FOREU/ORD

My objective in writing this collection of studies is to outline some chordal techniquesthat have practical application in contemporary styles of guitar playing, value in fingerboardexploration and the development of a senseof musical coherence. I have chosen to do this through example rather than a discussion harmonic theory with a of view that a lot is to be learnedsimply by producing the soundsunder our fingersand in our ears. Many guitarists accumulatea large repertoire "guitar of chords" which, in themselves, are pleasant sounding and, perhaps, well suited to rhythm playing and variousaccompaniments. But a repertoire of "isolated" chords may remain in the players mind as disconnectedchunks of harmony, not easily applied to chord melody playing. The main academicpoint of this book is the resolution of this problem. One improves his musical and instrumental techniquesby acceptingthe challenge more and of more difficult material. Therefore,the examplesin this book have been developed, not for their simplicity, but for their direct usefulness conin temporary music thereby representing someof the facets of advancedgtritar playing. ln view of this, I believe the reader is embarking on an adventure both musicallyand personallyrewarding.

My thanks to Mike Anthony for his contribution of Example38.

CONTEI\TS

FINGERINGS CHORDMELODYDEVICES
Example
I

,1

5
. . . , ) 6 6 l

3
A t .

6
1 t
.

8
0

CloseBlock Voicings Open Voicings . ParallelMotion ContraryMotion . CounterLines CommorrTones Block Chords Sustained Chord Background Short Chord Punctuations

-7

. . . .

8 8 9 l0 l l l l l:

CHORDMELODYSTUDIES Example

1 0 l, r , 1 2
3,l4 5 ,l 6 1 8 ,1 9 20, 2 l 22
z5
L-

l3
t 1 t a

1A

)\ )'7 to 3l

26 28 30

l5 I (', lIE l9

33
5+

,c)

3 5 ,3 6 .3 7

38
PROJECT STUDIES Example 39,40,41. Instruction 42.43.44. Proiects 45. 46. Solution 4 7 , 4 8 , 4 9 . Projects 50,51 Solutions 5 2 , 5 3 ,5 4 . Projects 5 5 ,5 6 ,5 7 , 58 5 9 ,6 0 ,6 1 , Solutions 62,63,64 65 CHORDMELODYSOLO

3l -)_ 36 338 ,19 39

't l

.+0 +l

+(r

FINGERINGS

While it is true that the same chord voicings can often be played on two or three dift'erentsets of strings,it is seldom possibleto do so without some change of the fingering. ln evaluating the feasibility of a change, first consider musical quality and mechanical efficiency : a. As a rule. the musical quality can be etrhance by choosrng fingering a sct d a or of strings in which the greater string lcrrgthis nraintained, thus permittingthe stringsto "sing" and sustain longer. b, Meclianical c-fficiency primarily a matis ter of' er,oicling unnecessary awkward or harrd or fingr.r movements. However,in developinua senseof mechanicaleffi_ clcncy. tlo not also develop a tear of radical jurltr-rsor large intcrvals on the fingerboard. for these techniques are frequcntll rcquired. For example,radical intcrval jLrrrps may supply a nice coutrastto srnoothscalc-wise move_ line ment. String numbe inciicete rs the lower note of the chord and are in circlcsunder the staff. Fingering numbers are placed to thc lcft of the notes.The thumb is frequently usccl throughout the studies and is indicated(T).

CHORD MELODY DEVICES

Examples I through 9 demonstratesome structural devicesbasic to contemporary stylesof chord melody playing. As you become acquaintedwith these devicesyou will observetheir practical application through the studiesforming the main body of this book. Take plenty of time working through thesestudiesas the techniques are highly concentrated.In order to better retain what you learn here, you should make a direct effort to put these'devices'to practicaluseon a daily basis.

l l \ R ] I O N \ ' : \ E R ' l ' l (-,\ | . - H O I i I Z O N l ' \ t ,

Basicallythere are two conceptsof harmony: (1) Its vertical structure which is nothing more than the stackingof notes into chords.Naturally, theseare played simultaneously. Its horizontal movement which involvesthe way one chord progresses another. to

(2)

VERTICAL structuresare usually expressed one of two basicvoicings: in Example 1, CloseBlock Voicingsin which the notes are packedcloselytogether.

Ex. I

Thesevoicingscan also be played on the inside strings (5th, 4th, 3rd and secondstrings).

Example 2. Open Voicings in which the notes are spreadapart.

Ex.2

F m m flH HT

ffiGnal fl-HlA,"z

6n?

Gm1

Closed voiced chords can be opened up as far as your reach will permit, simply by movilg one or more chordal tones up or down an octave.

HORIZONTAL movement. The melody lines formed by each of the chordal tones is the most important single factor linking one chord to another. In four part harmony, for example, one is really dealing with four separatemelody lines' It naturally follows that there would be as many Inkage possibilitiesas melodies: a study of this question in its entire scope comes under the headingsof voice leading, harmony and linear counterpoint (see Shaping Forces o.f Music, Ernest Toch). The following example demonstratessome of the primary melodic aspectsof chord connections.

Example3' PARALLEL MorIoN, a chord progression in which each tone is movingthe samenumber of scalestepsand in the samedirection.

Ex. 3

ffi eo Pu,c't

ffifl

D'?

at3

w't crg

Example4. CONTRARY MOTION is, as the word implies,a situationin which the chordal tones are movingin opposite directions. Example showsthe upperand lower linesin contrary 4 motion.

Ex. 4

TE

bffl

,rlzffi Gnn

Through experimentation with paralleland contrary motion one can invent somepassages considerable of interest to both player and listener.Such passages often quite useful as fingeringexercises for arrivine are and at a better understanding the fingerboard general. of in Example5. COUNTERLINES are usuallytreatedas a melodicaccompaniment the main body of to a tune. They are also usedas connecting lines from one chord to anotherand, on guitar,are frequentlyfound in the secondvoice from the top. When the main melody has little motion, the counterline can be more active.Example5 showsthe counterline (with stems on the 3rd string. up)

Ex. 5

:r rSrln

H+++t

ffi

I-H+H

ffi
(%A1
I

@
A counter line may be higher or lower in pitch than the main melody, or placed somewhereinside the chord as in Example5, or the bass line itself may sometimesbe treated as a counter line. Further, any choice of melodicintervalscan be used to develop a counter line.

Example A COMMON 6. TONE is a note that is relatedto, and sustainedthrough, a sequence chords of playedin succession. Example showsthe common tone on too. 6

Ex. 6

rtr^ m m +]-+t] [Lu.] l-.t4+.t-l ulJj-] ffiffi ffi.D.r ffioUo ffioh"'r ffiE/bs

!t {TTTTI
ffi

l t t r l l

ffi1-fi nffH #
l r | |

rrrrn

*^a"

Example 7. BLOCK CHORDS. Here is a rudimentary, yct eft'ectiveway of producing melody and harmotry simultaneously. This is done by placing a full chord underneath each melody note. The chordscan be either close or open voicings.You rnight experimentwith picking techniques here: For example,all dowl strokes,or alternatc down and up strokes,or plucking all stringssimultaneously with fingers. Note: The Gm7 in bar 3 is being usedas a substitute for Eb mai 9.

Ex. 7

Itr

Itr
ffi

rTln] ilaatl

ilil|

!. u-t-l-tl
L+-t-Ll-.]

l a tI t l r-t-Ffi-t

ffitoi ' fffi ffiff fi

& e# ffi

f f i f f i

u,

rtrrn t-+++.1-1 H+++{ H-t1+l ffrfl-l ffi nnn ?r{l D2* tine ri 6oa) EV^*q

*,n ffi ffin rnflt fr|t| H#

tf||af

lrr

?oo R,ft

The block chord eff'ect is best achievedwhen thc chordal tones are made to move when the rnelocl-v 1ro\'!'\. atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripg to change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc tir changethe voicing or inversionwith each new melody note. in order to createthe eff-ect all lirresnro\lng of at once.

Example B. SUSTAINED CHORD BACKGROUND is a modification of the block chord stylc. in rh.ir one chord is sustainedthroueh two or more melodv notes.

Ex. 8

ffi

It [rrrn
ffiTF |#
i t l ? t l ,l

ffi

$ffi
bvb

rnrn

ffrrn

, | | |

|'..{'...+ l | | l l

l.+1++l nrrn
ffi

m-n
t a t l fl

gII'

f+++il
ffi

E-r |.T55n

mx ffnn
v @

ngq

6hrn1

??w

?h"fc

NOTE
Whett a chord is sustainedthroughout a long seqLrcnce melody notes. tingr'ringrcquircnrcnt:tr.'t1.,of m a k c i t n e c e s s a r t o d r o p o n e o r m o r e o f t h c c h o r d a l t o n c s i n o r d e r t o r n a n i p u l l t et h c n r c i o c i r .I i , , . y especiallytrue in improvisingwith the alorernentioned common guitar voicingswhen thc voiec ltltl iirr : not beett fully worked ottt. Howevcr.if each chordal tone is sustaincd for as long as possiirle. , tltc li\r..n..r' r"rstrally rememberthose lrotesthat havc been droltped.

Exarnple9. SHORT CHORD PUNCTUATIONS. Becausc thc listcncr'sability to reme of mber the sorrn of harmony. it is possible to outline tlic llow of harmony by short chorci pr-rr-rctuations. Thesc can be usc without sacrilicirrg harmoniccontinuity, whcn they are playcd with atrthority ancllppropriately placecl witltir the bar. This cor-rtinuitycan be lurther rcinfbrced by choosrrrg mcloclies rvhich ernphasize chordal tones.

Ex. 9

a t t t l l nfrtl

NTTR rrffn l.H

Itr

Ea

t t I t a l Ffi-TH

rirn

It

a tt a t l

ltfrn
fffffl

It

trl=n
l i t t l l
ffi

rrrrn >

F H+ifl

rtn-n

H+t+t nrrn

iHtft rfffl-1

|'.# l t t t a l

nrffl

IA (l

Bb''-

ffi
0'

5-tTfl F+i-+-H
s0

lTn]
t t a a t l

t+++-l ++-l-+-.t
l l l l l l

Ydr

l0

CHORD N{ELODY STUDIES

Exanlplesl0 through l2 dcal with variottsapplications the devices o1or-rtliled ExamplesI tlrotrgS .) i1 The following studic's are uot to be considered Llnaccolnpanied as solos,but rather as eramplesof t6c *,r otre night pcrlorm iu a combo. For cxantple,the basslines arc oflen incompletein that most corlttos hrrr.' bass players filling this fiutction. lreeing the guitar playcr to work with rnelodies,ancl to clc'u,c6'r5-, harmonic color residentin the llpper extensions the chords.E,xamples thropgh l2 presclt a fer.v rlr., of l0 o1 (ll, rnal1yways to treat thc root progressior-r V or Il. V, I) common to so many standarcltuncs.

Ex. l0

#-

ttalI

i l I t a l F+-t-+-Ft

Frrrn ffTFH rrrrn ffnil

s,_ ?+t#l
H-l-t+ t-fH+l
fffff1 er'n4
F{-H

ttaf tl
ffi

nwl_

g.?.I.t!J

H.H-H

[Hfl
E)ort

rnrn

I+]JN ffiil ffi-H-1

bvts St

*frrffil ffi

atItaa

s-

tf+N.l

fr*vs

*5

ffil

ffiT t-+-.t-.t-J-.1

fTlfFl

ftbna'l

Gm1

Ex.l1

nffn itt?I L nTfn

ffi

i t ? t t l

ffirn
I

'ffi

i l ?tIl l-# l a t ? t l

s.,,

ffftfl

rfi-fi-l

i l l l t i v '

lFfrct

Ex.12

? tft | l

s_

fu-1t-l
/ I I t a l

l.Frfn l#

E^ |-|-ITr]
ffi

rrnTl
ttt?|

m]l4

rFFFN

ffnn

eV'svq HJ+H

l1

Examplc 13 illustratesclosc voicings.very effectivebrrt uot too often used,on the guitar.Thesecan bc nsccl as tcxturc contrast to the big sor.tnd open voicings.Notc: T h c G 6 i n b a r 3 is lirnctioning as u of dominant chord (Eb + 7b9).

Ex. 13

ffi

[H

r-H[ ffrTtl
Bb" q

ffirt fffifi

Hffi H+f+l |Trl-r

ovw

ffi

t#++{ H+1{1 Fffi ffiH [ffi rt-nTl

ffi

E,,,

'fr* rlTm
ht.b

][

Itr,
Iil

| | l t f l

Nnal

[fli W"t

Hffi ffi
6to

mx
ila

In Examplc 14. cach line is deccndirtgitr cc'rnsccrrtiveholr-'-stc1-r. n Iillf-step seqlleuces (symrnetrica diminishcdscales). One linc ntoving whole-step. halt'-stcp. rvhilc lnothcr iinc is nrgvilg lalt--step. whole-step producingthe chord changes the symbolsincliclte. as

Ex. 14

TTFFPI
t i | l t l

ffrrH |.i'.{+ a ||tar

ffit

tu

ITTII

h^a1

l-{+1-{.t if+-t+l ffi-rl Drl

L
I

i t t t a a l-Hl

gn4

f^o

H]#b,nr ffililAb,oo ffi

t o t u t+fifiu ffits f+]tr

t-itt-H H+

f1ttfi nnF

rfl-fh

uJ-+-1..1 l t t t t ,

ffi

FFFfN

xx

ll

Example 15. This is a simple harmonization of the C (diatonic) scalewith some isolatedchromaticisnr. The Eo and Dbo chords are both functioning as 1^7b9,and are being used to provide s o m ec h r o m r t i er c l i c l from the monotony of diatonic lines. It is good ear training to improvise this sort of t h i n g i n a l l k e y s .u i t h various diatonic melodies.

Ex. 15

rmm uJJl-.I 'g t++l-H l f l

= t+HJl l t t a a t
l..+.{#

ffi ffi
gto

D't

ffi
Qnfl

ffi
ffnn
ga

s. rnTn
Dma

{fifil loo

MH ulJ-ll rrffE t-FFl-u u+l+-l Fnrn

,t a | | | F{**#

rtr

Itr

||tlta ffi | | l | l r

3m?

G'8.

Dnn 0n1

!rr

t+-{-.t-.| t-t-ft-H fftffl LE 9vt

fr
H-t-t+1

ffi

Example 16 illustrates(1) exaggerated chromaticismand (2) the gradualaddition of notes (in eonrrurr motion) to expand the voicingswithout opening them. Note: the spellingof the chord symbolsin Errnrfl: l6 is lessimportant than the voice leadingwhich createsthem. Accordingly,symbol identificationof the.r "sounds") chords (more properly is awkward and unnecessary, Their functional or Roman NLrnrcr.identification(i.e. ll1, Vl. etc.) depends upon analysis thc entire phrasein which the chordsoccgr. of

Ex. 16

l3

Example 17. A fingering exercisein short chord punctuations using a Cycle of 5ths with #9 chords. Ex. 17

e*q

'--:\ F?*1

dfi*q

Ab?*q

Example 18. A fingering exercisefor running diminished chords acrossthe strings.Make a specialeffort to sustaineach chord for its full time value.

Ex. 18

ffi
Example 19 is a fingering exercisefor running augmentedtriads acrossthe strings.Play this in r \3rier! of keys up and down the fingerboard.Sustain each chordal tone for as long as possible.In generll. r6i. means to keep your fingers in place until it's absolutely necessaryto move them. This will contribur... measurablyto the continuity of your chord melodl, style.

X.

Ex. 19

H#
ffi
9+

ffi

ffi
l5

Itr

ffi

mm

]E

drfi

Example 20' Short Chord pttnctltatiotrs with chords clcscenclirrg paralkl iu ntinor thirds. This typc t, passage can be very effectivc whctl playcclf'ast. Notc thc use o1'thc right hanclin ailclingthc buss1o1eut tlt. end. Ex. 20

Ot*q

eilq

Frrffi Itttfl ffi ffffn

l..g

,FF;. rrfiit

I t t ? | |

rrFrn

t++#
ffi l l l l l t |#-{-{-{

llftii

-+-fir
l # tt I

TIn

'

. l l l l l j l - \

Co-01/'-L--

al

@
E x a n t p l c 2 1 . A s t r e t c h i r l ge x e r c i s ew i t l i s t a t i c i n t c r i o l r o i t f i l n r l ( ) r , l t . rv o i c c s i n c o n t l l r v r n o t i o n .

E x .2 l
T'T
f ll-

ltTrn rrFrn |..{.+-+.+-t t+.lJt-t t-l4l-l-t

$tH6'q HtH

Tt [rn-n m-fn rfl-tn il?ttl t-{-+-Fl-1 rrrrn tuu-j t-l++1"1 rrnTl | | l

ll I

Itr [-|Ifr ffffl-] mrrFl

T''FN rfffi-1

tlt_l1_i | | l
itttt

ul-tl] L l l :r I

t t t t t !

Fl-ITn Trn-n
-F -F | rrrrr F t|
l -

IIIl i l

rTfn

$,,

|l-fffi

rrnF

nn-h

ell
t -

gYh
2 b t

F;q

wure

16

Example 22. A type of threc n o t c v o i c i r . r gc o u l l o l t basedon 12 bar blues.

p t o c c l t a i n s t y l e s o f r h - v t h n r l a y i n g .T h i s ' t L r . . i ,t ,\

Ex.22

rmiiffiffiffi

.r || f_l_.l+l.l +ll+ l_l_l_ll_.1rr t t t t t l r r r r r r l t t t r l f f f m

[t111 fTlil] ?il?ll [1111 n.ffi ril tI l-u-t+t-t-l-l+

m-J'n rrrrn n-rfl-1 t-flfn

ITITN

F .g

F ev&"

[Ht rrmt IHT rrnn rrrrF fiffi rrFrn nm ffi w Ab r.#o bv

t t l t t t

It W. r-ffi-rTTN-N ffi rfl1f1 nrrn l-.{-H rfftf]

| l | t l
F{-# f t t ?I I

rrrrn H+N rrn'il ffi-rF H++].1 nm

f{-.}-4-.f-t

IIi,

{TTTN

X.

ft11tl

i l | l l

bb

i a
Yfi

S.nn

rJTilI ffiH u,l+u

t l t t t l

Itr

ffi ov Aob
I

[ItE

ffiil Frffi1
gfro

t t t a t l

3F riTm aIatl
Itr,

Frm-1

mil rffffi
r

6V" F1

61

tl

Example 23. The use of two notes to create the overall effect o t ' h a r m o n y h a s b e e n r e l a t i v c l , . unexplored in guitar playing. particularly in inrprovisation,and could, w i t h p r a c t i c e .m a k e a v a l u a b l , contribution to the versatility of one's stylc..Example23 utilizesthis devicein the basic l 2 bar blues.

8x.23

c1

"*" |..i++l i llil l

itfifi

i+l-t# i]#fl ffi rfl-1-F

Hffi

"*, l-.ffi u-lJ-J-.I

Abts G's

l8

Example 24.

"Full"

block voicingsin a big band style. as m i g h t b e a p p l i e dt o a n e n d i n g .

Ex.24

ffFFfl

[I-rfr]

IE

ftfff+

MT ffnFl
dq
Cm?
4

ffi ii++tl nnn

d*t
Dn'7
4'

TFI-TN #H

m
fffffi
ffi

IE

t+.1+.1-.t
IItaaa

|# |# t t a l a l t a l a t l

TTITN FM ffffi

III,

Httr
etrA'7

l | | l | l

ffi-rn l#

Frffh

f-t'ftfl

l||ilr

rffil

Fnel

.Jto \f

U"?

#^, 4

?rn'l

II t-ft-fR

rrrml

MH

ffi

Jtr,, mriTt rnTn

t ? t a t l

mm
ffitr
7 . 9
Fnl

Itr fi-t-iTt

$^n

ffiil Htiu ffnn

||tttl

g. t-T-ITti

H+1+l rrrrn
rrrrn
ffffn

ff,

dq Aq A,e 2

ffiffi |#
ffi

U]J]J

l+tfil
l l l l l l

ffi

:E II-TTN

l-l]-l-+..1

P^n

H+i# ffffn
| | l l t l

l t t a a l l..#

I I taaI l-+-FtiH

[TI-N

Itr

t-t-t-ff1

I-IFITI fllTfl t-ft-Fil

Itr.

rffffi

H1#l Htil1Dbtt nffn

lmT

flTTR
}#

rrrfn

t-l-{-l+ l t t t l

rlll?l

nrn-l

19

Example 25 offers exercises three areas:Contrary motion, parallelmotion in and expandedvoicinss. 8x.25

H#fr#ffiH# ffifu ffi# rn-ffi ffr-fflffffn f{+++-l l-++++l ffi#

4
4

ffiffiffiffi

ffi
ffiH
I

nffi Hrr ffir HiH Hlt Hlil

b8*s BWl Am? Ab^q Grt'

'*w

Hff, Hltr

m rTm ??1+{1 H-l-]-i{ rtfff1 ffi

rfI-TN Ittffl F,H
F+lt-+-j

wrf

Itr

rt[.

Httll Hffi
F+
r l l L

t-ftrfl

H++ll
e+tl
) ^

g$V5 4

s?gfi-: t / l

Example 26 is a study in parallel motion with the melody doubled on the bottom. This entire phrase could also be played over a G minor chord.

Ex.26 II qTl-fr

ffi rnfi

|.l.#t laf| | |

ffi

TI

ffiffi u-j-.t+
[tffi

H+H ffiff1
Dt

[m fffi

It

i.]=# I t a r aI

m-rn rrffn

IIII,

t-t-l-{-+-.] l i l | t

rfl-ffl

rlilll

) =qz G^

de' A"0b

1\

.Yft'\

e bV Ar,

20

Example 27. Another version of the band type block chord style.

Ex.27

ffig,o ffi ffi*o

ffiffiffi

ffiffiffi

t++++] t-fffH
ffffH

t t a t a l }++\ar+]

-*-

rffrF1

^1-bbo

lE lrl-fn
|'.#

l t a t t t

fft-tt1

l]Im gj+fl
ffilt Fnff:
rrffF

II

fflfil rrrrn ffffF

t a t , a l

F1

Htt
enq
m1

ffi m ffH+] H++fl

F+H]

]II

:E

ffiil
ffifl

[ffi ffit|l

ffi

IE

FI+H ffrtn
Hfifl G6
t-ft-ffi

fFm
ffi

FFFTN

t+ljt-l

t+Jl-u

rrrrn
l#

eblh t l l

Htt

ITP111

fiIf,

trFFF rrrFr

i l aatl

rrnn

d,

Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on tht bottom next to the 3rd. This voicing can also be played nicely on the inside strings. Ex. 28

ffiH H-t-Ht
Cn?
1\O
vfi'

ffi

ffnn V*q

21

Example 29. Counter line accompaniment, The chords occllr aft 'r the initial melody note. Slrstainthe first note of each bar as long as possible.

Ex.29

gtr
t-l-IT| rrHfl hffiff1

][t
ffi

t-fT]T]
l l l l i l

ffHtl

H+1+l
ffi-ffi
#

H+l]

I|ITN

l i l t i l

Y;

F?bq
2

4 ,t tJ1!

;!*

&'w
ml-lTl--

Example 30 has the same melody as E,xample7 ancl r l t t t t o r . t s t t L : l r t o t l t e r . n \\'av to approachthe final chord via chords voiccd in Fourths ascending chrontaticallr,.

Ex. 30

I'
|?rrl I

Tr.
l?..la

g
rrrlTl

rFtiT] ffffn |-i-.{-.'l.N

TtiTn

v]]T

H]+flt-rft-tl l++m rj H]l.]i t1ffi ttft-t-l

M I I r.L]-r.r.r *-ttl Hffi

nm

l | i l t ffi t t t t t l

Poco R r r

') -)

The following three pieces,Examples31, 32 and 33, are structurallyand harmonicallyfairly sintplci.ut dentonstrate some ways to gcneratecolor and variety without destroyingthe basic simplicity of th.'ttrnr open and closedvoicings. Look for short chord punctuations,

Ex.3l

--E-l il tar
ffiH

l-+++.1-.1

rfrrn

ffiA"
7
I

9^Q-

9r9

: : oTrt-17

+ =:;Fir-.2ry

A.9

7 I

T4

7 I

+\ - - l
I

T.

7
I

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l#

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l.l-.{-.B t a aI | |

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*"q

,^ Fffff1 FffiTffffn crn''r nri-n nFrn

t a a | |l

f
1 a

rr

Ex.3l (cont'dl

TTTTFI l\]fr1

llt

Frrrh rffffi rrrrn ffnl

bJs,x+

ffi g

? t i l t i
ffi

TFITN |#

t-ffi l-t-+-+-l-.]
l | | t i t

ffl-t-H

I | | I aa

Gb+t*q epkq

H.i1+1 rrn-l

rl"r-ftl f+f1{
|.]-{-#

]E

f , l t al

frTlt1

[TI-N

$t

ffi-rh

[Hl

Yf,e:r*'!'l{+=
>r a "

tittfl rrrm

t ?I ? t I t-Ft-FFt

ffiil 4++u

x.

Ililll il- r T Lll l-ll-ll-ll i llr , lllrlL l

A o F.Yly
\

itfrftg **1" frF tli,l, t-uJ-I..t T*

:T:*
> :rT-: Am Am R_ J m :

.+!

lL

vTrr

@
0^'l

@rc
hn'?
o-r- ---=

+ |

Itr t-I-tTrl rrrFfl ffn-h I-FFT.H t+-l-.I+ | ? t l

-]r J

rrm ?I

?/ --:t-...-__...=g , oW\__

:A

1/ --1

illftI

fr rrrrn m+ tffffl
eV

ataat I

H+111 nnn
**

+Hil

-.s-

s zYrl'Y--T'
@r

H4i+t tt |?| |

H+++i

ftf1t1

MT

ev

Ab? EV
3 -t-\-'

1zzTTt=
t./ L_l

hV

f,c

Ab1

q|.ffi7
@V L-J
QItftl

,^A
q -

Ab,t

tu*
b t

H-1]+ LLLLIJ

ffirFn r-FF+fl

Ab"6 H# Ab" Ab^*s

r r ft.f-_-Ta?--?
r

-:-'--t---t---q-t-

l-s

W e, b't

W1

qzg4TT
( LrJ

qzWT(
r H

-'Tr+?"nT
( r-

TP
Ab1
ar. O,s. eom

T (zf.___._,f -

D1

6/?

vfl

r f @

@tV6?

V"

4
0brg

w9o-^G

zoC

wt,

F'3

Ex. 33 (cont'd)

ffi! t+lu]

FFFffi

ffi

ll.t+f.l

Ab13

gbg4 A"p
, f--

Abr
i -r---

_ 6$l

uuu t-{-{-t+-l FFI-FH ?*qrIl...l.'.l.'.U

i-tt+u

m"
, 7
I
FTFffi
|#

FFFFF
|.lJ-l-JJ

l-HT+] l+{+# rrrrn fffffl

ttt+r5|(3)'

drtr trtr-t -.e,s

t-ft-tgl l-{-i.#

Dts

Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies.This i: d1.' to the addition of extensions. i.e. +5, +9, etc. You will also observethat notes other than the roor rr: frequently used to form the bass line. Thesehelp to produce harmonic textures presentin some of the mor: recent jazz forms. In this example, make a specialeffort to sustainas many of the chordal tones as possib,le

Ex. 34

fr

tat?ll

l-l-FfH e?+a ffilTl

Llt-fil

,*ar7rI

As,

-f\.
l l

ffiu"

f11+t1
ffirfi

ffi

ffftt1 rfffh

Ff

ffiD'oo(e)

sffil

1#+N
Itt?? rrrrnl
F+-t-+iF{

fi,,

ataill |.# ta I I t(t,

,T[,,

wtrF
29

HM

mx
stl

t-+-{-.I-+-l

9Y, at '110 ^,:.'i t"

Ex. 34 (cont'd)

fRTT

t-t-l+lt Fffrfi

%ffi

ffi

ffi [ffi

RTM
t+..|+.1

H{$+l

ffiFfJ A \ O ( s t -

IJJ+#f) ,

trFFF
|.#

HH

t+{Jll

*,o4D
Ir r,-,.-,
@

Example 35 shows the primary progressionconsistingof G6, Am7, Bm7, Cmaj 7 (one chorcl l.rcrl..,rr being connectedby the passing chordsG#m7+5, A m 7 + 5 . e t c . Ex. 35

trrm
ffi

a l t t a l

[ffi ffrffl
G6

uJ]+

FFFfN
,tfatl

rrTTI
fftlfi
_l

ffiff1

FFFFFT f-t-tffl

f | | i a l
ffi I taa I

-w'

l-ftfH

rTFff1

ffi
Aoa

t-fft-ti

ifttti

ffffh t-FFt-t-j

rrrm

6^c*

Af",*S

bJ+s et"1Vr
4

(nn'7

Example 36 is the same chord progression being connected by passingtones (forming .r ir.rl1 c o u n t e rl i n e ) a n d a l t e r i n g the chord symbols as indicated Gmaj7, 4*(maj 7), etc.

Ex. 36

FFM
ffi

? I I I ' I

rFFTI ffffr

|rrtn Gb

f+11-i.t

Gna1

At'f

Ar(t^E

(mrz) bn',? g.,

Qne')

?'V

,&

2,7

t+ @

Example 37 shows further developmentof a counter line resultingfrom the extensignol rftc 1..i..1... tones into a more melodic pattern.

Ex. 37

ob

A^1

$.'z

Cnfi

J I

E,xample38 is a chord melody solo embodyingthe structuraldevices outlined up to this point. Look f'or vertical textures,contrary motion. parallelmotion, connter lincs, block chords,sustained chord backgrounds and short chord punctuations. Ex. 38

F+<l-+-H

fffr" rrrrH
I

ffi

Ittt | |

ffi d'rqus

mnTl

ffiffi --b_.-dtq'

rlt+flH#N

; l t t t t , l t l t t |# Lt*-l-*.I

iT-ffi

rrrr-n
l l l l

to t{dttl
l l

nnn

F + - t - + - F l I ll lll

-+

-a

ffii b2

mm

|# I l a at I

"frrr rrffn

t-ft-t-fi
l-{-.H
I | | aa l

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G#vs
7

nnn Ab'r

nffru

fft-Ffl

@
J ]

Ex. 38 (cont'd)

,ffi
(l

4l rr--:.
-+

'''H<P-..
fftttl Ffft-

ffi fffi-H [ffi ++ts

ff++il

ftfifl

FFFF

*. zvw
e @

/':\

ffiffi

ffiffiH

mffi

bs

ffi ffffn

ft'rffl

FFFFFI

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ar>,/F
;d:@@ z @
16)
1 a JJ

tllilt rft+1.1.1

rrm tuJu

t t t t fl

ffi

|# I t f ? I L

mm

ffi-rF

| | | t l

rrnTl

rffifr

-G,6,

*@
,

@ @1-'

H+1+1 ffifi1 HilI

l'{'..H

nrm

Dn*Vs

ffnF

ffifi-l mrrn HJtt-l

ilftal

I I I I L mm ffiffi $ffi ftilf t-Ft-iH H+1+1 t+1.1+J r|rft1

ffi

UL

tr,Tn45

fi1-rfi

5-o

Ex. 38 (cont'd)

ffin ffiffi

l.i++Tl ,s,, t+1+1{ $Hfl ffi H+] rrfffl FrFrn rttul

/!-1mr

Ix.

IItr

rlTrn Llll.ll

st

[ff;

Htf z.-r

ffi

[tt]-]

u, [Hil F+]++

rrm

Hfl+l

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I t a a| | i I H ' I

zffs*'c
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@
l r t t t l ,

ffn-n

rnn TFTF

ffffn

rrFrfl r r l- r n rf 1 -rf lr1n r f

Itr, rfnr n-rfn

1 | i l

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f f i

ila|l

Hll r lllil rlllll

6)

tl*t-r-i|#

rr*

s,,

:rn:
4 3-

I a rrrr: a

^euylos ^ fi;., aJ-- .l-rt+ 'sfir*'r&,

@ O @ O @

t' u) + , ,t a &

^nvs'1;gF+ f i * # , , .or,f
Ur

With few exceptiorrs,it is possible to find a common. garden variety chord voicing for the guitar (of the type found in many chord eucyclopedias) that can be fingered to include all possible notes that may appearin the melody. It is obvious that if the melody note is placedtoo low ou thc staff, you will not have enough strings left to form a satisfactory chord beneath it. Therefore. you will often find it both helpful and to r-leccssilry transposethe melody up an octave (this is callcd "jumping octaves") severaltimes throughout the courseof a solo. With experic'nce and finesse. this carl be done without losir,g nreloclie continlrity. lt is possiblchoweverto play a lon rcgisterscaleor melody (as low as the 4th string blrt no lower) with some fragment of the chorclbtncath. Erarnples39, 40 and 41 show a rnelodyline u'rittcn high enough to play full chord voicings bencath. and briefly explore the problem of fincling chord fingerings that will accommodate various melodic possibilities. These examples 'G' shou, a diatonic scaleharmonizedwith the II, V lnd I chords, the three basic chord types fotrnd in diatonic harmony. Note: the addition of M etc., only tirc c\t!'nsions aj.Jth,6th,9th, affcct the color and texture of the chord and do not charrge its scale ftrnction or its role in the
prOgrr-SSloll.

36

ffiffi
Ex. 40

t-H+tl nrfl-l 4+

-*ffi t+++11 u++.1+ HH

t-H-.*{

tsr
4

ffi

rTNfi *-6-

ffiffi l-fH+l H-++l.l

FFFi-H 1 r)
, l r t l l r

'ffi..,

ililil

--s-

filfl ul+u [flt

--E-. l-uJl

ftilil u++t] $tt

H++N l-H+u ffffn

3

H+#f u++N ffffft ffifn

FFF++I

,.8.,

-*-

Ex. 41

ffi',ffi ffi ffi ffiffi ffi ffi

v @
3 t

ffir ffiffi

ffi

ft

Example 42. Using the indicated chord, find a suitable fingering with which to harmonize the melodr Refer to Examples 3 9 , 4 0 a n d 4 1 .

8x.42

Example 43. Now, as in Example 42 above.harmonize the melody to fit the chord symbolsindicated. 'A' in bar l br.rtdo not changethe melody. transpositionto the key of making the necessary

Ex. 43

gr{

Hfn

n n

Dq

Example 44. Any chromatic note within finger nlnge eln llrvays be harmonized with a given chord form, although it mav occasionallvbe dissonant.

Ex.44

Fnal

ffi

vflT

F{-.{.#

u+Ifl

H+1+t f-fl-ffl

3u

Example 45. Experiment finding chord voicings of Gm7 that can be chromatic tones.

Ex. 45

i
r l

J*J -t*.1 -,1l l

lbL1-

E,xample offers one possible 46 solution to Example45.

Ex.46

ffirF
F{-}-f*{

rrrrn
a t a l l l

Frrm
|".#

ffffn ffffn

l l l l l l

H+{+1 H+$+l FffIfi fffff1 ilx! Hfi

l..|-# i l l | | l

u-lJJl

FFFffi Fffrft

atafil

m
t-l-.t-l-t-l l l l l l l

fFm
ffn-F
) t a a t l

f f i f f i

rTHTl

ffr|fl ffrffl

ffitffi ffif, [+r rrffn trd

6;r*
t U

fr :rr*

l e a

+F ti-i-*
Grnl

6m slo

GJ+r

Gn1

G#+s

G^t?

G.("n)
r

,w, -* f f i m l+1+l-1

ffi
L

"ffT,
|'.#

r-*-{#

frffi

IIH

IJJJt-t

F}*{-Fl

Hl# ffffn

Llflll

ffffn ||l tft

rffi
e-q

H]+fl rflrn

ffffi nn-l-l
'J+tl

nfifll tlnF

+H illd

G^1 I

(&ra)

4d

39

Examples 47, 48 and 49 consist of the same melody with major, dominant and minor chordsdescenciin chromatically. ln each case the melody and the harmony have their own force and are independentof cu.l, See other. Note the interestine extensionsthat occur as a result of this independence. A maj. 7 in bar 3. ct.

F.x.47

Dmn?Sme?

Qnn't Brea

gh,fi Amna hb^e'l G^e1

Gbne't

Ex. 48

$},3 Ara

hbtr Gt7

Ghts ? t ?

Drs

f.]

F;x.49

hrt

hb,q

6*

Gbnn

G^1

ds^q

Fhr erq

..)

6bn1

+U

Example 50 consistsof the same melody as in Examples47, 48 and 49 and demonstrates one set of voicingsof ntajor 7 chords ascending chormatically.

Ex. 50

il lfal

NTFfi ffttf1 l#

,,s,,
tl

Itiltlr l l l !
^tt

t a t t l a

f f ii f f fi if ff fii r f ff if i f f f
Gm1
4 d

?Inet?

d^^'?

h^e'l

t),,,nta -^a * ^^ Wa{? h^a?) y'o

Exantple51 showsalternative voicingsand consists the samemelody as Example 50 above. of

Ex.51

Frffn t-+-l++.,1 tllllr t ft l t +

l i | |

il ttal

,*,,

mm
?i:t^h1

-$= ffi *ff" -r- fr uJ-t-ll H++N t+++t-l t+++11H++{] ffiil IHT H++H rffil +Hfl H+1fl t{++fl ul-lJ.l I-Fi-FH i-H+fl ffi-rl TFFN ffffn

ffi

rft

Ffl-TN

I a l | t |..+.4*

n-ffil

Grt*'l

4a_

d^et

Amn?

f1t||l Hflil ffin Wnal o.naa Qnal d^0,

tffi

l-fffft

VmA?

4l

Examples 52,53,54, 55, 56,57 and 58 are short fragmentsconstructed simulatestandardpop tunes. to Here the examples are presentedin lead sheet form showing only the melody and chord symbols. Using the devices previously explored in this book, develop chord melody solos for each of these examples,keeping them as simple as possible.Concentrate mainly on finding chord voicings that sound good to you and still permit the melody to be played. You may then compare your choice of voicings to those found, respectively i n E x a m p l e s 9 , 6 0 , 6 7 , 6 2 , 6 3 , 6 4 a n d 6 5 . S e eP a g e 6 . 5 4

Ex.52

flbq

6^'1

evq

na1

ht

D1

D"7a D;tbs

Gbr$1

Ex. 53

tn

6v7

?1

42

Ex. 54

D^'l

6*{? g

tx. 55

Ex. 56

Dha

Ex. 57

Gnel

g+rl
,,,4- --.*I

Gne?

@1

++

Ex. 58

evcw

D/'r>\

d+W

eq G'b lbra)

tF)

Eb-ar

Bb-',: Ebr

Abmrz

Ab,^7
l

a?\
p ^tbil

GrotT

Cryn7

F'm?

Abnnt

E x a m p l e s5 9 , 6 0 , 6 1 , 6 2 , 6 3 , 6 4 througli 58, respectively.See Page42.

a n d 6 5 o f f e r s o m e o f t h e p o s s i b i l i t i efs r h a r m o n i z i l gE x a m p l e s5 2 o

Ex. 59

"ff* rffil [Trn rffi{t +Hfl H++fl

ffiffi
flw

H# ffiff tftfl ulJll ffifl rill?l nljlt illilt

fffi

t r I I t r E L g

HJ+|lH1#lr++f.+t i+i++l trtt1l fftttl ftffi

G^1 Ch

ffnn [Ifi lrft-l-l F,*a ?,*tc4D'? D? 4+ zlF^

l l l l l l

.fr" ffitn H+++l fffff1 ffffi ffrrn

,F,. lll1l rrffH
M?TI1
t??l I I
i ? t t l l

,+,

HIFH t a t a t a

nnfi Htl

Hlll-.t t-{+4.1-l FFFFH +++-l-.i H+Hl

ffiffi
u*"

-r-

HUl rllilt

I I I tat

lH | , I I

TfTTT] rlflil tutt.l

-9--

f1ffi

l-+++ll

? l t t t I

c c n

Wg

III I+, ,s,, I-TTTI ffi mm t+*.I rrm l-u-.ll-l TT*F TFNT1 rlifll rrrrtl H+t+ J-.I-lJ.t u+lll ffi l_|H1.i itHt ffif,
ataa
'-{-#l

ftIill
l-l-#

(+1-iJ-+-.1

t]-uu itt | ||
ffi-ff1

[ttf] l | | r_l_l

!-r bs

G."1

GVr*o

/A \:/
,(

a,
I

46

Ex. 60

|-ri-rfl
il?atl ff-rr-

ITITI-I

H+FH Htft-j fffrn

F'fu,
@ @

mx ffn-F
rffifl

lt??tl

tilluI I I t fa

.s,

,,r:% ,v'%v
@'e

H+fti rrnn

nnTl TrTt-rl

mmffi
F?*q $hq

mfr +flil ffi-rn fftr|

l++{+1 f+t+Jl

t++ul ffi
6b%av
L't

rfit rrFn

ffi

il?lll illt|l
I i I I aa

,8,,

ffl1-H

ll+$t ll-u.t-t

,s,,

rfl-Fn

Frffi

+'b

H+11+ffnn H+111 rrnn

+,d

tt+-.lj.l

rlil II u-lj.l-l rllfil

,F..

t+-.1-+-l-.1

ffi+l

fnftl
.lA

H++l
ffi-rH

rtfllt

hb',/ob ?''ty"
4bo'r

4 V-)

C'*V

r'fo
@

@
Ex.61
FFFffi
Fl-#
T I I I

6\ \:-/

t+++l-t l++11.1 Ft-f#-t tft+H

Itffi ffrfl-1

rl| l lt

FFFffi
|-#

ttt+i-.I

&naz

A*

[ H f f i r i l f , f f i fft-rF irfi ftrt ifld hffii $ril $ri $ilt $fif +9

Dnq
d-?--r-

affi

FFF*

FFFffi

FFffi

ffi

ffrrf F{-**1

t l a | l |#
I | | laa

f+-+-H l l l l l l

f f i f frililll tujl-l
ffiil
lillr |||l

T t r T

ffil

GB $s) C,ne Gn19+s , I

Frnlg

q,6f)

lv+ trVJ_
2,+

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FFFF t-FFt-1-l t+ljtl

o? @
uE

z r 7

@'
g [5[fn rFilTI ffffi ffffH
ffi

@ @
FFffi
ffi

$fifl

Hflfl
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[tffi HffI Arll, (h) 4+ bL

mn Hi+l]

f t t a t l

rrrn

HiH
Dt I
l+
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nffil

rnn rFTFN

ffitr t"1++l-1 rnm

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FFFFF

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t-l++4-l
I t ft I I

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l-t+ft-l
nb

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6t+16t

E x.62

ffi ffi nnn

#*n
7+ .-* -4t

1*ffi+sa#+s

rnan4o

ffi ffnfl [ffi ffnn u]2,

| | t i t I

H-+lJ] l t t t t a

-w-4 l l rtrt

t ? a a l l

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fffffl
'Fr^rl.z i' ttfr+

ffffh ffffh

l]]?fl ffi-rn fffffl ffrrn F{#

ovq A

, l l l l l l

Rr{.

I
FFFffi

( 5 J

r>\

qffi |-]-{-+
Il

ffi +t+i1 ffiHffi ffi HfN ffiH

t-tffH
t'.Hl
FFFFN

Ffft-H
t#]

rfitF

Ab^aq
4 .

ptb6 N?
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ffi+ ffrT
F-q

l f t f |

trFm r-l++N

t.]i+ i1-nn
Fr\t

lflll

@'

't@
ntTr
ffi

4+- t W

-s"ffi ffiffi 1t+#1 MT [ffi [ff| fffffl ffffi H++H Fffft1 t+++11 [ffil rffrn rFn-Fll-ttltl ffl-tfl S* hn dort Dhn
4+-

H++fl rrn-n l-f+#l i-rnrl fltlfl

?!$
I

u #" rIilTI [H tffl nrn-l TFFN

nffi

| l t t l l

FFFN
|i"+...+

rrrrn
tffat I

cB& 6boVq
3 t t

l i l | l

rFP1tl rFFTN t-l-.l-++l A

8x.64

ffitrffiH ffi ffi

a)l

trFFF

r-lTfll

RTM

ffi

H+1+{
Gme(l

6@b@e
Hl# H+lu H++11 HH ffilil H4
l l | 1 1 i l i l

Hi+l-t

ttaaaa iTt?l

![

tltatt rrrrn

IIt

t-t+++] f+]{+

ataaal rrFrr]

lltr

l r r r r

ffi Hti
H!+.FH

II

eq

@ @ '6 ffi{l "s". l lll+l l-lllJ

F,,

r-.r-r-r-Lr rrrrH fff,Fn Clnntl

H{-{-11 l-t+fl-l Ffft-H rrrrFl

'-ffi, HM ffiil ffn-n

F+'l

Ex. 64 (cont'd)

ffi
b'l
| .3 -,;'3

il ilft

,s . .

rrffn

[ffi rfttfl

fftffl

s,

ffi

ffi

Ao l

@ @

ffi

ffi

-** t t , ila

D eb.,l s

ffi
+{--}.4+-

rrrrh

t+++t{ ffffH

-IT.

e^1

tilt

t-t-t-fH

*u*r,

Ex. 65

JH u-lJ-l-] H+fl1 $ilfl ffi HilI Fn? &*t

"*t rfiffl
#

F{+H

ffi ffiil

H++u
&^ort

,$,,

t l a a t l

,s, ffHTI ffi{

,8,, n-rrn rrfn

[T[n-]
H{-t-+t | | I f f I |#
l

Itr

I t?tt a

ffi

t-.t++-]-l ffnn
l l l l L

ffrrn

ffrrn

-X"
IItaaa

ffix rnrn [ffi

(qq)

TTFF

drbq

ffi

ffifi H++H

Abn*1

ffrffr C1.g

ffi Hffi t-ftfH

f1-l-l-tl

rffi
r

|..H

FFFfN

f f i f f i ''
H#+
z a \rmt/-\

tl-i-.1-1-.1

fttttl ffffn

fffff1

lil|l

t.f+++l rrnTl
c1+q

HJ-1-1.1

i.]++-:-1

E'6

Ex. 65 (cont'd) FFFffi ffi a l t ffiFM

T.if+11

ffiil rrrrn

ftffi F,,'.'l

H+++t mf I rrrrl H1ffi

rll'r nrffr t++++{ flrFfl'

I l

it+t+t

fu ffiffi H+tf

@l
*IE

@'"@ c @
ffi

'6

tl

ffi ffi#ffi ffirr ftff|

ffiil
42 eVr*rl _ - .+

Iffi ffiffiffi

.ffhr -X-

****.t l | | t

H+11.1 rrrrh

il llfa ffi

fTilN

vlTt

TT I-n-fn

WriT

ilil|

H+l+l r|m

u-t-.1-l-.1

eltbq

HH-]

L lI l r t

l{#+1
l-l-{-H

fr

,4
F

Abn*'7

o 6 @ c
rFh.' Ahr H1fi 4a
, rrnfi

*-@
Itr.

r m FH+1{

ffi -* ,,.1- t
@

rn1-n

m mrr

rffi-'

rrnn rrFm
Qn1

rMTI ntTn ffnn

TFl-fN

@
t r f f r l lil l l

ryT

Hti+t rrrrn

Hfl

ffTtn

Mb>T

H+HJ nnn
llllll

tffi" ilffi
|Im

[ffi

A*V5

ffiffi Ab^.

il-]+il tttt-l-l

FM

H++]l Fl'#

F++-{+-.1

ev

ffin

O C 3 + O

Example 66 is a chord melody solo basedon a standardcliord progression and includesthe structural devicespresentedthroughout this book. Continne to explore other possibilities the material presented of here, in applicationto other tunes. The more of this you do, the more proficient you will becomeand you will then begin to acquire an instinct for finding the right chord voicings.jr.rmpingoctaves,etc.. thus bringing you within reachof extemporaneous improvising a chord melody style of your own. in

Ex. 66

|-#+.1 l ?| t t I

ffi irfff

rrnF rrnTl Ah,r

|-|FFN

t t a l t l

rrnTl n'rrn ffi-ffi

! | a l

FFffi t-ffil l-++lJ..l

H#
fu"1

ffi

Gtl

@O

ffi uj-ll.l H+++{

ffi

I'

[Tm
Iill|l

nt

ffftfl

TFTF ffrrF

| | | l f f

ffit-nD*th

trrrF
t--t-'t--f-+{

Frrrn rfl-rn
ttatII

Frrrn

rnn

Abq

52

Ex. 66 (cont'd)

tu u++fl
H#
ab*'Z-nA*uGA't

tttf|
| #

,,S,,

l-t^ff1'1 ttattt I | | tal

| { ' . , # | #

++-++.t
iltttl t-t-.1+.1-l
l l l l l l l l l l a l

"*.

ttttil

Eb^?

[fffn 7fiullll

f++-{-t-.]

l l l l l l

4tu

Ab'7rT\ 6'g

It

rrrrn
f f i

FFFFFT
l l l l l l

{TITfl
l #

tltl!

t t ? t t l f f i ?tt?tt

l l l l l l

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rrm

f.lj-]-l-.]

l l l l l l

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! ) d-rC.AiAAF'G)
gT @ @l

rrrrn

llllrl

illlll

rntn fttffl rfi-fl-1

H-.4-+{ i | | a t l

[ffi

/lh'sn

c*,,t

aT

- ^ 6

ffi Anl

ffiffi ffi nTrn ffiH

An

]L

It

ffi

A&av rfi-Fn ril'l+il + An'?

L tlDt.

ffi

ffi

mTn

FTFJ'-1

rETF]

J.

E, rFffn

fH+t1 FH+f] rrFrn tlltr

4

H+]+

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il?lff

tflfl-l ril |lt tt+lt-t

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l.iH.
53

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fl-lJtl

utu.]

llrrrl rlil ll

,.8.,

H#

Ex. 66 (cont'd)

rE,
l-{-'t-{-{-{

T*1fi^,

nnn

u-t-lltl t t t t t

rrrtrn rrn-n
A'7*1

t t ? t a l

ffi

H-t1+l nffn
Mbq

rFffi
ffi

H{
#

ffi IHX nrm

nq

-S'-, , t t t t

a t r l t l |# ilt??l

-*-

l-ffi A+7

rFmll ftt-tft l-fH.H

ffi
ffffF !'''4

Fl-t-fH

Ft+-t+{

rrn-n
ffi l t t t t t c a 4

t a t | | l

rffi rr|n

l-fmn

trrm
l l

ffi-ff1

ert D^q W

F,r,'l r.

De a*4, r t

rffn-]
\

rnrl i | | t

| t

clv1

frt+

6fi

ath

r|nn ftttfl
Artn

n-n'n 11++N rffffl rrrrr1 ffftft

|??tl

x FFTF |.{.,'l#

[]-TTT

Itr

ffnt1

l+-t++l Htr l-t-t-ttl

F

RTM u-?-t+]
il||ti

Ab+tl

Grl

6
@uo

Ff,',h 8*q
@ ot--.

ffi

ffirn

Ex. 66 (c

(x)

ITTII]
I t r t l l

i l t t l l ffi Iilill

en't

ffi
l-tiFt+i

ffi
4.

ffi

It
l l l l l l #

liltr ataill I]T1Tl

t-tfti-t m ffit Hffll

| - . # l l l l l l

FFFFF

c't-

l i l i l l l-t-ltlt+i t g t t t l . t

llllll i l l | l

Cnq FneT

-+"
4-

t++t# ffitl

LT'IU

ffi
a - l

HJ+N
$)

ffi t{+u.l

ffitr
u-l+1..1

fr

U]JJ]

F-9ru

ffiffiffi ,,ffff,0b'-......_.....
t3t*zE^ '

.>

Ex. 66 (cont'd)

l-I-n]t Ia aI at
!

!Lr flTTN
ffi

l ? t t | l
|#

FFF**I

% tl
4

;l.at
\\-/-f 3

Amf>f1 ( t o.'1ff1

ffi

t+++# H+f+l
fi"tl ' l F .

rHffl

arT?d

Htffi l | | t ghbs

H+]+l

[f]Tn

Itr.

ffi rll?ll H++l H+u.] nrfl-l

Gt?

nnn
c6/q

| | t l

rrnTl

t-ft-l-F1

t t t t e a

IIt TTITN FRTT

ffffn '#

#rn rrfn

H-i-i-F ffnn [fi|

Cn;7 *r{

ffit

ftffij

flm ffi 9ttl

Fffi ff,Tf1

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