Bishop - Fretboard Harmony

Fretboard Harmony

An approach to modern harmonic relationships that are unique to the guitar

Bruce Bishop

Introdu ction This book provides an approach to modern harmonic relationships that is unique to the guitar, creating the foundation necessary for a complete understanding of music theory as it relates to the guitar fingerboard. Designed for the elementary and intermediate player, this book does not require the ability to sight-read.

The book is divided into two sections: text and workbook. The text section is

presented with a minimum of verbiage, the workbook section is comprised of simple exercises designed to promote assimilation and utilization of the information provided in the text.

Topics covered: Sharps, flats and enharmonics; symmetrical scales and tech-

nique exercises; the five pentatonic scale patterns; the “relative minor” relationship; pattern movements within I, IV, V progressions; intervals and their symbols; the fretboard geometry of intervals; the major scale and its role in present-day music; chords, chord progressions and chord substitutions; chord inversions; 15 common major-scaletype chord progressions; 45 real-world, useable chords diagrammed and explained; the five major scale patterns; root positions of the five major scale patterns; detailed presentations and analyses of three songs; the “D” tuning, with diagrams of 40 practical chords; line progressions, diagrammed and explained; passing chords, ascending and descending; contrasting major and minor keys; understanding minor progressions; and commonly used chord types in minor progressions.

It is recommended that players practice and study at least one hour per day to

reap the maximum benefits from this book. iii

iv Fretboard Harmony

iv

Acknowledg ments Fretboard Harmony is a distillation of 35 years of lessons learned from a vast pool of players, teachers, friends, studio engineers and even a few dogs and cats. All of their names and stories easily could fill a book — a book that would be far more interesting than a text for the guitar.

I am grateful to my wife, Julie, who with the help of her mother, Jo Hadley, took

a loose, unorganized, and often long-winded manuscript and turned it into this beautifully produced book. Special thanks, also, to my talented friend Ben Bull (Obscure Design, San Bernardino, California), for his generous and invaluable computer-graphics advice during the production of this book.

I have also had more than my share of bright, talented and challenging students

who have helped guide the presentation of these concepts.

As a teacher, Jack Smalley, at the Dick Grove Music Workshops, opened up a

multitude of doors and insights into the tapestry of music and human experience. His positive vitality, honesty and humor were irresistible, and the learning was fun.

Thanks also to Jim Bogen for helping to arrange my classes at Pitzer College.

Without his efforts I would not have undertaken this book.

v

vi Fretboard Harmony

vi

Contents Introduction iii Acknowledgments v PART I FRETBOARD HARMONY TEXTBOOK 1

THE BASICS 3

Sharps, Flats and Enharmonics 3

Symmetrical Scales and Technique 4

Pentatonic Scales 5

Metronome Practice 7

General Practice Tips 8

2 CHANGING MAJOR TO MINOR 9

Major and Minor 9

Relative Minor 10

Summary of Basic Major and Minor Chord Shapes within the

Pentatonic Patterns 11

3

I, IV, V P ROGR ESSIONS 13

Pentatonic Scales within I, IV, V Progressions 13 vii

viii Fretboard Harmony

4

MIXED I, IV, V PROGRESSIONS 23 Mixed I, IV, V Progression Combinations 23 Simplifying the Pentatonic Pattern Movement in I, IV, V Progressions 24

5

IN T ERVAL GEOMETRY 33 Intervals and Symbols 33 Upper Extensions 34 Interval Geometry 35

6

THE M AJOR SCALE 47 The Major Scale 47 Chords and Chord Progressions 53 Learning New Chords 57 About Inversions 57

7

THE MAJOR SCALE PATTERNS 63 The Major Scale Patterns 63 Root Positions of Major Scale Patterns 68

8

SONG ANALYSIS, EXAMPLE 1 73 Example 1: Julia 73 Julia 74 Chords for Julia 75 Song Analysis: Julia 78

9

SONG ANALYSIS, EXAMPLE II 81 Example II: Freddie the Freeloader 81 Freddie the Freeloader 82 Chord Melody for Freddie the Freeloader 84 The Dominant Pentatonic Scale 86 viii

Fretboard Harmony ix

10

SONG ANALYSIS, EXAMPLE III 89 Example III: The Low Down 89 The Low Down 90 Chords for The Low Down 92 Chord Chart Analysis: The Low Down 99

11

THE “D” TUNING 105 The “D” Tuning 105 “D” Tuning Diatonic Chords 106 Basic Minor Chords in the “D” Tuning 109

12

BEYOND THE MAJOR SCALE 111 Line Progressions 111 Passing Chords 117 Contrasting Major and Minor 122 Playing Minor Progressions 123

PART II FRETBOARD HARMONY WORKBOOK Sharps, Flats and Enharmonics 129 The Chromatic Scale 133 Symmetrical Scales 137 Pentatonic Scales 143 Relative Minor 156 Changing Major to Minor 159 Relative Minor Pentatonic Scales 165 I, IV, V Progressions 178 Pattern Movement in I, IV, V Progressions 181 Pattern Movement in I, IV, V Progressions in Minor 187 Pattern Movement in Mixed I, IV, V Progressions 192 Pattern Movement Circles 201 Intervals 225 Interval Geometry 232 ix

x Fretboard Harmony

x

P

A

I

R

T

Fretboard Harmony Textbook

1

The Basics

Sharps, Flats and Enharmonics b = flat

# = sharp n = natural

Note is lowered by one fret, 1/2 step Note is raised by one fret, 1/2 step Used to cancel a previous sharp or flat instruction

The Chromatic Scale The Ascending Chromatic Scale The Descending Chromatic Scale

I

I

All 12 notes

I

I

I

AA BCC DD EFF GG A A Ab G Gb F E E b D Db C B Bb A

I I I I I I (F & Gb) (G & Ab) (B & C) I (B & Cb) (F & E )

Enharmonic Equivalents

Example:

Same note with two names (A & Bb) (C & Db) (D & E b)

Exercises Practice drawing and saying the alphabet A through G forwards, backwards, and every other letter. Using workbook pages 129 through 136, draw and recite chromatic scales starting from each note. 3

4 Fretboard Harmony

Symmetrical Scales and Technique Symmetrical Scales are groups of evenly spaced notes.

Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes, spaced apart by 1/2 steps

Whole steps

1-1/2 steps, minor 3rds

I I

I

I M

I M M R

I M

I M R R B I M R B B M R B R B B

I I I M

B

I B

I M

B

I B

M I B

B I

I B

I

B M M

B B

B B

Exercises Using workbook pages 137 through 142, draw the Symmetrical Scales.

Fretboard Harmony 5

Pentatonic Scales

Are the most universal scales

Lay well on the fretboard

Provide an open sound with great harmonic strength

Are able to assume many harmonic identities

When layered over with blues scales, provide wide range of possibilities

Example of Pentatonic Scales in the key of A Fret 2

Fret 5

AEO - PENT

IO - PENT

“G” Shaped

Fret 9

Fret 7

“E” Shaped

Fret 12

LYDI - PENT “C” Shaped

MIXO - PENT “A” Shaped

DORI - PENT “D” Shaped

6 Fretboard Harmony

Exercises Practice drawing chord shapes. Play chord shapes and scales. Break the patterns into parts and develop licks. Advanced: Play as 4ths (two adjacent notes at once). Using workbook pages 143 through 155, draw the pentatonic scale patterns and their corresponding chord shapes.

Fretboard Harmony 7

Metronome Practice Time is everything! Tell yourself this every day for life! GET ONE — BUY ONE — STEAL ONE!

Exercises Practice playing the following with a metronome: M.M. 200 Play 1/2 notes (one note equals two ticks) M.M. 120 Play 1/4 notes (one note equals one tick) M.M. 120 Play 1/8 notes (two notes equal one tick) M.M. 120 Play 1/8 notes with swing feel (doo-ba) Repeat the above, playing in between the metronome ticks.

8 Fretboard Harmony

General Practice Tips Warm up slowly with the symmetrical scales for three or four minutes. Practice drawing what you are working on. Isolate your weaknesses and allow them more time. Keep a practice journal. Save “getting off” for after practice. Remember that two minutes of concentrated effort on a difficult passage is the equivalent of 15 to 20 minutes of song repetition. Don’t get discouraged! It is not uncommon for people to have difficulty assimilating this new information and incorporating it into their playing repertoire. Most people who embark upon concentrated studies of this nature tend to lose perspective on their growth rate. This is totally normal! A little faith and patience will help a lot.

2

Changing Major to Minor

Major and Minor All five basic chord shapes can be changed from major to minor. Doing this requires memorizing which of the chord notes are the 3rds.

Key of “A” Major Fret 2

Fret 7

3

Fret 3 9

3

Fret 5 3

Fret 12 3

3

3

3 3

“G” Shaped

“E” Shaped

“D” Shaped

“C” Shaped

“A” Shaped

Lowering the 3rd by one fret (1/2 step) changes the chord from major to minor.

Key of “A” Minor Fret 2

Fret 7

b3

Fret 5

b3

Fret 9

b3

b3

b3

Fret 12

b3 b3

“G mi.” Shaped

“E mi.” Shaped

“D mi.” Shaped 9

“C mi.” Shaped

“A mi.” Shaped

10 Fretboard Harmony

Relative Minor The term relative minor means that three frets down from any major chord lies a minor

I

I

chord that shares most of its notes with its relative major chord, three frets up. “A” major’s relative minor is “F ” minor. “F ” minor’s relative major is “A” major.

I

Here is how “F ” minor fits into the five pentatonic scale patterns:

Key of “F I ” Minor

Fret 2

Fret 9 Fret 5

AEO-PENT “E mi.” Shaped

Fret 7

IO-PENT

“D mi.” Shaped

Fret 12

DORI-PENT “C mi.” Shaped

LYDI-PENT “A mi.” Shaped

MIXO-PENT “G mi.” Shaped

Note that each of the five pentatonic patterns contains a major chord and its corresponding relative minor chord.

Exercises Experiment with new chord shapes within the patterns — most sound good and there are many possibilities — all of which can be substituted for their basic chord counterparts. Using workbook pages 156 through 177, complete the major-to-minor exercises.

Fretboard Harmony 11

Summary of Basic Major and Minor Chord Shapes within the Pentatonic Patterns Preceding are five different fingerings and scale patterns of the Pentatonic Scale; each pattern contains the shape of a major chord, and the shape of its relative minor chord.

Example:

I

The Keys of “A” Major and F Minor AEO-PENT at fret #2 = “G” shaped major chord and “E” minor shaped chord. IO-PENT at fret #5 = “E” shaped major chord and “D” minor shaped chord. DORI-PENT at fret #7 = “D” shaped major chord and “C” minor shaped chord. LYDI-PENT at fret #9 = “C” shaped major chord and “A” minor shaped chord. MIXO-PENT at fret #12 = “A” shaped major chord and “G” minor shaped chord.

Also, three frets below any major chord is its relative minor chord. Example:

I

Three frets below “A” major lies its relative minor chord, “F ”minor. It follows then, when changing from major to minor, all of the patterns shift up the neck by three frets. Example: The “A” major chord becomes the “A” minor chord.


3

I , IV, V P rogressions

Pentatonic Scales within I, IV, V Progressions A chord progression is a group of chords played in succession. Chord progressions typically have a beginning and an end — they are a cycle. Chord progressions usually move between tension and resolution. The most basic chord progression is the I, IV, V. The Roman numerals are used to simplify transposition. The Roman numeral “I” always names the key. Example:

The I, IV, V Progression in the Key of “A” Major I = “A” Major IV = “D” Major V = “E” Major 13


Observe what occurs at the fifth fret when the “A”, “D”, and “E” chords are played. Notice all three chords can be easily played without ever leaving the fifth fret area of the neck. I

IV

“A” Major

Fret 5

V

“D” Major

Fret 5

“E” Shaped

“E” Major

Fret 5

“A” Shaped

“C” Shaped

Associating the learned pentatonic scale pattern for each of the five basic chord shapes produces the following I, IV, V Progression in the key of “A” Major, at the fifth fret: I

IV

“A” Major

V

“D” Major

“E” Major Fret 4

Fret 5

Fret 5

Fret 7

IO - PENT “E” Shaped



Exercises Using workbook pages 178 through 180, complete the I, IV, V Progressions.


Observe a similar occurrence at the second fret: I

IV

“A” Major

Fret 2

V

“D” Major

Fret 2

AEO - PENT “G” Shaped

“E” Major

Fret 2

LYDI - PENT

DORI - PENT

IV

V

“C” Shaped

“D” Shaped

At the seventh fret: I

“A” Major

Fret 7

“D” Major

Fret 7

“E” Major

Fret 7

Fret 10


AEO - PENT “G” Shaped



At the ninth fret: I

IV

“A” Major

V

“D” Major

Fret 9

“E” Major

Fret 9 Fret 10

Fret 12

Fret 12


IO - PENT

AEO - PENT

IV

V

“E” Shaped

“G” Shaped

At the twelfth fret: I

“A” Major

Fret 12

“D” Major

Fret 12


“E” Major

Fret 12


IO - PENT “E” Shaped

Exercises Using workbook pages 181 through 186, complete the pattern movement exercises.


Remember that each chord in the I, IV, V Progression has a corresponding relative minor chord. Example:

I

I = “A” Major and “F ” minor IV = “D” Major and “B” minor V = “E” Major and “C ” minor

I

A I, IV, V Minor Progression can be built using relative minor chords:

I

I minor = “F ” minor IV minor = “B” minor V minor = “C ” minor

I

I

This would be called the key of “F ” minor.

The learned pentatonic scale patterns are exactly the same for the: I (“A” Major), IV (“D” Major), V (“E” Major) Progression in “A”

I

I

and the

I

I (“F ” minor), IV (“B” minor), V (“C ” minor) Progression in “F ” minor


I

I

Observe what occurs at the fifth fret when the “F ” minor, “B” minor, and “C ” minor chords are played. Notice all three chords can be played easily without ever leaving the fifth fret area of the neck.

I

I Minor

Fret 5

I

IV Minor

“F ” minor

V Minor

“B” minor

“C ” minor

Fret 5

“D” mi. Shaped

Fret 5

“G” mi. Shaped

“A” mi. Shaped

I

Associating the learned pentatonic scale pattern for each of the five basic chord shapes produces the following I, IV, V Progression in the key of “F ” minor, at the fifth fret:

I “F ” minor I Minor

Fret 5

IV Minor

I

V Minor

“B” minor

“C ” minor Fret 4

Fret 5

Fret 7

IO - PENT

“D” mi. Shaped

MIXO - PENT “G” mi. Shaped

LYDI - PENT “A” mi. Shaped


Observe a similar occurrence at the second fret:


Fret 2

I

IV Minor

V Minor

“B” minor

Fret 2

AEO - PENT “E” mi. Shaped

“C ” minor

Fret 2

LYDI - PENT

DORI - PENT

IV Minor

V Minor

“A” mi. Shaped

“C” mi. Shaped

At the seventh fret:


Fret 7

I

“C ” minor

“B” minor

Fret 7

Fret 7

Fret 10

DORI - PENT “C” mi. Shaped

AEO - PENT “E” mi. Shaped



At the ninth fret:


IV Minor

V Minor

“B” minor

Fret 9

Fret 9 Fret 10

Fret 12

Fret 12


IO - PENT

AEO - PENT

IV Minor

V Minor

“D” mi. Shaped

“E” mi. Shaped

At the twelfth fret:


Fret 12

Fret 12


I

“C ” minor

“B” minor

Fret 12


IO - PENT

“D” mi. Shaped



This information should be absorbed slowly — it takes time!

Exercises Practice the I, IV, V chord/arpeggio and pattern changes at each of the five areas just reviewed. Spending two minutes per area, for ten minutes a day, will do the trick. Please be patient and consistent.


4

Mixed I , IV, V Progressions

Mixed I, IV, V Progression Combinations I, IV, V Progressions in major and minor are often mixed together. The possible combinations of Mixed I, IV, V Progressions are: I minor

IV Major

V Major

I Major

IV minor

V Major

I Major

IV Major

V minor

I minor

IV minor

V Major

I minor

IV Major

V minor

I Major

IV minor

V minor


23


Simplifying the Pentatonic Pattern Movement in I, IV, V Progressions The following pentatonic pattern movements are based on all of the possible two-part combinations of I, IV, V Progressions. Although there are 16 possible two-part combinations of the I, IV, V Progressions, only seven different pattern movements are required to produce them. In fact, of the seven movements, only four need be memorized, because the other three are the same movements in reverse order.


Group One Pentatonic Movement I to IV

and

Inside circle = I (A) Outside circle = IV ( D)

IV Major to V Minor Inside circle = IV Major (A) Outside circle = V minor (B minor)

MIXO at fret 5 IO at fret 5

LYDI

at fret 14 or 2

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12 DORI at fret 12

LYDI at fret 9 IO at fret 10

AEO at fret 7


Group Two Pentatonic Movement I to V Inside circle = I (A) Outside circle = V (E)


DORI

at fret 14 or 2

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12

LYDI at fret 9

IO at fret 12

AEO at fret 9

Note: This is group one in reverse.

MIXO at fret 7


Group Three Pentatonic Movement IV to V

and

Inside circle = IV (A) Outside circle = V (B)

I Minor to IV Major

I

Inside circle = I minor (F minor) Outside circle = IV Major (B)

AEO at fret 4 IO at fret 5

MIXO

at fret 14 or 2

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12 LYDI at fret 11

LYDI at fret 9 DORI at fret 9

IO at fret 7


Group Four Pentatonic Movement I Major to V Minor Inside circle = I Major (A) Outside circle = V minor (E minor)

DORI at fret 5 IO at fret 5

IO

at fret 15 or 3

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12

LYDI at fret 9

AEO at fret 12

MIXO at fret 10

Note: This is group three in reverse.

LYDI at fret 7


Group Five Pentatonic Movement IV Minor to V Major

I

I

Inside circle = IV minor (F minor) Outside circle = V Major (G )

IO at fret 4 IO at fret 5

AEO

at fret 13 or 1

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12 MIXO at fret 11

LYDI at fret 9 LYDI at fret 8

DORI at fret 6


Group Six Pentatonic Movement I Minor to V Major

I

I

Inside circle = I minor (F minor) Outside circle = V Major (C )

MIXO at fret 4 IO at fret 5

LYDI

at fret 13 or 1

DORI at fret 7

AEO

at fret 14 or 2



AEO at fret 6


Group Seven Pentatonic Movement I Major to IV Minor Inside circle = I Major (A) Outside circle = IV minor (D minor)


DORI

at fret 15 or 3

DORI at fret 7

AEO

at fret 14 or 2

MIXO at fret 12

LYDI at fret 9

IO at fret 13

AEO at fret 10

Note: This is group six in reverse.

MIXO at fret 8


5

Interval Geometry

Intervals and Symbols In harmony the distance between notes is measured up or down using whole steps (two frets), and half steps (one fret). Each distance or interval is given a name: Root

Up

or

Down

Written As

Is Called

“C” 6 whole steps

6 whole steps = “C”, an octave

8

“C” 1 whole step

. . . . . . . . . . .

“C” 11/2 whole steps

. . . . . . . . . . .

= “E b”, a minor 3rd

2

mi. 3 or b3


. . . . . . . . . . .

= “E”, a major 3rd

Ma. 3, 3 or 3


. . . . . . . . . . .

= “F”, a perfect 4th

4

= “D”, a major 2rd


3 whole steps = “Gb”, a diminished 5th


21/2 whole steps = “G”, a perfect 5th

5


2 whole steps = “G ”, an augmented 5th

+5


11/2 steps

= “A”, a major 6th

Ma. 6, 6 or 6


1 step


1/ 2

= “B”, a major 7th

Ma. 7 or 7

step

I

= “Bb”, a minor 7th 33

flat 5 or b5

“

“

flat 7, 7 or b7

“


Upper Extensions When describing an interval further than one octave above the root, the number seven (7) is added to the interval name.

Example: “C” is the root “D” is the major 2nd One octave above “D” is called the Major 9th

It follows: “F” is the 4th = one octave above “F” = 11th “A” is the 6th = one octave above “A” = 13th

In everyday chord useage: 10ths are known as 3rds 12ths are known as 5ths 14ths are known as 7ths 15th are known as octaves The exception is the 2nd, which is almost always referred to as a 9th!

Exercises Using workbook pages 225 through 231, complete the interval exercises.


Interval Geometry Octave = The same note 12 frets away If “C” is the root, then “C” is also the octave.

I and I OCTAVE

OCTAVE

OCTAVE R

R

R

R

R R

R

R

R

OCTAVE

OCTAVE

OCTAVE

R

R

R

R R

R

R

R R

R


Major 2nd = Two frets above root (or ten frets below) If “C” is the root (I), then “D” is the major 2nd (II).

I and II Major 2nd

Major 2nd

2

Major 2nd

2

R

R

2

2

Major 2nd

2

2

Major 2nd

2

R

Major 2nd 2 2

2

R

2

R R

2

2


Minor 3rd = Three frets above root (or nine frets below) If “C” is the root (I), then “E b” is the minor 3rd ( bIII or b3).

I and bIII Minor 3rd

Minor 3rd

b3

Minor 3rd

b3

b3

R

R

R

b3

b3

b3

Minor 3rd

Minor 3rd b3

b3

R

b3

Minor 3rd

R R

b3

b3


Major 3rd = Four frets above root (or eight frets below) If “C” is the root (I), then “E” is the major 3rd (III).

I and III Major 3rd

Major 3rd

3

Major 3rd

3

3

R

R

R

3

3

3

Major 3rd

Major 3rd

Major 3rd 3

R 3

R

R

3

3

3


Perfect (Normal) 4th = Five frets above root (or seven frets below) If “C” is the root (I), then “F” is the perfect (normal) 4th (IV).

I and IV Perfect 4th

Perfect 4th 4

Perfect 4th 4

R 4 R 4

Perfect 4th 4

R 4

Perfect 4th 4

Perfect 4th 4

R

R 4

R 4


Diminished/Flatted 5th = Six frets above root (or six frets below) If “C” is the root (I), then “G b” is the flatted 5th ( bV).

I and bV b5

b5

b5

b5

R

b5

R b5

R b5

b5

b5

b5

b5

b5 b5

b5

R

R R b5

b5


Perfect (Normal) 5th = Seven frets above root (or five frets below) If “C” is the root (I), then “G” is the perfect (normal) 5th (V).

I and V Perfect 5th

Perfect 5th

Perfect 5th

5 R

R

5

5 R

5

Perfect 5th

5

Perfect 5th

Perfect 5th

5 5 R

5 R

R

5 5


Minor 6th or Augmented 5th = Eight frets above root (or four frets below)

I

If “C” is the root (I), then “G ” is the augmented 5th (+V or +5).

I and +V +5

+5

R

+5

R

R

+5

+5

+5

+5

+5

+5

+5

+5

+5

R

+5 R

R

+5

+5

+5 +5


Major 6th = Nine frets above root (or three frets below) If “C” is the root (I), then “A” is the major 6th (VI).

I and VI Major 6th

Major 6th

6

Major 6th

6

R

R

R

6

6

6

6

6

Major 6th

R

Major 6th

6

Major 6th

R

R

6 6

6

6


Flatted 7th = Ten frets above root (or two frets below) If “C” is the root (I), then “B b” is the flatted 7th ( bVII or b7).

I and bVII b7

R

b7

b7

b7 b7

R

R b7

b7

b7

b7

b7

b7

R

R b7

b7

R

b7


Major 7th = Eleven frets above root (or one fret below) If “C” is the root (I), then “B” is the major 7th (VII).

I and VII Major 7th

Major 7th

Major 7th 7

R

R 7

R 7 7

Major 7th

Major 7th

Major 7th

7

7

7

R

R

R

7 7

Exercises Using workbook pages 232 through 238, draw the interval shapes.


6

The Major Scale

The Major Scale The major scale is used to measure and describe harmonic relationships. Producing the major scale requires a series of whole steps (two frets) and half steps (one fret). In the following examples: “W” = whole step “H” = half step The sequence goes like this: W, W, H, W, W, W, H (whole step, whole step, half step, whole step, whole step, whole step, half step)

I

I

I

The sequence applied to the chromatic scale:

I

I

CC D D E F F G G A A B C W W H W W W H Produces the major scale: C D E F G A B C 47


Each note is assigned a Roman numeral: I II III IV V VI VII I C D E F G A

B C

The familiar singable symbols are also assigned to each note: I II III IV V VI VII I C D E F G A B C do re mi fa sol la ti do Because the Roman numerals, singable symbols, and whole step/half step sequences always remain the same, it is easy to transpose from one key to another. The following examples illustrate all 12 possible major scales and their practical spellings:

Key of “C” Major I

II W

C

III W

D

IV H

E

V W

F

VI W

G

VII W

I H

A

B

C

VI

VII

I

No sharps or flats.

Key of “F” Major I

II W

F

III W

G

IV H

A

Bb

V W

W

C One flat.

W

D

H

E

F


Key of “B b” Major I Bb

II W

III W

C

IV H

D

V W

Eb

VI W

F

VII W

I H

G

A

Bb

VI

VII

I

Two flats.

Key of “E b”Major I Eb

II W

III W

F

IV H

G

Ab

V W

Bb

W

W

H

C

D

Eb

VI

VII

I

Three flats.

Key of “Ab” Major I Ab

II W

Bb

III W

IV H

C

Db

V W

Eb

W

W

H

F

G

Ab

VI

VII

I

Four flats.

Key of “D b” Major* I Db

II W

Eb

III W

IV H

F

Gb

V W

Five flats.

Ab

W

Bb

W

H

C

Db


Key of “G b” Major* I Gb

II W

Ab

III W

Bb

IV H

Cb

V W

Db

VI W

Eb

VII W

I H

F

Gb

VII

I

Six flats.

Key of “C b” Major* I Cb

II W

Db

III W

Eb

IV H

Fb

VI

V W

Gb

W

Ab

W

Bb

H

Cb

Seven flats.

Key of “G” Major I

II W

G

III W

A

IV H

B

V W

C

VI E

I F

VI

VII

W

D

VII W

I H

G

One sharp.

Key of “D” Major I

II W

D

III W

E

I F

IV H

V W

G

W

A

Two sharps.

W

B

I C

I H

D


Key of “A” Major I

II W

A

III W

B

I C

IV H

V W

VI W

D

E

I F

VII W

I G

I H

A

Three sharps.

Key of “E” Major I

II

W

E

I F

III W

I G

IV H

V W

VI W

A

B

I C

VII W

I D

I H

E

Four sharps.

Key of “B” Major I

II

W

B

I C

III W

I D

IV H

V

W

E

I F

VI W

I G

VII W

I A

I H

B

Five sharps.

I

Key of “F ” Major* I

I F

II

W

I G

III W

I A

IV H

W

B

V

I C

Six sharps.

VI

W

I D

VII W

I E

I H

F

I


I

Key of “C ” Major* II

I

I C

W

I D

III W

IV

I E

H

I F

W

V

I G

VI W

I A

VII W

Seven sharps.

I

I

* (C b & B), (F & G b), and (C & D b) are all enharmonic equivalents.

I B

I H

C

I


Chords and Chord Progressions Start by harmonizing the the major scale: Key of “C” Major I

= “C” Ma. 7 (“C”, “C” sus., “C6”, “C” Ma. 9, “C 69”, etc.)

II = “D” mi. 7

(“D” mi. 6, “D” mi. 9, “D” mi. 11, etc.)

III = “E” mi. 7 IV = “F” Ma. 7 V = “G7”

(“G7” sus. 4, “G9”, “G13”, etc.)

VI = “A” mi. 7

VII = “B” mi. 7 ( b5)

• The use of 7th chords (four-part harmony), clearly illustrates how a chord fits into its “parent” scale.

• The substitution possiblities within the Roman numerals are: III and VI are substitutes for I II and IV are substitutes for each other — II, V, I in jazz and I, IV, V in rock VII can substitute for V


The following are examples of chord progressions built from the major scale: 1. I Ma. 7 & IV Ma. 7

2. IV Ma. 7 & V 7

3. II mi. 7 & V 7

4. I Ma. 7 & II mi. 7

5. II mi. 7, V 7, I Ma. 7

6. I Ma. 7, IV Ma. 7, V 7

7. I Ma. 7 & VI mi. 7

8. IV Ma. 7 & II mi. 7

] ] ] ]

C Ma. 7

F Ma. 7

F Ma. 7

G7

D mi. 7

G7

C Ma. 7

D mi. 7

D mi. 7

]

] ] ]

G7

C Ma. 7

} } } }

C Ma. 7

F Ma. 7 G 7 /

/

/

C Ma. 7

A mi. 7

F Ma. 7

D mi. 7

/

} } } }


E mi. 7

]

9. III mi. 7 & I Ma. 7

C Ma. 7

A mi. 7

D mi. 7

G7

C Ma. 7

G/ B

A mi. 7

G7

]

10. I Ma. 7, VI mi. 7, II mi 7, V 7

]

11. I Ma. 7, V/3, VI mi. 7, V 7 “Descending”

C Ma. 7

/ / / /

/ / / /

} } }

12. Ascending straight up the line starting from the IV Ma. 7

]

F Ma. 7

G7

A mi. 7

B mi.7( b5) C Ma.7 /

/

/

/

D mi. 7 E mi. 7 /

/

/

/

}

13. Moving primarily by 4ths

]

C Ma. 7

F Ma. 7

E mi. 7

A mi. 7

D mi. 7

G sus. G 7

F Ma. 7

B mi. 7 ( b5)

/

/

/

/

}


14. Moving primarily by 5ths C Ma. 7

]

D mi. 7

A mi. 7

G7

D mi. 7

E mi. 7

F Ma. 7

}

15. Using inversions to embellish a bass line

]

G 7 G 7/ F /

/

/

C/ E F Ma. 7/A /

/

/

/

/

G/ B /

/

F/C /

A mi./ E D mi. 7 /

/

/

/

/

}


Learning New Chords Learn “Root on E” and “Root on A” chords first, followed by “Root on D.”

About Inversions In four-part harmony — 7th chords — any part of the chord can be put on the bottom of the “pile.” Using “G7” as an example: First inversion

= “G” 7/3 or “G” 7/ “B”

Second inversion

= “G” 7/5 or “G” 7/ “D”

Third inversion

= “G” 7/ b7 or “G” 7/ “F”

The primary reason to invert a chord is to achieve a desirable bass line (refer to chord progression example number 15, on page 56).

Examples See the following five pages for examples of some of the chords that can be built using the major scale.


Major 7th and 6th Chords

C Ma. 7

C Ma. 7/ 3

C Ma. 7

X

C Ma. 7

X

C Ma. 7

X

X

I Fret 3

I

I

Fret 5

Fret 8

I

I

M R

Fret 10

M

Fret 12

I

I

R B B

R

(M)

B

R

R B

Rt.

5

7

3

5

X

3

C6

5

Rt.

3

7

Rt.

C 6/ 3

X

X

7

3

5

7

3

(5)

C6

X

Rt.

5

7

3

Rt.

C6

X

X

3

5

Fret 5

M

3

C6

X

X

Fret 8

I

M

R

Fret 10

Fret 12

( ) I

B R

7

I

I Fret 3

X

B

I (M)

R

R

B

M R B

X

Rt.

5

6

3

X

3

5

Rt.

3

6

Rt.

6

3

5

(3)

(5)

Rt.

5

6

3

(5)

Rt.

3

6

Rt.

X


Major 9th and 6 9 Chords

C Ma. 9

C Ma. 9/ 3 X

C Ma. 9

X

C Ma. 9

X

C Ma. 9

X

X Fret 12

I Fret 3

( ) M

R

I

I Fret 8

B

M

Fret 7

(5)

Rt.

3

7

9

M

3

C69

R

5

9

B

3

7

( ) I

(M)

B

Rt.

I

R

X

C 6 9/3

( )

Fret 10

7

9

5

X

(3)

R B

(5)

C69

Rt.

5

7

B

9

Rt.

C69

X

9

5

7

3

C Ma. 13*

X

I Fret 3

( ) M

Fret 5

R

( ) I

I Fret 8

M

R

Fret 12

I Fret 10

R

( ) M

I

R

B

R B

(5)

Rt.

3

6

9

5

3

5

9

3

6

Rt.

(3)

6

9

5

Rt.

(5)

Rt.

3

6

9

(3)

Rt.

* When a Major 7th is added to a 6 9 chord, a Major 13 chord is the result.

9

6

7

3


Minor 7th and Minor 9th Chords

A mi. 7 ( )

O

A mi. 7/b3*

O

A mi. 7

O

A mi. 7

X

A mi. 7

X

I Fret 2

I Fret 3

Fret 5

( ) M

M

M

Fret 7

R

( ) I Fret 12

( ) M

M R

(5)

Rt.

5

b7

b3

5

(b7)

b3

b7

R

b3

5

Rt.

Rt.

X

b7

b3

5

Rt.

(5)

Rt.

5

( )

R B

b7

b3

(5)

Rt.

b3

b7

b3

(5)

* Yes, C 6 and A minor 7 look and are the same.

A mi. 9 ( )

O

O

A mi. 9/b3** O

A mi. 9

O

A mi. 9

A mi. 9

X

I Fret 2

Fret 3

Fret 5

( ) I

M

M

R Fret 7

M B ( )

R

(5)

Rt.

5

b7

9

5

(b7)

b3

b7

9

5

b7 (Rt.)

( ) M

R

B

Rt.

I

X

b7

b3

5

9

Fret 12

( ) M

R B ( )

B

(5)

Rt.

b3

b7

** C Major 7 and A minor 9 are the same. Minor 9th chords can not be used as a III minor 7 ! Example: In the key of C Major, E minor = III minor 7.

9

(5)

Rt.

b3

b7

9

(5)


7th and 9th Chords

G7

G7

G7

G7

X

Fret 3

I

G 7/3

X

Fret

R ( )5

M

Fret 8

( ) I M

B ( )

R

Fret 10

Fret 12

( ) I

I

I

M B

Fret 10

M

( ) R

B

(5)

b7

R

B

R ( )

b7

Rt.

3

5

(Rt.)

(3)

(5)

G9

Rt.

5

b7

3

Rt.

G9

3

Rt.

X

(5)

Rt.

G9

5

b7

3

5

Rt.

3

G9

5

Rt.

5

b7

3

13

G 13*

X

( ) Fret 3

M

I B ( )

R

I Fret 5

Fret 10

( ) M

R

Fret 10

( ) M

(3)

b7

9

5

Rt.

(5)

Rt.

3

b7

R

9

(5)

Rt.

I

R

B

Rt.

Fret 12

( ) I

I

3

b7

9

5

(5)

Rt.

5

M

b7

9

B

( )

b7

(Rt.)

* When a 6th is added to a 9th chord, a 13th chord is the result.

R B

3

b7

9


Minor 7th b5

B mi. 7 ( b5)

B mi. 7 ( b5)/ b3*

B mi. 7 ( b5)

X

( )

( ) Fret 2

I

( )

I ( ) M

R

Fret 7

X

M

I Fret 9

R B

I

( )

B

B

X

I

Fret 5

M R

X

B mi. 7 ( b5)

B mi. 7 ( b5)

R

R

Fret 14 b5.

Rt.

b5

b7

b3

(b5)

(b7)

b3

X

Rt.

b5

b7

Rt.

X

b7

b3

b5

(b7)

(b3)

X

Rt.

b5

* B minor 7 ( b5) and D minor 6 are the same.

b7

b3

X

B Rt.

b3

b5

b7

b3

7

The Major Scale Patterns

The Major Scale Patterns This is an introduction to the major scale patterns and how they relate to the pentatonic scale patterns. Again, the fretboard is divided into five areas to produce five different fingerings of the same scale. They will be numbered one through five. Notice that each major scale pattern contains three pentatonic scale patterns. Each pattern relates to the I, IV, V chord, and in turn, the substitutes for these chords.

On paper it looks like this:

“C” Major Scale C

D

E

F

G

A

B

C

I

II

III

IV

V

VI

VII

I

63


I = “C” Pentatonic Scale C

D

E

*

I

II

III

G

A

V

VI

*

C I

IV = “F” Pentatonic Scale F

G

A

I

II

III

*

C

D

V

VI

*

F I

V = “G” Pentatonic Scale G

A

B

I

II

III

*

D

E

V

VI

*

G I

* The pentatonic scales contain no 4th or 7ths! That is what gives them their sound. It is the half step intervals (the 4th and 7th) that produce the tension as well as the specific identity of a chord or scale.


Major Scale Patterns in “C”

Pattern #1 I Chord

Fret 8

7

3

1

4

2

5

6

2

7 5

7

3

1

4

1

I

I

I

I

Fret 8

M M

IV Chord Fret 7

I M M

V Chord

Fret 8

Fret 8

R R 6

2

B

Scale Degrees

B

B

B

B

B

Fingering

IO-PENT

MIXO-PENT

LYDI-PENT

I Chord

IV Chord

V Chord

Pattern #2

7 Fret 10

3

I Fret 10

2

5

1

4

6

2

3

6

2

5

7

3

R R B

1

4

B

4

Scale Degrees

I

I

I M M I

B

I

B

B

B

B

Fingering

Fret 10

Fret 10

DORI-PENT

Fret 10

AEO-PENT

MIXO-PENT



Pattern #3 I Chord

Fret 12

3

6

2

5

4

5

7

3

1

4

7

3

1

4

Fret 12

I

I

I

I

M

6

I

I

IV Chord

Fret 12

V Chord

Fret 12 Fret 13

M M R R R

2

5

B

Scale Degrees

B

B

B

B

Fingering

LYDI-PENT

IO-PENT

AEO-PENT

I Chord

IV Chord

V Chord

Pattern #4

7 Fret 3

5

1

3

6

4

I 2

5

I

M M M

7 6

2

5

1

I

Fret 3

I

I

Fret 3

Fret 3

Fret 3

R 3 4

Scale Degrees

6

B

B

B

B R R B

Fingering

MIXO-PENT

DORI-PENT

IO-PENT



Pattern #5 I Chord 7 Fret 5

6

2

5

1

3

1

4

6

V Chord

I 3

6

Fret 5

I

I

I M I

2 5

Scale Degrees

I

Fret 5

Fret 5

Fret 5

M

4 7

IV Chord

7

R R R B

1

B

B

R B

Fingering

B

AEO-PENT

LYDI-PENT

DORI-PENT


Root Positions of Major Scale Patterns

I Ma. 7

Pattern #1 C Ma. 7

C6

X

X

I Fret 8

Fret 8

I

X

7

3

Fret 8

R

M

B

5

X

7

Rt.

6

X

I

M

R B

Rt.

X

I Fret 8

M

C69

C Ma. 9

3

I R

Fret 8

M

B

5

Rt.

7

9

5

Rt.

(Ionian Mode)

VII mi 7 ( b5) or II mi. 7 b5

Pattern #1

B mi. 7 ( b5)* X

X

X

G/B X

I Fret 7

Fret 7

M

Fret 7

R B

I

M

R B

Rt.

b7

b3

b5

3

5

R

Rt.

3

(Locrian Mode)

* The real scale for mi. 7 ( b5) chords is the melodic minor from the 6th degree. ( b5) b b b b D mel. mi. produces B mi. 7 ( 5), B mi. 9 ( 5), B mi. 11 ( 5), B mi. 11 ( 13).

6

9

5

Rt.



II mi. 7

Pattern #2 D mi. 7

D mi. 6

D mi. 9

D mi. 11

X

X

X

I Fret 10

Fret 10

Fret 10

I

M

I Fret 10

R

I

R

Fret

R

B 10 M

R B

9

b7

B Rt.

5

b7

b3

b7

Rt.

Rt.

6

b3

5

Rt.

Rt.

5

b7

b3

5

Rt.

b3

11

(Dorian Mode)

III mi 7 or Altered Dominant

Pattern #3

E + 7 ( b9)

E + 7 (+9) X

Fret 12

Fret 12

E+7

X

Fret 12

I

X

Fret 12

I

M

E mi. 7

Fret 12

I

M

I

M R R

B Rt.

b7

3

+5

+9

B Rt.

b7

3

+5

b9

Rt.

b7

3

+5

(Phrygian Mode)

Rt.

Rt.

b7

5

b3

No 9th!

In a pinch, the phrygian mode can be used with altered dominant chords — just remember that it isn’t the true source of these chords.

b7

Rt.



IV Ma. 7

Pattern #3 F Ma. 7 (+11)

F Ma. 9 (+11)

X

X

I

Fret 13

M

M

7

3

I

Fret 13

Fret 13

M

R B

I

M R B

R

+11

7

Rt.

7

X

I

Fret 13

Rt.

F Ma. 7

X

I Fret 13

F Ma. 13 (+11)

9

+11

7

Rt.

3

6

9

+11

7

Rt.

7

3

5

7

(Lydian Mode)

V7

Pattern #4 G7

G9

X

X

G 13

X

X

G 7 sus. 4

X

I Fret 3

Fret 3

I

M

R

Fret 3

M

R

B

Fret 3

I

Fret 3

M

B

I

R B

Rt.

(Mixolydian Mode)

b7

3

5

Rt.

b7

9

5

Rt.

b7

3

13

R

9

Rt.

5

B

b7

4

5

Rt.



VI mi. 7

Pattern #5 A mi. 7

A mi. 9

X

Fret 5

Fret 5

M

A mi. 11

X

Fret 5

R

M

X

Fret 5

R

Fret 5

I

I

F/A X

M

R B

B

Rt.

(Aeolian Mode)

b7

b3

5

Rt.

Rt.

b7

b3

5

9

R

Rt.

5

B

b7

11

5

Rt.

3

5

Rt.

3


8

Song Analysis, Example I

Song Analysis To aid in the familiarization and understanding of song charts, three different examples are presented in this and the following two sections. Included in the examples are charts for each song, followed by several pages of chord possibilities, and then a detailed breakdown and analysis of the charts themselves.

Example I: Julia Notice on the following chart of Julia that it sticks very closely to the Major scale in the Key of “E”. Such tunes are often referred to as “diatonic,” referring to the use of only the eight tones of a standard major or minor scale without (chromatic) deviations.

73


Julia

A

1

J

E Pedal . . . .

( )

A add 9

2

I

F mi. 11

(

&]

I

G mi. 11

. . . . . . . . .

2 3

. . . . . . . . .

( )

B add 11

. . . . . . . . . .

A/3

B/3

(

J

4

. . . . .

G mi. 11

I

E Pedal . . . . .

J

. . .10. . . . . .

I

I

18

G mi. 11

I

E Pedal

J

I

. . . . .

22

F mi. 7 G mi. 7 25

I

. . . . . . . . . .

15

I

F mi. 11

A

20

I

(No Pedal)

I

A6 24

A/B

F mi. 7 G mi. 7 27

A6

B7 (9/3) B (9/3)

G + 7 (+9)

23

F mi. 11

12

B7 sus. 4 B7

A6 26

J

I

. . . . . . . . . .

16

19

. . . . . . . . .

8

E Ma. 9 E

C mi. 7

(

21

G mi. 11

. . . . . . . .11.

I

14

G mi. 7

C

I

. . . . . . . . .

B13

(No Pedal)

17

7

F mi. 11

F mi. 7

B 13

I

. . . . . . . . .

(

9

6

(

I

A Pedal

5

28

}


Chords for Julia

I

I

G mi. 11 O

A (add 9 )

F mi. 11 O

X

O

B (add 11 )

O

O

X

O

A/3

O

O

X

O

O

I Fret 11

Fret 9

I

I

M M

M

Rt.

X

11

b7

b3

5

Rt.

11

b7

b3

Bars 1, 3, 9, 11, & 21

Bars 2, 4, 10, 12, & 22

B/3

F mi. 7

O

Fret 7

O

5

X

R

Rt.

I

M Fret 9

Rt.

3

9

R

( b7) Rt.

5

3

Fret 9

Fret 7

I

I

Rt. (11)

Rt.

5

E Ma. 9

E

O

X

Fret 7

M

Bar 13

b3

5

Rt.

b7

3

Bar 14

5

I

M

R

R

Rt.

O

Fret 7

M

R

B B

b7

5

B13

R

Bar 8

(Rt.)

Bar 7

M

5

11

Bar 6

X

R

3

Rt.

I M

(b7)

3

R

Bar 5

I

Fret 13

M Fret 11

13

B

9

Rt.

Rt.

3

7

9

Rt.

Rt.

Both in Bar 15

3

Rt.

3

(6)


More Chords for Julia

X

O

O

Fret 5

X

O

Fret 4

I

R

X

Fret 4

I

I

R

3

5

5

Rt.

Rt.

M B

3

6

R

5

Rt.

5

Both in Bar 16

B7 sus. 4

B7

X

Fret 2

C mi. 7

M

M

Rt.

I

G mi. 7

O

Fret 5

I

Rt.

I

A6

A

X

Fret 2

I

R

b7

b3

5

Rt.

Fret 2

R

R

5

b7

Bar 17

Bar 18

B7 (9/3)*

B (9/3)*

X

I

Rt.

b3

5

9

5

X

Fret 2

I

B

I

R

R B

B Rt.

5

b7

4

5

Rt.

Both in Bar 19

5

b7

3

5

Rt.

5

b7

9

5

Rt.

5

Both in Bar 20

* 9/3 is sometimes referred to as “sus. 2.”

Rt.


Still More Chords for Julia

I

X

I

G + 7 ( b 9)

G + 7 (+9)

X

I

G +7 X

X

X

I Fret 4

Fret 4

I

Fret 4

I

M

M

M

()

Fret 5

I

Fret 2

R

M R

I

F mi. 7

A6

M

R

Rt.

b7

B

B b7

Rt.

3

+5

+9

b7

Rt.

3

Bar 23

Fret 4

M

b9

b7

Rt.

3

+5

Rt.

Subs for Bar 23

I

G mi. 7 X

+5

A/B X

Fret 2

R

X

A/B

I M

Rt.

b7

b3

5

Bars 25 & 27

Rt.

9

5

Rt.

Bar 28

3

(6)

6

3

5

Bars 24 & 26

I

Fret 7

Rt.

R

B

(9)

Rt.

3

5

(Rt.)

Sub for Bar 28

(7)

b3

5

Bars 25 & 27

Rt.


Song Analysis: Julia The following is a bar-by-bar breakdown of the Julia chord chart. Notice that each bar has a circled number. The symbols A , B , & C are just for reference; they are sometimes called “rehearsal letters.”

]

notice. J refers to time only — usually called a “push,” here it means push

Bar

1

means repeat.

“E Pedal” means play a low “E” note under the chords until further

(

I

the “F mi. 11.” Bar 2

2

Bars 3

& 4

I

“E Pedal” continues under “F mi. 11.” means repeat the previous two bars.

Notice the modal effect of the first four bars — this is basically the Ionian mode.

Bar

5

“A Pedal” indicates to play a low “A” note under the chords until further

(

notice. “(add 9 )” means the chord has no 7th. J means push the “B(add 11 ).” 6 (add Bar “B 11 )” means the chord has no 7th or 9th.


I

7 Bar “A/ 3” is an “A” with a “C ” on the bottom.

I

Bar 8

The same as bar 7 , “B/3” = “B” with “D ” on the bottom.

Again notice the modal sound with the “A” pedal; this is the sound of the Lydian mode.

Bars 10

9

I

Back to the “E” pedal, push “F mi. 11.”

, 11 , & 12

Bar 13 notes.

“No Pedal” means cancel the previous instruction to play the pedal

I

“F mi. 7” is the “II mi. 7” chord. Bar 14

“B13” is the “V 7” chord.

Bar 15

“E Ma. 9” is the “I Ma. 7” chord.

Bar 16

“A” is the “IV Ma. 7” chord.

I

17 mi. 7” is the “III mi. 7” chord. (It cannot have a 9th or 13th!) Bar “G

I

18 mi. 7” is the “VI mi. 7” chord. Bar “C

Bar 19

“B sus.” is the “V 7” chord.


20 Bar “9/ 3” means the 3rd has been replaced by the 9th, sometimes called a “sus. 2.”

Bars 21

&

The same as bars

1

and 2 .

22

I

I

I

23 + 7 (+9)” is a “G 7” with a raised 5th (“E”) and a raised 9th (“B”). Bar “G

The “G ” triad contains “C”, which is not in the “E” major scale. In other words, it is chromatic to the key of “E” major. However, the +5, the b 9, and

the +9, are all found in the Phrygian mode of the major scale.

Bar

24

“A6” could be “A Ma. 13.”

Bar

25

Two beats per chord.

Bar

26

“A6” could be “A Ma. 7 (+11)” — it’s Lydian.

Bar 27 28 Bar “A/ B” is an “A” chord (“IV” chord) with “B” (“V”) in the bass — it is a variation of “B7 sus. 4.”

} means repeat back to the top of the chart.

9

Song Analysis, Example II

Example II: Freddie the Freeloader Freddie the Freeloader, by Miles Davis, is a good illustration of an elementary I, IV, V Blues progression, with the added twist of a bVII7 chord. Although the tune is simple, the analysis of the scale applications for improvisation reveals many possibilities. It is easy to modify the basic chords to accommodate the melody, therefore diagrams of those chords are provided. It may be found that the addition of the bVII7 chord (“Ab7”) forces the player to focus instead of routinely playing through the usual I, IV, V Blues progression.

81


Freddie the Freeloader Miles Davis

4 4

B b7

2, 14

1, 13

3, 15

E b7

5, 17

1.

2.

21

B b7

6, 18

7, 19

10

11

E b7

F7

22

8, 20

A b7

E b7

F7

9

4, 16

12

B b7

23

24


Freddie the Freeloader (Med. Slow)

B b9

q.

2, 14

E b13

bE

E b9

H

(

w

q.

B b7

F7

n h.

bq

9

F7

/

/

(B b7)

bq

21

F7

h.

q

10

q

q bq

/

(B b7)

( h.

q.

q

E b7

23

bq

w

12

A b7 B b13

^

^

A b7

w

E b9

B b7

8, 20

B b7

11

E b7

h.

22

eh

A b7

E b9

E b7

B b7

F7

n h.

E b7

(

2.

/

7, 19

(

1.

6, 18

E b7

B b9

B b9

(

5, 17

4, 16

B b13

(

Q.

E b9

3, 15

(

B b7

4 ?4

w

B b9

B b9

w

eh

(

1, 13

eh

(

(

w

(

q. e h

2

(

B b9

(

4 &4

B b13

Miles Davis

B b7

24


Chord Melody for Freddie the Freeloader

X

B b13

X

B b9

or X

X

B b7

X

E b13

X

I Fret 6

I

Fret 6

M

M

R

B

I

M

Fret 6

R

M

I

b7

3

Fret 6

R

M

R

B B

X

X

I Fret 6

R

Rt.

E b9

13*

B

9

Rt.

X

b7

9

5*

Rt.

X

b7

3

5*

X

X

Rt.

3

b7

Bars 1 & 2, and the repeat (Bars 3 & 4)

3

13*

X

Rt.

3

b7

9

Bars 5 & 6

1. B b13

B b9

X

B b7

X

B b7

F7

X

X

I Fret 6

I

Fret 6

M

M

R

B

Fret 6

Fret 8

I

R

Fret 6

I

I

M B

M

R

R

B

R

B Rt.

X

b7

3

13*

9

Rt.

X

b7

9

5*

Rt.

5

b7

3

b7*

B Rt.

Bars 7 & 8, and the repeat (Bars 19 & 20) After the first ending, the chart jumps from here to Bar 21, the second ending.

* Melody notes

Rt.

5

b7

3*

5

Bar 9 (This is the first ending.)

*

5*


Chord Melody for Freddie the Freeloader - Continued

2. E b7

X

Fret 6

E b9

X

Fret 6

I

A b7 Fret 4

I

B b7

F7 X

Fret 8

I

Fret 6

I

I M

M M

B

R

R

R

B

R

B X

Rt.

5

b7

3*

5

X

Rt.

5

b7

9*

5

Rt.

Bars 10

5

3

b7*

B Rt.

X

Bars 11 & 12 (Take first ending to top of chart)

E b7

E b9

X

b7

Rt.

Fret 6

I

X

M

5

B b9 X

X

I Fret 6

3*

I Fret 6

R

I

Fret 6

M

M

R

B

R M

X

Rt.

5

B

b7

3*

B

5

Bar 22

Rt.

3

b7

9*

5

Rt.

X

b7

3

13*

9

Rt.

X

b7

Bars 23 & 24 From here the whole chart starts over again.

* Melody notes

Rt.

5

b7

3

b7*

Bar 21 This is the second ending; the chart jumps from Bar 20 and continues.

B b13

X

5

b7

9

5*

X

5


The Dominant Pentatonic Scale

DORI-PENT

IO-PENT

Fret 3

Fret 5

DOM. IO-PENT

Fret 3

LYDI-PENT

Fret 7

DOM. DORI-PENT

Fret 5

MIXO-PENT

Fret 10

Fret 12

DOM. MIXO-PENT

DOM. LYDI-PENT

Fret 7

AEO-PENT

Fret 10

DOM. AEO-PENT

Fret 12

By changing the 6th Degree to a “b7th” (raising the 6th by one fret),

the Pentatonic scale is changed to one that specifically fits Dominant 7th chords, “G6” to “G7.”


Freddie the Freeloader Miles Davis

B b7

4 (V in E b Ma.) 4 1, 13

Fret 6 IO-PENT Dominant IO-PENT “B b” or “G” Blues scale Pattern #4 of “E b” Major scale

2, 14

Fret 8 DORI-PENT Dominant DORI-PENT “B b” or “G” Blues scale Pattern #5 of “E b” Major scale

E b7

5, 17

Fret 6 MIXO-PENT Dominant MIXO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #2 of “A b” Major scale Fret 3 LYDI-PENT Dominant LYDI-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #1 of “A b” Major scale

1.

9

6, 18

Fret 8 AEO-PENT Dominant AEO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #3 of “A b” Major scale

Fret 8 MIXO-PENT Dominant MIXO-PENT “B b” or “G”; “F” or “D” Blues scale Pattern #2 of “B b” Major scale

10

Fret 5 LYDI-PENT Dominant LYDI-PENT “B b” or “G”; “F” or “D” Blues scale Pattern #1 of “B b” Major scale

2.

21

22

(V in A b Ma.)

(V in E b Ma.)

8, 20

A b7

11

(V in D b Ma.)

Fret 4 IO-PENT Dominant IO-PENT “B b”; “A b” or “F” Blues scale Pattern #4 of “D b” Major scale

12

B b7

23

(V in E b Ma.)

Fret 6 DORI-PENT Dominant DORI-PENT “B b”; “A b” or “F” Blues scale Pattern #5 of “D b” Major scale

Fret 8 LYDI-PENT Dominant LYDI-PENT “B b”; “A b” or “F” Blues scale Pattern #1 of “D b” Major scale

Fret 1 AEO-PENT Dominant AEO-PENT “B b”; “A b” or “F” Blues scale Pattern #3 of “D b” Major scale

E b7

F7

(V in B b Ma.)

7, 19

E b7

(V in A b Ma.)

4, 16

B b7

Fret 11 IO-PENT Dominant IO-PENT “B b”or “G”; “E b”or “C”Blues scale Pattern #4 of “A b” Major scale

F7

(V in B b Ma.)

Fret 1 or 13 MIXO-PENT Dominant MIXO-PENT “B b” or “G” Blues scale Pattern #2 of “E b” Major scale

Fret 10 LYDI-PENT Dominant LYDI-PENT “B b” or “G” Blues scale Pattern #1 of “E b” Major scale

Fret 3 AEO-PENT Dominant AEO-PENT “B b” or “G” Blues scale Pattern #3 of “E b” Major scale

(V in A b Ma.)

3, 15

24


10

Song Analysis, Example III

Example III: The Low Down The Low Down is a tune that combines elements of the Blues with the major scale-type chord progressions. The key is basically “C” Major, but liberties have been taken. Here is a look at how the normal members of the major scale chord family have been modified; as well as the new scale sources from which these chords are built:

Normal I = II = III = IV = V = VI = VII =

“C” Ma. 7 “D” mi. 7 “E” mi. 7 “F” Ma. 7 “G7” “A” mi. 7 “B”mi.7( b5)

Modified “C7” “D7” “E7” “F7” “G+7” (not) (not used here) bVII = “B b7”

Io

Also several passing chords are used:

+IV = F 7 VII = B

Scale Source “F” Major scale “G” Major scale “A” Major scale “B b” Major scale “G” Whole tone “C” Major scale (could be sub for “G7”) “E b” Major scale

I

F Diminished scale

They move by so quickly that they do not have much effect on the key center of the song. 89


The Low Down MM70 12/8 Feel

G7

4 41

on cue . . .

C

(verse)

A

>w

/

/

2

E

F

/

/

5, 29

/

E7

/

/

/

/

/

/

C6 /

/

/

13, 37

/

/

/

/

17, 41

/

/

/

21, 45

Io

/

Io

/

/

/

/

/

Io

/

/

/

/

/

/

/

/

/

C9 /

/

26, 50

E/G /

I

/

/ 27, 51

/

/

/

/

/ 28

G7

G+7

/

/

G7

G+7

/

/

/

12, 36

I

A mi.

/

/

I

F7

/

/

/

16, 40

Io

/

/

/

/

/

C /

/

C9 /

/

24, 48

G7 /

/

/

20, 44

F 7 /

1.

/

/

/

23, 47

/

/

B b/D B/D C/E Csus/F C/G C7

F /

/

D13

/

19, 43

C

/

/

/

C

18, 42

/

/

A mi. 9

C/G /

/

D9

/

11, 35

G13

22, 46

/

/

15, 39

/

/

/

F 7 C/E A mi. D9/F G9/F C/E

F 25, 49

/

F 7

D9

F 7

(refrain) F

/

/

A mi.

A mi. 7

C6

14, 38

C/E

/

G+7

8, 32

B b13

F

/

/

7, 31

/

C9

/

C/G 4

B b7

10, 34

C

/

3

/

F Ma. 9

9, 33

C

/

/

6, 30

C

B

>w

Io

F F 7

C C/E

F7

G+7

/

I

C B b/D B/D C/E

2.

/

/ 52

/

/

/


C

/

/

/

53

F /

/

C

/

/

/

/

/

Io

/

/

/

/

A mi. /

/

/

/

C13

I

/

/

/

/

/

A mi. /

/

/

/

C13

/

/

56

/

Io

/

I

/

/

/

/

C /

/

C9 /

/

G7

C

/

on cue . . .

68

/

60

64

D9 67

/

C B b/D B/D C/E

G9/F

63

C/E

C6

F 7

F

62

66

/

/

59

C6

/

/

D9/F

/

58

/

/ 55

/

Io

/

Io

F 7

F

54

F 7

F 65

/

C9

C/E

61

/

/

F 7

F /

Io

C

F 7

57

(solo)

Io

F 7

(refrain) F

69

U

/


Chords for The Low Down

G7

C

F7

X

X

Fret 1

O

I

X

M

F

C/E

X

X

X

X

R

I

M

X

I Fret 8

B Fret 3

X

Fret 3

R

Fret 7

I

I

R

B

R R

Rt.

X

b7

3

5

X

Rt.

(3)

Bar 1

3

Io

F 7

X

X

Rt.

X

Rt.

3

X

X

3

3

X

X

Rt.

Rt.

C/G

G+7

C

E

X

X

X

bb 7

b3

X

X

Rt.

X

X

Fret 3

R

X

Fret 7

I

X

I

5

X

X

Rt.

3

+5

Rt.

X

X

Rt.

5

R Rt.

Bar 4

Bar 3 /

3

X

M Fret 10

R B

5

3

I

M

b5

Rt.

/

R X

5

/

I

B

Rt.

Bar 3

X

Fret 10

5

/

M R

5



I Fret 9

5

Bar 2



X

b7

//

3

X

X

Rt.

5

Rt.

Bar 5 //

//

 = four beats

Time notation: /

= one beat

//

3

X



F X

X

X

B b7

C6 X

D9

A mi. 7

X

X

X

X

I Fret 8

Fret 6

I

I

M

I

Fret 8

R

M

Fret 5

R

I

R

Rt.

5

Rt.

3

X

Rt.

X

b7

3

5

X

Rt.

X

6

3

5

X

Rt.

5

b7

b3

//

//

G7

G+7

C

E7

X

X

X

X

X

X

M M

R

I

M

R

B

Fret 3

Fret 7

I

R

B

B R

Rt.

X

b7

3

5

X

Rt.

X

b7

3

Bar 8 /

/

+5

X

Rt.

R

5

Rt.

3

X

X

Rt.

b7

3

Bar 9 //

X

Rt.

b7

3

//

I

Fret 3

Rt.

Bar 8

//

X

5

Bar 7

//

X

I

R

R

Bar 6

Fret 3

M

B

B

X

Fret 5

//

Rt.

9

5



F Ma. 9 X

X

X

B b13

C6

D13

A mi. 9

X

X

X

X

I Fret 6

I Fret 8

M

I

M

M

R

Rt.

3

7

Fret 5

R

M

Fret 5

R

B

9

X

Rt.

X

b7

3

13

9

Rt.

X

6

3

5

X

Rt.

X

b7

b3

5

//

//

//

G7

G+7

C

C9

X

X

X

X

I

M

Fret 3

R

I

M

R

Fret 3

I

X

M

R

B

B

R

Rt.

X

b7

3

5

X

Rt.

X

b7

3

+5

X

Rt.

5

Rt.

Bar 12 /

3

X

X

Rt.

b7

3

Bar 13 /

//

B

section starts here.

X

Rt.

b7

3

//

X

Fret 3

B

Bar 12

I Fret 3

9

Bar 11

//

X

R

B

Bar 10

X

M

B

R

B

X

I

Fret 8

//

9

9

13



Fret 1

Io

F 7

F X

I

C/G X

X

E/GI

A mi.

X

I Fret 2

R

M

Fret 3

R

Fret 4

I

I

M

R

Fret 5

I

B

R B R

Rt.

5

Rt.

3

5

Rt.

Rt.

X

bb7

b3

b5

X

5

Rt.

R B

5

Rt.

3

Bar 14

3

X

X

5

Rt.

3

Rt.

5

Bar 15

b3

Rt.

//

//

//

//

F7

C/E

A mi.

D9

G13

X

X

X

I

B

X

Fret 5

I

M

Fret 3

R

I

M

R

R R B

X

Rt.

b7

3

Rt.

X

X

3

5

Rt.

3

X

Rt.

5

B

Rt.

b3

5

Rt.

X

Rt.

b7

3

Bar 17

Bar 16 //

Rt.

I Fret 5

M R

X

I

Fret 7

5

Bar 16

//

X

Fret 8

X

//

9

5

Rt.

X

b7

3

Bar 18 //

//

//

13

9



B b/ D

C X

Fret 3

X

X

Fret 3

I

R

X

Rt.

X

X

Fret 4

I

R

5

Rt.

3

X

X

3

B/ DI

X

X

X

Fret 5

I

Rt.

3

X

3

5

Rt.

3

X

X

3

5

Rt.

3

X

/

/

C/G

C7

F

F 7

X

X

Fret 8

I

X

Io

X

Fret 9

I

X

M

I

M R B

R

R

B

R B

X

5

Rt.

3

5

X

Rt.

5

b7

3

b7

Rt.

X

Rt.

5

Rt.

Bar 20 /

4

Rt.

4

/

I I

X

Bar 20

/

Fret 8

I

R B

//

Fret 8

X

R

Bar 19

X

X

Fret 8

I

R

5

C sus./F (or just play F)

C/E

3

X

X

Rt.

b5

bb7

Bar 21 /

//

C

refrain starts here.

//

b3

X

5

Rt.



C X

X

Io

F 7

F

C9 X

X

X

X

X

I Fret 3

Fret 3

I

M

R

Fret 9

I

R

Rt.

5

Fret 3

M

I

B

Rt.

3

X

X

Rt.

b7

3

9

5

X

Rt.

R

5

Rt.

3

//

//

C9

F

F 7

X

X

X

Rt.

b5

bb7

b3

X

Rt.

Bar 23

//

X

X

I M

X

R

Bar 22

Fret 3

X

I Fret 8

R

X

C

Io

X

5

Rt.

3

X

5

Rt.

Bar 24 //

//

C/E

A mi.

X

X

I R

Fret 5

M Fret 3

Fret 4

R

I

Fret 5

I

I

M R

B

M

R B B

X

Rt.

b7

3

9

5

X

X

Rt.

5

Rt.

Rt.

b5

bb 7

b3

X

3

5

Rt.

Bar 25

Bar 24 //

3

//

5

X

Rt.

5

Rt.

Bar 26 //

//

//

b3



X

D9/F I I (F mi. b5)

1. C/E

G9/F X

X

G+7

G7

X

X

X

X

X

X

I Fret 9

I

Fret 8

M R

Fret 3

I Fret 7

M

B

3

b7

9

5

X

X

b7

b7

3

M

M

R B

B

9

(13)

X

3

5

Rt.

5

X

Rt.

X

b7

3

5

X

Rt.

X

b7

3

Bar 28 *

//

//

//

/

/

* Go back to the C of the chart for the second verse.

2. B b/D

C X

X

X

Fret 3

I

R

X

B/DI

X

Fret 4

I

R

Rt.

5

Rt.

3

X

X

3

C/E X

R

5

Rt.

5

X

Fret 5

I

I

R

B X

I

B

Bar 27

Fret 3

Fret 3

R

R

R

X

I

B X

X

3

5

Rt.

5

B X

X

3

5

Rt.

Bar 52 ** /

/

** This leads into the last chorus.

/

/

5

X

+5

X


Chord Chart Analysis: The Low Down How the chart breaks down: MM70 Set metronome at MM70. 12/8 Feel Count: “1, 2, 3; 2, 2, 3; 3, 2, 3; 4, 2, 3” beats per bar. Bar 1

4 means four beats per bar. 4

w ” is a whole note; hit the chord once and let it ring. “ > ” is a hard accent.

“on cue” indicates that someone in the band will direct the changes.

“

“G7” is V7 in “C”.

Bar 2

“F7” is IV7; the “B b” Major scale is the source.

Bar 3

“C”, “C/E”, “F”, F 7” form an ascending bass line (isolate and learn).

Bar 4

“C/G” (second inversion); “G” note in bass completes ascending line. “G+7” has an augmented 5th (“D ”), which leads into a “C” chord.

Io

I

]

“E” is III7; the “A” Major scale is the source.

A Bar 5

repeat mark.

“C” is I7; the “F” Major scale is the source.


Bar 6

“F Ma. 7” or “Ma. 9” is IV Ma. 7; the “C” Major scale is the source. “B b7” is bVII7; the “E b” Major scale is the source. Bar 7

“C6” is I Ma. 7; Diatonic to the “C” Major scale.

“A mi. 7” is VI mi. 7; Diatonic to the “C” Major scale.

Bar 8

“D9” is II7; the “G” Major scale is the source.

“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”

Bar 9

“C” is I7; the “F” Major scale is the source.

“E7” is III7; the “A” Major scale is the source.

Bar 10

“F Ma. 9” is IV Ma. 7; the “C” Major scale is the source. “B b13” is bVII7; the “E b” Major scale is the source. Bar 11

“C6” is I Ma. 7; Diatonic to the “C” Major scale.

“A mi. 9” is VI mi. 7; Diatonic to the “C” Major scale.

Bar 12

“D13” is II7; the “G” Major scale is the source.

“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”

*

The possible scale sources and substitutes for “G+7” are:

b 5 ), G9(+5 “G” Whole Tone scale = G+7, G+9, G7(+5 b5 ) “G” 8 Note Dominant scale = G7( b 9), G7(+9), G7(+11 +9 )

b9

+11 Mode VII of “Ab” Melodic Minor scale = G+7( b 9), G+7(+9), G+7(+9b9 ) b 13 Mode III (Phrygian) of “E b” Major scale = G7( b 9), G7(+9), G7(+9 )

(Contains no Major 3rd, but works in a pinch.)

b9


B Bar 13

“C” is I Ma. 7.

“C9” is I7 (helps set up move to “F”).

Bar 14

“F” is IV Ma 7.

Io

“F 7” is +IV dim. 7. Bar 15

}

First part of ascending bass line.

“C/G” (second inversion).

I

“E/G ” (first inversion).

}

More chromatic ascending line.

Bar 16

“A mi. 7” is VI mi. 7; “end of the line.”

“F7” is IV7.

Bar 17

“C/E” is descending line from “F7.”

“A mi.” is beginning of descending 4th bass line.

Bar 18

“D9”

“G13”

}

More 4th bass movement.

Bar 19* “C” is I. “B b/D” and “B/D ” are the beginning of another ascending bass line.

I

Bar 20* “C/E” & “C sus./F”; chromatic ascending bass line. “C/G” and “C7”; 4th movement. *

Isolate and learn Bars 19 and 20 as a “chord lick.”

}

One single chord inverted to produce a bass line.


C Refrain. Bar 21

Io

“F” is IV Ma 7.


“C” is I Ma. 7.

“C9” is I7.

Bar 23

“F” is IV Ma 7.

}

This section leads off with a IV to I movement.

Io


“C” is I Ma. 7.

“C9” is I7.

Bar 25

“F” is IV Ma 7.

Io

“F 7” is +IV dim. 7

}

Bar 26

“C/E”

“A mi.”

Bar 27

“D9/F ” (first inversion).

I

Substitute for “C” & “C9” (like Bar 22), but has softer effect and different bass line.

“G9/F” (third inversion).

}

Chromatic descending bass line.


I

Bar 28

“C/E” is last of descending bass line.

“G7” & “G+7”; raised 5th (“D ”), lifts back to Bar 5, 29 for second verse.

This is referred to as a “first ending.”

1.

} Repeat back, in this case to A , to the top of the verse section.

ending, jump to the second ending

and then play to the end of the tune.

Bar 52

“C”, “B b/D”, “B/D ”, “C/E” are similar to Bars 19 and 20 — “lifts” into

Play A , B , and C again (Bars 29 through 51), skip the first

C (Refrain).

I

2.

(Bar 52)

104 Fretboard Fretboard Harmony Harmony 104

11

The “ D ” Tuning

The “D” Tuning The “D” tuning changes the open-string voicing of the guitar to a “D” major chord, it’s sound is identical to an “E” shaped bar chord. Although the tuning is beautiful-sounding, it presents the player with some real challenges. The primary difficulty arises from correlating the unique voicings to the outside world and vice-versa. As a point of departure, diagrams of the diatonic-chord voicings from the three major scales that contain the “D” Major chord will be provided. “D” = I Major in “D” Major scale “D” = IV Major in “A” Major scale “D” = V7 in “G” Major scale

105


“D” Tuning Diatonic Chords When “D” is a I Chord (“D” Major Scale)

D O

A O

DI D F

O

O

A O

I

F mi. (or D/F I)

E mi. 7 or 11

D O

X

O

O

I Fret 2

M

R

O

O

M

Rt.

3

5

Rt.

Rt.

X

Rt.

I Ma.

II mi. 7

A7

B mi. X

Fret 7

b3

11 or 5

b7

Rt.

O

M

R

b3

Rt.

O

O

Fret 5

M

5

O

Fret 5

I

R (M)

B

b3

X

(+5)

Rt.

X

7

3

9

5

Rt.

R

Rt.

b7

3

V7

B mi. 7

I C mi. 7 (+5 b5)

D (add) 9

O

O

O

O

X

Fret 4

M

B

O

Fret 5

I

O

Rt.

3

V7

b7

Rt.

O

I

M

B 5

5

IV Ma. 7

R

Rt.

or

III mi. 7

X

Fret 2

I Fret 9

R

or

O

A7

I I

5

X

B

Fret 4

Rt.

G Ma. 9

B

B Rt.

Rt.

X

Rt.

5

VI mi. 7

5

b3

Rt.

b3

5

VI mi. 7

b7

b3

Rt.

b5

b7

b3

VII mi. 7 b 5

+5

(Rt.) Rt.

5

3

I Ma.

9

Rt.


“D” Tuning Diatonic Chords When “D” is a IV Chord (“A” Major Scale)

D O

A O

D O

I

F O

A O

E7

D O

or X

Fret 2

X

O

Fret 2

I

I

M

I G mi. 7 (b 5)

F mi.7(or D/F I)

E7 O

O

O

O

X

Fret 6

R B

I

I Fret 4

M

R

B

M

B Rt.

5

Rt.

3

5

Rt.

Rt.

5

Rt.

5

X

Rt.

b7

X

3

5

b7

Rt.

Rt. or b3

5

V7

V7

VI mi. 7

A6

B mi. 7

B mi. 13

C mi.

O

I

O

M

X

Fret 2

I Fret 9

O

M

O

O

6

X

3

I Ma. 7

5

Rt.

Rt.

Rt.

b3

Rt.

b7

VII mi.7 (b 5)

Rt.

D Ma. 7 O

O

R

X

B b5

I I Fret 4

Rt.

(+5)

I

R

R

Rt.

Rt.

b3

IV Ma. 7

X

Fret 7

R b7

b3

II mi. 7

b7

b3

X

Rt.

b3

13

II mi. 7

b7

b3

R

Fret 4

B

Rt.

b3

5

Rt.

III mi. 7

b3

Rt.

M

5

3

R B

5

7

IV Ma. 7

3


“D” Tuning Diatonic Chords When “D” is a V Chord (“G” Major Scale)

D O

A O

D O

D

I F

O

A O

I F mi. 7 (b 5)

E mi. 7

D O

G69

G 6 9 sus. 4

X

I Fret 2

Fret 4

I

M

R

B

Fret 5

Fret 5

I

I

M R B

R B

B Rt.

X

5

Rt.

3

5

Rt.

Rt.

b3

5

5

b7

b3

Rt.

X

Rt.

b3

b5

V7

VI mi. 7

VII mi.7 (b 5)

A mi.

B mi. 7 (add 13 )

C Ma. 13

O

X

O

O

Rt.

O

Rt.

6

9

11

5

Rt.

Rt.

6

9

3

5

I Ma. 7

I Ma. 7

C Ma. 9

C Ma. 9 (+11)

X

X

O

6

O

I Fret 2

I

M

Fret 2

I

Fret 10

R

M

Fret 3

R

I

I Fret 3

R B B

X

Rt.

5

Rt.

II mi. 7

b3

5

X

Rt.

b3

13

III mi. 7

b7

b3

Rt.

5

7

3

6

IV Ma. 7

M

R

R

9

X

Rt.

5

7

9

IV Ma. 7

5

X

Rt.

3

+11

7

9

IV Ma. 7 (+11)


Basic Minor Chords in the “D” Tuning

I G mi. 7 (b 5) or

I

C 7

B mi. 6

X

X

X

or X

X

I b) C 7(+9 9

I Fret 6

Fret 2

I

Fret 4

I

R Rt.

X

b3

b5

M

R

Fret 3

M

B

b7

b3

I

Rt.

X

Rt.

5

6

(11)

X

Rt.

Rt.

X

X

X

I M

X

Rt.

3

b7

B

X

Rt.

X

Rt.

o

b5

B bb7

b3

VII 7

or D I mi. 7 (+5 b 5)

F mi. 6

X Fret 8

I Fret 12

b9 (+9)

I

or A Ma. 7 (+5) or

F mi. Ma. 7

Fret 4

B

3

b7

V7 (+9)

I

or X

R

B

()

IV mi. 6

I M

I

R

B

F mi.

Fret 4

X

R

II mi. 7 (b 5)

X

X

I Fret 4

B M

o

F 7

or

X

I Fret 5

M

I M

M R B Rt.

X

Rt.

b3

I mi.

5

X

Rt.

X Ma.7 b3

5

I mi. Ma. 7

X

X

Rt.

3

+5

7

b III Ma. 7 (+5)

3

X

Rt.

5

Rt.

I mi. 6

b3

6

B X

Rt.

b5

b7

b3 (+5)

VI mi. 7 (b 5)


12

B eyond the Major Scale

Line Progressions It is possible to create moving lines by changing one note in a given chord. Two of the most common are: A major chord where the 5th ascends. A minor chord where the root descends. In the following example the notes move chromatically; pay careful attention to the fact that each time the note moves the chord name changes. Major Chord with Ascending 5th (5) (Rt.) (3) “G” = “C” “C” “E” “G ” = “C+” Augmented “C” “E” “A” = “C6” “C” “E” “B b” = “C7” “C” “E”

I

(Rt.) “A” “A” “A” “A”

( b3) “C” “C” “C” “C”

Minor Chord with Descending Root (5) (Rt. oct.) = “A” mi. “E” “A” = “A” mi. Ma.7 or “A” mi./“G ” “E” “Ab” = “A” mi. 7 or “A” mi./“G” “E” “G” = “A”mi.6or “F ”mi.7( b5) or“A”mi./“F ” “E” “F ”

I

I

111

I

I


The following four pages contain chord charts diagramming the previous examples. On the chord charts the labels “High Position, “Mid Position” and “Low Position” or “Hi-Po”, “Mi-Po” and “Lo-Po”, are used to designate the following:

“High Position”

= “D,” “G,” “B,” and “E” strings (top four strings)

“Mid Position”

= “A,” “D,” “G” and “B” strings (middle four strings)

“Low Position”

= “E,” “A,” “D,” and “G” strings (bottom four strings)


Line Progressions

C X

C+

X

X

C6

X

X

C7

X

X

X

Fret 8 Fret 8

Fret 8

I

I

M

X

Rt.

5

Rt.

Rt.

R 3

+5

M

M

R 3

I

I

M R

R X

Fret 8

Rt.

Rt.

R B

3

6

B Rt.

X

X

Rt.

3

b7

Rt.

Root on “D” string. “Hi-Po”

C/E X

C+/E

X

X

Fret 12

X

X

Fret 12

I

C6/E

M

X

X

Fret 12

I

X

Fret 12

I

M

R

C7/E

I

M

R

M

R B

R B

X

X

3

5

Rt.

3

X

X

3

+5

Rt.

3

X

X

3

6

Rt.

3

X

X

Chord’s 3rd is on the “D” string. “Hi-Po”

3

b7

Rt.

3


Line Progressions

C

C+

C6

C7 X

I

I

Fret 8

B

Rt.

3

5

Rt.

3

(6)

X

M

Fret 8

R

M

Rt.

3

+5

Rt.

3

(6)

Rt.

3

6

3

5

X

Rt.

3

C6

X

Fret 3

Fret 3

I

b7

3

X

X

C7

Fret 3

I

I

M

R B

( )

R B

R

R ( )

X

Rt.

C/G

3

5

M

R B

X

( )

Rt.

I

B

B

C+

X

(5)

X

B

C

( ) I

X

Fret 8

R

Root on “E” string. “Lo-Po”

Fret 3

C7

I

R

R Fret 8

X

I Fret 8

M

or

(+5) Rt.

C+/GI X

Rt.

3

+5

(6)

Rt.

5

Rt.

3

6

C6/A (A mi. 7) Root on “A” string. “Mi-Po”

b7

B Rt.

5

Rt.

C7/B b

3

b7

Rt.

X

b7

3

5


Line Progressions

A mi.

A mi. Ma. 7

A mi. 7

A mi. 6

or

X

D9 X

I Fret 5

Fret 5

I

Fret 5

I

Fret 5

I

M

I Fret 5

R

M

R

M R B

Rt.

5

Rt.

R

b3

5

Rt.

Rt.

5

R

Ma.7 b 3

5

Rt.

Rt.

5

b7

b3

5

Rt.

Rt.

X

6

b3

5

Rt.

X

Rt.

3

b7

9

5

Root on “E” string. “Lo-Po”

A mi. X

A mi. Ma. 7

X

X

A mi. 7

X

X

A mi. 6

X

X

or

X

D9 X

X

I Fret 12

I

M

Fret 12

I

R

M

Fret 12

I

M

R B

R

Fret 12

I

M

R

B

Fret 12

M

R

B

B

B

X

Rt.

X

Rt.

b3

5

X

Rt.

X Ma.7 b 3

5

X

Rt.

X

b7

b3

5

Root on “A” string. “Mi-Po”

X

Rt.

X

6

b3

5

X

X

Rt.

3

b7

9


Line Progressions

A mi. X

A mi. Ma. 7

X

Fret 7

X

X

Fret 7

I

A mi. 7 X

X

Fret 7

I

M

X

or

X

Fret 7

I

M

R

A mi. 6

X

Fret 7

I

M

R B

D9/3

I M

M

R

R

R

B X

X

Rt.

5

Rt.

b3

X

X

Rt.

5

Ma.7 b 3

X

X

Rt.

5

b7

b3

Root on “D” string. “Hi-Po”

X

X

Rt.

5

6

b3

X

3

5

Rt.

3

b7


Passing Chords On the following four pages are passing chords that fit between the regular chords of the major scale. There is always more than one choice — ascending progressions lend themselves to using different passing chords from descending progressions.


Ascending Passing Chords in Major Keys

Io

C 7

C Ma. 7 X

Io

D 7

D mi. 7

X

X

X

X

X

I Fret 3

Fret 4

I

R

Rt.

5

R

3

5

X

Rt.

and

X

X

b5

Fret 7

M

M

B

bb 7

b3

X

X

Rt.

R

I M

B

X

b3

5

X

Rt.

b5

M

b3

X

X

Rt.

5

Rt.

I/III

3

X

X

X

M

Rt.

I+/3

3

X

X

Rt.

3

5

X

Fret 10

M R

+5

b3

I Fret 9

R

3

b7

G7

I

B

B

3

5

III mi. 7

Io

I Fret 8

bb 7

F 7

X

I

R

b7

F6

X

Fret 7

5

R

II mi. 7

C+/E

I

Fret 7

X

R

I Ma. 7

C/E

Fret 6

I

B

7

or

I Fret 5

M

M

E mi. 7

Rt.

R

3

IV Ma. 7

6

X

Rt.

b5

bb 7

b3

X

X

Rt.

5

B

b7

V7

3

5


Ascending Passing Chords in Major Keys

Io

G 7 X

Io

A 7

A mi. 7

X

X

X

X

X

X

B mi. 7 ( b 5)

or

G/B X

X

X

I Fret 6

I

Fret 7

M R

Fret 8

I

B

I

M R

M

M B

Fret 9

Fret 9

R

I

R

X

X

Rt.

b5

bb 7

b3

C Ma. 7 X

X

Fret 10

I

R

X

X

Rt.

5

7

3

X

X

Rt.

5

VI mi. 7

R

b7

b3

X

X

Rt.

5

bb 7

b3

X

X

3

5

V/3

Rt.

3

X

b5

b7

VII mi. 7 ( b 5) X

Rt.

b3


Descending Passing Chords in Major Keys

B mi. 7 ( b 5)

C Ma. 7 X

X

Fret 10

X

X

Fret 9

I

or X

X

Fret 9

I

X

X

Rt.

5

7

3

X

X

Rt.

b5

b7

I Ma. 7

VII mi. 7 ( b 5)

A mi. 7

Ab Ma. 7 X

b3

X

X

X

Rt.

5

R

b7

b3

X

X

X

5

3

X

X

Fret 7

I

R

Rt.

5

B

b7

3

D/FI

X

M R

7

X

Fret 5

I

M

Rt.

R

G7

X

Fret 6

I

R

I M

Ab 7

or

X

Fret 6

I

X

Fret 9

M

R

X

Fret 7

X

M

R

X

Bb7

or

X

Fret 9

I

R

X

B b Ma. 7

B mi. 7

I

M B

R

B

R B

X

X

Rt.

5

VI mi. 7

b7

b3

X

X

Rt.

5

7

3

X

X

Rt.

5

b7

3

X

X

Rt.

5

V7

b7

3

X

3

5

Rt.

5

(6)


Descending Passing Chords in Major Keys

F Ma. 7 X

Fret 8

or

E mi. 7 X

Fret 7

I

X

Fret 7

I

M R

E b Ma. 7

C/E X

Fret

( )6

I

X

Fret 6

I

M

M B

Eb7

or

R

I

M

R

R

B

R

B

B X

Rt.

5

7

3

5

X

Rt.

5

b7

b3

IV Ma. 7

III mi. 7

D mi. 7

D b Ma. 7

X

5

X

3

Rt.

3

5

(7)

X

Rt.

Db7

or

X

Fret 4

I

Fret 4

I

Rt.

5

R

b7

II mi. 7

b3

5

X

Rt.

5

5

X

Rt.

5

X

Fret 4

I

3

5

X

I M

Fret 3 (

R

) I M

B

7

b7

C Ma. 7

M

R

X

3

D b 9 +11

or

X

B

7

I/3

( ) Fret 5

5

3

R

5

X

Rt.

5

B

b7

3

R

5

( b 5) Rt.

5

b7

3

+11

(5)

Rt.

5

B

7

I Ma. 7

3

Rt.


Contrasting Major and Minor When exploring the minor tonalities, it may help to compare the Definitive chords with those of the major scale: Major I Ma. 7

Minor I mi. 6 or I mi. Ma 7

II mi. 7

II mi. 7 ( b5)

III mi. 7

bIII Ma. 7 +5

IV Ma. 7

IV mi. 6

V7

V7 (+9) or any alterations

VI mi. 7

VI mi. 7 ( b5)

o

VII mi. 7 ( b5)

VII 7 (Diminished 7th)

The Roman numerals behave the same way, more or less, in minor progressions and chord substitutions as they do in major: I mi. 6 and VI mi 7 ( b5) can be swapped I mi. Ma. 7 and bIII Ma. 7 (+5) can be swapped II mi. 7 ( b5) and IV mi. 6 can be swapped

o

V7 (+9) and VII 7 can be swapped


Playing Minor Progressions On pages 122 and 123 are some basic minor progressions. Playing them will teach the ability to hear and recognize these “colors.” Try all of the combinations shown. Major and minor tonalities are often mixed: II mi. 7 V7 +9 I Ma. 7 In the above example the V chord is from minor, the II and the I chord are from major. II mi. 7 ( b5) V9 I mi. 6 The second example above is reversed from the first, II and I are from minor and the V chord is from major. These basic progressions are the building blocks of all our modern western music.


Basic Minor Progressions

D mi. 7 ( b5) or X

X

F mi. 6 X

X

X

o

or

G7 (+9) X

X

X

I Fret 5

I

Fret 3

M R

Fret 5

I

B

M

X

I Fret 3

M

B

M

X

I Fret 2

R

or

C mi. 6

B7

R

M B

B

R

X

Rt.

b5

b7

b3

X

II mi. 7 ( b5)

Rt.

5

6

b3

X

X

IV mi. 6

A mi. 7 ( b5) or X

X

X

3

M

X

X

I ( ) Fret 3

R B

I

M

M

R B

R Fret 6

Rt.

X

b7

b3

b5

VI mi. 7 ( b5)

+9

or E b Ma. 7 (+5)

I Fret 5

b7

V7 (+9)

C mi. Ma. 7 X

Rt.

X

X

Rt.

X Ma.7 b 3

I mi. Ma. 7

5

B

X

Rt.

3

+5 Ma.7

bIII Ma. 7 (+5)

3

X

Rt.

o VII 7 b5

bb 7

b3

X

X

Rt.

X

6

I mi. 6

b3

5


Basic Minor Progressions

D mi. 7 ( b5) or X

F mi. 6

X

X

X

o

or

G7 (+9) X

X

X

X

( )

I Fret 12

I

I Fret 13

R

X

X

Rt.

Fret 10

b5

M

b7

II mi. 7 ( b5)

b3

Rt.

M

6

b3

5

Rt.

X

Rt.

3

b7

+9

or E b Ma. 7 (+5)

C mi. Ma. 7

X

( )

I Fret 8

I

( b 5) Rt.

b5

Fret 11

I

R

X

X

M

M

b7

VI mi. 7 ( b5)

b3

Rt.

X Ma.7 b 3

R

5

I mi. Ma. 7

Rt.

Rt.

3

7

3

+5

X

bIII Ma. 7 (+5)

X

X

o VII 7 Rt.

I

M R

V7 (+9)

X

Fret 7

I

B

IV mi. 6

A mi. 7 ( b5) or

R

R

X

Fret 9

or

C mi. 6

B7

b5

B

bb 7

b3

Fret 10

(Rt.) X

R

Rt.

B

b3

I mi. 6

6

5


P

A

R

II

T

Fretboard Harmony Workbook

Fretboard Harmony Workbook 129

Sharps, Flats and Enharmonics Fill in the missing notes and their enharmonic equivalents.

Flat

Given Note

1/2 step above

1/ 2 step below 1. (C b) or B 2. 3. 4. 5. 6. 7.

I

8. (A ) or Bb 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

Sharp

C F Bb Eb Ab Db Gb C b E A D G D G C B F A

I I I

I I

I

C or (Db)

I

C n or (B )

130 Fretboard Harmony Workbook


Given Note

Flat

1/2 step above

1/ 2 step below

I

1. (E b) or D 2. 3. 4. 5. 6. 7. 8. 9.

10. An

11. 12. 13. 14. 15. 16. 17. 18.

Sharp

E A D G D G C B F A C F Bb Eb Ab Db Gb Cb

I

F or (E )

I I I

I I

B or (C b)



Flat 1/ 2 step below 1.

Given Note

I I

Sharp 1/2 step above

A 2. F 3. (A ) or Bb B C or (B ) 4. C 5. G 6. D 7. G 8. D 9. A 10. E 11. Cb 12. F n Gb Gn 13. Db 14. Ab 15. Eb 16. Bb 17. F 18. C

I

I I I

I



Flat

Given Note

1/2 step above

1/ 2 step below 1.

G 2. 3. 4. 5. 6. 7. 8. 9. Gn 10. 11. 12. 13. 14. 15. 16. 17. 18.

Sharp

Ab An C Eb Gb A C F Bb G An E F B D Db Cb D G A

I

I

I

I

I


The Chromatic Scale Complete these ascending and descending Chromatic Scales, working forward on the ascending and backward on the descending.

Go Flat 1.

Go Sharp

I

I

I

I

I

C, Db, D, E b, E, F, Gb, G, Ab, A, Bb, B C C , D, D , E, F, F , G, G , A, A , B, C

2. 3. 4. 5. 6. 7. 8.

Start here

C, Db, D, E b, E, F, Gb, G, Ab, A, Bb

9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

F Bb Eb Ab Db Gb C b E A D G D G C B F A

I I I

I I

I

I

I

I

I

C n, C , D, D , E, F, F , G, G , A, A , B, C



Go Flat 1.

Start here

Go Sharp

I

I

I

I

I

E, F, Gb, G, Ab, A, Bb, B, C, Db, D, E b E F, F , G, G , A, A , B, C, C , D, D , E

2. 3.

4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

A D G D G C B F A C F Bb Eb Ab Db Gb Cb

I I I

I I



Go Flat 1.

Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab, An

2.

3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

Start here

I I

A F B C G D G D A E Cb Gb Db Ab Eb Bb F C

I I I

Go Sharp

I

I

I

I

I

B, C, C , D, D , E, F, F , G, G , A, A



Go Flat 1.

Start here

Go Sharp

I

I

I

I

I

Ab, A, Bb, B, C, Db, D, E b, E, F, Gb, G, Ab A A , B, C, C , D, D , E, F, F , G, G or A

2. 3. 4.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

C Eb Gb A C F Bb G E F B D Db Cb D G A

I

I

I

I


Symmetrical Scales Draw the Symmetrical Scales, including fingering notation.

Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds

I I

I

I M

I M M R

I M

I M R R B I M R B B

I I I M

B

M R B

I B

I M

B

R B

I B

M I B

B

B

I B

I

I

B M B

M

B

B B I

I I

M

I

I

I M

R R B

I

I

M R

B

I

M R

B

R B

B

B



Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds



Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds



Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds



Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds



Chromatic Scale

Whole-Tone Scale

Diminished Scale

All 12 notes

Whole steps

Minor 3rds


Pentatonic Scales Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and fingering notation.

Key of “A” Major Fret 2

Fret 5 I

I

I

I

I

I

I

I

Fret 7

I

M

I

I

I

I

I

I

R

R

R

R

R

I

I

R R

R

R

B

B B

B

IO - PENT

Fret 12 I

I

DORI - PENT

“E” Shaped

Fret 9 I

R B

“G” Shaped

I

B

B

AEO - PENT

I

B

I I

I

R

R

“D” Shaped

I I

I

R

R

M R B

R

B

B


B

B

B


This is an expample of the following exercises. Use the “E” and “A” shaped bar chords to help locate the proper fret numbers.



Key of “C” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped


“A” Shaped

Hint: An “E” shaped “C” chord lies at fret number eight. An “A” shaped “C” chord lies at fret number three.



Key of “B” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




I

Key of “F ” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




I

Key of “C ” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “D” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “G” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “E” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “Bb” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “F” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “E b” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “Gb” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped




Key of “Ab ” Major

AEO - PENT

IO - PENT

LYDI - PENT

MIXO - PENT

“G” Shaped

“C” Shaped

“E” Shaped

“A” Shaped



Relative Minor Fill in the missing chords.

Major

Rel. Mi.

Major

Rel. Mi.

Major

C Ma.

A mi.

G Ma.

E mi. A mi. D mi. G mi. D mi.

C Ma.

F Ma. Bb Ma. E b ma. Ab Ma. Db Ma. Gb Ma. C b Ma. E Ma. A Ma. D Ma. G Ma. D Ma. G Ma. C Ma. B Ma. F Ma. A Ma.

I I I

I I

G mi.

E Ma.

B mi.

I I G mi. I C mi. I I

B mi. F mi. A mi. C b mi. Gb mi. Db mi. Ab mi. E b mi. Bb mi. F mi. C mi.

I

I

F Ma. C b Ma. Db Ma. E b Ma. F Ma.

Rel. Mi.

B mi.

I

A mi. Gb mi. Ab mi. Bb mi. C mi.

E Ma. A mi. D Ma.

I

D Ma.

G mi.

I

G mi.



Major

I

F Ma.

I I

C Ma. G Ma.

Rel. Mi.

Major

A mi.

C Ma. F Ma. Bb Ma.

I

B mi.

I

D mi. G mi.

D Ma. A mi. E Ma. Gb Ma. Ab Ma. Bb Ma. C Ma.

Gb Ma. C b Ma. E Ma.

C b mi. Db mi. E b mi. F mi.

E b Ma. G Ma. C Ma.

I I

Rel. Mi.

Major Bb Ma.

E b mi. Ab mi. Db mi.

B Ma.

I

D Ma. G Ma.

Rel. Mi.

I

F mi.

I I

C mi. G mi.

D mi. A Ma. A mi. D mi. G mi.

I I

B mi. F mi. A mi.

C b Ma. Db Ma. E b Ma. F Ma.

E mi. Gb mi. Ab mi. Bb mi. C mi.



Major E b Ma. Ab Ma. Db Ma. A Ma. D Ma.

Rel. Mi. C mi. F mi. Bb mi. Gb mi. C b mi. E mi.

G Ma.

Major

I

E b Ma. Ab Ma. Db Ma.

A Ma. D Ma. G Ma.

D mi. B Ma.

I

F Ma. Bb Ma.

I

G mi.

I

C mi.

I

B Ma. F Ma. Bb Ma.

Rel. Mi.

Major

C mi. F mi. Bb mi.

C Ma. F Ma. Bb Ma.

Gb mi. C b mi. E mi.

I I I

D mi. G mi. C mi.

Gb Ma. Cb Ma.

Rel. Mi. E b mi. Ab mi. Db mi. A mi. D mi.

E Ma. E b Ma. Ab Ma.

I

C Ma.

G mi. B mi.

I

F mi.

I

A mi.


Changing Major to Minor Complete the following diagrams, changing the five basic chord shapes from major to minor, indicating the changing 3rd.

b3 ma. 3rd

“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped



“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped



“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped



“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped



“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped



“E” Shaped

“E” mi. Shaped

“A” Shaped

“A” mi. Shaped

“C” Shaped

“C” mi. Shaped

“D” Shaped

“D” mi. Shaped

“G” Shaped

“G” mi. Shaped


Relative Minor Pentatonic Scales Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord shapes, fret numbers and fingering notation.

I

Key of “F ” Minor, relative to “A” Major Fret 2

Fret 5 I

I

I

I

I

I

I

I

Fret 7

I

M

I

I

I

I

I

I

R

R

R

R

R

I

I

R R

R

R

B

B B

B

B

IO - PENT

“E” mi. Shaped

Fret 12 I

I

I

I

R

DORI - PENT

“D” mi. Shaped

Fret 9

B B

AEO - PENT

I

B

I I

I

R

R

“C” mi. Shaped

I I

I

R

R

M R B

B

R B


B

B

B


This is an example of the following exercises. Use the “E” and “A” minor shapes to help locate the proper fret numbers.



Key of “C” Minor, relative to “E b ” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped


“G” mi. Shaped

Hint: An “E” minor-shaped “C” minor chord lies at fret number eight. An “A” minor-shaped “C” minor chord lies at fret number three.



Key of “F” Minor, relative to “Ab ” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “Bb” Minor, relative to “Db ” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “E b” Minor, relative to “Gb ” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “A” Minor, relative to “C” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “D” Minor, relative to “F” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “G” Minor, relative to “Bb ” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “E” Minor, relative to “G” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




Key of “B” Minor, relative to “D” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




I

Key of “C ” Minor, relative to “E” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped




I

I

Key of “A ” Minor, relative to “C ” Major

AEO - PENT

IO - PENT

“E mi.” Shaped

“D mi.” Shaped

LYDI - PENT

MIXO - PENT

“A mi.” Shaped

“G mi.” Shaped

DORI - PENT “C mi.” Shaped



I

Key of “G ” Minor, relative to “B” Major

AEO - PENT

IO - PENT

“E” mi. Shaped

“D” mi. Shaped

LYDI - PENT

MIXO - PENT

“A” mi. Shaped

“G” mi. Shaped



I, IV, V Progressions Fill in the blanks as shown in the example.

I

IV

V

I

C

F

G

F

G

C

D

F

Bb

IV

V

I

A

V D

I

I

F

IV

I

I

I

V

V

F

I

IV

I

D

I

Bb

IV Bb

IV

V

V

F

I

I

V

IV

I

I

V

IV Eb

V

C

I

IV

V

I

Ab

IV

I

IV Ab

V

G C

I

I

V

I

V

Ab

I

G

IV

I

G

I

E A

D

I

Eb

A D

G

IV

B

D G

Eb

C B

I

I

Bb

B

G

D

I

F

IV

A

V

F

C

I A

I

IV

E A

E



I

IV

V

I CI DI I I I D G A I I I C F G G

IV Ab

V

V Ab

IV

I

I C

I

IV Eb

Ab

I

V

IV

C

I

V Eb

IV

V

E

C

V

I

IV Bb

V

V Bb

IV

I

IV

IV

F

I

V

V

F

I

I

I

A

V

F

V

V

I

A

I

C

IV

I

C

V

I

IV

D G

D

IV

IV

C

G D

I

F

Bb

I

I

A

F

D A

I

B

Eb

I

I F

B

I

A E

IV

B

A

E

I

G

D

I

I

I

D



I

I I A I G

IV

D

G

IV

V

I

A

V

V

I AI I I D I I C D

I

I

IV

I

A

I

C

V

V

F

I

IV

I

IV

I

V

I

I

F

IV

I

B

V

Bb

IV Bb

I

Bb

V

Eb

V

E A

C B

I

IV

A

B

F

I E

D

IV

V

A D

F C

V

D

F C

IV

G

IV

I

I

G

F

A

V

G

E or F

I

IV

V

C

I

IV Eb

I

E

IV

I

V

G C

I

I

Eb

V

Ab

I

I

G

IV Ab

I

G

I

Ab


Pattern Movement in I, IV, V Progressions Follow this example to fill out the remaining exercises, working from left to right.


Key of “A” Major I=A

IV = D

V=E

I=G

IV = C

V=D

AEO at fret 2

LYDI at fret 2

DORI at fret 2

IO at fret 3

MIXO at fret 3

LYDI at fret 3

IO at fret 5

MIXO at fret 5

LYDI at fret 4

DORI at fret 5

AEO at fret 5

MIXO at fret 5

DORI at fret 7

AEO at fret 7

MIXO at fret 7

LYDI at fret 7

IO at fret 8

AEO at fret 7

LYDI at fret 9

IO at fret 10

AEO at fret 9


IO at fret 12

AEO at fret 12


I

IV

V

I

IV

V

I

IV

V

I

IO at fret 10

LYDI at fret 12

IV

V

DORI at fret 12

I

IV

V

IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO

Use a guitar or bass to verify the answers.


Pattern Movement in I, IV, V Progressions Fill in the blanks, working from left to right.


Key of “A” Major I=

I

IV =

V=

I=

IV =

V=

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IV

V

IO

I

IV

V

DORI IO

I

V

LYDI DORI

IO

IV


IV

V

MIXO LYDI

DORI

I

IV

V

AEO MIXO

LYDI

I

AEO MIXO

AEO



Key of “C” Major

Key of “E” Major I=

IV =

V=

I=

IV =

V=

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I

IV

V

MIXO

I

IV

V

AEO MIXO

I

V

IO AEO

MIXO

IV


IV

V

DORI IO

AEO

I

IV

V

LYDI DORI

IO

I

LYDI DORI

LYDI



Key of “F” Major

Key of “B” Major I=

I

IV =

V=

I=

IV =

V=

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IV

V

AEO

I

IV

V

IO AEO

I

V

DORI IO

AEO

IV


IV

V

LYDI DORI

IO

I

IV

V

MIXO LYDI

DORI

I

MIXO LYDI

MIXO



I=

Key of “Ab ” Major IV =

V=

I=

Key of “E b ” Major IV =

V=

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I

IV

V

DORI

I

IV

V

LYDI DORI

I

V

MIXO LYDI

DORI

IV


IV

V

AEO MIXO

LYDI

I

IV

V

IO AEO

MIXO

I

IO AEO

IO



I=

I

Key of “Bb” Major IV =

Key of “D” Major

V=

I=

IV =

V=

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IV

V

LYDI

I

IV

V

MIXO LYDI

I

V

AEO MIXO

LYDI

IV


IV

V

IO AEO

MIXO

I

IV

V

DORI IO

AEO

I

DORI IO

DORI


Pattern Movement in I, IV, V Progressions in Minor Follow this example to fill out the remaining exercises, working from left to right.

Key of “A” Minor

Key of “G” Minor

I = A mi. IV = D mi. V = E mi.

I = G mi. IV = C mi. V = D mi.

MIXO at fret 3

DORI at fret 3

IO at fret 3

MIXO at fret 1

DORI at fret 1

IO at fret 1

AEO at fret 5

LYDI at fret 5

DORI at fret 5

AEO at fret 3

LYDI at fret 3

DORI at fret 3

IO at fret 8

MIXO at fret 8

LYDI at fret 7

IO at fret 6

MIXO at fret 6

LYDI at fret 5

DORI at fret 10

AEO at fret 10

MIXO at fret 10

DORI at fret 8

AEO at fret 8

MIXO at fret 8

LYDI at fret 12

IO at fret 13/1

AEO at fret 12

LYDI at fret 10

IO at fret 11

AEO at fret 10

I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI



Pattern Movement in I, IV, V Progressions in Minor Fill in the blanks, working from left to right.

Key of “E” Minor

Key of “C” Minor I=

IV =

V=

I=

IV =

V=

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IV V I IV V I IV V I IV V I IV V I mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. AEO

IO AEO

DORI IO

AEO

LYDI DORI

IO


MIXO LYDI

DORI

MIXO LYDI

MIXO



Key of “F” Minor

Key of “B” Minor I=

IV =

V=

I=

IV =

V=

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I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. DORI

LYDI DORI

MIXO LYDI

DORI

AEO MIXO

LYDI


IO AEO

MIXO

IO AEO

IO



I=

Key of “Ab” Minor IV =

V=

Key of “E b” Minor

I=

IV =

V=

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I IV V I IV V I IV V I IV V I IV V mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. MIXO

AEO MIXO

IO AEO

MIXO

DORI IO

AEO


LYDI DORI

IO

LYDI DORI

LYDI



I=

Key of “Bb” Minor IV =

Key of “D” Minor

V=

I=

IV =

V=

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IV V I IV V I IV V I IV V I IV V I mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. IO

DORI IO

LYDI DORI

IO

MIXO LYDI

DORI


AEO MIXO

LYDI

AEO MIXO

AEO


Pattern Movement in Mixed I, IV, V Progressions Follow this example to fill out the remaining exercises, working from left to right.

Key of “A” Mixed

Key of “G” Mixed

Imi. = Ami. IVmi.=Dmi. VMa.=EMa. Imi. = Gmi. IVmi.=Cmi. VMa.=DMa. MIXO at fret 3

DORI at fret 3

DORI at fret 2

AEO at fret 3

LYDI at fret 3

LYDI at fret 2

AEO at fret 5

LYDI at fret 5

LYDI at fret 4

IO at fret 6

MIXO at fret 6

MIXO at fret 5

IO at fret 8

MIXO at fret 8

MIXO at fret 7

DORI at fret 8

AEO at fret 8

AEO at fret 7

DORI at fret 10

AEO at fret 10

AEO at fret 9

LYDI at fret 10

IO at fret 11

IO at fret 10

LYDI at fret 12

IO at fret 13

IO at fret 12

MIXO at fret 13 DORI at fret 13 DORI at fret 12

I IV V I IV V I IV V I IV V I IV V mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. IO LYDI AEO DORI IO MIXO MIXO -1 fret LYDI IO -1 fret AEO LYDI -1 fret DORI AEO -1 fret MIXO DORI -1 fret AEO DORI MIXO LYDI IO -1IOfret AEO LYDI -1LYDI fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret

AEO DORI MIXO LYDI IO -1IOfret AEO LYDI LYDI -1 fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret



Pattern Movement in Mixed I, IV, V Progressions Fill in the blanks, working from left to right.

Key of “G” Mixed

Key of “A” Mixed Imi. =

IVmi.=

VMa.=

Imi. =

IVmi.=

VMa.=

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I IV V I IV V I IV V I IV V I IV V mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. IO

LYDI IO

AEO LYDI

IO

DORI AEO

LYDI


MIXO DORI

AEO

MIXO DORI

MIXO



Key of “E” Mixed

Key of “C” Mixed IVmi.=

VMa.=

IMa. =

IVmi.=

VMa.=

IMa. =

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IV V I IV V I IV V I IV V I IV V I mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. LYDI

AEO LYDI

DORI AEO

LYDI

MIXO DORI

AEO


IO MIXO

DORI

IO MIXO

IO



Key of “F” Mixed

Key of “B” Mixed VMa.=

IVMa.=

Imi. =

VMa.=

IVMa.=

Imi. =

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V IV I V IV I V IV I V IV I V IV I Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. AEO

DORI AEO

MIXO DORI

AEO

IO MIXO

DORI


LYDI IO

MIXO

LYDI IO

LYDI



IVmi.=

Key of “Ab” Mixed VMa.=

Imi. =

IVmi.=

Key of “E b” Mixed VMa.=

Imi. =

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IV V I IV V I IV V I IV V I IV V I mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. DORI

MIXO DORI

IO MIXO

DORI

LYDI IO

MIXO


AEO LYDI

IO

AEO LYDI

AEO



Vmi.=

Key of “B b” Mixed IVMa.=

Key of “D” Mixed

IMa. =

Vmi.=

IVMa.=

IMa. =

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V IV I V IV I V IV I V IV I V IV I mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. MIXO

IO MIXO

LYDI IO

MIXO

AEO LYDI

IO


DORI AEO

LYDI

DORI AEO

DORI



IVMa.=

Key of “Db” Mixed Vmi.=

Imi. =

Key of “Gb” Mixed

IVMa.=

Vmi.=

Imi. =

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IV V I IV V I IV V I IV V I IV V I Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. IO

LYDI IO

AEO LYDI

IO

DORI AEO

LYDI


MIXO DORI

AEO

MIXO DORI

MIXO



I

IMa. =

IVmi.=

I

Key of “F ” Mixed

Key of “C ” Mixed Vmi.=

IMa. =

IVmi.=

Vmi.=

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I IV V I IV V I IV V I IV V I IV V Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. LYDI

AEO LYDI

DORI AEO

LYDI

MIXO DORI

AEO


IO MIXO

DORI

IO MIXO

IO


Pattern Movement in Mixed I, IV, V Progressions Use the previous exercises as a guide for completing the following Pattern Movement Circles exercises. The circle pattern creates a visual image that mirrors the movement of the patterns on the fretboard. Playing the patterns next to one another produces I, IV, V movement, while remaining in the same area of the neck. Clockwise movement in the circle produces physical movement up the neck. Counterclockwise movement in the circle produces physical movement down the neck. Imagine a five-story building (the five pentatonic patterns) with three rooms (the I, IV, V progressions) on each floor — and a “magic” elevator (the pattern movement circles). This elevator enables the rider to go from floor to floor, and room to room, in any order, at any time!


Pattern Movement Circles

I

I, IV, V in the Key of “A” Major/“F ” Minor

LYDI at fret 4

V IV DORI at fret 2

LYDI at fret 2

V

MIXO at fret 5

IV

IO at fret 5

AEO at fret 7

DORI at fret 7

AEO at fret 2

MIXO at fret 7

I V

IV

IV MIXO at fret 12

LYDI at fret 9

DORI at fret 12 IO at fret 12

IV

V

IO at fret 10 AEO at fret 9

V


Pattern Movement Circles I, IV, V in the Key of “G” Major/“E” Minor

V

V IV

IV

I V

IV

IV

IV

V

V



I

I, IV, V in the Key of “E” Major/“C ” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “C” Major/“A” Minor

V

V IV

IV

I V

IV

IV

IV

V

V



I

I, IV, V in the Key of “B” Major/“G ” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “F” Major/“D” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “Ab” Major/“F” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “E b” Major/“C” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “Bb” Major/“G” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “D” Major/“B” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “Db” Major/“Bb” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles I, IV, V in the Key of “Gb” Major/“E b” Minor

V

V IV

IV

I V

IV

IV

IV

V

V


Pattern Movement Circles Mixed I, IV, V in the Key of “A”

V Ma.

V Ma. IV mi.

IV mi.

I mi. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “C”

V Ma.

V Ma. IV mi.

IV mi.

I mi. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “G”

V Ma.

V Ma. IV mi.

IV mi.

I mi. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “E”

V Ma.

V Ma. IV mi.

IV mi.

I mi. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “D”

V Ma.

V Ma. IV mi.

IV mi.

I mi. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “F”

V Ma.

V Ma. IV mi.

IV mi.

I Ma. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “Bb”

V Ma.

V Ma. IV mi.

IV mi.

I Ma. V Ma.

IV mi.

IV mi.

IV mi.

V Ma.

V Ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “E b”

V ma.

V ma. IV mi.

IV mi.

I ma. V ma.

IV mi.

IV mi.

IV mi.

V ma.

V ma.


Pattern Movement Circles Mixed I, IV, V in the Key of “A”

V mi.

V mi. IV Ma.

IV Ma.

I mi. V mi.

IV Ma.

IV Ma.

IV Ma.

V mi.

V mi.


Pattern Movement Circles Mixed I, IV, V in the Key of “C”

V mi.

V mi. IV Ma.

IV Ma.

I mi. V mi.

IV Ma.

IV Ma.

IV Ma.

V mi.

V mi.


Pattern Movement Circles Mixed I, IV, V in the Key of “G”

V mi.

V mi. IV Ma.

IV Ma.

I Ma. V mi.

IV Ma.

IV Ma.

IV Ma.

V mi.

V mi.


Pattern Movement Circles Mixed I, IV, V in the Key of “E”

V mi.

V mi. IV Ma.

IV Ma.

I Ma. V mi.

IV Ma.

IV Ma.

IV Ma.

V mi.

V mi.


Intervals Fill in the blanks.

Root

Ma. 2nd

Root

A

B

F

C E G B D F Ab Cb Eb Gb Bb Db F C G A

I I I I

Db

D

I

D B G E C A Db Bb Gb Eb Cb Ab A G C F

I I I I

b3 Mi. 3rd Ab D

An Dn

Root Bb Eb Ab

I I

G F Gb Cb A C F B E A D G C Db

I I

Ma. 3rd D

I

B or C

Dn

D

F

I



Root

P. 4th

Root

A

D

F

C E G B D F Ab Cb Eb Gb Bb Db F C G A

I I I I

C b or B


I I I I

b5 Dim. 5th Bn

Bb Gn

n n

Root

P. 5th

Bb Eb Ab

I I


I I

C

I

b

I or



Root

+5 Aug. 5th

A C E G B D F Ab Cb Eb Gb Bb Db F C G A

I I I I

Root

Ma. 6th

E or F

F

D

G


I

I

Gn En Bn

I I I I

I

G

Bb

G

Root

b7 Mi. 7th

Bb Eb Ab

Ab

I I

An

I I


F

I

C b or B



b3 Root Mi. 3rd P. 5th


I I I I

C

Cb

F b or E Bn

Minor Triads

F

E

Eb

Ab

D

Root Ma. 3rd P. 5th

I


I I I I

A

C

Root

P. 4th

P. 5th

Bb Eb Ab

Eb

F

B

C

En

Gb

I I

F

Ab

Eb

Gb

B or C

D

I

Major Triads

I


I I

Suspended Triads

I



b3 Mi. 3rd P. 5th


I I I I

Root

I

P. 5th

I

C orDb F or Gb

C

F

I

C or B F or E D G

Minor Triads (First Inversion)

I


I I I I

b3 Root Mi. 3rd Ma. 3rd P. 5th

D

F

E

G

Fb

F

I

Gn

An

Major Triads (Second Inversion)

Root

C A F C E G C G B D F Abor G C b or B F b or E Cb Eb Gb Bb Db F C G A

I

I I I I

Major Triads (First Inversion)



P. 5th

F D B G E C A Db Bb Gb Eb Cb Ab A G C F

I I I I

b5 b3 +5 Root Ma. 3rd Root Aug.5th Ma. 3rd Root Dim.5th Mi. 3rd

Bb

D

A

I

C

Bb Eb Ab

I I


I I

Db

F

Major Triads (Second Inversion)

I

F or Gb

D

D

A

I

D

F

I

Augmented Triads (Always Major)


Eb

C

I I I I

Diminished Triads


Intervals Fill in the blanks by adding or subtracting seven.

Original Up by one Original Up by one Original Up by one Interval Octave Interval Octave Interval Octave Ma. 2nd

Ma. 9th mi. 3rd mi. 10 Ma. 3rd Ma. 10th P. 4th P. 11th dim. 5th dim. 12th P. 5th P. 12th Aug. 5th Aug. 12th Ma. 6th Ma. 13th mi. 7th mi. 14th Ma. 7th Ma. 14th 8th Octave 15th. ..

2 b3 3 4 b5 5 +5 6 b7 7 8

9 b10 10 11 b12 12 +12 or b13 13 b14 14 15

13 11 9 10 12 +12 or b13 15 b10 b14 10 13 b13 or +12 15 14 10 12 b12 b14


Interval Geometry To draw the interval shapes, refer to the indicated roots, then fill in the remaining notes. Hints are provided under the correct strings; just locate the correct fret. Octaves

Octaves

Oct.

Octaves

Octaves Oct.

Oct.

R

R

R

R Oct. Oct.

8

Oct.

8

8

Octaves

8

Octaves

8

Oct.

8

Octaves

R

8

Octaves

R

15ths (2 octaves)

R

R

R

8

8

8

Ma. 2nd

R

2

Ma. 2nd

R

2

2

8

8

Ma. 2nd

R

2

2

8

8

Ma. 2nd

Ma. 2nd

R

2

2

15

R

2

(2nds are almost always called 9ths when they appear in chords.)

2

2


Interval Geometry Draw the interval shapes. Ma. 9th

Ma. 9th

Ma. 9th

Ma. 9th

R R

R

9

9

9

9

9

R

R

b3

b3

Mi. 10

R

b3

b3

Mi. 10

R

9

b10

b3

b3

R

b10

b10

Mi. 3

R

R

Mi. 10

R

b10

9

Remember, a 9th is just a 2nd up an octave. Mi. 3 Mi. 3 Mi. 3

Mi. 3

b3

R

b10

A 10th is just a 3rd up an octave.

b3

b3

b3


Interval Geometry Draw the interval shapes. Ma. 3rd

Ma. 3rd

R

3

Ma. 3rd

R

3

3

Ma. 10th

R

R

3

3

Ma. 10th

R

3

3

R

3

3

Perfect 4th

Perfect 4th

3

R

10

10

Perfect 4th

Perfect 4th

10

10

Perfect 4th

R R

Ma. 3rd

Ma. 10th

R

10

Ma. 3rd

R

R

R 4

4

4

4

4

4

4

4

When a 3rd is replaced with a 4th it is known as a suspended 4th.

4


Interval Geometry Draw the interval shapes. Perfect 11th

R

Perfect 11th

Perfect 11th

R

11

R

11

11

11

11

11ths and major 3rds never appear in the same chord as do minor 3rds and 11ths. Dim. 5 Dim. 5 Dim. 5 Dim. 5 Dim. 5

R R

R

b5

b5

R

R

b5

b5

b5

b5

b5

b5

For the guitarist, b5 and +11 are basically the same, the 5th is just lowered by one fret. +11 +11

R

R

+11 +11

+11 +11

b5


Interval Geometry Draw the interval shapes. Perfect 5th

Perfect 5th

Perfect 5th

Perfect 5th

Perfect 5th

R R

R

5

5

R

R

5

5

5

5

5

5

5

Not enough fingers to play a chord? Lower the 5th to a 4th or 3rd, or raise it to a 6th (13th) or 7th. Perfect 12th Perfect 12th R

R

12

12

12

Remember, when dealing with guitar chords, a 12th is called a 5th. A 5th up an octave is a 12th. Aug. 5 Aug. 5 Aug. 5 Aug. 5 Aug. 5 R R

R

+5

+5

R

+5

+5

R

+5

+5

+5

+5

There is no such thing as a minor chord with an augmented 5th. C mi. +5? No, it’s really Ab ma.

+5


Interval Geometry Draw the interval shapes. b13 or +12

b13 or +12

R

R

+12 +12

+12

When b13 is in a chord symbol, think of it as +5. Also, +12 is never seen in chord symbols. Ma. 6th Ma. 6th Ma. 6th Ma. 6th

()

()

()

()

R

R

R

R

(6)

6

(6)

6

6

(6)

6

6

6

Need a 6th more than a root? Lower the root by three frets. Ma. 13th

Ma. 13th

R R

13

(6)

13

13

A 13th is just a 6th up an octave.


Interval Geometry Draw the interval shapes. Mi. 7

Mi. 7

Mi. 7

Mi. 7

()

R

(b7)

b7

()

()

()

R

R

R

(b7)

b7

b7

(b7)

b7

(b7)

Need a b7 more than a root? Lower the root by two frets. Mi. 14

Mi. 14

R

b7

R

b14

Ma. 7th

b14

b14 is never seen in chord symbols; it is always shown as b7. Ma. 7th Ma. 7th Ma. 14th R

Ma. 14th R

() ()

()

R

R

(Ma.7)

Ma.7 Ma.7

(Ma.7)

R

Ma.7 Ma.7

(Ma.7)

Ma.7 Ma.7

Ma.14 Ma.14

Major 14th is always shown in chord symbols as major 7th.

Ma.14

Bishop - Fretboard Harmony

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