edited by jonathan feist
Berklee Press Vice President: Dave Kusek Dean of Continuing Education: Debbie Cavalier Managing Editor: Jonathan Feist Director of Business Affairs: Robert F. Green Senior Designer: Robert Heath Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen Whalen
ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3
1140 Boylston Street Boston, MA 02215-3693 02215-3693 USA (617) 747-2146 Visit Berklee Press Online at
Visit Hal Leonard Online at
www.berkleepress.com
www.halleonard.com
Copyright © 2007 Berklee Press All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission per mission of the Publisher.
Berklee Press Vice President: Dave Kusek Dean of Continuing Education: Debbie Cavalier Managing Editor: Jonathan Feist Director of Business Affairs: Robert F. Green Senior Designer: Robert Heath Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen Whalen
ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3
1140 Boylston Street Boston, MA 02215-3693 02215-3693 USA (617) 747-2146 Visit Berklee Press Online at
Visit Hal Leonard Online at
www.berkleepress.com
www.halleonard.com
Copyright © 2007 Berklee Press All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission per mission of the Publisher.
Contents Introduction Part I. Chords 1. Move Moveab able le 7th 7th Ch Chord ord S Sh hape apes (each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 ) Major 7 Dominant 7 Minor 7 Minor 7%5 Major 6 Minor 6 Diminished 7 Dominant 9 Minor 9 Minor 11 Dominant 13 2. Domi Domina nant nt 7th 7th Cho Chord rdss wit with h Alte Altera rati tion onss: two versions versions each, each, with roots roots on 6 and 5 Dominant 7%5 Dominant 7(#11) Dominant 7(9, # 9) Dominant 7#5 Dominant 7(%9, %13) Dominant Dominant 7(altered): 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 3. Guide Tone Chords Root Root 3 7 (Major (Major 7, Domina Dominant nt 7, 7, Minor Minor 7, 7, Minor Minor 7%5, Major 6, Minor 6, Diminished Diminished 7) Root Root 7 3 (Major (Major 7, Domina Dominant nt 7, 7, Minor Minor 7, 7, Minor Minor 7%5, Major 6, Minor 6, Diminished Diminished 7) 4. Triad riadss over over Bass Bass-N -Not otee Voi Voici cing ngss with with Roo Roots ts on on 6 5 4 V /I %VII/I Other Common Common Voicings: oicings: (III/I, II/I, # IV/I, VI/I, VII/I) 5 4 3 2 1 6 4 3 2 5. Inversions (each on 5 4 3 2 Major 7 Dominant 7 Minor 7 Minor 7%5 Major 6 Minor 6 Part II. Exercises 6. Qu Quar arta tall Voi Voici cing ngss Exe Exerrcise cisess C Dorian Voicings 7. Diatonic Exercises B% Major on 5 4 3 2 E% Major on 4 3 2 1 F Major on 6 4 3 2 B% Major on 5 3 2 1 F Harmonic Minor on 6 4 3 2 F Melodic Minor on 6 4 3 2 G Major 6 Bebop Scale on 6 4 3 2 G Minor 6 Bebop Scale on 6 4 3 2 About the Author
iv 2 2 3 3 4 5 5 6 7 7 8 8 9 9 9 10 10 11 11 13 13 14
3
2
1
)
16 16 16 17 19 19 20 21 23 24 25 28 28 30 30 31 32 33 34 35 36 37 38
Introduction The Berklee Jazz Guitar Chord Dictionary is a resource for 7th-chord voicings and other frequently encountered jazz chord shapes on the fretboard. The following diagrams indicate what notes you should use for each chord voicing. These chord blocks will will show you the right shapes, but as a musician, you owe it it to your audience and and yourself to hear the music before you play it. This material will help you to map out the sounds on your fretboard. fretboard. With With time, you will hear the chords before before you play them. Strive Strive to play play these chords chords with a solid solid time time feel, a full tone, tone, and attacks attacks with your “picking hand” that match the level level of intensity intensity of the music you’re attempting to play. Some tips for getting a good chord sound: •
Take ake spe speci cial al care care to to play play the the note notess req reque uest sted ed—a —and nd to to leave out , or mute the strings with the
x
symbol above them. Keep the
extra strings out of the sound. •
Use Use the the edge edgess of of your your fin finge gers rs of your your fret fretti ting ng han hand d to to mute mute unwanted strings. Focus your strumming (or finger-picking attacks) on the indicated strings. Avoid sounding the others.
•
When When stru strumm mmin ing g acr acros osss the the stri string ngs, s, make make the the spe speed ed of you yourr stroke fast enough to give the illusion of one simultaneous sound made up of all the chord voices.
iv
•
When you’re using your fingers to pluck chords, take care to balance the level of each chord tone. A common tendency is to hit the outermost notes with the most force, resulting in a thinner texture. You’re working to put those notes on the frets; make sure that the listener can hear them!
•
While forming the chords, make sure that your fingers are as close to the intended frets as possible.
•
When changing chords, mute the strings by lifting your fingers from the strings, but still touching them, to hold them still as you slide to the next chord.
•
Make sure all notes ring. If you’re not hearing all the notes clearly, keep working to curve your fingers and adjust your hand position on the intended frets to make the sound shine through your instrument.
Playing chords effectively takes time, and the learning process requires practice. There are three common stages of development. •
Physical Stamina: Building your hand muscles
•
Muscle Memory: Memorizing the proper chord-voicing shapes
•
Informed Musical Instincts : Using these chords to make
music
v
Here are some other things to keep in mind: •
While practicing, stay vigilant, playing in time and using a metronome or drum machine. Stay with a musical task until you can make it groove with a strong time feel.
•
Play with other musicians whenever possible, as often as you can. Practicing by yourself is only part of the overall plan.
•
Make sure that the chords that you play fit well into your playing situation. Should your voicings contain a lot of notes or a few? Listen to the overall texture, and make a musical decision.
•
Listen to the originators of the styles that you love. It’s one of the best ways to keep yourself inspired—and to help you to keep the highest musical values in mind.
•
Listen to great guitarists, but don’t stop there. Focus on performers of other instruments as well. Bring it all together to help you to develop your own unique voice.
Keep working, and be patient with yourself. Having the physical strength and the knowledge of the shapes provide means to musical ends. With time, you’ll be able to choose from a variety of options. If you keep at it, you’ll definitely get there! —Rick Peckham
vi
PART I. CHORDS
Chapter 1. Moveable 7th Chord Shapes Major 7
CMaj7
CMaj7
3fr
10fr
1324
1333
12 12 12 10
5 4 5 3
CMaj7
CMaj7
8fr
1
3 42
8 9 9
8
2
3fr
1
3 42
3 5 4
3
Minor 7
Dominant 7 C7
C7
3fr
10fr
1314
1324
5 3 5 3
C7
12 11 12 10
C7
8fr
1
3fr
2 43
1
2 43
3 5 3
8 9 8
3
8
Minor 7 C–7
C–7
3fr
10fr
1312
1423
4 3 5 3
11 11 12 10
3
MOVEABLE 7th CHORD SHAPES C–7
C–7
8fr
3fr
2
1
333
8 8 8 8
243
3 4 3
3
Minor 7%5 C–7b5
C–7b5
3fr
10fr
1324
1222
4 3 4 3
C–7b5
11 11 11 10
C–7b5
7fr
2
3 41
7 8 8
8
4
2fr
2
3 41
2 4 3
3
Minor 6
Major 6 CMaj6
CMaj6
2fr
10fr
2314
1314
12 10 12 10
5 2 5 3
CMaj6
CMaj6
7fr
2
2fr
1 43
2
1 43
3 5 2
8 9 7
3
8
Minor 6 C–6
C–6
2fr 2413
4 2 5 3
10fr
1312
11 10 12 10
5
MOVEABLE 7th CHORD SHAPES C–6
C–6
7fr
2
2fr
1 34
2
1 43
3 4 2
8 8 7
3
8
Diminished 7 Cº7
Cº7
2fr
10fr
2314
1324
4 2 4 3
Cº7
11 10 11 10
Cº7
7fr
2
1 31
7 8 7
8
6
2fr
2
1 41
2 4 2
3
Minor 9
Dominant 9 C9
C9
2fr
9fr
2133
2143
3 3 2 3
C9
10 11 9 10
C9
5fr 3
4 21
2
34
5 7 8 8
0 3 3
3
Minor 9 C–9
C–9
8fr
2134
3 3 1 3
2143
10 11 8 10
7
MOVEABLE 7th CHORD SHAPES
Minor 11 C–11
C–11
6fr
2
3 41
6 8 8 8
2
3 41
1 4 3
3
Dominant 13 C13
C13
2fr
21334
1
5 3 3 2 3
8
3fr
2 44
5 5 3
3
8
2 34
10 9 8
C13
1
8fr
Chapter 2. Dominant 7th Chords with Alterations Dominant 7%5 C7b5
C7b5
7fr
2fr
2
3 41
2
7 9 8 8
3 41
2 5 3
3
Dominant 7(#11) C7(#11)
C7(#11)
7fr
2
3 41
7 9 8
8
2fr
2
3 41
2 5 3
3
9
DOMINANT 7th CHORDS
Dominant 7(9), Dominant 7#9
C7(#9)
C9
2fr
2133
§9
2fr
3 3 2 3
2134
#9
4 3 2 3
C7(#9)
8fr
1214
#9
11 8 9 8
Dominant 7#5 C7#5
C7#5
8fr
1
2 34
9 9 8
8
10
3fr
#5
1
2 43
4 5 3
3
#5
Dominant 7 (altered)
Dominant 7 (%9, %13) C7(b9,b13)
C7(b9,b13)
8fr
2fr
1
2 33 3
21314
9 9 9 8
8
4 2 3 2 3
Dominant 7(altered) 7%5(%9) C7b5(b9)
C7b5(b9)
7fr
T 2 31 4
9 7 9 8
2fr 21311
2 2 3 2 3
8
7%5(#9) implied root
C7 5( 9)
C7 5( 9) 2fr
7fr
2314
11 7 9 8
21341
2 4 3 2 3
11
DOMINANT 7th CHORDS
7#5(%9) implied root
C7 5( 9)
C7 5( 9) 2fr
8fr 21314
1222
9 9 9 8
4 2 3 2 3
7#5(#9) implied root
C7 5( 9)
C7 5( 9) 2fr
8fr
1224
12
11 9 9 8
21344
4 4 3 2 3
Chapter 3. Guide Tone Chords Root 3 7 CMaj7
C7
2fr
2fr
213
213
4 2 3
C–7
3 2 3
C–7b5
213
213
3 1 3
(incomplete)
3 1 3
13
GUIDE TONE CHORDS
CMaj6
C–6
2fr 312
312
2 2 3
2 1 3
Cº7
312
2 1 3
Root 7 3 CMaj7
C7
8fr 1
23
9 9
8
14
8fr 1
23
9 8 8
Root 7 3
C–7b5 (incomplete)
C–7
8fr 2
34
8fr 2
34
8 8 8
8 8 8
CMaj6
C–6
7fr 2
13
7fr 2
13
9 7
8 7
8
8
Cº7
7fr 2
13
8 7
8
15
Chapter 4. Triads over Bass-Note Voicings: Roots on 6 5
4
V/I GMaj/C
GMaj/C
7fr
2
3fr
8
10fr
1321
131
7 8 7
GMaj/C
1341
3 4 5 3
10 12 12 10
%VII/I BbMaj/C
BbMaj/C
6fr 3
16
3fr
4 21
8
10fr
1111
6 7 8
BbMaj/C
3 3 3 3
1121
10 11 10 10
Other Common Voicings
Other Common Voicings III/I EMaj/C
EMaj/C
8fr
1
3fr
3 33
1
2 43
4 5 4
9 9 9
3
8
II/I DMaj/C
DMaj/C
7fr
2
2fr
1 11
2
1 31
2 3 2
7 7 7
3
8
#IV/I F#Maj/C
F#Maj/C
6fr
3
121
6 7 6
8
2fr
2
3 11
2 2 3
3
17
TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6
5
4
VI/I AMaj/C
AMaj/C
8fr
1
3fr
4 23
1
4 23
5 5 6
10 9 11
3
8
VII/I BMaj/C
BMaj/C
7fr
2
311
7 7 8
8
18
7fr
2
4 31
7 8 9
8
Chapter 5. Inversions Major 7 CMaj7
CMaj7/E
3fr
5fr
1324
5 4 5 3
4
3
2
8 9 9
8
3
CMaj7
10fr
3 42
4
2314
8 5 9 7
CMaj7/E
8fr
6
12fr 3412
12 9 10 10
13 12 14 14
2
CMaj7
1
CMaj7/B
9fr
2413
5
CMaj7/G
1 34
12 12 10 12
CMaj7/B
8fr
1
3 42
8 9 9
8
CMaj7/G
5fr 3
1 11
5 5 5
7
3
2 41
1 4 2
3
2
19
INVERSIONS
CMaj7
CMaj7/E
3fr 3 24
2
3 5 4
3
5
3
2
5fr
1 43
1
7 8 5
7
2311
12 12 12 10
2
7 8 7
8 12 9
12 13 12
7
12fr
2 41
3
10
1
CMaj7/G
8fr
1333
3
8fr 3
CMaj7/B
10fr
4
2 43
CMaj7/B
1 21
14
1
CMaj7
CMaj7/G
7fr
1
CMaj9/E
8 8 9 9
CMaj7/E
5fr
1113
2413
7 5 5 5
3 1 4 2
Dominant 7 C7/Bb
C7
10fr
1324
4
20
12 11 12 10
3
2
1
C7/G
8fr
1211
8 8 9 8
C7/E
5fr
1112
6 5 5 5
2314
3 1 3 2
Minor 7
C7
C7/E
8fr 2 43
3
8 9 8
8
6
4
3
10fr
8fr
1
1
11 12 10
5 5 5
6
2 41
1 3 2
3
5fr 3
1
C7/Bb
C7/G
2 43
2
3
C7/E
3
3
1 11
2
3 5 3
5
2
8
3fr
2 43
8 9 8
12
C7/G
17fr
1 42
C7
1
C7/Bb
C7
1 42
8fr
8 11 9
12 13 12
3
6 8 5
7
12fr
2 41
2
10
1 31
13
Minor 7 C–7/Eb
C–7
3fr
C–7/Bb
C–7/G
5fr
8fr
12fr
1312
5
4 3 5 3 4
3
2314
8 5 8 6
2314
11 8 10 10
2314
13 12 13 13
2
21
INVERSIONS
C–7/Bb
C–7
10fr
4
1111
11 11 12 10
3
2
1
C–7/Eb
8fr
3 33
8
6
4
3
same as EbMaj6
2
11 12 10 11
C–7/Eb
22
2 43
3 4 3
3
2
4fr
3 33
4
2 31
3
8 8 8 8
1 41
4 5 5
6
1
same as EbMaj6
1 3 1
3
2
1 43
6 8 5 6
C–7/Bb
C–7/G
5fr
3
C–7/G
2
3fr
5
3 1 3 1
8fr
1 43
C–7
1
C–7/Bb
C–7
same as EbMaj6
1314
6 4 5 5
10fr 2
8 8 8
2314
8 8 8 8
C–7
2
4fr
1423
C–7/Eb
C–7/G
8fr
8fr
11fr
8 11 8
11 13 12
3
1 41
10
3
2 41
13
Minor 7%5
Minor 7%5 C–7b5
C–7b5/Eb
3fr
5fr
C–7b5/Gb
same as Eb–6
C–7b5/Bb
8fr
11fr
1324
5
2413
4 3 4 3 4
3
7 5 8 6
C–7b5/Bb
10fr
4
2
1
C–7b5/Eb
2
7 8 8 8 4
3
1 34
11 11 10 11
Eb–6
same as Eb–6
C–7b5
10fr
3 41
C–7b5/Eb same as
1213
8 7 8 8
7fr
6
13 11 13 13
4fr
C–7b5
2
C–7b5/Gb
2314
11 11 11 10
3
11 8 10 9
7fr
1222
2314
2
C–7b5
2314
1312
6 4 5 4
C–7b5/Bb
7fr
2
3 41
7 8 8
8
2 1 3 1
C–7b5/Gb
4fr 3
1 21
4 5 4
6
2
1 31
1 3 1
2
2
23
INVERSIONS
C–7b5
C–7b5/Eb
2fr 2
3 41
2
2 4 3
3
5
3
2
5fr
C–7b5/Gb
same as Eb–6
1 43
8fr
8 11 8
11 13 11
6
11fr
2
6 7 5
C–7b5/Bb
1 41
2
9
1 41
13
1
Major 6 CMaj6
2fr
2314
5 2 5 3
5
4
3
5fr
12 10 12 10
24
2
2314
8 5 7 7
1312
10 9 10 10
CMaj6/A
7fr
1423
1
8 8 9 7
CMaj6/G
same as A–7
13 12 14 12
CMaj6/E
5fr 1111
5 5 5 5
same as A–7
12fr
2
1314
3
9fr
10fr
4
CMaj6/A
2314
CMaj6
CMaj6/G
CMaj6/E
2314
3 1 2 2
Minor 6
CMaj6
CMaj6/E
2fr 2
5fr 3
3 5 2
5
3
2
1
CMaj6
1 41
CMaj6/E
7fr
10fr
6
3
8 9 7 8 4
3
12 13 12
1
10
CMaj6/A
7fr
1 43
8 10 9
2 41
CMaj6
2
7
1 41
2
10 12 10 12
5fr 2
8 9 7
CMaj6/G
3 33
4
5 5 5
8
2 43
12
same as A–7
1 43
same as A–7
12fr
3
5 8 5
3
CMaj6/A
8fr
1 43
CMaj6/G
5
2 31
1 2 2 3
2
Minor 6 C–6/Eb
C–6
2fr
2413
5
4
3
5fr
C–6/A
8fr
8 5 7 6
2314
10 8 10 10
same as A–7b5
12fr
2314
4 2 5 3
C–6/G
1324
13 12 13 12
2
25
INVERSIONS
C–6
C–6/A
10fr
3
2
C–6
10fr 2
8 8 7
8
3
2
10 12 10 11
1 34
2
3 41
4 5 5
8
5
C–6/Eb
3 4 2
3
1 21
1
C–6/G
5fr 2
1 41
3
26
C–6/G
1 2 1
3
2
1 43
2
same as A–7b5
4fr
8 8 7
2fr
3
C–6/A
1 31
C–6
5
3 1 2 1
7fr
2
5 4 5 5
C–6/Eb
1 34
4
1214
1
7fr
6
2314
8 8 8 7
C–6
2
1222
11 10 12 10
4
4fr
1312
C–6/Eb
C–6/G
7fr
same as A–7b5
5 8 5 6
C–6/A
8fr
11fr
8 10 8
11 13 12
3
1 41
10
same as A–7b5
2
3 41
12
PART II. EXERCISES
Chapter 6. Quartal Voicings Exercises C Dorian Voicings (for use on C–7 or F7sus4) 3fr
5fr
1112
1112
4 3 3 3
8fr
1113
10 8 8 8
28
6fr 1234
6 5 5 5
8 7 7 6
10fr
12fr
1112
1112
11 10 10 10
13 12 12 12
13fr
1123
15 14 13 13
C Dorian Voicings
5fr
3fr 1123
3 3 2 1
8 8 7 7
1122
5 4 3 3
7fr 1122
1234
6 6 5 5
10fr
8fr
1134
10 10 8 8
12fr
1122
1122
11 11 10 10
13 13 12 12
29
Chapter 7. Diatonic Exercises B%Major on BbMaj7
5
4
3
2
C–7
3fr 1324
4 3 5 3
6 5 7 5
10fr
12fr
1324
8fr
1314
10 8 10 8
A–7b5
13fr
6fr
8 7 8 6
BbMaj7
F7
G–7
12fr
10fr
1324
1324
1324
11 10 12 10
13 12 13 12
15 14 15 13
13 12 13 12
11 10 12 10
F7
EbMaj7
D–7
C–7
BbMaj7
1312
8fr
1314
10 8 10 8
30
1312
A–7b5
G–7
5fr
1312
3 2 3 1
EbMaj7
D–7
6fr
5fr
1324
1312
8 7 8 6
6 5 7 5
1312
3fr 1312
4 3 5 3
1324
3 2 3 1
E% Major
E%Major on
4
3
EbMaj7
2
1
F–7
3fr
1333
C–7
D–7b5
10fr
1423
11 11 12 10
1222
10 9 10 8
EbMaj7
1333
8 8 8 6
D–7b5
1222
6 6 7 5
10fr
1423
11 11 12 10
EbMaj7
F–7
5fr
C–7
12fr
13 13 13 12
G–7
1423
1324
10 9 10 8
13fr
6fr 1333
1333
8fr
8 8 8 6
15 15 15 13
AbMaj7
Bb7
6fr
6 6 7 5
12fr
8fr
1423
13 13 13 12
Bb7
1324
4 4 5 3
5fr
1423
3 3 3 1
AbMaj7
G–7
3fr
1423
4 4 5 3
1333
3 3 3 1
31
DIATONIC EXERCISES
F Major on
6
FMaj7
4
3
2
G–7
3fr 1
3 42
2
3 33
6fr
3 33
1
3 42
8fr 1
2 43
3 3 3
5 5 5
6 7 7
8 9 8
1
3
5
6
8
E–7b5
3 33
11fr 2
E–7b5
FMaj7
3 41
13fr
1
D–7
11fr
3 42
2
3 41
10fr
2
3 33
10 10 10
11 12 12
13 14 14
11 12 12
10 10 10
10
12
13
12
10
A–7
G–7
BbMaj7
C7
8fr
32
2
10fr
1
5fr
C7
1 2 2
D–7
2
BbMaj7
A–7
2 43
6fr
1
3 42
5fr 2
3 33
FMaj7
3fr 2
3 33
1
3 42
8 9 8
6 7 7
5 5 5
3 3 3
1 2 2
8
6
5
3
1
B% Major
B%Major on
5
3
BbMaj7
2
1
C–7
EbMaj7
D–7
3fr
5fr
F7
6fr
8fr
3 4 3
5 6 5
6 8 7
8 10 8
1
3
5
6
8
G–7
A–7b5
1
3 42
1
1 3 2
2 43
10fr
1
2 43
2 43
BbMaj7
11fr
2
3 41
1
3 42
A–7b5
13fr
1
2 43
G–7
11fr
10fr
1
3 42
2
3 41
1
2 43
10 11 10
11 13 12
13 15 14
11 13 12
10 11 10
10
12
13
12
10
F7
EbMaj7
D–7
8fr
1
1
2 43
6fr
1
3 42
5fr 1
2 43
8 10 8
6 8 7
5 6 5
8
6
5
BbMaj7
C–7
3fr
1
2 43
3 4 3 3
1
3 42
1 3 2 1
33
DIATONIC EXERCISES
F Harmonic Minor on G–7b5
F–(Maj7)
6
4
2
3 33
2
3 33
1
2 43
5 5 5
6 6 6
8 9 8
1
3
4
6
8
Eº7
F–(Maj7)
11fr
3 42
2
DbMaj7
Eº7
13fr
1 31
1
11fr
9fr
4 23
2
1 31
1
3 42
9 10 10
11 12 11
13 13 14
11 12 11
9 10 10
9
12
13
12
9
Bb–7
C7
8fr
34
1
8fr
2 3 3
9fr
1
6fr
3 41
C7
1 1 2
DbMaj7
1
Bb–7
4fr
4 23
2
AbMaj7#5
2fr 1
3
243
AbMaj7#5
6fr
2
333
G–7b5
4fr
1
333
F–(Maj7)
2fr 2
341
8 9 8
6 6 6
5 5 5
2 3 3
8
6
4
3
1
4 23
1 1 2 1
F Melodic Minor
F Melodic Minor on F–(Maj7)
6
4
3
AbMaj7#5
G–7
3fr
1
4 23
2
C7
4fr 1
6fr
3 33
3 33
1
2 43
8fr 1
2 43
3 3 3
5 5 5
6 7 6
8 9 8
1
3
4
6
8
E–7b5
D–7b5
E–7b5
9fr 3 41
F–(Maj7)
11fr 2
13fr
3 41
1
11fr
4 23
2
9fr
3 41
2
3 41
9 10 10
11 12 12
13 13 14
11 12 12
9 10 10
10
12
13
12
10
C7
Bb7
AbMaj7#5
G–7
F–(Maj7)
8fr
1
Bb7
1 1 2
D–7b5
2
2
2 43
6fr
1
2 43
4fr
1
3 33
3fr 2
3 33
8 9 8
6 7 6
5 5 5
3 3 3
8
6
4
3
1
4 23
1 1 2 1
35
DIATONIC EXERCISES
G Major 6 Bebop Scale on 6 GMaj6
Aº7
2fr 2
1 43
2
GMaj6/B
Cº7
5fr
1 31
3
1 41
7fr
2
1 31
4 5 4
5 7 5
7 8 7
3
5
7
8
D#º7
8fr
36
2
3 4 2
GMaj6/D
4
3
4fr
4
2 31
10fr 2
1 31
F#º7
GMaj6/E same as E–7
12fr 2
3 33
13fr
2
1 31
8 9 9
10 11 10
12 12 12
13 14 13
10
11
12
14
