I
7
I
I
,'
I 7.5
Form 2 of the Major chord moves to Form 2 of the Minor chord.
:Bb
' '
B~m
f1
I
I
D I
I
B
,'
I
I
I
I
I
II
j
76
I
I
I
I
I
em
e
I
I
I
E~m
,•
I
I
I
I
E I
I
I
j
j
I
I
Em
I
I
I
I
I
dm
d
I
I
I
I
I
j
I
I
I
Fm
F I
I
I
I
I
)
I
I
I
Exercise based on Form 2 of the Minor chord. B~m
em
' '
I
E~
Dm
I
Bm I
I
I
I
I
I
I
I
I
em I
I
I
I
em
,'
I
I
I
I
I
II
,'
I
I
I
Dm
,'
I
E~m
Dm I
I
I
I
I
I
I
I
I
I
1
I
j
I
I
Dm I
I
I
I
I
I
I
I
I
I
I
I
em I
I
I
I
I
I
I
I
I
I
II
Lesson 15
(
~(
Progressions II
A very common progression fo und in popular music which makes use of the Minor chord is shown below in three different keys.
(
i
CD F
4&t
I
I
,
,'
,
I
I
CD ~ J
CD
i
,
I
I
Gm
,
I
CD
F
4& I
® , i
Dm
,•
I
I
,
I
I
I
I
,
I
,
I
,
I
® I
I
I
II
I
I
I
I
,
,
I
Ej
CD
C7
Gm
,
,
I
® C7 ,
I
I
I
I
I
I
F I
I
I
I
,
I
I
(
"
In the fo llowing progression the E Minor is played as an open chord. The symbol is ®.
CD
@ #! •.
~
t
~
f
I
I
I
CD G , I
'# ~
®
G
,
i
4
l
I
I
I
I
I
I
I
I
I
,
I
I
I
I
I
I
I
I
® c
I
I
I
i
I
I
I
I
I
I
,
I
I
I
,
I
I
f;ij«n i .. ..
•
I
•
CD
• I
I
,
I
I
I
l
I
• I
,'
I
I
I
I
II
/
I
I
•
I
I
I
I ..
I
•
•
I
I
I
I
I
I
I
I
,
I
I
I
g II
I
I
i
I
I
I
I
I
,
II
I
• I
I
I
® E7
I: II
CD G ,
,
® c
I
I
I
•
I
•
I
I
,
I
I
•
•
..
CD
E7
I
I
I ,•
»'
® I
I
G7
I
Bm
I
I
CD
CD
Bm
I
I
II
I
CD
A
I
G7
CD
I
I
I
Dm
F#m
A
I
CD
I,
I
I
D7
®
I
I
®
Dm
,,
I
®
Am
, I
I
D7
II
I
CD
I
·-~
I
Am
CD
Ir
j
Am
CD
® c
j
I
®
CD
Em
A
I
I
• I
I
•
I• I
• I
I
••
I 77
Lesson 16
Minor 7th Chord-Form 1
The Minor 7 th chord is often used as a preparation for the Dominant 7 th chord. Below is the Form 1 Minor 7th chord which is derived from the Form 1 Major chord . Also given are two optional forms, Form l a and Form 1b. All three forms a re widely used. Form 1b is used primarily for jazz and for many standard tunes. By experimenting with all the forms, the student will decide where each sounds best.
,
~H,
~
~~
fur111
f~
... ....
.. ) ~,
~
~~
Ia
....., ...l.., "~ 'J
0
~
I.
f~
'
c·)
Fret
1
3
2
5
4
7
6
8
12
11
10
9
7
7
7
Chord Fm7 F#m7 Gm7 Abm7 Am7 Bbm7 Bm7 Cm7 C#m7 Dm Ebm Em 7 Gbm7 Db m
The following exercises are based on the Minor 7 th chord. Each exercise should be played three times using a different form for each time.
4f
Fm7
I
A~m7
Gm7 I
I
I
I
I
I
I
I
r
»
I
I
i'
I
,,,
I
I
B m7
I
78
I
I
I
I
I
I
I
i
I
I
rI
I
»
I
I
I
I
Cm7 i
I
I
I
I
I
I
I
I
I
I
I
I
II
·r
~
t(
{
Fm7
4
f
11
I
Gm7 I
11
I
11
I
Cm7
4
I
11
I
I
I
11
I
Am7
II
I
11
I
,'
11
B~m7
,
I
11
I
11
I
I
I
I
Bm7
11
I
11
I
Abm7
,
I
I
,
11
•
I
I
,
I
11
11
I
Gm7
,
I
,
I
,
I .f!
•'
1
I
I
11
II
The Minor 7tb chord moving to the Dominant 7th. This is a normal resolution and it is used in many progressions.
CD
Gm7
4
I
I
I
,
I
,
I
CD
4 ~ f
'
I
I
I
I
CD
~
I
@
Ahm7
nh7
I
11
I
I
I
11
I
11
I
11
•'
I
I
@ 11
I
I
I
11
;
I
;
11
I
I
11
I
,
I
11
, I
,•
i
I
I
11
11
I
11
I
I
11
Eh7 I
11
I
11
,'
I
,
@
CD
Cm7 11
I
@
Bbm7 11
E7
,
I
11
CD
D7 11
Bm7 11
CD
C7
@
Am7 11
11
@
F7 I
11
I
11
I
I
I
I
11
i
11
II
THE MINOR 7TH CHORD IS
f
!'j J
79
(
t
Lesson 17
Minor 7th Chord Form 2
Another form of the Minor 7th is derived from the Minor chord, Form 2. Bbm7
•
~~
Funu:.!
.41)
~~ ,~
~)
.411~
•~
4~
f~
4!)
~·)
Fret
1
2
4
3
6
5
8
7
10
9
11
12
Chord Bbm7 Bm7 Cm7 C#m7 Dm7 Ebm7 Em7 Fm7 F#m7 Gm7 Abm7 Am7 Db~ Gb~
Exercise based on Form 2 of the Minor 7th chord. B~m7
4
f
4
I
,
Dm7 I
,
I
,« •,
,
,
•
I
I
Bm7
,
, I
II E~m7
,
I
I
,
I
,
Cm7
, »
I
«
I
Em7
I •,
, I
I
I
,,
I
,
I
I
,
,
I
,
dm7
I, F7
, •
I
I
I •,
,
, •
I
,
I
, •
I
,
,
I
The Minor chord Form 2 moves to the Minor 7th chord Form 2. Bbm
4
I
~ 80
,
•
I
Dm
, •
Bbm7
,
, I
•'
I
Bm
II E~m
Dm7
,
, I
I
,
I•
, • , •
Bm7
, •
Ebm7
, •
,
•
,
•
Cm
I •,
Cm7
I
Em
I
I
,
,
•
I
Em7
••
,
•
I
,
,
c#m
, •
,
I•
Fm
I
I
,
c#m7
,
I
•
Fm7
I
i
,
)
,
II
f Exercise based on Form 2 of the Minor 7th chord.
f
Bbm7
f
! (
' ' '4
I
I
Cm7 I
I
(
I
I
I
Ebm7
I
I
I
I
I
I
I
,
I
Cm7 I
,
I
I
)
I
I
I
,
,
I
•
I
I
j
I
I
II
I
i
I
I
I• I
I
I
,
I
I
I
I
I
,•
I
I
I
I
•
I
I
I
• I
I
I
I
I
1
I
I
I
I
,
I
I
I
I
I
I
E~m7 I
I,
,
I
I
B~m7 I
Cm7
I
Dm7 I
I
Em7
I
Bm7 I
Bbm7
Cm7 I
I
I
obm7
I
I
I
Dm7
I
,
I
I
I
I
Dm7
I
i
,
)
,
I
j
I
,
I
,
i
I
,
Cm7
I
I
i
I
I, I
i
I
I
(
• I
II
'
'
1 ~
t
! f
81
Progressions Ill
Lesson 18
Progressions similar to those in lesson 15; the Minor chords are now played with the 7t h added.
CD
4
I
I
•'
•
I
I
•'
CD
4
I
I
•
I
I
I
,
I
4t!
I
I
I
I
I
I
I
I
I
I
I
j
I
I
I
I
I
I
I
! :-! :-! :-
I
I
I
I
I
I
I
CD
I
I
,
I
,
I
,
I
I
I
I
I
I
I
I
I
I
I
I
,
•I
r,
»I
I
j
I
I
I
I
i
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
»I
I
I
I
,
I
I
I
I
I
I
I
I
I
I
I
,'
Il
I
I
I
@ E7
I
I
I
I
I
I
I
,
II
CD
E7 7
rI
I
® c
@ 7
•I
II
Bm7
,
.~
G7
I
CD
,
,'
CD
I
I f:
•'
G
G7
,
I
I r,
CD
I
I
CD I
I
I
07
Om7
I
•'
@
®
I
I
I
F
I
I
Bm7
,
I
CD
I rI
I
CD
A
,
07
I
I
I
@
F3m7
,
,
C7
CD
CD
A
I
Am7
I
I
,'
I
I
I
®
CD
82
I
Om7
I
I
I
CD
® c
4
I
I
Am7
;'
•'
I
C7
•'
I
I
® c
4
I
CD
I
I
I
Am7
;
i
I
@
I! : :-
! ! ::-
!:~
CD
i
I
Em7
=: := :-
4
I
®
G
i
I
Gm7
CD
'
Gm7
CD
F
I
I
@
CD
®
Om7
F
I
,
I
I
I
,
A
I
I
I
I
,
I
I
I
I
Lesson 19
Major 7th Chord-Form 1
The Major 7 tb chord is often used in place of the Major chord. The Form 1 Major 7tb chord is derived from the Form 1 Major chord. An optional form, Form la, is also shbwn. The optional form, although not a bar chord, is used very often. Fmaj?
Fmaf ~~
Funn '"
,.t ~~
4~
fl)
4)
E~
f ) (·)
'
c·)
The letter name of the Major 7 th chord Form 1 at each fret is the same as the Form 1 Major chord. Play the chord up the fingerboa.rd.
Major 7th Chord-Form 2
Lesson 20
The Major 7 th chord Form 2, is derived from the Major chord Form 2 and has the same letter name at each fret. B~maf
Furnt 1
4H~ l
f 1
Play the chord up the fingerboard. 83
r
Lesson 21
Progressions IV
The following exercise is based on one of the most commonly used progressions in popular music-the Minor 7tb to the Dominant 7tb to the Major 7tb. This sequence of chords is played through every key. The forms to use are indicated; however, the student should experiment with other forms he has learned so that he becomes familiar with all the possibilities and all the different sounds.
®
Dm7
f;!
..
•
11
®
' c;' •
1m7
l
84
:
11
•
•
11
•
11
11
•
I•
11
I
:
11
•
,. I •
11
11
11
•
11
•
11
11
I
• 11
•
11
11
I
I:
I
I
11
• 11
11
•
I
I
11
II
11
•
I
11
•
11
•
11
•
11
CD
® D7
I
11
•
:
•
11
:
•
11
•
11
•
11
•
•
.. ..
I
•
I
11
I
I
11
I
11
®
Dbmaj7
.. I •
11
11
®
Bmaj7
I
I ..
•
11
11
CD
Amaj7
E7
11
..
•
®
® I
I: E1>maj7
CD
Am7
II
11
F#7
CD
®
11
I
•
CD
Bm7
Dmaj7 I
I
11
•
Ab7
®
I I ..
I•
11
C#m7
®
•
•
®
•
.
~7
Ebm7
Emaj7
A7
I
11
•
CD
11
•
Gbmaj7
B7 11
11
11
®
CD
CD •
I•
•
Fm7
A~maj7
®
11
11
Fmaj7
C7
I ..
:
•
11
®
D1>7
•
I • ..
®
Gm7
B1>maj7
~7
®
f:'
11
F7
CD
' Ft
•
11
CD
B~7 .11
I
CD
Cmaj7
G7
•
11
II
Gmaj7
•
11
I•
11
•
11
11
II
' (
Lesson 22
This exercise is based on the Minor 7th to the Dominant 7th progression moving through every key. Although the forms are indicated, the student should try using other forms as well.
f;i , '
f
Progressions V
@
®
CD
Dm7
G7
Gm7
•
CD
'B~m7
r
• I
• I
®
I
•
.. I • I
• I
I
•
I• I
:
I
•
I
I• I
I
I
I
I
I• I
..
I
•
I
•
• I
®
I
I• I
CD
l
I
I
• I
..
..
• I
®
@) Am7
I
. ..
F #7
C #m7
A7
I
® Blo?
I•
I
•
CD
•
@ Fm7
D7
• I
I
•
I
•
@
®
Fmaj7
C7
•
I
•
Em7
•
I
~
®
E7
•
I
@ I
I
•
A~m7
®
..
F7
I ..
I
•
•
I
@) I
•
CD
I
®
Cm7
A~7
Gm7
G7
I
•
CD
Bm7
CD
•
I
{
®
B7
{
I
C7
E ~m7
CD
Dm7
I
I
®
@
' '
•
I
E ~7
F#m7
..
•
I
l
CD
®
I
•
I
•
I
The Dom inant 7th progression
85
Lesson 23
Major 6th Chord-Form 1
The Major 6th chord like the Major 7th, is often used in place of the Major chord. The Form 1 Major 6th chord is derived from the Major chord Form 1. An optional form for the Major 6th chord is also given (form la). This form, although not a bar chord, is a very commonly used fingering. Note that this form begins on the 2nd fret producing an F# 6 1h chord. When playing this chord up the fingerboard, the letter name of each chord will be the same as all other Form 1 chords.
.,
Furm l
I
~·
)
~~
fH~
·~
f~
t·)
t·~
Play the following exercise using both forms of the Major 6th chord. When playing the Form la, the p6 chord may be played by omitting the 1st finger, leaving the 4th string open. F~6
•
• I
I
il!
86
' ' '
I
I
;'
I
I
I
I
B~6
A6 I
I
I
;'
I
I
I
I
Abs
G6 i
I
I
I
,•
I
I
i
B6 I
,•
I
I
I
I
I
I
I
I
I
I
I
I
I
C6
I
I
I
I
I
I
I
I
I
II
I
Form 1 of the Major chord moves to Form 1 of the Major 6th chord. F
I
I
A I
I
F~
F6
,•
I
•'
I
I
I
i
F#s
I
I
,'
I
I
I
I
G
.(
I
B~6
Bb
A6
I
I
I
I
I
I
I
I
I
B I
I
• I
»
G6 I
I
I
I
.(
I
I
I
A~6 I
c
B6 I
I
I
I
•
I
I
I
I
I
I
I
C6
I
II
I
I
II
Major 6th Chord-Form 2
Lesson 24
The Major 6th chord Form 2 is derived from the Major chord Form 2. While this chord is part of the series of bar chords, a more commoniy used Major 6th chord form is the optional Form 2a. This form however, begins with the C6Chord. The root of this chord or the letter name, is the note fingered by the 1st finger on the 2nd string.
f i
4)
f~ f) ~·)
The following exercise should be played first using the Form 2 fingering, then played again beginning from the c6 (third measure) using the Form 2a. (
r j
.,..
B~6
' '
I
I
B6
I
• I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
,•
I
• I
j
I
I
I
I
I
I
I
I
,•
I
;'
E6
•
I
c#G
C6
I
E~6
D6
,•
I
1
I
I
F6 I
I
I
I
I
I
I
I
I
I
I
I
II
Form 2 of the Major chord moves to Form 2 of the Major 6th chord . B~
I
T
I
I
'4
I
B~6
I
I
D I
I
I
B
I
I
I
I
I
I
I
I
I
c
B6
I
I
E~
D6 I
I
j
E~6 I
I
I
I
I
II
I
E I
I
I
I
I
I
I
I
E6 I
I
I
I
d6
d
C6
II
j
F I
I
I
I
I
i
I
I
I
F6 I
I
I
I
I
I
II 87
Dominant Qth Chord-Form 1
Lesson 25
The Dominant 9th chord may be used in place of the Dominant 7th. Form 1 of this chord is derived from the Major chord, Form 1, and follows the same pattern up the fingerboard.
Funu I
b
...,, .!
.411'11.
_.411
)
'~ C·)
~) ~
Exercise based on Form 1 of the Dominant 9th chord:
4I 4
F#9
F9 j
I
I
I
I
I
I
I
j
I
I
I
I
I
j
I
Bb9
A9 I
•
I
I
I
I
i
I
I
I
Ab9
G9
I
I
•
I
I
I
I
I
I
I
B9 I
•'
•
I
I
I
I
I
I
i
I
I
I
I
I
I
I
C9
•
I
I
I
I
I
I
I
i
I
,'
I
The Dominant 9th chord is used here in place of the Dominant 7th, and progresses to the Major chord Form 2.
®
CD
Bb
F9
88
' '
I
I
I
I
I
I
•
I
I
CD
G9
• I
I
I
I
I
, I
I
I
I
j
I
j
••
I
I
I
I
® B
I
I
I
I
I
CD
® c I
I
X
I
I
I
I
I
• I
I
•
I
I
I .f
®
ob
N9 I
II
• I
I
I
I
• I
I
I
I
I
• I
II
·r,
.
r
r
Lesson 26
Dominant 9th Chord-Form 2
(
Form 2 of the Dominant 9th chord is not a bar chord, but it is the form of the 9th chord most commonly used.
Form:l ~
~)
4~
f
Fret
1
Chord B9
5
6
Eb 9
E9
~ ) (·)
7
Exercise based on Form 2 Dominant 9th chord.
4t ..
I
,
I
E~9
(
(
B9
'
I
I
,
,
,•
I
,
i
I
C9
,
I
,
I
E9
,
I
I
,
,'
I
I
,
I
I
I
,
d9
II
I
F9
,
I
I
,
,
I
I
,
I
,
09
I
II
I
,
j
F#s
I
I
I
,
I .f:
j
,
,
I
I
,
,
II
In the following exercise the Form 2 Dominant 9th chord resolves to the Form 1 Major chord.
.
® , I
t
(!)
C9
4
f
4
® ,
I
I •,
I
,
,
j
I
(!)
09 I
,I
I
F
i
,
I
,
G
I
I, I
I
I
,•
I
,
,
c
I
I
.f:
I
~
I ,•
,
I .f:
I
,
I
~ I .f:
I
,
I
,
I
,
(!) I
,
I
,
I
,
/>/
I ,•
• I
I
I
I
,
II 89
Minor 6th Chord-Form 1
Lesson 27
Form 1 of the Minor 6th chord is derived from Form 1 of the Minor chord. Note also the optional form for the Minor 6th chord. Furm Ia
Furm l ~
,
.41'-
4~
4)
) ~~
~)
'
~·)
w
~
Exercise based on Form 1 of the Minor 6th chord: Also play Form 1a beginning with F# m6 in the second measure. Fm6
' '
I
I
Films
I
I
I
I
I
I
I
I
I
B~m6
Am6
I
,
II
I
I
j
I
I
I
I
I
-t
I
I
I
I
Bm6
I
I
I
A~m6
Gm6
I
I
I
i
I
I
I
I
(
I
(
j
I
I
I
Cm6
I
I
I
i
I
I
I
I
I
,•
I
II
Form 1 of the Minor chord moves to Form 1 of the Minor 6th chord.
6I 4 90
• I
I
I
I
Am ;
F#m
Fm6
Fm
•
I
I
I
I
I
I
I
I
Bbm
Am6 I
I
F#ms
I
I
I
I
Gm
I
I
Bbms I .f
I
I
I• I
I
Bm I
I
I
I
I
i
Bm6 I
I
i
I
A~m6
A~m
Gm6 I
I
I
I
Cm I
I
I
I
I
I
I
,•
Cm6 I
I
I .f
i
I
II
Lesson 28
Minor 6th Chord-Form 2
Form 2 of the Minor 6th chord is derived from Form 2 of the Minor chord.
I
~~~ ~~
4) 41)
~tl
Diminished 7th Chords
Lesson 29
The three most commonly used forms for the Diminished 7 th chord are shown below. The symbol for the Diminished 7 th chord is either dim. or the letter "0" as shown. The number 7 is generally omitted from the chord symbol. Because of the construction of the chord (all notes are an equal distance from each other) any of the notes being played could be called the letter name of the chord. However, for practical purposes, the note played on either the 1st or 6th string will be called the letter name.
~)
f)
......
4:
4~ ~~
(·)
~
E)
0
Movin& either of the above chord forms 1 fret higher would produce a G , Bb 0 0 0 0 0 C# , E . Moving to the 3rd fret would produce an Ab , B , D , F . Starting with the 4th fret, the names of the Diminished chord begin to repeat themselves.
0 ,
The bar chord version of the Diminished 7th chord is more difficult to play. Movin& this form l fret higher would produce an 0 0 F# , A , C, Eb . Movin& to the 3rd fret we would have a G 0 C# , E .
0
... ..,
0
,
Bb
,
Starting with the 4th fret, the chords again begin to repeat themselves.
4~ ~)
E)
92
C·)
'
Lesson 30
t (
Augmented Chords
The two most commonly used forms for the Augmented chord are shown below. The symbol for this chord is either a "+" placed after the letter name, or the abbreviation aug. Because of the construction of the chord (all notes are of equal distance from each other), any of the notes played could be called the letter name of the chord. However, for the Form 1 Augmented chord shown below, the note played on the 1st string will be considered the letter name of the chord.
r
~
I
r
l
r.
't
Playing the chord at the 2nd fret would produce an F#+ , Bb+ , D +.
A+ C#+F+
Furm I
I
Playing the chord at the 3rd fret would produce a G+ , B+, Eb+.
~,
f~ ~)
Playing the chord at the 4th fret would produce an Ab+ , C+ , E +.
~·)
Starting at the 5th fret, the names of the chord begin to repeat themselves.
For the Form 2 Augmented chord, the note played on the 2nd string will be considered the letter name of the chord .
•
"
Playing the chord at the 2nd fret would produce a Db+ , F +A+.
C+E+Ap+
~H )
Playing the chord at the 3rd fret would produce a D+, F#+, Bb+. Playing the chord at the 4th fret would produce an Eb+ , G+, B+.
Form2
~~ ~)
Starting at the 5th fret, the names of the chord begin to repeat themselves. j
(
f
93
Lesson 31
Progressions VI
Progressions showing the use of the diminished and augmented chords:
~0 , II
I
' ' '4
I
I
I
,
I
I
I
I
, •
I
I
I
I
I
I
I
j
4
I
' 94
I
I
I
,
CD A~ , , I
I
,
I
I
I
,•
I
I
I
I
I
,
I
I
I
,
II
CD ® D7 , , ,
I
I
I
I
(
,
,•
I
I
I
I
I
,•
I
I
I
I
I
I
,
I
,
G
•'
I
I
I
I
I
I
I
I
®
j
I
I
I
I
I
I
I
I
I
,
I
I
,
I
,
II
I
I
I
,
I
,
I
(
I
I
,'
I
I
I
I
I
CD ,
I
I
II
I
I
Am7 I
I
I
I
I
I
®
G7
, I
I
F
,
CD ,
,
C7
Cm7
I,
I
®
I
,
®
CD
I
I
C7
Gm7
I
® ,
I
CD G+ ,
I
,•
(
I
I
Gm
Dm7
I'
(
I
~0
®
Cm
I
®
D7
Am7
,
II
I
I
,
~
,
I
I
~0
I
,
Am
Cm
,•
I
I
I
I
I
I
I
I
,
I
·r
r
Progressions VII
Lesson 32
The following progressions are typical of those found in the more modern or Jazz-type tunes. Note the greater use of the optional chord forms.
• • • •
®
@
@
Dm7
G7
C6
I
®
Em7
(
f
J
:
® D9 I
@
I
D6
@
Bm7
~
@
••
•
I
~
~
•
I • •• I
Fm7
I/
••
@
@
@
Gmaj7
G6
B~m7
I .. @
E7
Amaj7
••
:
••
. ..
••
® ••
••
®
I ••
••
E~m7
II
@)
Am7
••
I
A7
••
••
t I
..
:
I
®
I ..
~
•
..
••
••
@
@
A~7
D~6
{
@)
@ E~6
••
®
••
~
•
@
®
A6
Cm7
F7
~
~
•
I ••
0
••
E~9
I ••
I
~
I ••
B~7
@
•
I
.
~
•
I ••
I
..
••
@
@
A~maj7
A~6
I•
~
~
•
~
I ••
••
.
••
~
•
@
@
B~6
B~maj7
•
•
I
:
~
•
I
• ~
•
r
NOTE THE GREATER USE OF THE OPTIONAL CHORD FORMS
95
Lesson 33
Progressions VIII
The following progressions are more typical of those found in the more popular or rock-type tunes. Note the use of open-string chords. These chords are indicated with the symbol®.
CD
®
A~+
'
I
~
I
•
I
I
I
I
I
I
CD 11
11
11
j
I
I
11
®
4
1
~
j
I
11
I
11
j
I
11
I
I
11
I
I
I
I
I
I
11
11
;
11
I
11
I
11
I
I
11
I
'~ 96
I
(
11
I
I
I
11
I
11
I
11
11
)
I
11
I
I
I
I
11
I
I
I
11
I
I
II
I
11
I
11
I
11
I
I
j
11
I
(
;
11
I
I
(
I
11
I
I
I
11
(
I
I
11
I
11
I
I
11
I
11
I
I
I
f
I
11
I
11
I
11
I ,•
I
I
j
I
I
I
I
I
I
11
I
I
I
I
I
I
11
i
if
I
11
I
I
I
I
I
11
II
II
I
(
(
I
If
I
I
I
11
I
11
(
II
If
I
I
I
11
11
I
11
I
11
j
11
11
I
11
I
11
I
11
CD G
I
11
I
11
I
11
I
I
11
I
11
I
11
I
11
CD
B~
II
11
G
11
CD I
I
CD
B~
11
11
F
11
CD 11
I
CD
F
11
11
@
CD 11
I
Am
11
I,
11
E
11
G
I
I
·I
11
I
11
,t
I
I
11
I
®
c
G
•
11
B~
11
I
®
CD
F
I
CD 11
11
CD
c
I
I
A7
A
® II
I
I
I
@
11
11
I
11
CD
Am I
I
I
®
CD I
I
Am
® c I
I
I ,'
c
I
I
11
E
®
4
I
CD G+
G
I
11
I
E7
®
I
I
11
F#m
®
Em I
I
®
CD c
I
11
@
CD
~
I
Am
I
,'
I ,' ,'
11
E
c
I
I
®
@
I
I
j
A
I
~I
I
CD
n bm I
I
Am7 I
11
I
CD
nb
E
CD
Am I
I
®
®
D~m
I
II
II
•
,'
I
I
11
I
I
I
11
i
I
I
'
97
Lesson 34
Three-Note Chords
A certain style of rhythm playing which is greatly favored by many Jazz guitar players is one which employs only three-note chords. Although the chord forms are basically the same ones we have already learned, they are strummed only up through the third string. This can be very effective when used properly; besides creating a good rhythmic feeling, an interesting harmonic background will also result. The following progressions should be played by first strumming the full chord and then by strumming up through the third string. Listen for the difference. Since it is important to use the correct chord form, all forms are indicated. If you are uncertain of any chord form, check back to be sure.
@)
@)
@)
@)
@)
@
Am7
Bm7
B~m7
Am7
A~m7
Gmaj7
I
I:
I
I
@ Am7
• I
~
98
I
I
I
yI
I
I
I
I
I
II @) Am7
I
I
I
/
I
I
I: • • I
/
I
yI
I
•
•
F# 0 I I
:
@)
•
@
B~m7 Bm7 yI
yI
•I
II
I
@
A~m7
Iy I
yI
yI
@
®
F6
F7
I
II
@
@
@ I
:
•I
I
•
Am6
Am7
@ I
I
@>
@)
Bm6
Fmaj7 I I
@)
@
B~o
I
I
I: • ,
•
Bm7 B~m7 Am7
Gmaj7
•
@
@ Am6
#
I:
I
•
Am6
G6 I
I
@
G6
yI
•
I
•
/
I
@
I
I
•I
II
I
II
·• I
l
Lesson 35
~
Progression IX
(
•'
J
The final progression is typical of so many of the standard tunes played by many Jazz guitarists. No indication is given here as to which form of the chord is to be used. The student, through past experience and by experimentation, should try to play as smoothly as possible and to get the best sound he can. Of course, without knowing the melody this is more difficult to do; however, this should prove to be a good exercise in chord playing.
'f l r ( r
,,
'~" ~
(
r
'~'v
Fm7
I
, #
D~maj7
,
•
I
,
B~m7
•
I
,
,
•
•
,
• G7
,
I
Em7
.. ..
I
,
•
, •
,,
,
,
,
,
,
I•
Cmaj7
I
A~maj7
A7
•
/
..
C6
:
, •
/
I
,
•
A~6
,
I
:
Em7 El>m7 Dm7 Dl>m7
, •
I
l
I
(
&~'' ~ !,
r(
. (
&~",,~
"'
'~lzlz~
'
t
f
Cm7
, •
,
•
A~6
A~maj7
.
Am7
,
•
I
,
•
Fm7
Il D7
,
.. I .
,
•
..
,
,
,
,
•
I
•
•
,
•
•
f
I ,.
I
:
,
I
E~maj7
E7
,
• Gmaj7
D7
,,
•
Bm7
,
l
l
,
,
• • Gmaj7
, •
l
I
"' •
,
• :
..
Em7
A7
..
I
.
I
I
I
G6
Gmaj7
G6
'.J
I
E~6
G6
•
,
:
,
I
•
---
I• I
I
..
•
I
I
,"l •
(
'~lz ~ I>
F#m7
,
•
•
•
·,
..
&~"!,~ &~'·,,&
~
I
.. I •
I
I
I
,
:
D~maj7 I
I
•
,
•
I
,
II
I
•
I
I
I
I
I
I
I
I
I
•
,
I• •
I
I
I
• I
I• I
I
I
• I
""
/
II
s s•~
,))~7
E~9
I
Emaj7
I
Ab
Dbm7 I
B~m7
f
,
I
B~m7
Fm7
&~"!.& ..
B7
lfs!~S s f
-..
I
,
Ab+ I
•
A~maj7
:
•
I
..
I
Al>6 I
•
I
I
I
I
Ab•
:
A~7
,
{ ..
I• I
I
•
Db D~m Ahnaj7
:
I I ..
,
•
I
•
II 99
100
