Zz Chord Progression and Rhythm Guitar

Jim Gleason’s GUITAR ENCYCLOPEDIA

Chord Progr rogression ession and Rhythm Guitar By Jim Gleason

Version 2.1. July 1993. © 1983-1993 Rock Performance Music. Music. All Rights Reserved Res erved

www.guitarencyclopedia.com

 P  AGE 2

INTRODUCTION

This book contains the essential chord progressions progress ions used in Rock-related music from 1950 to the present. Each of the chord progressions in the book may be heard on the accompanying CD's. Memorize every progression in this book or only those applicable to your personal style. If you wish to memorize only selected progressions, listen to the entire tape first and take note of the ones you like. You can transpose the progressions to other keys by moving each chord fi ngering used in the progression up or down the neck a certain number of frets. This will enable you to use the progressions fluently in your own arrangements and recognize them in other songs. I used a guitar synthesizer in addition to my standard electric guitars. Synthesizer sounds (imitating various instruments) were used to suggest instrumentation appropriate to the style of the chord progression. Without a synthesizer, you can broaden your musical skills by working out chord voicings on the guitar to be used on other instruments. Here is a list of the guitars and guitar synthesizer patches that were used in recording the tape included with this book: Charvel Soloist (Stratocaster type) with EMG pickups Charvel Soloist (Stratocaster type) with Duncan Pearly Gates (bridge) and Ultrasonic Ref 1 pickups Charvel Telecaster with Ultrasonic Ref 6, Ref 1, Duncan Hot Tele and Danelectro pickups Gibson ES335 with standard Gibson neck pickup and Duncan '59 bridge pickup Roland GR700 guitar synthesizer and GR707 guitar

BBREVIATIONS & S YMBOLS USED IN CHORD N AMES  A BBREVIATIONS ∆7

= ∆9 =  /9 = m/9 = 6/9 = m6/9 = °7 = R = NR = N3 = N5 = N9 = N11 =

major seventh chord major ninth chord add nine chord chord minor add nine chord major sixth, add nine chord minor sixth, add nine chord diminished seventh chord chord root no chord root in this fingering no third of the chord in this fingering no fifth of the chord in this fingering no ninth of the chord in this fingering no eleventh of th the chord in this fingering

CONTENTS

 P  AGE 3 Page

Tuning

 

CD/Track CPRG-1/1

ntroducti uction on ......... .................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ............... .... 2 Introd Abbreviations & Symbols Used In Chord Names .............. ............................ ............................ ............................ ............................. ............... .............. .................... ...... 2 Contents Conte nts .......... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... ..................... .................... ......... 3 Fretboard Fretb oard Diagr Diagrams ams .......... .................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... ..................... ............. .. 6 Fretboard Fretb oard Note Names............... Names.......................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... ..................... ..................... ............. ... 8 Tablature Tabla ture .......... .................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... .................... ......... 9

Part 1: Rhythm Guitar Technique ............................... 10 Techniques Of Stru Techniques Strummin mming g .......... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... ..................... .................... ......... 10 Left Hand Techni Technique que .......... .................... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ................... ......... 12 Left Hand Mutin Muting g .......... .................... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ..................... .............. ... 12 Right Hand Muti Muting ng .......... ..................... ..................... .................... ..................... ..................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ............ 13 Fingerpick Finge rpick Techn Technique ique ........... ..................... ..................... ..................... .................... ..................... ..................... ..................... ..................... .................... ..................... ..................... ................. ....... 13

Part 2: Coun Counting ting Rhyth Rhythm m ....... .............. .............. .............. .............. .............. .......... ... 14 Part 3: Rhythm Guitar Examples ................................ 17 Hard Rock Rhythm Guitar Examples Aeolian Aeolia n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... .. 18 Dorian Dor ian .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 20 Major Maj or .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... 21 Mixed Mix ed Min Minor....... or........... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 24 Mixoly Mix olydia dian n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 25 Parall Par allel el 4th 4thss .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 28 Parall Par allel el 5th 5thss .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 30

CPRG-1/2 CPRG-1 /2 CPRG-1 CPR G-1/3 /3 CPRG-1 CPR G-1/4 /4 CPRG-1 CPR G-1/5 /5 CPRG-1 CPR G-1/6 /6 CPRG-1 CPR G-1/7 /7 CPRG-1 CPR G-1/8 /8

Parall Par allel el Maj Major or Cho Chords..... rds......... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 31

CPRG-1 CPR G-1/9 /9

Metal Rhythm Guitar Examples Aeolian Aeolia n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... .. 32 Dorian Dor ian .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 34 Mixed Mix ed Min Minor....... or........... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 37 Mixoly Mix olydia dian n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 38 Parall Par allel el 4th 4thss .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 38

CPRG-1/10 CPRG-1 /10 CPRG-1 CPR G-1/11 /11 CPRG-1 CPR G-1/12 /12 CPRG-1 CPR G-1/13 /13 CPRG-1 CPR G-1/14 /14

Parall Par allel el 5th 5thss .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 39

CPRG-1 CPR G-1/15 /15

Blues Rhythm Guitar Examples Parallel Parall el 4th 4thss .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 42 Mixoly Mix olydia dian n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 42 Parall Par allel el 6th Cho Chords rds .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 44 Parall Par allel el 7th Cho Chords rds .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 45

CPRG-1/16 CPRG-1 /16 CPRG-1 CPR G-1/17 /17 CPRG-1 CPR G-1/18 /18 CPRG-1 CPR G-1/19 /19

Mixed Mix ed Min Minor....... or........... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 46

CPRG-1 CPR G-1/20 /20

Soft Rock Rhythm Guitar Examples Aeolian Aeolia n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... .. 47 Dorian Dor ian .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 48 Major Maj or .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... 48 Mixed Mix ed Min Minor....... or........... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 51 Mixoly Mix olydia dian n .... ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 52

CPRG-1/21 CPRG-1 /21 CPRG-1 CPR G-1/22 /22 CPRG-1 CPR G-1/23 /23 CPRG-1 CPR G-1/24 /24 CPRG-1 CPR G-1/25 /25

 P  AGE 4 Page

CD/Track

Part 4: Chord Progression ..............................................53 Stepwise Chord Progressions Major Scale Tone Stepwise Triads ................................................................................................................ 54 ........ CPRG-1/26 Major Scale Tone Stepwise Seventh Chords ................................................................................................. 55 ........ CPRG-1/27 Major Scale Tone Stepwise Triads constructed in thirds .............................................................................. 56 ........ CPRG-1/28 Major Scale Tone Seventh Chords constructed in thirds .............................................................................. 57 ........ CPRG-1/29 Stepwise Songform Examples ....................................................................................................................... 58 ........ CPRG-1/30

Parallel Chords Of The Same Quality Parallel Major Chords .................................................................................................................................... 59 ........ CPRG-1/31 Songform Examples: Parallel Chords Of The Same Quality ........................................................................ 60 ........ CPRG-1/32

Chord Progressions Using A Descending Voice Stepwise Bass Descending From A Major Chord Root ................................................................................ 63 ........ CPRG-1/33 Songform Examples: Stepwise Bass Descending From A Major Chord Root ............................................ 63 ........ CPRG-1/34 Stepwise Bass Descending From A Minor Chord Root ................................................................................ 64 ........ CPRG-1/35

Chord Progressions Using A Chromatic Voice Chromatic Descent From A Minor Chord Root ............................................................................................ 65 ........ CPRG-1/36 Songform Examples: Chromatic Descent From A Minor Chord Root ........................................................ 66 ........ CPRG-1/37 Chromatic Ascent From The Fifth Of A Major Chord.................................................................................. 68 ........ CPRG-1/38 Chromatic Ascent From The Fifth Of A Minor Chord ................................................................................. 68 ........ CPRG-1/39 Chromatic Descent From The Root Of A Major Chord ................................................................................ 68 ........ CPRG-1/40

I IV I7 IV Type Chord Progressions A D A7 D (I IV I7 IV) Progressions .................................................................................................... 69 ........ CPRG-1/41 A D Ama7 D (I IV Ima7 IV) Progressions .......................................................................................... 69 ........ CPRG-1/42 Am D Am7 D (Im IV Im7 IV) Progressions ........................................................................................ 70 ........ CPRG-1/43 Am Dm Am7 Dm (Im IVm Im7 IVm) Progressions .................................................................................. 70 ........ CPRG-1/44 A Dm A7 Dm (I IVm I7 IVm) Progressions ......................................................................................... 71 ........ CPRG-1/45

Root Movement Up In Perfect Fourths Major Scale Tone Triads with Root Movement Up in Perfect 4ths .............................................................. 72 ........ CPRG-1/46 Major Scale Tone 7th Chords with Root Movement Up in Perfect 4ths....................................................... 72 ........ CPRG-1/47 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 1st through 4th strings ....... 73 ........ CPRG-1/48 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 2nd through 5th strings ..... 73 ........ CPRG-1/49 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 3rd through 6th strings ...... 73 ........ CPRG-1/50 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 1st through 4th strings ....... 74 ........ CPRG-1/51 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 2nd through 5th strings ..... 74 ........ CPRG-1/52 G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 3rd through 6th strings ...... 75 ........ CPRG-1/53

Stepwise Root Movement, Descending Voices G Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 1-4 .................. 75 ........ CPRG-1/54 G Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 2-5 .................. 76 ........ CPRG-1/55 G Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 3-6 .................. 76 ........ CPRG-1/56

Root movement up in perfect fourths, Song form examples .................. 77 ...... CPRG-1/57 Blues Turnarounds...................................................................................... 78 Blues Turnaround With Contrary Motion Of Voices .................................................................................... 78 ........ CPRG-1/58 Blues Turnaround with Bassline 1, 3, 4, #4, 5 ............................................................................................. 79 ........ CPRG-1/59

CONTENTS Page

 P  AGE 5  CD/Track

Descending Diminished Blues Turnaround (I7 I °7 IVm6 I) ...................................................................... 79 ........ CPRG-1/60 Descending Diminished Blues Turnaround (I7 Im7b5 V9nr I) .................................................................. 80 ........ CPRG-1/61

Jazz Turnarounds Jazz Turnaround A6 A °7 Bm7 A°7 A6 (I6 A°7 IIm7 I°7 I6) ............................................................. 80 .......... CPRG-2/1 Songform Examples Employing variations of the II V I Progression ....................................................... 81 .......... CPRG-2/2 Jazz Turnaround variations of III VI II V I .............................................................................................. 82 .......... CPRG-2/3 More Songform Examples Employing II V I ............................................................................................. 85 .......... CPRG-2/4

Jazz Turnarounds With Common Tones I I I I I I I I

VI VI VI VI VI VI VI VI

II II II II II II II II

V V V V V V V V

Type Progressions With Common Tone “1” .............................................................................. 86 .......... CPRG-2/5 Type Progressions With Common Tone “2” .............................................................................. 87 .......... CPRG-2/6 Type Progressions With Common Tone “3” .............................................................................. 87 .......... CPRG-2/7 Type Progressions With Common Tone “5” .............................................................................. 88 .......... CPRG-2/8 Type Progressions With Common Tone “6” .............................................................................. 89 .......... CPRG-2/9 Type Progression With Common Tones “1” and “3” ................................................................ 89 ........ CPRG-2/10 Type Progressions With Common Tones “3” and “5” ............................................................... 89 ........ CPRG-2/11 Type Progressions With Common Tones “1” and “6” ............................................................... 90 ........ CPRG-2/12

Songform Examples With Common Tones................................................................................................... 90 ........ CPRG-2/13

Pedal Tone Chord Progression D Major Scale Tone Progressions With Pedal Tone “D” .............................................................................. 91 ........ CPRG-2/14 D Mixolydian Scale Tone Progressions with Pedal Tone “D” ...................................................................... 92 ........ CPRG-2/15 D Dorian Scale Tone Progressions With Pedal Tone “D” ............................................................................ 92 ........ CPRG-2/16 D Aeolian Scale Tone Progressions With Pedal Tone “D” ........................................................................... 92 ........ CPRG-2/17 A Major Scale Tone Progressions With Pedal Tone “A” .............................................................................. 93 ........ CPRG-2/18 A Mixolydian Scale Tone Progressions with Pedal Tone “A” ...................................................................... 93 ........ CPRG-2/19 A Dorian Scale Tone Progressions With Pedal Tone “A” ............................................................................ 93 ........ CPRG-2/20 A Aeolian Scale Tone Progressions With Pedal Tone “A” ........................................................................... 94 ........ CPRG-2/21

Twelve Bar Blues Chord Progressions Delta Blues Piano Progression ...................................................................................................................... 94 ........ CPRG-2/22 Jazzy 12 Bar Blues Progressions ................................................................................................................... 94 ........ CPRG-2/23 Bass Pickup Blues in A ................................................................................................................................. 99 ........ CPRG-2/24 IV Hammer I7 Blues ................................................................................................................................... 101 ........ CPRG-2/25 Descending Diminished Blues in E ............................................................................................................. 102 ........ CPRG-2/26 I IV I7 IV Blues in A #1 .............................................................................................................................. 103 ........ CPRG-2/27 I IV I7 IV Blues in C #2 .............................................................................................................................. 104 ........ CPRG-2/28 I IV I7 IV Blues in A #3 .............................................................................................................................. 105 ........ CPRG-2/29 Six Nine Blues #1 ........................................................................................................................................ 106 ........ CPRG-2/30 Six Nine Blues #2 ........................................................................................................................................ 107 ........ CPRG-2/31 Six Nine Blues #3 ........................................................................................................................................ 108 ........ CPRG-2/32 Six Nine Blues #4 ........................................................................................................................................ 109 ........ CPRG-2/33 Six Nine Blues #5 ........................................................................................................................................ 110 ........ CPRG-2/34 Walking Bass Blues #1 ................................................................................................................................ 111 ........ CPRG-2/35 Walking Bass Blues #2 ................................................................................................................................ 112 ........ CPRG-2/36 Walking Bass Blues #3 ................................................................................................................................ 113 ........ CPRG-2/37 Walking Bass Blues #4 ................................................................................................................................ 114 ........ CPRG-2/38 Walking Bass Blues #5 ................................................................................................................................ 115 ........ CPRG-2/39 Walking Bass Blues #6 ................................................................................................................................ 116 ........ CPRG-2/40 Walking Bass Blues #7 ................................................................................................................................ 117 ........ CPRG-2/41 Walking Bass Blues #8 ................................................................................................................................ 119 ........ CPRG-2/42

 P  AGE 6 

FRETBOARD DIAGRAMS

this diagram......  vertical lines are strings (numbered above diagram)  represents this view  of the fretboard 

 h o r i z o n t a l   spaces are frets

 the actual metal fret is indicated by the  horizontal line at the bottom of each space

 Dots in

these diagrams indicate fingered notes. Chord tones are fingered simultaneously. Scale or arpeggio tones are fingered individually.

unmarked strings  are not sounded 

 a circle above a string indicates it is played   open (not fretted)

“T ” indicates a  note fretted with the left thumb.

The barré is a group of notes all on the same fret of two or more strings fingered with a straight portion of one finger. It uses the classical wrist position. Finger (fret) the barre with the harder edge of your finger when you can. Avoid the creases opposite your knuckles, since they can mute notes.

 F  RETBOARD D IAGRAMS

 P  AGE 7 

 Left handed guitarists. Interpret references to the right hand as left hand and vice versa. All diagrams must be imagined in “mirror image”:

A roman numeral above the top right of the diagram indicates the number of the top fret on the diagram:

A chord root is the note after which a chord is named (“D” is the root of a D major chord). A tone center  is the note after which a scale is named (“C” is the tone center of a C Lydian scale). Dmaj.chord II

C Lydian scale VII

The numbers 1, 2, 3 and 4 within diagrams indicate left hand fingers. The finger number on the chord root or tone center may be circled.

 fingers

 Movable diagrams have no roman numeral on their upper right and therefore have no specified top fret number. They may be placed anywhere on the fretboard according to their chord root(s) or tone center(s). If   movable  movable notes on a diagram are indicated by dots, a circled or enlarged dot indicates the chord root or  named after   named after  tone center.

When numbers higher than 4 are used in a diagram, all of the numbers indicate scale, chord or arpeggio tones.

 P   AGE 8

F   RETBOARD N OTE N   AMES

FULL FRETBOARD  NOTE NAMES

AND STAFF LOCATIONS

6

5

4

3

2

1

E

A

D

G

B

E

A#

D#

G# C

F

Bb

Eb

Ab

C#

F#

B

E

A Db

Gb

D

G

D#

G#

Eb

Ab

E

A

F

F# Gb

A# G

C

F Bb

G#

C#

F# B

Ab

Db

Gb

A

D

G

C

A#

D#

G#

C#

A# F

Bb

Eb

Ab

Db

B

E

A

D

Bb

F# B Gb

C

A#

D#

Bb

Eb

B

E

F

G

C#

F#

Db

Gb

D

G

C

D#

G#

Eb

E

C

G#

C#

Ab

Db

F

A

D

C#

F#

A#

D#

Ab

Db

Gb

Bb

Eb

A

D

G

B

E

A#

D#

G# C

F

Bb

Eb

Ab

C#

F#

B

E

A Db

Gb

D

G

D#

G#

Eb

Ab

E

A

F

F# Gb

G

C

G#

C#

F

Bb

F# B

*

Guitar sounds one octave lower than written.

Ab

Db

Gb

A

D

G

C

T  ABLATURE

 P  AGE 9

T ABLATURE This system of notation is simply a graph of the guitar strings from the perspective of looking down on the guitar as you’re playing it (see below). The numbers on the strings indicate frets and are written from left to right in the sequence they are to be played. In this book, tablature is written below all music notation. The tablature indicates where each note is fretted.

Symbols below each fretted note indicate the suggested fretting finger. Left hand finger symbols are “T” for thumb, “1” for index, “2” for middle, “3” for ring and “4” for little finger. “B1” indicates bend an interval of 1 fret. “R” indicates release the bend. “H” means hammer. “P” means pull off. “S” means slide. Where too many numbers are required to clearly show the left hand fingering for a chord, the chord is diagramed on a grid above or below the music notation and tablature.

 P  AGE 10

PART 1: RHYTHM GUITAR TECHNIQUE TECHNIQUES

OF STRUMMING

 Holding the pick. There are many ways to hold a guitar pick. In the most traditional method, hold the pick between the side of the tip segment of the index finger and the flat surface of the thumb (opposite the thumbnail). Try to extend the tip of the pick 1/4" or less from the thumb for fine control (many players prefer less than 1/8"). Bend the first finger so its tip points toward the base of the thumb. Holding the pick in this manner should allow light pressure between the thumb and first finger. The position of the pick in relation to the strings. To produce the purest string tone, cause the strings to vibrate parallel to the frets, providing maximum clearance and minimum buzzing. Make sure that the pick  is held in a plane perpendicular (90 °) to the surface of the strings (or to the guitar top), to avoid “catching” the string on upstrokes. Pluck the strings with the tip of the pick. Keep the flat surface of the pick almost, but not quite parallel with the length of the string. Allow the tip of the pick to protrude just barely past the underside of the string (nearest the guitar body). Timbrel effects (particular tone qualities). You can vary the percussive tone quality of picked notes with the part of the pick that contacts the string and the path on which the pick causes the string to vibrate. It is sometimes desirable to increase the buzziness of the string tone. To do so, twist the pick so its surface is less parallel to the string. This increases the force required to sound the string, and causes a harder, more percussive attack with increased scraping of the pick against the string.

Another timbrel effect is produced by tilting the pick to a plane approximately 60 ° to the surface of the strings (toward the body of the guitar), causing a picked string to vibrate on the frets and buzz. This technique is generally only practical with all upstrokes or all downstrokes.  Right wrist and hand position. The shoulder, forearm, wrist and hand should be loose throughout. Apply light, evenly-distributed muscular tension throughout these parts of the hand and arm to support the pick  “effortlessly”.

The wrist should be slightly bent unless you are using part of the hand to mute. The upper forearm should serve as an “anchor” point against the upper edge of the guitar. The fingertips, side of hand (from the base of  the little finger to the wrist), heel of hand, and side of the thumb can touch to judge distance. As you develop your personal technique, you may find yourself touching with various parts of the hand. Analyze your technique to make sure the habits you develop contribute to your control of the pick. Many players rest the “pinky” side of their hand (between the little finger and the wrist) on the bridge while picking. While this provides stability for the right hand, it sacrifices the tone variation usually available by picking closer to the neck for bass tones or closer to the bridge for treble tones.

 R HYTHM  GUITAR T  ECHNIQUE

 P  AGE 11

 Right wrist sweep. A sweeping, continuous down-up motion of the wrist is used for strumming chords. Here is an exercise to familiarize you with this motion:

•

Move your hand side to side with the same movement as if your hand were palm-down on a table.

•

Mute the strings with your left hand and strum down-up alternately on two or three strings as a group; as you would a three note chord.

•

Gradually widen the stroke until you are strumming on all six strings.

Note that when strumming alternately down-up on four to six strings, the wrist movement is so wide that it involves a distinct forearm rotation (view the protruding wrist bone nearest the thumb). The weight of the hand will aid the motion of the hand in strumming.

Rhythmic Selection. Many accompaniment and melodic rhythms can be played easily when your right hand assumes a continuous motion but you select when the pick contacts the strings. This may be applied to playing single notes or strumming chords.

 Rhythmic selection. Miss the strings where no arrow is shown.

Strict Down-Up Strumming In strict down-up strumming, each series of continuous notes is strummed strictly (1) down-up-downup, etc. or (2) up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up, etc. Starting with an upstroke would use the picking order up-down-up-down, etc. You often pass the strings before strumming them to strictly continue the down-up motion. In theory, the wasted motion is acceptable in order to allow an uninterrupted continuous rhythmic motion.

 Down-up strumming exercise. Count evenly: “one - and - two - and - three - and - four - and,” as you strum down on the downward arrows and up on the upward arrows.

 P  AGE 12

Exceptions to Strict Down-Up Strumming Consecutive downstrokes or consecutive upstrokes provide emphasis and a consistent tone.

Consecutive downstroke exercise.

Consecutive upstroke exercise.

LEFT H AND TECHNIQUE Fretting techniques. Fret notes with the fingertip pressing the string up against the left edge of the metal fret. Exert just enough pressure. Contact the string to the fret at precisely the same time the pick touches the string, so that by the time the pick follows through, the note is clearly fretted. é is The barr é     is a group of notes all on the same fret of two or more strings fingered fi ngered with a straight portion porti on of one finger. It uses the classical wrist position. Finger (fret) the barr é with the harder edge of your finger when you can. Avoid the creases opposite your knuckles, since they can mute notes.

Chord cancellation exercise. This exercise can train you to fret fr et all notes of a chord at once, as they usually usu ally should be. Use this exercise when you find yourself “breaking up” up” a chord fingering.

•

Finger the notes of the chord as slowly as necessary, making sure all of them will sound simultaneously;

•

Keeping your fingers in place, relax all the fingertips or barring portions of the fingers together, all at once;

•

In five steps, move the fingers progressively further from their chord formation, format ion, first 1/4 inch away, then 1/2 inch, etc., until the fingers are fully straightened. Return and sound all notes simultaneously after each of the five steps.

LEFT H AND MUTING To mute a chord, relax all the left hand fingers at once. If there are open strings in the chord, lay one or more left hand fingers across all the strings in the chord. In muting at the 5th, 7th, 12th, 17th and 19th frets, use two or more fingers, since unwanted open string stri ng harmonics can easily be produced when muting with one finger. When you need to move rapidly to another note or chord after muting with the left hand, the muting and movement to a new fingering must be made in one smooth action. Try to leave the strings in a path perpendicular

 R HYTHM  G  GUITAR T  ECHNIQUE

 P  AGE 13

to the fretboard without any friction (which would sound open strings). Then, immediately curve the path of  the fingertip(s) back toward the fretboard to take the shortest possible path to the next fingering.

RIGHT H AND MUTING Right hand full chord muting. Keep the side of your hand between the little finger and the wrist consistently touching the strings slightly sligh tly to your left of the bridge. It helps to use the base of the little finger to feel the point where the first string meets the bridge. Muting farther away from the bridge will mute the pitch more and more until it is not discernible.

Right hand single note muting. To mute single notes or notes on adjacent strings, keep the right elbow low and the right hand fingers parallel to the strings. Mute with the heel of the hand (near the hairless inside of the wrist). Consistently mute with the heel of the hand, sliding it just to the left of the bridge to cover the strings you intend to mute. Changing strings while muting with the right hand is easier for most guitarists if the guitar head is lowered to where the neck is almost parallel to the floor.

FINGERPICK  TECHNIQUE In Classical guitar technique, the thumb is positioned positio ned nearly parallel to the sixth string, tipping downward slightly. The other fingers are used nearly perpendicular to the strings, their tips leaning slightly toward the fretboard. The fingers (excluding the thumb) are parallel to one another, nearly touching. All plucking should be performed with little movement of the back of the hand. The back of the hand should remain relaxed. There are two basic strokes: The rest stroke follows through to the next string and comes to rest on it. When the rest stroke is used by the thumb, the smaller adjacent string is muted. When the rest stroke is used by another finger, the larger adjacent string is muted. The free stroke curves away from the adjacent string as it follows through. Adjacent strings are not muted at all in using the free stroke.

 P  AGE 14

PART 2: COUNTING RHYTHM All rhythms can be thought of as selected pulses from a continuous pulse. Continuous pulses are grouped by twos and threes or combinations of twos and threes. American dance music, including Jazz, Blues, Rock and Metal, usually suggests a special continuous pulse called the “beat. beat.”” Listening to dance music, music, you would commonly tap your foot on each beat. The torso of a dancer usually surges in time with the beat. The simplest bass drum part would involve one note on each beat. Two, three or more pulses can occur during each beat. These are subgroups or parts of a beat. So the beat is the main pulse, and can be divided into shorter pulses. The beats are counted with whole numbers “1 2 - 3 - 4” 4” and so on. When there are two pulses per beat, the following symbols are used: “1 + 2 + 3 + 4 +” +” and so on. Syllables for these symbols are pronounced “one - and - two - and - three - and - four - and. ” When there are three pulses per beat, the following symbols are used: “1 T L 2 T L 3 T L 4 T L” L” and so on. Syllables for these symbols are pronounced “one - trip - let - two - trip - let - three - trip - let - four - trip - let.” let.” When there are four pulses per beat, the following symbols are used: “1 e + a 2 e + a 3 e + a 4 e + a ” and so on. Syllables for these symbols are pronounced “one - ee - and - uh - two - ee - and - uh - three t hree - ee - and - uh - four - ee - and - uh.” uh.”

Syncopation. When notes are not played on the beat, they are said to be played on the “offbeat. offbeat.”” When a note on an offbeat is followed by (1) a silence, (2) a sustain, or (3) a markedly lesser accent on the next downbeat, “syncopation syncopation”” occurs. The following example illustrates syncopation caused by silences on the beat (the numbers).

Syncopation strumming example.

COUNTING  R HYTHM 

 P  AGE 15 

Pulse groups: subdividing the beat into two, three or four parts. There are twenty five possibilities of rhythms that involve two, three or four parts per beat by choosing pulses. These are shown below with counting symbols and direction of strumming.

 Examples 1 through 3 involve two parts per beat. Count: “   one-and-two-and-three-and-four-and,”  strum ming where indicated. Example 1

Example 2

Example 3

 Examples 4 through 10 involve three parts per beat. Count: “   one - trip - let - two - trip - let - three - trip - let - four - trip - let,”   strumming where indicated.

Example 4

Example 5

Example 6

Example 7

Example 8

Example 9

Example 10

 Examples 11 through 25 involve four parts per beat. Count: “   one - ee - and - uh - two - ee - and - uh - three - ee - and - uh - four - ee - and - uh,”  strumming where indicated.

Example 11

Example 12

Example 13

Example 14

Example 15

Example 16

 P  AGE 16  Example 17

Example 18

Example 19

Example 20

Example 21

Example 22

Example 23

Example 24

Example 25

 P  AGE 17 

PART 3: RHYTHM GUITAR EXAMPLES

 P  AGE 18 

 A EOLIAN H ARD ROCK RHYTHM GUITAR EXAMPLES  B”   Aeolian, except “   B”  Dorian on the “   E” chord.. Repeat and   Aeolian (altered) Hard Rock Example 1.  All “   end on the Bm chord.

 Aeolian Hard Rock Example 2. “ C”  Aeolian. Repeat and end on the Cm chord.

 Aeolian (altered) Hard Rock Example 3.  Scales for improvising are shown in parenthesis above the chords .  Repeat and end on the first chord. (D Aeolian

A har. min.

F mel. min.

D har. min.)

 R HYTHM  GUITAR E XAMPLES  Aeolian Hard Rock Example 4. “ C# ”  Aeolian. Repeat and end on the first C#m chord.

 Aeolian Hard Rock Example 5. “ C# ”  Aeolian. Repeat and end on the C#m chord.

 F ”  Aeolian. Repeat and end on the Fm chord.  Aeolian Hard Rock Example 6. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 19

 P  AGE 20

DORIAN H ARD ROCK RHYTHM GUITAR EXAMPLES  Dorian Hard Rock Example 1. “ G”  Dorian. Repeat and end on the G chord.

 Dorian Hard Rock Example 2. “   E”  Dorian. Repeat and end on the E7#9 chord.

 Dorian Hard Rock Example 3. “   E”  Dorian. Repeat and end on the Em7 chord, or for a deceptive cadence,  end on the A chord..

 R HYTHM  GUITAR E XAMPLES

 P  AGE 21

M AJOR H ARD ROCK RHYTHM GUITAR EXAMPLES  Major Hard Rock Example 1. “   E”  major. Repeat and end on the third E chord (the one in IV position).

 Major Hard Rock Example 2. “   E”  major. Repeat and end on the last E chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 22  E”  major. Repeat and end on the first E chord.  Major Hard Rock Example 3. “ 

 Major Hard Rock Example 4. “ G”  major. Repeat and end on the G chord.

 Major Hard Rock Example 5. “   D”  major. Repeat and end on the D chord.

 Major Hard Rock Example 6. “ C”  Major. Repeat and end on the C chord.

 R HYTHM  GUITAR E XAMPLES  Major Hard Rock Example 7. “ G”  Major. Repeat and end on the first chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 23

 P  AGE 24

MIXED MINOR H ARD ROCK RHYTHM GUITAR EXAMPLES  Mixed Minor Hard Rock Example 1. “   D”   Aeolian, except “   D”  Dorian during the last six chords. Repeat and   end on the first chord.

 D”  Aeolian. Repeat and end on the first chord.  Mixed Minor Hard Rock Example 2. “ 

 R HYTHM  GUITAR E XAMPLES

 P  AGE 25 

MIXOLYDIAN H ARD ROCK RHYTHM GUITAR EXAMPLES  Mixolydian Hard Rock Example 1. “   A”  Mixolydian, except “   A”  harmonic minor mode V during the Dm chord.  Repeat and end on the first chord. The following example is played with a combination of strumming and fingerpicking. The downward arrow indicates a downstroke, which should be performed with the right thumb. The right thumb should be used on the fourth string, the right index on the third string, and the right ring finger on the second string. The “+” symbol represents the syllable “and.”  Count “one - and - two - and - three - and - four - and” evenly while plucking the strings indicated below the counting symbols. For example: Strum down on the first beat; play nothing on the “+” aftter the first beat; pluck string four on the second beat; and pluck the third string on the “+” after the second beat.

 Mixolydian Hard Rock Example 2. “   A”  Mixolydian. Repeat and end on the A chord.

 Mixolydian Hard Rock Example 3.  E Mixolydian. Repeat and end with a deceptive cadencce on the D chord. “ 

” 

Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 26 

 Mixolydian Hard Rock Example 4. “   A”  Mixolydian. Repeat and end on the last A chord.

 E”  Mixolydian. Repeat and end on the last note as written below.  Mixolydian Hard Rock Example 5. “ 

 Mixolydian Hard Rock Example 6. “   E”  Mixolydian. Repeat and end on the first chord.

 F# ”  Mixolydian. Repeat and end on the last chord.  Mixolydian Hard Rock Example 7. “ 

 R HYTHM  GUITAR E XAMPLES  E”  Mixolydian. Repeat and end on the first chord.  Mixolydian Hard Rock Example 8. “ 

 Mixolydian Hard Rock Example 9. “ C”  Mixolydian. Repeat and end on the second chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 Mixolydian Hard Rock Example 10. “   E”  Mixolydian. Repeat and end on the last chord.

 P  AGE 27 

 P  AGE 28   A”  Mixolydian. Repeat and end on the A chord.  Mixolydian Hard Rock Example 11. “ 

 Mixolydian Hard Rock Example 12. “   A”  Mixolydian. Repeat and end on the second A chord.

P ARALLEL 4THS H ARD ROCK RHYTHM GUITAR EXAMPLES  Parallel 4ths Hard Rock Example 1. “ C”  Dorian. Repeat and end on the last chord.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 29

 A”  Dorian. Repeat and end on the first chord.`  Parallel 4ths Hard Rock Example 2. “ 

 Parallel 4ths Hard Rock Example 3. “   B”  Dorian. Repeat and end on the last chord (deceptive cadence).

 Parallel 4ths Hard Rock Example 4. “   B”  Aeolian. Repeat and end on the first Bn3 chord.

 P  AGE 30

 Parallel 4ths Hard Rock Example 5. “   A”  Aeolian. Repeat and end on the second chord.

P ARALLEL 5THS H ARD ROCK RHYTHM GUITAR EXAMPLES  Parallel 5ths Hard Rock Example 1. “   E”  Dorian. Repeat and end on the last chord.

 Parallel 5ths Hard Rock Example 2. “ C# ”  Aeolian. Repeat and end on first C#n3 chord.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 31

 Parallel 5ths Hard Rock Example 3. “   B”  harmonic minor mode V. Repeat and end on the B chord.

P ARALLEL M AJOR CHORDS H ARD ROCK RHYTHM GUITAR EXAMPLES  Parallel Major Chords Hard Rock Example 1. “   D”  Mixolydian and “   E” Mixolydian, as marked. Repeat and   end on the last chord.

 E”  Aeolian, except “   E”  Mixolydian during the E and Esus4  Parallel Major Chords Hard Rock Example 2. “  chords. Repeat and end on the last chord.

 P  AGE 32  Parallel Major Chords Hard Rock Example 3. “ C”   Aeolian, except “ C”  Dorian or “ C”  Mixolydian during the C and Csus.4 chords. Repeat and end on the last chord.

 A EOLIAN METAL RHYTHM GUITAR EXAMPLES  Aeolian Metal Example 1. “   A”  Aeolian. Repeat and end with a deceptive cadence on the last chord.

 R HYTHM  GUITAR E XAMPLES  E”  Aeolian. Repeat and end on the first chord.  Aeolian Metal Example 2. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 33

 P  AGE 34  Aeolian Metal Example 3. “ G”  Aeolian. Repeat and end on the Gm chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

DORIAN METAL RHYTHM GUITAR EXAMPLES  Dorian (altered) Metal Example 1. “   E”  Dorian. Repeat and end on the first note. The “Bb” and “F” act as blue notes.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 35 

 A”  Dorian. Repeat and end on the An3 chord.  Dorian Metal Example 2. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 Dorian Metal Example 3. “   D”   Dorian. Play “   D“  Dorian or “   D”  Mixolydian on the D chord. Repeat and end   on the D chord.

 P  AGE 36   A”  Dorian. Repeat and end on the second An3 chord.  Dorian Metal Example 4. “ 

 Dorian Metal Example 5. “   A”  Dorian. Repeat and end on the first chord.

 Dorian Metal Example 6. “ G”  Dorian. Repeat and end on the second chord.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 37 

MIXED MINOR METAL RHYTHM GUITAR EXAMPLES  Mixed Minor Metal Example 1. “   A”   Aeolian, except “   A”  harmonic minor during the last chord. Repeat and   end on the first chord.

 A”  Aeolian, except “   A”  Dorian on the D/F# chord. Repeat and end on the  Mixed Minor Metal Example 2. “   first chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 P  AGE 38 

MIXOLYDIAN METAL RHYTHM GUITAR EXAMPLES  Mixolydian Metal Example 1. “   E”  Mixolydian. Repeat and end on the E chord.

P ARALLEL 4THS METAL RHYTHM GUITAR EXAMPLES  Parallel 4ths Metal Example 1. “   F# ”  Aeolian. Repeat and end on the last chord.

 Parallel 4ths Metal Example 2. “   F# ”  Aeolian. Repeat and end on the third chord.

 R HYTHM  GUITAR E XAMPLES  Parallel 4ths Metal Example 3. “ G”  Dorian. Repeat and end on the sixth chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

P ARALLEL 5THS METAL RHYTHM GUITAR EXAMPLES  Parallel 5ths Metal Example 1. “   F# ”  Aeolian. Repeat and end on the last chord.

 P  AGE 39

 P  AGE 40  E”  minor. Improvise with the scales as marked. Repeat and end on  Parallel 5ths Metal Example 2.  Key of “  the third chord. At the beginning of the second bar, the low “E” to “F#” is a combination hammer and slide.

 Parallel 5ths Metal Example 3. “   E”  Phrygian, except the Bbn3 chord is blue notes “   Bb”  and “  F   ” . Repeat  and end on the last chord.

 Parallel 5ths Metal Example 4. “   E”  Phrygian, except the Bbn3 chord is blue notes “   Bb”  and “  F   ” . Repeat  and end on the last chord.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 41

 Parallel 5ths Metal Example 5.  Key of “ G” . A weird one!! In improvising, use “ G”  harmonic major IV (G - A - Bb - C# - D - E - F# - G), except use “ G”  Dorian (G - A - Bb - C - D - E - F) on the Cn3 and Bbn3 chords.  Repeat and end on the first chord.

 Parallel 5ths Metal Example 6. “   E”  Dorian. Repeat and end on the first chord.

 P  AGE 42

P ARALLEL 4THS BLUES RHYTHM GUITAR EXAMPLES  Parallel 4ths Blues Example 1. “ G”  Dorian. Repeat and end on the fourth chord.

 A”  Dorian. Repeat and end on the An3 chord.  Parallel 4ths Blues Example 2. “ 

MIXOLYDIAN BLUES RHYTHM GUITAR EXAMPLE  A”  Mixolydian. Repeat and end on the first chord.  Mixolydian Blues Example 1. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 43

P ARALLEL 6TH CHORDS BLUES RHYTHM GUITAR EXAMPLES  Parallel 6th Chords Blues Example 1.  Key of “   A” . Improvise with all “   A”   Dorian, optionally playing “   A”   Mixolydian on the A6 and E6 chords. Repeat and end on the first chord.

 P  AGE 44  Parallel 6th Chords Blues Example 2.  Key of “   A”  . Improvise with all A Dorian, optionally playing Mixolydian  A”  on the A6 and E6 chords. Repeat and end on the first chord. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 45 

P ARALLEL 7TH CHORDS BLUES RHYTHM GUITAR EXAMPLE  Parallel 7th Chords Blues Example 1.  Key of “ G”   . Improvise with all “ G”   Dorian, optionally playing “ G”   Mixolydian on the G7 and D9 chords. Additionally, you may play “   D”  mixolydian during the D9 chord.

 P  AGE 46 

MIXED MINOR BLUES RHYTHM GUITAR EXAMPLE  Mixed Minor Blues Example 1. “   B”  Aeolian, optionally using “   B”  harmonic minor dyring the Gma7 and F#7  chords. Repeat and end on the first chord.

 R HYTHM  GUITAR E XAMPLES

 A EOLIAN SOFT ROCK RHYTHM GUITAR EXAMPLES  Aeolian Soft Rock Example 1. “ G# ”  Aeolian. Repeat and end on the first chord.

 Aeolian Soft Rock Example 2. “   A”   Aeolian. Repeat and end on the first chord.

 Aeolian Soft Rock Example 3. “   D”   Aeolian. Repeat and end on the first chord.

 P  AGE 47 

 P  AGE 48 

DORIAN SOFT ROCK RHYTHM GUITAR EXAMPLES  Dorian Soft Rock Example 1. “   A”   Dorian. Repeat and end on the first chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 A”   Dorian. Repeat and end on the first chord.  Dorian Soft Rock Example 2. “  Read the music notation or tablature, using the chord grids to learn the chord fingerings.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 49

 Dorian Soft Rock Example 3. “   F# ” Dorian, except “   F# ” Aeolian during the Asus.4 chord. Repeat and end on the next-to-last chord.

M AJOR SOFT ROCK RHYTHM GUITAR EXAMPLES  Major (altered) Soft Rock Example 1. “ C”  major during the C and G chords; “   D”  major during the A and D chords .

 P  AGE 50  Major Soft Rock Example 2. “ C”   major. Repeat and end on the first chord. The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and - two - and - three - and - four - and ” evenly while plucking the strings indicated below the counting symbols. For example: pluck strings five and two together on the first beat; play nothing on the “+” after the first beat; and pluck the fourth string on the second beat.

 Major Soft Rock Example 3. “ G”   major. Repeat and end on the first chord. The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and - two - and - three - and - four - and ” evenly while plucking the strings indicated below the counting symbols. For example: pluck the sixth string on the first beat; pluck the fourth string on the “+” after the first beat; and pluck the third string on the second beat.

 Major Soft Rock Example 4. “ G”   major. Repeat and end on the first chord.

 R HYTHM  GUITAR E XAMPLES

 P  AGE 51

 Major Soft Rock Example 5. “ G”   major. Repeat and end on the first chord.

 Major Soft Rock Example 6. “   A”   major. Repeat and end on the last chord.

MIXED MINOR SOFT ROCK RHYTHM GUITAR EXAMPLES  Mixed Minor Soft Rock Example 1. “   E”  Aeolian, except “   E”   harmonic minor during the B7 chord and “   E”   Dorian during the A9nr chord.. Repeat and end on the first chord.

 P  AGE 52

MIXOLYDIAN SOFT ROCK RHYTHM GUITAR EXAMPLES  A”   Mixolydian. Repeat and end on the second A chord.  Mixolydian Soft Rock Example 1. “ 

 Mixolydian Soft Rock Example 2. “   D”   Mixolydian. Repeat and end on the second chord.

 Mixolydian Soft Rock Example 3. “   E”   Mixolydian. Repeat and end on the first chord.

 P  AGE 53

PART 4: CHORD PROGRESSION

 P  AGE 54

P  ART  4: C HORD P  ROGRESSION 

M AJOR SCALE TONE STEPWISE TRIADS (some notes are doubled or tripled)

STEPWISE C HORD P  ROGRESSIONS

M AJOR SCALE TONE STEPWISE SEVENTH CHORDS (some notes are doubled)

 P  AGE 55 

 P  AGE 56

P  ART  4: C HORD P  ROGRESSION 

M AJOR SCALE TONE STEPWISE TRIADS (three note triads without doubled notes)

STEPWISE C HORD P  ROGRESSIONS

M AJOR SCALE TONE SEVENTH CHORDS (four note seventh chords without doubled notes)

 P  AGE 57 

 P  AGE 58

P  ART  4: C HORD P  ROGRESSION 

STEPWISE SONGFORM EXAMPLES

STEPWISE C HORD P  ROGRESSIONS ; P  ARALLEL C HORDS O F  T  HE S AME QUALITY 

P ARALLEL M AJOR CHORDS

 P  AGE 59

 P  AGE 60

P  ART  4: C HORD P  ROGRESSION 

SONGFORM EXAMPLES: P ARALLEL CHORDS OF THE S AME QUALITY 

 P  ARALLEL C HORDS O F  T  HE S AME QUALITY 

 P  AGE 61

 P  AGE 62

P  ART  4: C HORD P  ROGRESSION 

 P  ARALLEL C HORDS O F  T  HE S AME QUALITY  ; C HORD P  ROG . U SING A D ESCENDING V OICE

STEPWISE B ASS DESCENDING FROM A M AJOR CHORD ROOT

SONGFORM EXAMPLES: STEPWISE B ASS DESCENDING FROM A M AJOR CHORD ROOT

 P  AGE 63

 P  AGE 64

P  ART  4: C HORD P  ROGRESSION 

STEPWISE B ASS DESCENDING FROM A MINOR CHORD ROOT

C HORD P  ROGRESSIONS  U SING A D ESCENDING V OICE

CHROMATIC DESCENT FROM A MINOR CHORD ROOT

 P  AGE 65 

 P  AGE 66

P  ART  4: C HORD P  ROGRESSION 

SONGFORM EXAMPLES: CHROMATIC DESCENT FROM A MINOR CHORD ROOT

C HORD P  ROGRESSIONS  U SING A D ESCENDING V OICE

 P  AGE 67 

 P  AGE 68

P  ART  4: C HORD P  ROGRESSION 

CHROMATIC A SCENT FROM THE FIFTH OF A M AJOR CHORD

CHROMATIC A SCENT FROM THE FIFTH OF A MINOR CHORD

CHROMATIC DESCENT FROM THE ROOT OF A M AJOR CHORD

 P  ROGRESSIONS  U SING A N  ASCENDING  V OICE ; I IV I7 IV T YPE P  ROGRESSIONS

I IV I7 IV PROGRESSIONS

I IV IMAJ7 IV PROGRESSIONS

 P  AGE 69

 P  AGE 70

P  ART  4:  4: C HORD P  ROGRESSION 

Im IV Im7 IV PROGRESSIONS

Im IVm Im7 IVm PROGRESSIONS

 ROGRESSIONS NS  U SING SING A N  A OICE ; I IV I7 IV T YPE YPE P   ROGRESSIONS  ROGRESSION S  P  ROGRESSIO  ASSCENDING V OICE

I IVm I7 IVm PROGRESSIONS

 P  AGE 71

 P  AGE 72

P  ART  4:  4: C HORD P  ROGRESSION 

M AJOR SCALE TONE TRIADS  WITH ROOT MOVEMENT UP IN PERFECT FOURTHS

M AJOR SCALE TONE SEVENTH CHORDS  WITH ROOT MOVEMENT UP IN PERFECT FOURTHS

 ROOT  M OVEMENT  U  P  I  N  P  ERFECT  F OURTHS

 P  AGE 73

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH DESCENDING  VOICES ON THE 1ST THROUGH 4TH STRINGS

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH DESCENDING  VOICES ON THE 2ND THROUGH 5TH STRINGS

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH DESCENDING  VOICES ON THE 3RD THROUGH 6TH STRINGS

 P  AGE 74

P  ART  4: C HORD P  ROGRESSION 

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH  ASCENDING  VOICES ON THE 1ST THROUGH 4TH STRINGS

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH  ASCENDING  VOICES ON THE 2ND THROUGH 5TH STRINGS

 ROOT  M OVEMENT  U  P  I  N  P  ERFECT  F OURTHS , STEPWISE ROOT  M OVEMENT 

 P  AGE 75 

G M AJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS  WITH  ASCENDING  VOICES ON THE 3RD THROUGH 6TH STRINGS

G M AJOR SCALE TONE 7TH CHORDS: STEPWISE ROOT MOVEMENT  WITH DESCENDING  VOICES ON THE 1ST THROUGH 4TH STRINGS

 P  AGE 76

P  ART  4: C HORD P  ROGRESSION 

G M AJOR SCALE TONE 7TH CHORDS: STEPWISE ROOT MOVEMENT  WITH DESCENDING  VOICES ON THE 2ND THROUGH 5TH STRINGS

G M AJOR SCALE TONE 7TH CHORDS: STEPWISE ROOT MOVEMENT  WITH DESCENDING  VOICES ON THE 3RD THROUGH 6TH STRINGS

STEPWISE ROOT  M OVEMENT  ; ROOT  M OVEMENT  U  P  IN  P  ERFECT  F OURTHS

 P  AGE 77 

SONGFORM EXAMPLES: ROOT MOVEMENT UP IN PERFECT FOURTHS

 P  AGE 78

P  ART  4: C HORD P  ROGRESSION 

BLUES TURNAROUND  WITH CONTRARY  MOTION IN  VOICES

 B LUES T URNAROUNDS

BLUES TURNAROUND  WITH B ASSLINE 1, 3, 4, #4, 5

DESCENDING DIMINISHED BLUES TURNAROUND (I7 I 7 IV M6 I) °

 P  AGE 79

 P  AGE 80

P  ART  4: C HORD P  ROGRESSION 

DESCENDING DIMINISHED BLUES TURNAROUND (I7 IM7B5 V9NR I)

J AZZ TURNAROUND: I6 I 7 IIM7 I 7 I6 °

°

 B LUES T URNAROUNDS ; J  AZZ  T URNAROUNDS

 P  AGE 81

SONGFORM EXAMPLES EMPLOYING  VARIATIONS OF THE II V I PROGRESSION

 P  AGE 82

P  ART  4: C HORD P  ROGRESSION 

J AZZ TURNAROUND V  ARIATIONS OF  III VI II V 

 III VI II V T YPE J  AZZ  T URNAROUNDS

 P  AGE 83

 P  AGE 84

P  ART  4: C HORD P  ROGRESSION 

 III VI II V T YPE & II V I T YPE J  AZZ  T URNAROUNDS

MORE SONGFORM EXAMPLES EMPLOYING  II V I

 P  AGE 85 

 P  AGE 86

P  ART  4: C HORD P  ROGRESSION 

I VI II V T YPE PROGRESSIONS  WITH COMMON TONE “1”

I VI II V T YPE PROGRESSIONS  WITH COMMON TONE “2”

 J  AZZ  T URNAROUNDS

WITH  COMMON  T ONES

I VI II V T YPE PROGRESSIONS  WITH COMMON TONE “3”

 P  AGE 87 

 P  AGE 88

P  ART  4: C HORD P  ROGRESSION 

I VI II V T YPE PROGRESSIONS  WITH COMMON TONE “5”

URNAROUNDS  J  AZZ  T   T URNAROUNDS

WITH  C ONES  COMMON  T   T ONES

 P  AGE 89

I VI II V T YPE PROGRESSIONS  WITH COMMON TONE “6”

I VI II V T YPE PROGRESSIONS  WITH COMMON TONES “1”  AND “3”

I VI II V T YPE PROGRESSIONS  WITH COMMON TONES “3”  AND “5”

 P  AGE 90

P  ART  4:  4: C HORD P  ROGRESSION 

I VI II V T YPE PROGRESSIONS  WITH COMMON TONES “1”  AND “6”

SONGFORM EXAMPLES  WITH COMMON TONES

URNAROUNDS  J  AZZ  T   T URNAROUNDS

WITH  C ONES ,  COMMON  T   T ONES

ONE P   ROGRESSIONS  ROGRESSION S P  EDAL T ONE

ITH PEDAL TONE “D” D M AJOR SCALE TONE PROGRESSIONS W ITH

 P  AGE 91

 P  AGE 92

P  ART  4: C HORD P  ROGRESSION 

D MIXOLYDIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

D DORIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

D A EOLIANSCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

 P  EDAL T ONE C HORD P  ROGRESSIONS

 P  AGE 93

 A M AJOR SCALE TONE PROGRESSIONS  WITH PEDAL TONE “ A ”

 A MIXOLYDIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “ A ”

 A DORIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “ A ”

 P  AGE 94

P  ART  4: C HORD P  ROGRESSION 

 A A EOLIAN SCALE TONE PROGRESSIONS  WITH PEDAL TONE “ A ”

DELTA  BLUES PIANO PROGRESSION

J AZZY  12 B AR BLUES PROGRESSIONS

 P  EDAL T ONE C HORD P  ROGRESSIONS ; B LUES P  ROGRESSIONS

 P  AGE 95 

 P  AGE 96

P  ART  4: C HORD P  ROGRESSION 

 J  AZZY  12 B AR B LUES P  ROGRESSIONS

 P  AGE 97 

 P  AGE 98

P  ART  4: C HORD P  ROGRESSION 

 Blues

page 99

Bass Pickup Blues In A V

A

1 1 2

t b d It #t !t Ωø tY c

! ! ! Ä  44

ttY d  #t !t ç tI

3

â 44

7

5

6

Ωø

5 5 6 7

5 5 6 7

5

7

ç ç

6

IV

D9

t t ç tY c tY d It #t !t

! ! ! Ä

â

5 5 5 4 5

5

3

4

VI

t#t c tY 5 5 5 4 5

tt d #t !t tY tI

ttY c

ttY d #t !t tI

ttY c

ttY d tI t !t

5 5 5 4 5

5 5 6 7

5 5 6 7

5 5 6 7

5 5 6 7

7

5

6

IV

D9

1 2

4

2

t#t c tt d tY tY tI # t !t E9

3

5

1 1 3 3 3

5 5 5 4 5

5 5 6 7

V

A

1 2

5 5 6 7

3

2

! ! ! Ä

tt c tY

tt d tY tI t "t

â

7 7 7 6 7

7 7 7 6 7

7

7

6

6

5

7

6

1 1 3 3 3

2

t#t tt d tY c tY tI#t !t 5 5 5 4 5

5

V

A

1 3 3 3

7

5 5 5 4 5

7

5

6

ttY c

ttY d tI#t !t

5 5 6 7

5 5 6 7

3

7

©2000 Jim Gleason. All Rights Reserved.

5

6

ttY c

ttY d tI#t!t ø æ

5 5 6 7

5 5 6 7

1.

7

5

6

øæ

 page 100 P ART  4: C  HORD P ROGRESSION  Bass Pickup Blues In A (continued) V

A

XI

A9

1 1

1

2

2

3 3

3

! ! ! Ä

â

#tttY c ttY d #t !t tI

ttY c ttY d #t!t tI 2.

5 5 6 7

5 5 6 7 12

10 11

12 12 11 12

12 12 11 12

12

10 11

ç

ttY c #t ç

ttY d tI #t !t

ç

ç

12 12 11 12

X

D

! ! ! Ä

â

2

ttY c

ttY #t !t d tI

ttY c

ttY d tI #t !t

15 14 16 17

15 14 16 17

15 14 16 17

15 14 16 17

E

XII

12 15

11

â

10 11

2

ttY t "t d tY

ttY c

ttY d tI#t !t

12 12 13 14

12 12 13 14

10 10 11 12

10 10 11 12

14 13

12 12 11 12

12

XI

10 11

#tttY c

12

10 11

ttY d tY t !t

12 12 11 12

Bb9

1

ttY c

14

ttY d tI#t !t

12 12 11 12

A9

2 3

3 3

#tttY c

1 1

2

! ! ! Ä

12

X

D

1 1

3

10 11

1

2 3

12

XI

A9

1 1

12 12 11 12

12 12 11 12

XII

14

3 3

#tttY d c b 12 12 11 12

©2000 Jim Gleason. All Ri hts Reserved.

2

XI

A9

1

12 13

1 3 3

2

"c #t"tt

#ttt

13 13 12 13

12 12 11 12

3 3

|| æ

æ

 Blues page 101

IV Hammer I7 Blues VII

D 3 3

V

A7

3

VII

D

1 1 1

3 3

3

2

Swing Eighths

! ! ! Ä  44 b d t tt It !toY #tt tt tt tt tt t

â 44

tt t

0

5 56 5 2 0

0

V

D7 1

4 0

VII

G

1

1 1

2

4 0

2 0

0

7 7 7

ç ç

0

1

1

VII

D

V

D7

3 3

1

1 1 1

2

2

3

H

V

A7

5 56 5 2 0

4 0

VII

A7

D

1 1 1

3 3

3

4 0

2 0

0

â

2 0

4 0

4 0

2 0

VII

E7 1

0

7 8 7

0

VII

G

1

1 1 1

2

#toY !ttt ! ! ! Ä

â

2 0

0

1

7 89 7

VII 3 3

1

2 0

2

4 0

4 0

2 0

0

7 8 7

0

H 5 67 5 2 0

0 0

0 0

2 0

0

tt !toY #tt t t t t tt t ttttt t H

7 7 7

0

5 56 5

2 0

4 0

4 0

2 0

V 2

! ! ! Ä !toY #||| b

â

5 5 6 5 0

4 0

4 0

2 0

VII 3 3

1 1 1

H

0

D

1 1 1

5 56 5 2 0

3

3

2 0

A7

0

V

A7

3

4 4 2 0 0 0

7 7 7

2

#ttt !toY #tt t t t t tt tt tt tt t t t t t t t

H

0

D

V

D7

2

3

4 0

H

5 56 5

æ

æ ©2000 Jim Gleason. All Rights Reserved.

0

7 7 7

0

2 3

2

H

7 7 7

IX 1

tt

3

H 5 67 5 2 4 0 0

0

A

V

! ! t !toY#tt t t t t #ttt !toY#tt t t t t tt !tY t t ! !t Y t Ä #t #t o o t t t t t t t t t t t t tt tt tt tt t t tt tt tt tt H 5 67 5

7 8 7

1 1 1

2

2

2

3

VII

G

1 1 1

t #t t ç !toY#t tt tt tt tt t t t

ç

H 7 7 7

V

A7

ç

ç

t t 9 10 9

0

0

 page 102 P ART  4: C  HORD P ROGRESSION 

Descending Diminished Blues in E V

E7

VII

E7

VI

E°7

1

IV

E

V

Am6 1

1

V

A/E

1

1 2

3

Swing Eighths

! ! ! Ä ! 44

4

3

#ttt !t#tt # #ttt

t t

â 44

9 7 9 0

8 6 8

4

0

IV

E 1

2

5 4 6 0

tt t

#ttt t

5 6 7 0

5 7 9 0

5 4 6 0

tt t

tt t

#ttt t

5 4 6 0

5 4 6 0

5 6 7 0

5 7 9 0

3

4

VII

IV

1 1

â

0

3

IV

8 6 8

B7

no root

0

IV

4 5 4

3 4 3

V

1

7 5 7

VII E/B

1 1 1

2

3

4

4

4 4 4 7

#ttt t

tt t

5 4 6 0

5 4 6 0

5 6 7 0

5 7 9 0

5 6 7 0

4 4 4 7

5 4 6 7

VI

E°7

1

1

7 7 7

tt 5 4 6 7

1

2

4

3

#ttt !t#tt # #ttt 9 7 9

0

0

4

8 6 8

7 5 7

3

IV

5 6 5

VII

B7 1

1 1

1

2 2

Û tIt tt t t t !t t t 5 4 6 0

3

5 6 7

7

4

tt t tt d ø æ #tttY||| æ t« Û 7 8 7

©2000 Jim Gleason. All Ri hts Reserved.

V

E7 1

1

6 7 6

7

2

4

1 2

3

3

V

Em6

1

3

4

tt t

3 2 4 0

VI

1

3

7

1

tt t

5 2 5 0

B°7

1 1

7 8 7

V

Am6

#tttt

tt # #ttt #tt t t

E

3

! ! ! Ä ! ttt ttt ttt ttt

â

3

4

tt t

2

3 4

3

1 2

2

tt t

1 1 1

2

2

tt t VII

1

1

2

3

IV

V

A/E

3

4

VII

B7

1

V

A/E

1

E7

1 1 1

3

3

3 2 4 0

4

2

2

2 2 2 0

3

1 1 1

1 1 1

2 2 2 0

#ttt !t#tt # #ttt

E/B

1 1 1

5 6 5

0

IV

B

2

5 6 7 0

4

I

D/A

I

D/A

#tt t

E

7 5 7

A7 no third I

I

tt t

V

4

0

III

1

3

1

3

9 7 9

8 6 8

tt t

1

t t

0

3

4

1

2

3

2

! ! ! Ä !

9 7 9

t # "ttt #t#tt # t t t

Am6

1

#ttt !t#tt # #ttt

tt t VI

E°7

4

3

4

tt

Dm6

2

0

V

Am6

1

3

4

1

3

3

tt t

E7 E7

1

5 6 7 0

A°7

V

2

3

! ! ! Ä ! tt tt t t

tt t

1

2

2

3

3

V A7

A/E

VI

E°7

2

A

1

1

VII

E7

1

2

V

V

A/E

V

A/E

2

3

7 5 7

E7

â

3

4

1

9

7 8 7

øæ

5 7 6

0

æ

 Blues page 103

I7 IV I IV Blues #1 In C X

C7

X

F

1

X

C

1 1 1

X

F

1 1 2

2 3

1 1 1

X

F

X

C7

X

C

1 1

1 1 1

1

1 1 1

2

2

3

X

F

3

3

"t t  " t t " t " t " t t t t t t t t t t t t t t t t !t Y !t Y 4  d  d  d Ä 4 b« d tY t t t d t t o Yt t t t d t t tY t t t d t t o tY t t t d t t d tY 1 6 b7  

5 1 3

1 3 5

5 1 3

1 3 5

5 1 3

1 6 b7  

H

â 44

11 12 10

X

F7

11 12 10

10

1

1

H

8 8 9 10

8 9 10 10

3

X

Bb

1

1

2

2

2

10 10 10

VIII

F

X

Bb

10 10 10

10 10 10 10 10 10

4

" tt t tt " tt d Ä

â

10

1

10 11 10

10 11 10

8 9 10 10

IX

G

X

F

10 10 10

8 9 10

0

8 9 10 10

1 1 1

X 1 1 1

1 1

2

11 13 10

10 10 10 10 10 10

F

X

C

2

3

3

10

8 10 10

10 11 10

IX

5 1 3

11 12 10

10

11 12 10

10 10 10

8 8 9 10

X

8 9 10

X

C

10 10 10

10 10 10

X

F

1 1 1

1 1

10 12 10

X

C7 1

2

2

2

2 3

3

3

3

4

10

1 1 1

1

5 1 3

1 3 5

10 10 10

F

X

C7

1

2 3

3

10 11 10

C

1

2 3

1 6 b7  

5 1 3

VII

1

1

10 10 10

tt d !toY ttY tt t tt d "ttt tt ttY "ttt t tt d tt tt d !tY ttY tt t tt d tt tt d t d o Yt

C

X

G7

11 12 10 10

1

3 2

1 3 5

5 1 3

11 13 10

11 12 10

X

C7

3 4

1 5 b7  

5 1 3

 "t "t t " t t t t t t t t t t t t t t t t !t Y d t t t d Ä t t t d t t !tIo Yt t t t d t t d tY t t t d t t o Yt t t t d tY t Yt æ 5 1 3

1 5 b7  

â

10

10 12 10

9 10 10

9 10 10

8

7 9 10

10

7 9 10

9 10 10

5 1 3

1 6 b7  

5 1 3

1 3 5

9 10 10

11 12 10

10

11 12 10

10 10 10

10 10 10

©2000 Jim Gleason. All Rights Reserved.

5 1 3

1 3 5

8 8 9 10

10

8 9 10

10 10 10

10 10 10

1 6 b7  

11 12 10

æ

I7 IV I IV Blues #2 in A

t t t t t  t ! ! t  4 t t t ! « d d b c Ä 4 tY t t t #t t tY

â 44

! ! ! Ä

â

10 6 7

10 7 9 9

10 10 9 9 10 10

tt "tt d tt tt d tt t t #t t tY

10 9 10

10 8 9 9

10 10 7 7 8 8

tt tt d #tt tt d tttY ttt

10 6 7

10 7 9 9

10 10 9 9 10 10

10 9 10

tt t tt d #ttt ttt d tYtt ttt t #tt d tt tt d ttYt ttt t ttt d #tt tt d tYt 9

9 7 9

10 10 7 7 10 10

10 7 10

9

8 7

8 7 9

7 7 7

10 6 7

9

10 7 9

10 10 9 9 10 10

1.

â

! ! ! Ä

â

7 7 7

7 7 7

10 10 10

8 9

10 6 7

10

9

10 7 9

10 10 9 9 10 10

tt tt !tt #tt d tt t t #t Yt æ 10 9 6

10 8 9

10 7 8

10 6 7

æ

© 1998 Jim Gleason. All Rights Reserved.

10 8 9 9

tt "tt tt

10 9 10

t t t t  t t t t t t t #| t ! ! Ä ! tt ttY d tt tt d #ttY d tY || tt tt tt t tt d #t t d ttY 5 6 7

tt "tt d tt tt d tYt t t #t t

12 12 12

10 8 9 9

|| «« |«

10 10 7 6 8 7

7 7 7

t t t d #t tt d ttYt 10 10 7 6 8 7

9 9 7

t d ttY ø æ 10 6 7

øæ

I7 IV I IV Blues #3 In C Swing Eighths VIII

C

IX

Fm

1

1

2

X C7

C°7 1

2 3

2

X 1

8 8 8 9 9 9 10 10 10 10

VIII

F

1 b5 6

1

1

1

Ût tY t

11 12 10 10

X

F7

X

3

10 10 10

10

8 8 10 10 10 10

8 10 10 10

10 10

8 8 8 9 9 9 10 10 10 10

VIII

C

2

1 b5 6

1 5 b7  

IX

1

3

2

9 9 9 10 10 11 10 10 10 10

Fm

2

11 12 10

1

11 11 12 12 10 10 10

X C7

C°7 1

2

2 3

X

tt t tYÛ t 5 1 3

ÛtY tt

1 5 b7  

1 b5 6

tYÛ t tt tt YtÛ tt " tt tt

t

" tt

5 1 3

1 3 5

5 1 b3

10 11 10 10

9 9 11 11 10 10

9 12 10 10

11 11 13 13 10 10

11 13 10 10

10 11 11 10

VIII G°7

Cm

1

X

IX G7

1

1

1

1

3

3

4

4

8 8 9 9 10 10

8 9 10 10

1 b3

VIII

C

1

1 b5 6

9 9 10 10 10 10

X 1 1 1

2 3

Ût tY t

ÛtY!ttt " tt tt 1 b5 6

1 5 b7  

1

2

11 12 10 10

X

X C7

1

2 3

2

11 11 12 12 10 10

tt t tYÛ t 5 1 3

tt tIÛ tt tt t tYÛ t tt tt YtÛ tt " tt tt 5 1 b3

1 3 5

2

ÛtY!ttt " tt tt 1 b5 6

X

G7 1

3

5 1 3

10 11 10 10 10 10 10

1

3

3

5 b7

5

9 11 10 10

IX C°7

Fm

1

1

3

Û t "tt t Û !tt t t t Ä t t tI t t tI t t 5

3

11 10

2 3 4

10 10

P

IX

C

2

1

10

10

F

1

3

3

3

1.

VII

G

3

4

Û t # tt tt tYÛ tt tY t øæ 5 b7

3

1 5 b7  

P 7 9 10

7 9 10 10

7 9 10

8 10 10

8 10 10 10

8 11 10

10 10 10 12 12 12 10 10 10 10

9 10 10 10

9

10 10

8 8 9 9 10 10

8 9 10 10

9 9 10 10 10 10

9 11 10 10

2.

IX

Fm

VIII

C

1

2 3

2

X

C°7

1

1

1

2

2

3 3

Û Û "A " t t t t t t A !t t t Y t t Y t t Y Y t t A Ä 5 1 b3

1 3 5

8 9 10

8 9 10

X

C7

3

â

Ût tY t

ÛtY!ttt " tt tt

P

â

â

5 1 b3

P

X

Bb 1

2

ÛtY# tt " tt tt

5 1 b3

1 1 1 2 3

1 3 5

11

1

3

tt tt tYÛ tt "" tt tt Ä 1 3 5

1

3

tY Û t tt tt YtÛtt " tt tt

tt t

5 1 3

2 3 4

2

X

F

P

11 11 12 12 10 10

IX F°7

Bbm

1

2 3

X

3

1 5 b7  

9 9 9 10 10 11 10 10 10 10

X C7

C°7

1

2

Û Û " t t " t t t t t t !t Ä 44 t t tY t t t tY t t t 5 1 b3

IX

Fm

1

2 3

1 3 5

VIII

C

1 1 1

3

3

â 44

X

F

10

8 9 10

9 10 10

1 b5 6

9 10 10

10

9 11 10

11 12 10

1 5 b7  

æ

æ

© 1998 Jim Gleason. All Rights Reserved.

11 11 11 12 12 12 10 10 10 10

12 12 12 10 10 10 12 12 12 12

øæ

 page 106 P ART  4: C  HORD P ROGRESSION 

Six Nine Blues #1 In G III

G6

I

G9

1

1

2

3 6

1

1

2

4

I

G9

III

G6

2

2 4

4

4

1

3 6

1

t t ! #t | #t |  4 t t d  d d d d  d d d Y Y t t Y | Y | Ä 4 t tI t t t t t t tI t G6

â 44

2 5 b7 

2 5 b7 

S

S

3 5 4 3

5

5

7

1 3 2

3 5 4

7

3

5

7

5

1 3 2

7

III

G6

V

C6

1 1

2

2

1 1

3

1

1

III

C9

4

4

3

3 6

1

t ! #t  | t d t | t | d  d  d d Y d d d " t Y t t Y Ä t It t t tY | t It t t t C6

G6

5 b7 9

6 1 3

S

â

3

5

2 5 b7  

S

5

7

7

5 5 7

3 5 4

3 3 5 3

5

7

5

III

III

C9

1 1

1

2 3

2 3

3 6 1

9 5 b7 

3

t d t | d  d t d d d " t t Y t Y | t t tI t It t t t

D6

I

D9

1

1 1

3

1 3 2

7

D6

V

C6

! Ä

I

G9

5 b7 9

6 1 3

G6

tIt d d ttI ||

øæ

S

â

S

5

7

9

7

9

5 5 7

3 3 5 3

5

7

5

©2000 Jim Gleason. All Ri hts Reserved.

7

3 4 4

1 2 2

øæ

 Blues page 107 

Six Nine Blues #2 In G IV

G6

II

G9

2 3

! Ä  44 b d It t

â 44

III

C6

4

3

4

3

Ωø

3 2 4

5 III

C6

1 1 1

III

ç

ç

ç

ç IV

G6

1 1 1

5 4 5

3

4

b7 2 5

3 2 4

5

2

IV

G6

2 3

3 3 3

4

1 3 6

2

C9

2

ttY d d tIt d tIt

b7 2 5

5 4 5

II

2

t t I d d Y t Ωø t d It t

III

C9

2

1 3 6

2

5

IV G9

G6

2 4

3

4

3 3 3

t t t t ! t t t t I I Y Y t t d d d d d d  d d d  d d d Y Y " t "t t Y Y Ä It t t t t t t It It tI!t t 1 3 6

â

5 5 5

b7 2 5

3 3 3

5

III

D6

1 3 6

5 5 5

2

3 3 3 5

II

Eb9

0 0 0

1 3 6

3 2 4

IV

G6

1

2 3

2 3

2

I

D9

1

1

1 3 6

b7 2 5

3

3 2 4

3

4

5

IV

G6

2 4

3

1.

II

G9

2

2 3

2

5

0 0 0

2

4 3

4

! « t t t t "t t I I t d d  d d d " t b d Ä t « t #t t ttI tY t It t tY d c d tI t ø æ 2 b7 5

3 1 6

2 b7 5

1 3 6

b7 2 5

1 3 6

â

3 4 4

3 4 4

2 3 3

1 2 2

0 2

5 4 5

3 2 4

0

2. IV

G6 2 3

4

! t Ä tY d c b 1 3 6

â

5 4 5

æ

æ

©2000 Jim Gleason. All Rights Reserved.

2

5 4 5

0

2

øæ

 page 108 P ART  4: C  HORD P ROGRESSION 

Six Nine Blues #3 In G VII

G6

V

G9

1

1 3

 t t ! o t  4 t I d d Ä 4 b tIt t Ωø t t t  c S

â 44

5 7

3 3

Ωø

5

5

VIII

C6

7 9

t ! Ä t t t d Ito t  c 9

X

"ttY c 6 8 7

1

t  t t  t t t Y ! t t d Ä c d "tY

VII

3 3

6 8 7 7

5

5

V

F6

7 9

5 7

5

1 2 3

#tttY c

5 b7 2

ttY d tI t t

tt tt tt t t t d 57

 5

5

7

5 6 7

VI G6

F#6

VII

1

5 6 7

2

3

3

6 1 3

6 1 3

6 1 3

9

7

1 2

3

7

IV

D7#9

1

2

2

3

7 8

7

1

b7  3 5 2

10 8 9 8

5 6 7

V

G9

ttY d t o t t I d  t t t ttI t  c

1

|||

ttY d tIt t

5 b7 2

7

6 1 3

VIII

C9

3

10 10 12 12 11 11

7

5

5 6 7

1

2

3 6 1

5

5

7 8

7 9

3

S

8 10

2

â

10 10 12

G6

5

1

10 12 11

10 10 12

3

2 5 b7  

S

2 2

D6

7 8

2 3

3

#tttY c

S

1

3 6 1

7

6 1 3

2

2

â

3

5 b7 2

VI

1

5

3

3 3

7

C9

1 2

2

#tttY c ttY d t t t d Itot t c tI t t

6 1 3

V

G9

1

2

2

Swing Eighths

VII

G6

3 4

1 3 b7  #2

t t !t #t ! t t Y t ! d c« #tItt tt t t t ø æ a æ 1.

10 10 12

11 11 13

©2000 Jim Gleason. All Ri hts Reserved.

7 8 9

2.

10 10 9 10

10 10 9 7 10 10 10

øæ a æ

 Blues page 109

Six Nine Blues #4 In G

d t t t t t t t Y t t t t t 4 d d Y Y b t t c d d tY tY t Ä4 Ωø VIII

G6

VI

G9

1

1

2 3

2 3

3 6 1

2 5 b7 

S

â 44

S

4

1

Ωø

12 10 12

IX

C6

2

8 9 9

8 9 9

4

2

"t ttY d d tYt c Ä

G6

t t"tY d d ttY tt t t 8 7 8

8 7 8

2

4

2

4

2

4 12

4 10

8 9 9

b7 3 5

b7 3 5

b7 3 5

S

3

â 2.

VIII

G6

7 8 7

8 9 8

Ä

â

S

4 10

VII

4 12

2 5 b7 

6 7 7

G6

VIII

4

8 9 9

b7 b2 3

7 8 10

3

æ

3

4

#t!tt !tt

5 b7  3

6 4 6

7 5 7

VI 1

t t d d t t tt t t t tY tY d d tY d d Yt t ø æ 2 3

3 6 1

2 5 b7 

S

4 10

S

8 9 9

8 9 9

3 6 1

8 8 9

1 4

5 3 5

1

ttY d c "!tt tt æ

3 6 1

V

D7

5 b7  3

2 3

2 3

2 3

4

G9

1

2

7 9

1

5 b7  3

6 7 7

VIII

G6

IV

1

1

1

t

3

10 12

D7b9

III C#7

C7

1

8 9 9

1.

t t | t t | t t !t t ! t " t | t Ä | t !t 3

6 7 7

1 8

2 3

4

3

6 7 6

VI

G9

6 7 7

t td dt t t t t tY tY c tY d d tY t "t

VIII

3

8 9 9

3

10 12

VII C7

VI B7

Bb7

8 9 9

S

S

3 3 10 9 10

S

2 2

4 10

3 6 1

b7 2 5

S

10 9 10

4 12

1 4

2 5 b7 

S

10 12

VIII

ttY d d ttY tt t t t

3 6 1

2 3

1 11

6 7 7

3

1 3 6

â

6 7 7

VII

C9

3

3 3

10

1 2 3

tt t tY d d tY c

S

4

VI

G9

2 3

Swing Eighths

3 3

VIII

G6

©2000 Jim Gleason. All Rights Reserved.

12 10 12 12

10 12 12

10 12

øæ

 page 110 P ART  4: C  HORD P ROGRESSION 

Six Nine Blues #5 In G X

F

IX

G6

1 1

1 1

Swing Eighths

3 5 1

t t t 4 d o t t t t t I Ä4 t t tY c Itt || 1 3 6

1214

S

12

10 10 12

9 9 10 X

12 12 13 IX

C6

1214

2

12 12

3

3

14 12 10

3

2

â

1214

1 3 6

3

12

10 9 10

1 1 2

1 3 6

b7 2 5

Ito S

12 12 13

1214

X

C7

1 1

t t t t t t tt d ttY c Itt || 3 5 1

G6

3 3 11 10 12

VII

G9

3

b7 2 5

3

14 12 10

IX

2

2

13 12

12 12 13

G6

1 1

t "t t t | t t t t t Y Y t t  d c Y "t | t Äo 3 5 1

9 9 10 X

1

3

C6

12

10 10 12

F

VII

C9

1

2

3

b7 2 5

S

1

3 3 1

1

3 3 1

1 3 6

Ito

3

Bb

S

2

G6

S

14 12 10

1 1

2

t t t t t t tt d ttY c Itt ||

b7 2 5

G6

12 12

VII

3

3 5 1

â 44

1 1

2

3

S 1 3 3 1 3

IX G9

G6

1 1

1 1

2

X

F

VII

G9

S 1 1 3 3

12 12

14 12 10

12

10 10 12

9 9 10

12 12 13 D7

1.

1

IX

1 2

2

3

"t t t t t  d Ä Ito!t t t t tY d c b

â

oIt t t t t t t t c d !tIt || ø æ t

1 5 b7 

D6

S 3 3

1214

12 14

12

12

X G6

F

2.

S 33

11 12 10

14

1 1

3 b7 

G6

1214

1

S

1

3 3

12 12

14 12 10

13 12 10

10 9

10 9

IX 1 1

2 3

t t t A d o t t t t t I Ä tI t A G6

â

S 3 3

12 14

3 5 1

S

1

1 12 12

1 3 6

3

3

14 12 10

10 10 12

9 9 10

a

æ

æ

© 1998 Jim Gleason. All Rights Reserved.

©2000 Jim Gleason. All Ri hts Reserved.

øæ

 Blues

page 111

Walking Bass Blues #1 in C VIII

C major

VIII

C 7

1 1

1

2

1 1

VIII

Gb 9

1

1

2

2

3

5

b7 3 5 1

1

VIII 2

3

VII

C 9 nr 1

4

b7 3

1 1 1

2

3 3

X

F6 2

3 3 3

IX

Db 13 1

2

2

3 4

5 b7 3 5

1 3 b7 2 VII

F 9

2 3

2

VII 1

5

1 3 3

1

2

3 3

1

1 3 3

1

b7 3

1 4

6

VII

C 9 nr

2 3

2 3

4

4

V

F 9 nr 1

2

3

VIII

Db 9 nr

1 b5 6 b3

VII

F 9

5 1

2

5 1 3 6

1

6

1 4

3

VII

F 9 nr 2

3

2

3

VIII

F# dim. 7

4

1 b5 6 b3

1

5 1 3

1

2

V

F 6

b7

VIII

C 6

1 3 3

1 3 b7 2 VI

F 9 nr

1 3 b7 2 VIII

F# dim. 7

1 4

3 b7 2

5

F 9 2

X

F7

1 3 3

3

1

VII

F 9

3

C 7 1

1

2

3

1

VIII

C 7 nr

3 b7 2

5

VI

Bb major 1

3 b7 2

1 2

3

VI

B dim. 7

2

3 3

5

1 3

4

2 4 4

1 3 b7 2

5

6 3 5 1

3 b7 2

3

1 3 b7 2

b7 2

1

1 3

5

1

6 b3 b5

b7 3 b7 2 VIII

C 7 1

2

3

1

4

1

b7 3

IX 1

2

5

1 3 3

1

1

3 3

3

5 b7 3 5

1

IX

G 9 nr

3 5

1

1

1 2

b7 3 5 1

1

VII

2

1 1

X

F7

1 1 1 3 3

X

Ab 9

2

1 3 3

X

C 6 n3

3

F 9

1 2

3

2

1

2

3

1

VIII

C7

1 1

2

VII

G6

VIII

C major

1

3 3

1 3 b7 2 VIII

G 9 nr

VIII

C 7 nr

1 4

3 b7 2

5

VII

F 9

2 3

G 9 2

VII

C 9 nr

4

6 1 5 6 X

F6 2

3 3

3 3 3

1 3 b7 2 IX

Db 13 1

2

2

3

2

1 3 b7 2

4

5

6 3 5 1

3 b7 2

1 3 b7 2

b7

5 1 3

6

5 1

3

1

b7 3

6

b7 3 b7 2 VIII

C 7 1

2

3

1

4

VII

C 9 nr 2 3

VII

F 9 1

4

2

3 3

b7 3

3 b7 2

5

5

1 3 b7 2

IX

G9

1 2

IX

G 9 nr

1

2 3

1

VIII

F# dim. 7

1 3 3

2

VIII

3 3

3

2

1 3 b7 2

5

1 1 2 3

3

5

4

6 b3 b5 1

3 b7 2

b7 3 b7 2

1

2

3 3

VIII

C

IX

D dim. 7 1

1

4

1 b5 6 b3

G 9 nr

1

©2000 Jim Gleason. All Rights Reserved.

 page 112 P ART  4: C  HORD P ROGRESSION 

Walking Bass Blues #2 in C V

C 7 1

2

IV

C 9 nr 1

3 4

2 3

V

C 7 nr 1

1

4

V

Gb 9 1

2

2

IV

F 9 1

3 3

2

II

F 9 nr 1

III

Eb major

III

B dim. 7

1

1

3 3

2

3

1 3

3 3 3 4 4

1

b7 3

5

V

C 7 1

3 b7 2

2

5

IV

C 9 nr 1

3 4

5 b7 3 5

3

IV

F 9

2

1 3 b7 2

1 4

2

3 3

b7 3

5

3 b7 2

5

1

2

b7 2

V

C6

1

5

5

1

6 b3 b5

IV

C 9 nr

1

1

2

2 3

4

3

3

4

5 b7 3 5

V

1

2

3

1 3

C 7 nr

1

2 4

1 b5 6 b3

1 3 b7 2

V

C 7 nr

1

3

1

V

F# dim. 7

3

1 3 b7 2

3 b7 2

5 b7 3 5

5

6 1 3 5

VII

F 9 1 2

VII

F 9 nr 1

3 3

VIII

F 7 nr

VII

F 9 nr

1

1

1

3 3

2

3 3 3

VII

F 9

V

F 9 nr 1

Eb major

VI

VI

B dim. 7

1

1

3 3

2

4

1 3

3 3 3 4 4

3 b7 2

1 3 b7 2 VIII

C 7 1

2

VII

C 9 nr

3

1

4

5 b7 3

3

VII

F 9

2

3 b7 2

1 4

2

VIII

C 7 nr 1

1

3 3

3

1 3 b7 2 VIII

C 7 1

2

2

b7 2

VII

C 9 nr

3

1

4

5

5

3

VII

F9

2

1 3

1

1 4

2

b7 3

5

3 b7 2

IX

G 9 1 2

5

1 3 3

2

VII

G 9 nr 1

F major

3

1

5 b7 3 5

1 3 b7 2 VIII

IX

G 9 nr

1

b7 3 5

3 b7 2

VII

F 9

1

3 3

1

2

3 3

2

5

V

F 9 nr 1

Eb major

VIII

C 7 1

2

3

b7 2

1

4

5

3 3

2

5

VII

3 b7 2

2

VIII

F# dim. 7

1 4

1 3

3 3 3

1 3

F 9

2 3

1

4 4 5

VII

C 9 nr

VI

B dim. 7

1

4 4 3

VI

4

1 b5 6 b3

1 3 b7 2

3 3 3

1 3 b7 2

VIII

F# dim. 7

3

1

6 b3 b5

1

2

2 3

IX

G9

1 3 3

3

1 3 b7 2

b7 2

VIII

G 9 nr

5

G 9 nr

1 3

IX

1

1 3 3

5

2

2

4

1

6 b3 b5

G 9 nr

VII

1 3 3

3 3 4 4

1

b7 3

5

3 b7 2

5

1 3 b7 2

1 b5 6 b3

5

1 3 b7 2 b7 3 b7 2

V

C 7 1

2

3 4

1

b7 3

5

©2000 Jim Gleason. All Ri hts Reserved.

3 b7 2

3

b7 2

 Blues page 113

Walking Bass Blues #3 in C VIII

C 7 1

2

VII

C 9 nr 1

3 4

2 3

VII

F 9 1

4

2

VIII

C 7 nr 1

1

3 3

VII

F 9 1

2

X

F7

1 1 1

2

3 3

X

F6 2

3 3 3

IX

Db 13 1

2

2

3

3

1

b7 3

5

VIII

C 7 1

3 b7 2

2

1

3

b7 3

5

VII

F 9 2

1

2

1 1

VIII

C7 1

2

3

3

5 b7 3 5

1

VIII

F major

3 5

5 1

VII

1 1

1

b7

VIII

C major

6

5 1 3

VIII

C 7

1 1

1

2

1 1

1

5

1 3

VIII

C7

1

2

VII

F 9 nr

3 3

1

2

3

5

b7 3 5 1

1

VIII

Bb 7

1

IX 1

VII

G 9 nr 1

1

2

3

VII

1 b5 6 b3

2

b7 3 5 1

F major

VIII

IX

G 9 nr

1

1

1 3 3

2

3 3

3

3 5

3 b7 2

1

VII

F 9

1 3 3

2

5

X

F7

1

2

VIII

F# dim. 7

1 4

4

4

F9

2 3

2

2

1 5 b7 3

VII

IX

B dim. 7

3

5 b7 3 5

1

5 b7 3 5

1

C 9 nr

1 1

2

1

3 5 1 3

3 b7 2 VIII

C major

1 1

VIII

3

3 3

1 3 b7 2

1 1 1 3 3

6

C 7 nr

1 1

3

3

G 9 2

VIII

C 7 nr

3

1

5

5 1 3

X

b7 3

3

3 3 3

1 3 b7 2

1

2

1

2

3

F major

b7 3 5 1

1

1

2

6

2

F 9

1

3 3 3

5 1 3

1 1

2

X

F 6

b7

VIII

C major

1

3 3

1 3 b7 2 X

1 3 3

5

F 7

1

2

1 3 b7 2 VIII

C 7 nr

1 4

3 b7 2

VII

F 9

2 3

5 b7 3 5

1 3 b7 2 VII

F 9 nr

4

1

5

4

1 b5 6 b3

1 3 b7 2 X

F6 2

3 3 3

4

IX

Db 13 1

2

2

3

3 3 3

4

4 4 3

1 3 b7 2 VIII

C 7 1

2

3

b7 2

4

VII

C 9 nr 1

5

5

5

VII

F 9

2 3

1 3

3 b7 2

1 4

2

3 3

b7 3

5

3 b7 2

5

1 3 b7 2

1

2

2

b7

IX

G9

1

3

1

VIII

F# dim. 7

1 3 b7 2

5 1 3

3 3

2

1

2

b7 3

6

IX

G 9 nr 1

1 1

2

1 3 b7 2

b7

VIII 3

b7 3

1

2

3 3

5

3 b7 2

3 3

4

1

3

X 1

b7 3 b7 2  

C 7

5 1

F7

1

4

1 b5 6 b3

IX

G 9 nr

6

5

©2000 Jim Gleason. All Rights Reserved.

5 1 3

 page 114 P ART  4: C  HORD P ROGRESSION 

Walking Bass Blues #4 in C VIII

C 7 1

2

3

VII

C 9 nr 1

4

2 3

VIII

C 7 nr 1

4

1 2

b7 3

5

3 b7 2

5

VII

F 9

1

VII

F 9 nr

1

1

3 3

1

1 2

3

4

3 b7 2 5

1 3 b7 2

3

3

5 b7 3 5

4

6 1 3 5

VIII

C 7 1

2

3

VII

C 9 nr 1

4

2 3

VIII

C 7 nr 1

4

1

1

2

b7 3

5

3 b7 2

5

XIII

C 13 1

2

3

1

6 1 b3 5 VIII

C6

XII

C6 1

2

b7 3

6

1

3

1

2 3

4

3

3 b7 2

1 5 b7 b3

6 3 5 1

1

VII

C 9 nr

2

2

4

X

G m7 1

1

3 4

3

5 b7 3 5

VIII

F m6

3 3 3

3

5 b7 3 5

VIII

F 7 nr

1

2

2

3

1

VIII

C6

5

6 1 3 5

VII

F 9 1 2

VII

F 9 nr 1

3 3

VIII

F 7 nr 1

X

F6

1 1 1

1

3

3 b7 2 5

3

VII

F 9 nr

1

1

3 3

1

1 2

3

6 3 3 6

VIII

F m6

3 3 3

3

5 b7 3 5

VIII

F 7 nr

1

2

3 3 3

1 3 b7 2

VII

F 9

3 b7 2 5

1 3 b7 2

3

3

5 b7 3 5

4

6 1 b3 5 VIII

C 7 1

2

3

1

4

1

b7 3

5

IX

1 4

3 b7 2

1

IX

1 1

5 b7 3 5

6 1 5 6 X

G 7 nr 1

1

XII

G6

1 1 1

1

3

1

VII

F 9

4

6 1 5 6

F 9 nr

1 2

3 b7 2 5

1

1

VII

3

5 b7 3 5

6 1 5 6

1 3 3

VIII

F 7 nr 1

4

VIII

F m6

1

1

3 3 3

2 3

6 3 3 6

1

1

3

3

5 b7 3 5

X

C 6 n3

2 3

3 5

VIII

C 7 nr

1

1

3

4

3 3 3

1 3 b7 2

X

C 6 n3

2 3

3

VIII

C major

1

1

3

1 3 3

X

C 6 n3

2

5

G 9 nr

1

VIII

C 7 nr

2 3

G 9 2

VII

C 9 nr

3 b7 2 5

1 3 b7 2

3

3

5 b7 3 5

4

6 1 b3 5 VIII

C 7 1

2

3

1

4

VII

C 9 nr 2 3

VIII

C 7 nr 1

4

VIII

C6

1

1

2

2

3

IX

G 9 1 2

G 9 nr

VII

1

VII

D dim. 7

3

2

6 3 5 1

1

G6 1

3

1

1

3 3

IX 1

3

2 4 4

1

b7 3

5

3 b7 2

5

5 b7 3 5

4

1 3 b7 2

3

6 1 3 5

 

C 7 1

2

VIII 3

4

1

b7 3

5

©2000 Jim Gleason. All Ri hts Reserved.

b7 2

6 b3 b5

 Blues page 115

Walking Bass Blues #5 in C VIII

C 7 1

2

VII

C 9 nr

3

1

4

2 3

V

C major

V

F major

1 1 1

1

4

--

C 7 n3 1

2

5

VIII

C 7 1

3 b7 2

2

5

VII

C 9 nr

3

1

4

2 3

V

C major

5

V

F major

1 1 1

V

C 7 n3

1

4

3 b7 2

1

V

F major

III

F major

1

III

F 5

1

V

C major

1

1

1 1

1 2 3

4

3 5 1 III

F 7 n3

1 1

5

V

F major

2

b7 1 5

III

Bb major

1 1

4

3 b7 2

3

3

3 5 1

5 1 3

5 1

V

F major

2

5

2 3

3 5 1

b7 1 5

3 b7 3

1

4

3

1

1 1

2

3 5 1

5 1 3

1

VI

C 9 nr

3 3

b7 3

V

C major

1

3

1

V

F major

5 1

III

Bb major 1 1

1

III

F5

3 5 1

3

III

F major

1 1

1

2 3

2

3

VIII

C 7 1

3

4

4

1 5 1

5 1 5 1

3 5 1 5

2

VII

C 9 nr

3

1

4

C major

2 3

V

3

2

4

4 1 3 5 1

3

3

V

F major

1 1 1

4

4

b7 1 5 1

3 5 1 5

5 1 5 1

V

Bb 7 n3 1

5

3 b7 2

IX

G 9 1 2

5

VII

G 9 nr

IX

G 9 nr

1

1

3 3

2

1 1

4 3

1 5

1

1

VII

C 9 nr

2

2 3

4

3 5 1 VII

F 9 1

1

3 3

4

b7 1 5

VII

G6 1

1

3

3

3 5 1

5 1 3

V

C major

1

2

3 b7 3

V

F major

3

1

2

4

3

1

4

3

3

2

VI

F 13 1

3 3

5 1

V

F6 1

2

3

3 b7 2

IV

Db 7 1

1

5

1

3

3 4

2

3

2

4

4 4 3

1 3 b7 2 VIII

C 7 1

2

3

b7 2

4

VII

C 9 nr 1

5

3 b7 2

2 3

VII

F 9 2

3 3

b7 3

 

C 7 1

5

2

3 b7 2

5

1 3 b7 2

1

2

2

b7 3

IX

G9

1

3

1

VIII

F# dim. 7

1 4

1 3 b7 2

6 3 5 1

VIII

1 3 3

2

1

1 3 b7 2

b7 3

VIII

5

©2000 Jim Gleason. All Rights Reserved.

6

1 5 b7 3

1 2

3

1

6 3 5 1

V

D m7 1

1

2

3

b7 3

VII

G6

3 4

4

1 b5 6 b3

6 3 5 1

1

G 13

4

1

6

3

1 5 b 7 b3

 page 116 P ART  4: C  HORD P ROGRESSION 

Walking Bass Blues #6 in C VIII

C major

VIII

C 7

1 1

1

2

1 1

5

2

b7 3 5 1

1

VIII

C 7 1

3

VII

C 9 nr 1

4

3

b7 3

5

1

1 3 3

1

1

1

4

V

F 6 1

1

1

3 3 3

1

2

VII

F 9

V

F 9 nr 1

2

1

b7 3

VII

C 9 nr

2

1 4

6

2 3

4

4

3 b7 2

b5 1 b3 6

1 3 3

1

3

VIII

Db 9 nr 3

3

5 b7 3 5

2

5 1

2

5 b7 3 5

VII

VIII

6

1

1

3

F 9 nr

5 1 3

C dim. 7

2

1 3

3 3

2

IX

Db 13

3

b7

VIII

C 7 nr

3

1

2

X

F6

2

1 3 b7 2 VIII

C 7 nr

6 1 5 6 VI

1 1 1

2

2

5

F 9 nr

3 3

X

C 6 n3 1

X

F7

4

4

3 b7 2

VII

F 9 2

1

5 b7 3 5

6 1 5 6

2

VII

F 9

3

4

3

1

1 2

3

3

1

1

VIII

C 7 nr

2

3

1

X

C 6 n3

5

VI

Eb major

3 b7 2

VI

B dim. 7

1

1

3 3

2

5

1 3

3 3 3

2 4 4

1 3 b7 2

5

6 3 5 1

3 b7 2

3

1 3 b7 2

b7 2

5

5

1 3

1

6 b3 b5

b7 3 b7 2 VIII

C 7 1

2

3

1

b7 3

5

IX

G 9 1 2

2

5

1 3 3

1

1

3 3

3

5 b7 3 5

1

IX

G 9 nr 2

3 5

1

1

1 2

b7 3 5 1

1

VII

2

1 1

X

F7

1 1 1 3 3

X

Ab 9

2

1 3 3

X

C 6 n3

3

F 9

1 3

2

1

2

3

1

VIII

C7

1 1

2

VII

G6

VIII

C major

1

3 3

1 3 b7 2 VIII

G 9 nr

VIII

C 7 nr

1 4

3 b7 2

VII

F 9

2 3

4

1

VII

C 9 nr

4

6 1 5 6 X

F6 2

3 3

3 3 3

1 3 b7 2 IX

Db 13 1

2

2

3

2

1 3 b7 2

4

5

6 3 5 1

3 b7 2

1 3 b7 2

b7

5 1 3

6

5 1

3

1

b7 3

6

b7 3 b7 2 VIII

7 1

2

3

VII

C 9 nr 1

2 3

4

VII

F 9 1

4

2

X

Ab 9 1

3 3

2

IX

G9 1

3 3

2

IX

G 9 nr 1

3 3

2

G 9 nr

VIII

1

1 3 3

IX

Db 7 2

3 4

2 3 3

1

b7 3

5

3 b7 2

5

1 3 b7 2

1 3 b7 2

1 3 b7 2

5

1

3 b7 2

b7 3 b7 2

C major

 

VIII

1 1 2 3

1

3

5

1

©2000 Jim Gleason. All Ri hts Reserved.

b7 3 5

 Blues page 117 

Walking Bass Blues #7 in G Swing Eighths

! Ä  44 #tttt â 44 t ! #t Ä t

Ût t tt t!t t

3 4 3 5 3

G7

â

t ! #t Ä t â ! Ä â

3 2 3 2 3 4

C7

t"tt t 8 9 8 10 8

tt " tt t

10 10 10 9 9 10 7 8 9 10

11 12 10 12

G9

C7

Ût t tt t!t tt

G9

" tt t

10 10 9 9 10

11 12 10 12

10 9 10 7 8

C7

3 4 3 5

G9

tt t

3 4 3 5 3

3 2 3 2

C7

C9

t"tt t

10 10 9 10

10 10 9 10

G7

8 10 9 10

tt #t !t " ttt #ttt t Û

tt

G7

8 7 8 7

8 9 8 10

3 4 3 5 3

C7

8

9

11 9 8 10

F

10 10 10 12

3 4

t#tt t

3 4 3 5

Ût t tt#t!t t

8 9 8 10 8

tt #ttt t

G9

G7

G9

tt #ttt t

C7

C9

Ût t tt t!t t

G7

5 5 5 7

Ût t tt t! t tt

G7/B

8 10 9 10

C

3 4 3 5

G7/B

8 10 9 10

G7

G7

G9

G7

8 7 8 7 8 9

8 9 8 10

10 10 10 12

10 10 10 9 9 10 7 8 9 10

Û tt t ! t tt t G9

3 2 3 2 3 4

3 3 5 7

#ttt

G9

G7

3 4 3 5

Ût #t tt t! t tt

G7

F

3 4 3 5

3 4 3 5 3

C7

tt

3 2 3 2 3

" tt t

tt "t t

11 12 10 12

10 11 10 12 10

C

tt 5 5 5 7

G7

tt #ttt t 3 4 3 5

©2000 Jim Gleason. All Rights Reserved.

3 4 3 5 3

C7

8 7 8 7 8 9

D7

11

4

G7

tt

tt

5 5 5 7

3 4 3 5

Ût " t t " t #t t tt#t!t t t ""tt

8 9 8 10 8

C7

6 4 5 5

C9

t"tt t

8 9 8 10

C

G7

G9

"ttt #ttt #ttt t

C7

Ût t tt t! t tt

G7/B

C9

tt t

11 9 10 10

F

10 10 10 12

Ab7

9 8 10 11

D9

D7

tt t!t tt t Û

G

tt

tt

10 9 10 9 10 11

10 11 10 12

12 12 12 14

10 11 10 12

D7

Û | | t ! t !|| ø æ øæ D7

3

4

3 5 4 5

 page 118 P ART  4: C  HORD P ROGRESSION 

Walking Bass Blues #7 (continued) Swing Eighths

Ût Û t t t t t t t ! #t t t t #t t t t t t t t t t "t t t Ä t #t t t t!t " t # t tt t t t t t t #ttt t tt t t t t t t Û Û â Û Û Û t t t t t t t t ! #t #t t t t t t t t t "t t t Ä #t!t t#t!t t#t!t t#t!t t tt t t t t t t tt t " tt t tt t ! t t #t!t Û Û Û Û â Û Û Û t t t t t t t t t t t t t ! #t t t t t t t t t t t t t Ä t #t t t t t t t #t t t t!t t "t t t t!t t t Û â Û Û " t t t t t ! #t #t #t t "t « t | t "t t c b d t " t « Ä tt t #t !t t t t t "t | tÛ t | « æ ¿ ¿ â æ G7

G7/F

8 8 10 10 9 9 10 10 8

8 10 9 8 10

8

G

G

C7

8 9 8 10 8

C7

8 10 9 9 10

6

7

12 10 10 12 10 10 12 8 9 10 8 9 10 8 9 10

G7/F

3 3 4 3

5

C/E

8 5 5 7

3

8 7 8 7

8

9

G/D

8 7 9 5

7

C7

C9

11 9 8 10

8 9 8 10 8

 

8

C7

G9

12 12 12 8 9 10

3 3 4 5

G7

G7/D

5

F

8 9 8 10 8

8

C9

C7

8 7 8 7

8 9 8 10

C9

C7

8 7 8 7

8 9 8 10

  G9

G9/F

10 10 9 10

10 10 9 8

10

7

7

F

10

10 10 10 12 10

12

Em7

12

G7

C

3 4 3 5 3

3 2 3 2

3 4 3 5

5 5 5 7

10 10 10 12 10

12

5 5 5 8

2

5

8 10 7 12 9 10 7 10 11 12

12 11

12 10 12 10

©2000 Jim Gleason. All Ri hts Reserved.

5

7

D7

C7/Bb

8

5 5 5 6

6

5 5 5 5

Am7

D7

8

3

C

G7

10 10 10 12 10

G9

Am7

F

10

G7

D9

10 11 10 12 10

10 9 10 9 10 11

3

6 4 5 5

4 3 4 3

3

D7

G

10 11 10 12

12 12 12 14 12

Ab9

G7

4

3 5 4 5

G9

3 2 4 2

4

14

 Blues page 119

£

Walking Bass Blues #8 V

A

V

A7/G

1 1

1

2

VII

D/F#

1 1

V

A/E

1 1 1

1 1

2 3

2

II

D9/F#

1

II

D9/F#

III

G

1

1

2

3

IV

D9

1

1 1 1 1 2

3 3 3 3 4

3 4

«Y « t t tt t t t ! ! «  12 t ! t Ä 8 t #t !t #t Yt t tI tt t t tt It #ttt It ##ttt It tt t !t 4

â 128

7

6

V

A7 1

5

1

5 5 6 7

7 7

1

1

1

2 3

10 7 7 9

5

V

A7/E

A9/C# IV

2

5 5 6 5

D/F#

1

5 5 6 7

9

4

1

1 1 1

5 6 4 5

7

V

A7

VII

1

2

4

5 5 5

1

2

1

5 5 3

1

2

1

1

4

II 1 2

2

3

3

Bm

C dim.7 II

2

3

3 4 5 3

2

II

Bm

2

3

4 4

4 4

3

3

4

3

! ! ! Ä #ttt It ttt tI tt tI tt t t #ttt t t t

â

5 6 5 5

5 IV

D9

5 6 5 7

4

II

D9/F#

1 2

5 4 5 4

7 7 9 9

7 IV

D9

2

9

5

II

Bm

1

1 3 3 3

7

5 6 5 5

1

5

1

3 3 3

3 2 4 2

5 IV

D9

2

2

2

4 2 4 3

2

II

D9/F#

1 2

"tt t # t t t tt t ! t

tt t ttt

3

3

IV

D9

2

1

â

5 6 4 5

5 5 5 V

A7 1

1

1

2

2

A9/C#

IV

1

2

5 5 4 5

5

2 3

IV

D9

tt # t ! t t

tt

t #t It t

3 2 4 2

5 6 4 5

5 5

3

2

4 V

Adim7

3 3 3

tt #t It

5 6 6 5

5 4 6 4

5 5 4 5

â

5

4

5

7 5 7 6

2

1 1

7

tt It t 2

V

1

2 4

4 4

A7/G

2

5

5 5 6 7

tt It t t t t

5 5 4 5

5

D/F#

1 1

VII

3 2 4 2

7

V

1

2

7

5 2 2

A7/G

1 1 1

1 1 2

3

tt t #t ttY ««« t t tI !t

7

tt It t

V

A

2 3

! ! ! Ä ttt

5

1

1 4

1

3

4 4

! ! ! Ä tt It #ttt It ttt It

4 II

3 3 3

3 5

3

Bm

1

1 3 3 3

3 2 4 2

3

t#tt 5 5 6 5

©2000 Jim Gleason. All Rights Reserved.

««« t t tI t 5

10 7 7 9

4

tt !t t 5 5 6 5

6

7

 page 120 P ART  4: C  HORD P ROGRESSION  Walking Bass Blues #8 (continued) VI

E9

VI

E9/G#

1

1

2

! ! ! Ä

tt t

â

9 7 9 7

2

1

1

3 3 3

II

D9/F#

III

G

II

1

1 1 1 1 2

2

£ £ £ £ £ £ t #t £ £ £ t t t t It t t t t t Yt !tt t t t t tI #tt It ##ttt It t t ! t 4

3 4

4

4 4

4 4

7 7 6

7 V

A7 1

D9/F#

1

1

2 2 3

9

E dim. VII

1

3 3 3

IV

D9

VII

E7

1

6

6

9 7 9

6

A9/C# IV

1

1

9

IV

D9

2

2

8 6 8

4

2

7

7

II

D9/F#

5 5 5

2

1

1

1

1

3 3 3

3 4 5 3

2 IV

A9/C#

V

A7

1

1

3

9

5 6 4 5

5 5 3

2

2

4

1

1

4

3 VI

E9

VI

E9

2 3

2

2

3 3 3

3 3 3

4 4

11

! ! ! Ä ttt It

tt t "t #ttt It t t t #t !t

tt t It

tt t !t t

tt t t

tt #t !t

â

5 4 6 4

5 6 6 5

5 4 6 4

7 7 6 7

7 7 6 7

5 6 6 5

5 III

A7

7

5

Bm7

IV

6 III

A9

1

5 5 4 5

5 5

3

! ! ! Ä

It #ttt

t tI tt

3 5 6 7

3 5 4 5

5 3 4 4

V

A7 1

1

5

A9/C# IV

1

1

2

V

A7/E 1

2 3

! ! ! Ä ttt tY

â

5 6 6 5

5

4

D/F#

3 2 2 2

2

4 5

VII

2

1

2

2

tt tI t

7 7 7 8

7 7 9 7

8 II

1

5 6 6 5

7

9

7

9

7

5

5

tt t t tt 5

3 2 4 2

7

2

2

2

4 2 4 3

6 6

II

1

1 2

4

"tt t #t t t

© 1997 Jim Gleason. All Rights Reserved.

©2000 Jim Gleason. All Ri hts Reserved.

7

3 3

7 7 9 9

7 7 7 8

2

3

5 6 6 7

tt It t t " t t

1

3

7 6 6 9

II

3 3 3

Bm

2

tt t tt

6

D7/C

C dim.7 II

1

1

tt t t tt

5

3 3 3

tt It # t

2

VII

D6

II

7

2

Bm

tt tY

7

2

5

V 1

6

3 3 3 3 3 3

5 5 4 5

2

A7

1 1 1

1

4

9

D7/C

1

tt t t t 9

IV

D9

1 1 1

t It tt t t t t #ttt

3 15

5

4

4

7

II 2

4

#ttt

â

4

2 3

2

3

13

3

A7/E

1

1 2

2

5

3

3

t t tt t t !t 3

3 2 4 2

3

2

4