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INTRODUCTIO,N

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Whe·n 'I was ·first.', ~e·amin.g p~~ythe guitar, 'm'Y':teacher would come to 'm:y' house and, -if.l recallcorreetly-the ~ to routine went something like' thl-s.:· He would enter the house, say hello, ask f:QC if I hadpracticed (1 would li~ and say, "yes" Dr 'be more truthful. and say "a.liftle"), and then sa.y "Let me see th~ box" (no kid.d-rttg·~thi·s is' what he said and, now that. I think of It, my first guitar did look. sornethinglike a box), .. Anyw.aYl 'he would take my guitar, tune: it, and then play a 'liftle -~ord ·p'~ogre.s$·ion wh·ich would just ·t10.0I:I1Je..Needless tt,.;saY.~'the.chords and p·iog,re.ssi·on.$ he would ph!y' were 'quite' a few notches ebove the 'simple seunds like C to G1 thatI 'was struggling wtth, and I:~juslfigUred. that the things. he was .do·in@··were,·light 'yet:1IS a:way for me, . . Well, at some 'stage of the game Ireceived Ol·y titst chord' book ·and.,. in. 'a' short time, J remember becomingvery d:isaPP'ointed: with ..it because, aI~<)u~:ghthebook 'was: teaching me some good. chord forms, ··t"h~r~ ere no pice. chord w .DrOsre·ssj·ons; there were .no little ~p~~ssages sounded Iike music.'; instead, there were justexercises, ·where Y,QU "tp~¥. that .the same chord form. and moved. it '1JP' :fret at a .time, in orderto learn the names.of the form on the: diff~re'nt frets, one 'While exercises 'can be vet;' helpful, most people also like to be able' to play something that so·un~s_.1ike usic, to give m 'them an' Incentive to practice; and: if that something can be ','he 'vehicle: by 'which they acquire agood portion of theft m~$_~~aleducation ,as well, it. seems right to exposethem to such material, doesn't it?, . .. .As :.YQu milht p;ther, ..1. since'rely feel ~:hat this. book, and "the. succeeding volumes, ·9f(.er you the oP.p·ort.'-Inity to become .:{riel)ds'with just such sounds - sounds that will not .only ·d·elightyour ears but will; when analyzedcarefully, enrichyour 'undet$tan(l~ng of some of the. glories: of th"is phenomenon that we:' call music. . It must b'e,::p:ointe:d out that this ·boo~ is not for the complete beginner, .If yO\! fall into this, category, it.is to YO\l:·r great ad'vait~'qeto 'find ·.3 good teacher '(~a'$k: 'around but shop carefully, as 'Y~9'U 'would 'before anv major investmentj> he o~r.she will s.p~¢d up the learningprocess and help you 'to avoid the creation ':0..£ bad habits, .L:ater·;,.·.aft.e.ryou are..able. to playthe '~."~\':,?hQJd.sY~lJ.. ·p.11earrt the basic chords frotn almost. any' guitar teacher in the world), :yau willbe ready ( w to 'tac,k)o· this.book, AlSQ.~.In Q'r'd:¢r to most fully understand this boo:k, 'you will have ,to have. 'a ·~no·wle..d.ge,of the fundsmentals of music theory (like scales, Intervals, keys, key signatures, ..triads, Inversions, :3'n'dseventh chords). 'This information can be .aoqtiireq, again, froma good teacher ·or from one of tfre many books. 011' the subject (see recommended list near the bat·k of this book). The reason that this information is not .inclu:d·ed In.'the present volume 18that it really requires a: whole book ill Itself if. tile student wants t9 th·Orough·ly. know these fundamentals and, unfortu~ateJy.~this Is 'the only w·ay·'t.fJ, ·go·if YO'u Want to ·ttall:Y· un·de:rstruia music ,_. it is 'well'~orih the tim·e"·a.nd effor:t, so start : as soon Q,S 'YQ~U 'can, and le.t it out of: the W·~y·. One 'brtlht spot _. even j'f" you don it .understand what's ·gOitlg on as far .as the theory aspect .o.r this 'b:'o:okis..eoncerned.vou wijl"$tillben¢fIt in. quite a few. ways ·i(~Qu.,b.egii1·practicing_the examplesgiven while' YOu,.are simul taneously c.atChing· up on music theory, 'Some of these benefits 'are; 1.) ·you. 'will 'be training and d·e.ve1op:iia.g your Iingers, ~.l·Developing··Yyo·nr musical ear (py cominginto contact With m·wic·al':e~·ampl~s.),and 3) Sharpeningyour knowledge the guitar·' firilerb6~d, (at least learning '·wh:ere. all those weird chords like C' speckled '9th are, even If'Yo:u don't know why -scme ofthem have, say, .a ferll1e:nte:d' fifth yet). .Event4.311Y·1 ifyou keep w'orking' faithfo~ly at your study of music .theory.,. ~n.d~tan'd.in,8:wlllenter the picture, arid.-.y.o.u.;will.~~p·erien¢~'th:e .of kno·wing,.o:( Dot ·p·rily·b.e;Ing able to: see joy where· ~erythin.g is ·co.. ming· from but of being 'able to make ·U.P ',YOQt 'Q:wn variaticns 'usitJ~g principles involved. the.

ot

2

Probably the only' thing' that most ofthem 'Will ~gtee· about is that it's pretty hard tc define tbJs concept. .own playingImprove... a knowledge of progressions is priceless here ·a].RACTICE'~ 'You don't get something for nothingon the guitar. guess.d reshaping your hands i"f' ¥. . first? How is.t. would lIke.u migh.. li'k. " Key words: 'PA'T1ENCE' . progressions arid makes use 'qf' them :in Intreductions. ·will grow.:··so didn't seem too far off base to use the. every chord progression 'is :reaUY:8 collection of" ' ( melodies being heard . swing.record S:3' tapes. or if' you. ar -ea' .sounds. YOU canbe . Another good question that 'you 'ro'ay be askUtg is.' -_'. might also wish to arrange 'Y·Ql~. .Ib-eik for' them orhow ~hey 'were derived. slo'w}-y but surely.progressions. calluses and otherassortedaches and pains . l I. there are certain: areas that most musicians are interested in.ie.w four-letter. knowledge of chord progressions. modulation .]'.C~onJ·'poSi'~8' ·---.' :: 'y. no matter .some' extent Oil the. 3~ ~"Rec'o'mposing" .n'Y'typ-e of music.:up. radio. the' 20th· ~e~tUry'. ·~quit~: fr~Jdy'. aowev(tr. the progressions i~ these books form the backbone for much 0'(:the music written in. '~ill a4j.t~:Y'th~m.at your musical eat will be sharpened if you practice the material in 'Ilus book.c1y· f the wonderful sounds left ':lor us :by our musical ancestors. if' you did know ofthem. individual ..~"will probably' find that quite. . ' 'have trouble In this area.will. j. acquire ·a·passionate love.p.j' I 1 'i"" You' ·m·ay·be wondering what a "modern" chord. Earlier it was mentio~dtD.in your own style.p. It. bossa-nova and others). }I'Ou.:. magic' word. ~ ' ! i . endings.take you so far.fo._ Whe.they ~ay. As !' .ggic'$t idea about where to . youwill probably find the going !~ q.recogmze what 'oth'ers ate: doing (tin . 'some .and . Once }!?OU uJ)_4~r" !.. good shape ~ .. . some of .you. play these examples (don't be alarmed at cramps.it that .ssiDn is... .So w'hy' did.rtun·at:e enough to be able 'to: w:rit:e songs' or pieces b¥' "ear". this i. . . this was done. Ask 'ten tli_ffe.that~.) '. 'Even a person with small hands.'njQy·me~nt !" . almost l. on :n. others or b'y yourself. I must confess tohavlngthrownin it examples in the: styles: of some earlier eras tn music. continued exposure.rogtession. rogresslon..~e·~t A Virtually ::evezy good arranger understands' about. '.ealIyplaying.. .may even seem Impossible '_I first. ·all the . ~.t your feelings.maybe you didn't have the fp.I~ployisin~ .these .ulte' a bit easier.d$at all strange" or una ttraetive to' . There are' many sounds that you may' not have dreamed-even ·existed:·.y. .OU. harmonizations of melodies. w .meet her :halfway.t melodic variations' on chord progre~i.. : .in general. a. :~ 2.T ability to . There 'IS 'tre'meiidous o value... : '~any of' the examples can be appl.oU can .. '. JT3~gi~g . note's.be I· able '1(. really like. . ..simultaneously. to-select and-hear sounds-for your .5O. teacher might .fee Iing for rnelody . owJ 'i'. an!1YQU can be sure that the rewards wiii repay you many times over for the r.t~.wha. even by Ieaps and 'b·o.While yo'u ~:IY' 'be . Mkany· times :yollt ear. whole new worlds of" sound ¥(i.a~<.~les~ DON'T G. use this"tl~le7 ..If you encounter ·." for them" 'Wi~'h. to something . in. . want to Improvise ·with . (Some peaple 'who do "l1:0t..' is' a strong emphasis Q~ melody 'throughout the entire book and if you.ot. "fllls".yotl. - is a'-re. a fe'.. sounded a 'little "out in the twinkles". prO&~. p. wlt.! '~. themto be .ht.tany levels. the ear cannnly j' . :' . .. "modern".n4.wj:li be in.ott fitst 'hearing. work harder.any:' p.only will your ibillty.. causlng y. and ·. mllke sure you are ~. . but 'in. .out. altz .f~tre_¢hh.are toward.u~t.IVE U'PJ Remember how hard barre chords were a.y even begin to. .~ssages. etc.tg: !. but ·N'ature has a 'w'ay c.$ true in at least a 'twofold way: Not .:a..ri8.t~at $OlIn. and :YO\1.. pretty \..).fo. and your ears might latch on to different ones of' these melo4ies a:tdjffeNllt !. it is a good habir 1:0 repeat . 1 ~.··study' all the examples.O~$:. This deals with taking someone else's song or piece and working it.•.oti to grace m'Y name with.. b~ your best 'bet Q'ain~~ · . t ~ Dne. If :._.good. Actually.. "Wh~e does one 'use all these.d to different rhythms (such as Jazz .n' open up (ox YQU~ use and e. . ··witli J}I'e: ope of'inspiring you h to delve more deeply into a :s.t own song 01.. P. 'respond veO' ~:favorably to modern chords at first.. there p is a strong po'ssibilit:y' that you will hearnew things j:n lh·er~\:~'aclt time . . ma.eve·nt._ Very: similar to recomposing..undS~ i~ a ~. times).In fact. . 'because. : There... 'I' . .e manner.~:is 'willing' to practiee.OIU Y:o.re·nt musicians and see what . ...Yo. but . and then "play' it' a couple of more times. tbey~reallpart ! of the le~J!nJngprocess)..DETEIUIINATlON'~ > . if:y:ou have a.the:r you. progressions?" Altho~ this !': depends to .3 . Word. . live performances. necessary time andenergy spent.stand the principles of 'chord .Well. . some of these I·' some .a few' of the examples In this book will not be 'as' easy to play as 'you. in such a study.~ . . ~4. confident that your ..

:in all likelihocd.g. ··this is. given in. not to.It is: highly recommended that you" get through Ihis boo k iii· or.analyze the: chord progressions of.. and its.t~ the book is laid OU. are cu~·Q:us'~··:SYS. threehundred different ways to·:.~p will probably wonder why many of them .. «.Y:·O:U 'have to: 'spend your time memorfzing all 'of .gcne through · he. don't feel as though ..r.o·U would notice ·tha·t the' same .~'fashion that this :.sorne your favorites .after you .. rewardingand • . will be. our . book 'in order .short chord pl'ogre's'~iofl combtnationsform much 'of the bulk of these songs 'or pieces.2 . while It :1...Q'U. <You' will. Sincerely hop·in.ptinc'iples .th"otou'gb_Iy absorbing the. . while not being totally :Wit~·o·tltogic that 'YOU '~ill be.play the: same progression befofe you can start work ."are g_091e' 'longer pr~gressi.e combined with each other.. that this book. as well as with Ionger progressions-and With . . y. "and these .'tools.are so short . covered as well (~rl~nly In Volumes "2 and ').wil:l become clear' as . if you to. 'while offering enough variations so that..'with each a the.n·:YO'Uf best 'interest to play through all the exam ples given. these progressions ulilize virtually all of' the most important chord forms and the' entire fingerboard.det_~... there'.all these progressions?" Good question . "'H:ow ~il1.. and you-don't need to know. Y ou may' be asking. As you 'play through the progressions.harm onic . neither necessary nor desirable because yeur time is preeious .et)_joya~b.oro~ghJy able.o·l}s· th'at: .). lng on another . ' or other . tial building ..a:b'~ to relate to'.though and please remember ·that' the short progressions are eventually go.are commonly used '-and these: will be.. narurallv want to memorize . y.2 ·and .l1t.. 8.jhe reasons for this will 'only be" clear. to be.YOu: go.vin. l .U.ing '1:0 Q.. 'M~inly' by experimenting an. ·different CQm:bln~itioris.and ~atleast some of the' examples rn each . brothers to follow.short progressions keep appearing over and over again hut· in. are "d:o-ing yourselfan iniustice.will. have.them . SQ' we can and should consider these . I learn how to' combine .3. stimulating. h s.ss~~n The shorr progressions are systematically arranged according to eertain concepts which . eften derived ·'fr'Qm'the:··5horter pro gresslons.1 • .i~ the only ~wa<y· get ~he'most out 'of it.$ absolutely -i. many different songs or "classical' pieces..'1'0 be sure.fetnatic ariation techniques on these lengerprogressions Will 'be.g· how others have dealt pr are dealing with jhe sublect. Volumes '.t~~ [ . mention learning b'Y cibservin·. . Finally. There Is-good reason to'! this" If YO"U were to . ave . Y·Q·U e. even these longer progressions.. around y·O.common 'sl1'ort progressions.. say.blocks.~/o'"..~ in ~~h .' little desire or need to create more. v Volume '. to. The longer progressions are Iess -systernatic.using-the-principles tobe given ill. even though you will be tlJ. are.s·e~Gtj·o(i b~fQfe·'"m(.x.g on to the ·n:~. In case you.

o .- are a.I.. I: H.. S~p~akifig. Your thumb (T) should ··stfik:e.. accustomed to' usinga thUrllb pick or fin:ger. following points 'are: given 'with :: 1 tttttt sm_ .of pluck. notes in .gUJd'eJl~es 'all you really' need: '. '. Wjtll the Ist finger) .Qut.many new chords 'that are veryimpraetical when approached willi. your other fingers just gel 'added on "in.s book were geared.will be awkward for-a t week .tlm'e:. they Qt~ meant to 'be.Iincs are ·the frets.~:. • . Examples: 5 .~pluc·k those particular strings thathave the dots.o·lJ·· arc. . :th~ lo'w. . verticallinesare ·the striitg. if y...great.'with. sensation ofyour fingers grab'bing" the: strings on four -or five-note chords just-feels . - . order" (starting. . plete beginner at it?' A few 'simple . ' " . o The typ'e of diagrams used In this book are the standard ones used the hope ·at·clearing :~p any confusion on' how to read' ~:h-e:m: The.e'$t) 'string involvedIn the chord. just a .a flat pick. t . r. .80 how do you go about gettlnginto this type. 't9 'be.l.1) the ability to' play' ail ·the.03 'YOli have gotten !U~~Q_'t.o fear ._. Okay. . played using only the thumb and (in'gCI. . .e..hand technique if you are a. -.: 3. the.3 chord at the s"a:me.·~he orizontal.. very. The two main. the progressions in th-i..OW TO' INTERPRET THE DIAGRAMS r L !" 1. i. 4.according to' how many 'other notes are' in..es:t (thic'k..are: . of right. attractive. o " i. initial period of dlscornfert. this book is also right .P your alley] . . No\v maybe marry ofyou have neverplayed with 'YO'Uf' fingers ~. far outweigh the.pr two 'but the benefits that follow soon after this. :.corn. . The dots (darkened-in circles) in the diagrams are the notes of the chord and only tn. played .Ptill now and might be hesitant to learn' There is not~Jng.o it. 'the-chord. to be played . 2} the availability-of.sure it. that 'is.s of the right hand {hbwev·er.1t pick.'in other words" you~ right hand should only . .ose -strings which contain notes are. picks or both..11. h .. ror guitar .. benefits . .U.. One bonusofplaying finger-styte: On. The . most people" find the sound produced by this technique to "i.

iagram if the: diagramis onthe .. : It '1'" i· ja ~. .dvan~geous than others and SO in these cases.~ . a pretty GO'n~~. c.U Il r . the .geritig..' has 'been ·succ·essfuQy tested with· j'I:' .. . ! . ~. if the thumb were to be us.1st fret (asat left). . v ..good· fi. aU 'pQssi. .~ .:many chords. This 'posture may seem a little awkward 'at flrst (mainly because-it'snew .I· or..:.gJ1t: wrist up away Croll) the g~ita....- .go.the fm:gering is there. ".. . ~. Almest 'all gultarists who use ~'heir'bare thumb and fingers torplucking have. ... a... $0 in the long run ~i . ·jl.' .. b. j . .: you willprobablykeep tending' togo towe:f"' ff you don't keep. optional noteswill be '8YmbQlized by . 3f I' . .r..~ ~ . ·symboliz~. tis e3$i.· .' . " .ir. . "'r~.(f... What you think . ... ·"....4'-.atl'ually you will fi~~d yourself golng up higher ~:uto.' " . ~.~11 a moderate height (about 2.b piek . . '.~ i t·t ~ .~.' T..' .' . . In sucha case.~ far as h'o~ 'high to' hold the wrist..'" ...your right I13ild in plucking the strings.d~~ far as the actual 'plucki:ng~of 'the strings goes. ~ r·.ur while to Investigate the subtle differences that result troM.+1. .' optional note is gjven·". ...as . .-3 •. :Holding your n.. ~. ' r: ".• . try.:dealing' 'with ·a..ng at ru's~. . :~ .. I j' ..·.on the situation).. " ..to whether 0:' 'not you 'wou14· 'r. - .~ ~. ]. the. say.is~the second...s to ~tllis~. t ..Jt .J ~ s- .jtJ~t.p by a dot "·above'~'. ' ~. ...r 'puts your t'fngers into a positionwhere ..'matically (although ~ .. .able to hold you.. ausing. just-start out 'wi. one recommended approach Is ~~9. ~' I. • T "U' ~< . '~"U' ... ~. 1: 'By the. ~ . .•.' '. accuracy and speed..y with a t·I)\I. :oUddle finger ... • I· - 1"1~J. ...you might think:l~ Is the worSt···:fmg. If Op·titlQ:al notes ate g)vert~it·. ali youneed 'to do 'is "squeeze" gently to . some fincering$ are definitely more·.produce a clearer -and cleaner sound..".·)1. ' i ' i .d . ~tJJe4th fret arid' a note was-above the diagram.. 5·'. ' I' .t.' J~ ..]. .~ .. Open strings will be.."the.. U " ~'_It l .._ -'.. In fact. .4' .. necessary 'to let their nails groW here '$0 as to. .~· 'f .. :~ _" .' jump to . Index-flngeris considered.o:n~'tbe.11lY birth.ISt se your thumb to strum ·. . arise w·h:en.: -.. ._dilysee the best fingering It was written 'bel0.:to 3 inches) . t ~.." -. ). L e dJ . .." J.s worth ·yo. But have faith. and . - 6~In . you may not fin.'you :. d a diagram wereon.3!-1 erroneous assumption about the..~ The.... ~. : ':Jh~ II .~tbe 'alarmed i'f' you .i1t . " ... ' parents at the time of .' . ' "'""r . O~~4~ .you) but ..Y· ·~'jl~~.... the. . (QUI:fd it. It. ".first..eri.you to c . I: L . .AS ~ . . 5..to. j'j ~:4 :~'-'. -. . 1if!II ~ ~.as far and. 'Ex:ception. ~ produce a sound..~ .~ ~"... 'H' • ~'·.can 't quite 'p:lay these examples yet. : ....'. ~ .and gr. . ~".~.. I I: '.gd. '..' I ._. wrist u·p. E ! !. · tlii·s·· note "would be' 0:0 the :~Jd fre.. for 'a ..... I ~ l I . more thart· :one . I' I: . . .bl¢·combination's..it desirable to hold your 'wrist upat '~11. ~4~t . 4 students.·tbe bt diagram.iIL... .th..13 3~t t : .I~ 1. If more than one.-. •.ngerin·g is possible (referring to the left hand now).strings. S. . and so on'...'.~ro achieve I t good tone.. . .I. J ... main thing ·rigltt: now is te understand how' yo'U willuse ... be tlle first finge. .t'•. 4 ~... '41 • ~ II . ... ·~o ~. unless otherwise EX3n1'ple! in·dicate.D·on." I '.&1. way" concerning lett hand fin. ' ...~ J.w.. if there was a I reasonable degree of dou ..I !. : .' ..lt_ would 'be indicated by 'a t~ .." ! J~ ..chord that 'has six notes in it... .eir Inclusion .' ..d. 1.open.. Ex'ain:ple: Sometimes the ~·best'''~ngering Will only prove. ·bu~tIn certain ! progressions. ~ ~." '.n:ot. marital -status of m.' ~~ 1'. .all. ·'U: . u :' 4.. '0 .~.H T .. reason and .': . eye if you pla... Incidentally. 'experiment and see.gradually this· becomes an incredibly relaxed way' to play.. ']~I.4"~ ~'r: .w. j: .

rtg.QP' of the ~h~o:rA t-~T.~~ :nl~..~yet1."t.as')I. 1 ex-ecute to 'of There are ce.'. en ati·1in'g' you too gllc~elsfniiy these' double . zy. It -A"" " I~!'~' if~:.~y~:.' book double slo'p's' you ~:may. . that s. that need not be explained here..).<.hg:. . t .: is most suited for. N'oY(. what was Intended. ' s'to'p.' j 7 .agt:ams'means that you' should 'bold the.aspecial technique that We will c:~11 the .: som~: ... . npt~' a:.s_.se. .and pllJQ)q~:1 :~'a:chrtQ.. .~. :ycip.riorm .h"at could trot.Q. has.finger on two adjqQ. !lho:uld be doing JUst that..6..~d~ve"op~~~tln' this ~ea is 10' prlldta. '.t' ~s( 'easy to.~. dQ.y. b Whatever it 'is th~at~·peduces more skin will produce jt~ t ~fa. i - I.veritiil twa aqJ.s'tri'il.. .p1S' of ]litc.ajizi.·#·~Thil.rdOr ~'ve'ilthe 4tlj finger . this is.Y-?' qt· "<i~.e:"p:re.Mve.o.u·e.·':.t·~ll:~l·~hIs...syrn b.u 't:ty' and .tlle ear. Examples s'C{f' '" .e'lf .~· If the two. Unless you are luc~y en')ugh to .at an etrO·r e.~t. ll.omet'hing is. . need of s .this~:·cbord. chord. be played any lith'er 'w~Y ·2):the ability 'to -play some chords on :high.ha.l1'ite.f Y'Q.will 'fi:nd that . finger right b:etwee~n. .o~ a£.~~a.mjght be sometliing tik:e..' not.. . - - • I.~e" of th~.ble:r(t.t~:a'fdving~ignals t~-atyou are In d):tre.os'$:·both sttings instead of "trying. not quite.h~~a1.[ the most impertant benefits 'Qf'the.fill'e:ss~·in. and '3) ·th:e.orl·r~.d /sOPJ:ld'$" '1)ut '~lil. "h: . . which is.0.erin:gs will AI. If ytlU...ps~: 'ut somehow 'thisis good.'.ists.) lr·Y·Ouf ear t?ann. ".h).ev'er 'corret~:t.. H .gressipri$' to :~tie"c.S:T. corre. " .~.for Sian·t:~:~.:al'n typ~e:s'of cases where-you have the -'2n(l. . two: :s..e.se· :e·rrbIS.h :yes. (Y6u W'OIr-~t '. ~o·rte·n. more skin ·will.re he 'goes : { again).~. 9'~It is: very Unportant. sound them both.s:: '.fIotes 'which. ·knoW "that it ·i$'. ot ihs~aJice'~. answers to ··[h.kilow'.' to t~l.j·n. by" elean lin¢'ss." you 's:ay:?' M~ay'·b..tty rnuch ofa 'b{a.ese.also there are some good psychologica! reasons.tnQr.tte.-' .tstrings.·t4. .'.q...y!..~ but :. use. meant: 'that "all .ck~~ it: win. w.ttleon the wlile' .a'cy.riticing.s:t'~n.sUpp~o<~ th·a.~t.·caIglU.ot . .elassleal (hylon: string) .' " :'Y"O'U. ~:~d. .d.yqu deserve: som 'e. .ff~c.e.tbi.to. However.kln'gthe..d. is much wider and thee. ri~ti. :yoU.d 'for certain melodic <~.a p:ro.ways: Jrive.holding t'he chotd 'doWn.es "of' two differen t "d~l.odway . Y.QD.ry · a~&eggiatin·g (.~ 'Y'Q'U win 'p~ '~bJ.~.dou'... ~.. '1b:e~.···p.g:er·s.. . b Ibal ·i:.fty' to.suppcse y:OU ~e:8iven the y r 'But the' big .s'A .' are: 1) the ttbil. (.AIN fram .' th.letthe.ne. 3·.l wliet. pt. " t..dete.n.~.' guitar: it will' always 'b.". then you Wihg9 back an4 wi.ds:.'" ~"~1~ . een ttl¥ experience 5'0.y:otJ to .an. a ·to. either ·miss or muffle ·th.:'. lb. note onthe ~fourth:~"·. if y'ou (J. cl:e:an.er t t rret~ ··th~~would .q.the doublestop.p. fils· is not ·goIng-.p'$.e'rm:~rs. ':fo~ t'~ls." . 'make the' techniqu« 'surprisingly easy "OR t.~. for'.it is more. fte'eillg. ~.1make sense when you-encounter t~~. ·.c~~e.'Qu'·plaY thls' " " " .ort. it. ·ms~rurn~n. Q'n: a cl'. ail chords . :.tn<'w'hi~'h Y'.ally' 'be practical. 'while. .r.pe of '~i.Stops. 't.is..in :nqt e:ve.'can define the-double stop asa technique where youcome dow·u: 'with the: 'lip (If y'o'u:r. then .ppOsed to be so'ariding.co.s 'guit-~.bled~bre.5"t~r' when..e..gpJt. for .gS1 any.haye·troll.note S~U.tin:g.c-~. .erb.are farther . .~s you probably .n:. again inthe second 'diagfanl (ill . s-t\Q'P'~ 'W~.tlO'4ble $.~:al." ". . Agc).k1.adiacerrt notes are .":::' .ak'e lt~ h~ab~t check' ··y. D-~ng all: '~~:S~·talk aJjo'~'~ . -.chni. ..fl·~.rt..ts.lf~.ang·er-lic's .8:·. ch'~rd one' ·at:4 um. '. 'S'l:J.play It 'but.1between two r\:ot.: ttl work out too well at first [sound r~Iniliar1) HO'Wf3ver:.nlltten your finger Ya·~..Fair -enough.lilen 'YQU see symbols.':"<:'i' L. quite fran.help"..tbj . m.~~~i: :~~q!:~econneCtln8 line to distinguish them .X.th a litd~>e~tnpraetice.·'i'fle·ie . ./~' gerieralguidehne.a. thereby producing the following sound: :~ I .. f'Oi deciding when toflatten and whe'n to double .. . just 'keep' on ·pra'c-.~th the '2n'd··~. 'Obvious..re.. help y'ou.: ~.' . strings .Ccd up YQM.:j~..nt~.g to require . are-aware. advantageous._' SOIJle~.e.rii:pg:technique.Q. (he.. s are :sll.aC".he:'r "or ·~Qt.~en thiS to ..n't bediscouragedifyou alway~.e>c"llo'rd...t.e fi.o.hap:p'ens.Q\l.. but It is'.play chords -... ..:. This ":will' make-it even 'natder' to crop'¢ with double.ti'qih. Ev~n'~UallY:J'there' 'Will ' be" '1)1). .k.ble stop .tar~ . but it.y ~e:nough!.on:e:-ch:c)rd to: the ~:xf.d theplQb)em.e.. de~c:t~ive. j M tj .~J' 'cho:r'ds: ~d.-: ~)4a·giG.. 7 ~ . it.._t" the..l)ully p'ra.bav~'~sked y'o~~ a -.s..~Rt. to. laking it .n ·SQin.Certt·. wit~.ne' electric ~~ultat._a nice-sound t'o.·th. ~:al."'b'ejin. appear on the 'ilps· ofyour :fl.o:atd.U~. tms~ '~·1.--k~.ble.ttiftSS 'so as to. :. :intende. . cla$sic:al .~'..apart a tJlt\1 on 'Dtli~r' ~pe..t let it riag but not pluck. ~"Wllydoes this nut '~ant me to use: these th.f" good 'Will they d~ '~e1~tt n' . 'alr~a. on a ..slQ.tu·~'Hpn). serve-to but :.o:urs.ourself on this' matter 'b:y.[ ·an extra :fing"t~'r~ which dan be 'use. string.1·dou.o. if (-i'n . come down between them In the 'manner of' the double stop. to ·.." ..~e.I:. IJS.other w'tJt.. 'f\1lr reason.ne'e.~toppiP8 on the. fQl1o'v/ing chord.the y' are in the bass or to-wards the bottom of the chord.oc-cQ$io. . .

following.. . In order to Indicate m ovin g-. lr '. It would look like .I ~'.. I' I .... ' ' . ! • ~ .some of the' other techniques Y:QU have alreadylearned on the. x appears in a.. I . However in ~ situation Iike'the.. c not. ~ ~ Toperform this technique.:fret (E). . Example: . ' .. I' I <. diagram. . I L 't t· ... !.side.f I I. . vour right hand would pluck the 6th . . s . the' 'other: in the tase illustra ted. were stillrlnging.. ~•..~ Compared 'to.~. 1 I. . a regular note ·X.x Indicates a 'note that . I . 4f ~ . the tip of.j I! I... • l I ' .lW-Uwl1ile ·th~. I I 1 _.' . ' i 'j . A:I 7 I I I L . '.. So experiment in. hit all the ·x~stogether (after the chord). in ·tl1is 'new' .0. cases like these andjust let your 'ears' be "fh~ final judge. I~' :t..rs-on top 'of . ..~S· part of the chord and then treat it 38 'an x..~ r. would pluck the 5th 'string ~. of the 3'r.. .' .1). and.h. so . . 1 !. .. ·s~irijg.. . .are 'used: 'The symbol . 1 I r.. : . .irst f - i include the' note ·. ~ while. and' 3rd strings together and.in placing the '4th finger on the B note. . .. L Exarnplc.) ~. r .djo.. {. I• .E·ps calls the :sth finger principle.:. ! i'" If more than one. this -one Is relatively easy.Q:rd is still ringmg (trY d. Exarrrple~ ". here. 8' . : j:' ! :.'.r': j ~t. '. . . ! I' J~ ~ . . - j i . ! ! I ! . . Here is an example: . .. ! .~. thy: following symbols.your rmger gets. .y.. j. •• _: This.hIs Is 'What George 'Van .. after the chord has been sounde -.. i I I I j" I I' ' I. ..'7th.notej. . _. j [ . the tip of your 1st finger g~l~' the bass note (A) while the .stoppirrg the sound of the 'C note. I . his in music notation: t . ' ~ ~: i •.. . one noteyand the.of'the ringing chord notes while you bring. .melodiclines with ·8 sustained chord. I ... don't 'be alarmed.-r . .~ ' r ._ . .. to muffle any . . they.. .gp' JOin t of the flnger gets. . when ringing tOgC:t-hlit.. rr:» • ~ (." I -. .~t. YO':~ may choose to: lightly' brush against the' 2'n'rl string. . you can be sure that 'itis practical.: " .O. '4th.::. j' I ! i :j I I I ..' " ! . I !.. . guitar.. . . i r.. '~7sus·. If you encounter-a diagram with indications for one finger on two different frets. .. In this diagram. i I .' .. . j" I !.. · . 1... 1 J ~ ~ • . added to the chord... you .lnt of your lst flnger gets the G#: no te on the 1st.. .. If' an x at>pe-a.side of the-'3rd ."1 ". .. ".J :-'.wilJ probably agree that the :Cnote and~' n:ote.C: rrote ~ti¢::the B noteIx) Iqigflt tend to elash (this' is a matter of personaltaste) ·to your ears. .: I .is. 4t· ~~4 ~. thereby .(:x)sound great. '.

.a note: to' be .. IA..pla]le:d . .tA'''' .atn:pte... ~ ... . 'E·:·R 8E~~:'IT"'.... ':' •• ' "J I "A~l + .gym. • .- 'For instance: ~ .t As with x'~s. .. '_.. . . ~:..:.... '~~'111es 'V(~hel] -op... ... -."" .. '. would be..' i• ." -.v~ "-_ ..t: . .. .. .-:. -='. the-re. ...... • . . are fine and YQU. Wll~Y':'?~ Because 'as Y.."~ 'l." .. .._~""" '. BQ~'b.wt1A.h..:" ' .. X"S is :teally debatable. pla:y tb. .. -" ' ~." ' ~" ' -". +' ~A'. . J :~"_' -... t---I .. J" ••. . ~ :i.- . ~... ~ =. $'.er (after ihe l('~. ..proa¢ltes... .... J( . '.E:>'.. .:e ap·pr~oac. ' :... • "_ ) . of ehords with.Example. "' .... ~'J.'.sl.1_ ' .se~:l?ot~." _.'.'" "' ...... :- " ..if.' . and vice: versa..:nCY' here.a'p. . 'of"t~"e.:OU will see. ridiculous. ~..£.' J''''''I'''' .-...:*.it'...e.. :POClR.." - ' '-- .more than one 0 appears.:.jl:•• '.. il. . ... ·. - . ..:" " .bol 0' indicates. . . .'..will .~ ~~:-"r~. The' n:amirig.~ •..m. ..used ':sQ don't expect ' "CODslstl.. (f-1 ~~.. . ". "< • • .rn togeth.£' .af1tet an ~)(~ . - "~"""'!" .are. .. .... . .The' .

.ample~ .errcounterthe l'tl1lQW. . ' '!.... Many . but a few points should b!= me.gtlil3f piayers learn new chotas Q.. . •• . ~'ou . Ii..sus. .llic1dyby rela~inglh·emvis. .}l)ite a few.)'." .M' "O""'R":I :ZE .. '.~ quick. "'. A ' .tw... the learning process ne}l~seelI'lS to go as qtifcldy '!ISWe: would like it to....' ': . "... .ned: a) a Slash through 'a number means major (Hx..12..'. -: . i' j j j. _" ::"E' : H"<O·"W''-·':.'.chords that you have never playettbefnrei and YO\lrrligbt wonder if there i~.' '-' " . there area fewthill$S that might speed it UP Q" bit fQr you: 1.j I. s!lPPQS&YOu' ~on~t. .'..._:. .will pro..u needn'tworry about it.. & .. .hete is' a simplUieli version of fhe same thing (quite'R few"pJayers also use this approach): 2. CH' "O"'R'O"'S "/ ' ..1&. "_ You can p. Wliile.another meaning put yo.w~~edWi1h tbe 4th also has . .~ .c) . ::. DiYidp the'n~lt"up :mt~·five mainareas for an)' major or minor chord and use lh¢se seaS as (reference points . .bablyenc.I '1 .. I I i~ . " . ': ..... .. ~. " ' .is art abbreviationfor the word sQ$pel'ld~a~b..: '! .'(J~. . You won't have-much trouble understanding the names of chords. iIIII!Pt .1) + means sharped 5th unless it comes before 11 (+lO itt which case "it munssharpe4 1'1th.'.robabJy see that.. w. this type..:"" '..alre?ldy know quite a few-chords. . Now let'. . ..aYingit .. 1'0. . '--". ._.:¥ tomemorize them. .i. and.' ".'1"= Major 7thl..III .k).. Suppose. using:'the Alllajor chord as amodel. been fe...' - '-..fQJ' &}Jl)' choM that rou Jearn.uatlyt<J :~hor:dS' they al~ady knOW... ". '. ·<~t _.. 'M~. of operation will work well If you. .s bQO. 0 .. .' :" :.Example.~".ing chord fof the first thne-.) 4'. " . """ . Yes. " ~' ". .Quntel' J.": . in tbi. FQf Instance. '.:' '. j .and no..cli means thatthe :lTd 'hu... then"" areas would tie: ..afterpJ. " DUring the course of thisbook you.' T:O' . .you.. . " .-'... . .IiUo. ' ... ". .

.' '4 . '" or '':'.t:h' '. f"··th . ._.' '7't-t-+._"tn " . eneounter 'the '.o . y.rt[f: .:·go:es wrtn :DintiniShed and augmented-ehotdsare :.. can be: e:a$I'y. .Nb'w. be. ..' ~ u lth l.for tht~first . I'~-..~ t .' A .iS:l'n·~ rnoreeaslly leamedt!:y the tb:rrdtechnique (given below) 01' by .. .Chllr-d. nus.-~i' " . em~ ii" 11-+C~ JI :M ~~' ~~~ ".'s:uppose 'Y'o.related ' to one 'or' tWD areas. 'b.can '" '.:. .p'os'e. ti rtft~f~ . related to the first area (trans. " ".~ .J ~ • 'II._-.6U.u.. .{O.0.U6:wi. 0. encounter this'·.i o::f~y:om own :dev:.'. ..Sup:pose.eth9'r. .d to: C) A 'chord such as this..' ~ :I.11 . "'" . " . ·:or.some other .

". : U '.. ~. sav.n...J.. us technique 'ta ces practice but it. thIS chord .. if you are working with .Qrd homo. (To learn this. . can expect it: to be named C#m. more than one name.m·' . .r: "1" . ... must be mentioned that there are advantages.going to ..form.ow about 'Em6:?)~ Likewise. but ·th·e... it. S.~ :. The. easi. you.works 'very' well. If y..names . For instance: 1 ~~ •. 0: .the chord by where the root is. ~. . .• "it: . ~.fmg·et.: :.F#:7· Bm .aftcr. You .... origins and names.r any other drillyou 'can think up that seems then effective: or you can work on your "note reading . ' defines the VI. t o~ Most players use a combination find what works best (or 'YQu~ of 'all three methods 'outlined here.? D' and you find this chord being-used in.names fot a chord .'8 going to be called (h.O which name is right for this chord? It depends on' the situation..t is. -'.• " '. root In.. . - Another good technique forlearning chords is: Remember .• .. the two words soundthe._.I . In playing through this book. .rs on the 4th string. -.the principles given ." you . confusing at nr~·t. These advantages' have to do with advanced chord "Substitution concepts and wandering into related se.7b:·$. suppose you F have never learned this chord: b~t. especially as a last resort.) Memorizing a chord.: . ·of your notes en the ·4~J1string. I· I I .~ the' otbcr techniques don't seem to be doing the jcb. ~ . ." ·o." In other words. ~ o· '~ Ia." _..will..~ . But remember to' effectively use this. ut if b you ap'ply .see recommended book list at end of this' volurne. you might wish to' make' up 'drills' Iike: "Find the' A notes eneach string: likewise with B'...n~m. or you 'will just be making it hard for' yourselfin the longrun. guess what 1t..~. this too will.'N_. eventually teach you the note nam es the ..in the section "How to Memorize Chords.A~:. you· should know the nAte. '..y will have to be covered later.~~.~ ._main areas for minor chords are (using Am as a... as you can see. anthe onedictated by common sea . . . is easiest" or just plain commonsense the (However...~ 'd " . and you see this chord being used in pJa·~:e of Em. Em. -:(suchas "file above) might be a little. .. names on the fingerboard. t i" I.ri·ri.:.ng~·rbo. ..~ .-? .: etc. 'b)y.~pal and.o·cate. .y "what.d lik~ to sothat you ~al1useit as a reference in the ·1' .but have different.~ ~.. soexperiment with all ofthemand youwill 'H·\:J' "_. . '1'2' I I I 'j: I i I I. you Will.' five-area' concept.m·s.• :7· . be 'able to transpose it and memorize it 'fairly .:C#.and you run into this chord being used in.: -~ . the chord somewhere. •• ~ " ~ '.isoif 'you know the. ¥ou havedecided that Y?U '\Ii?Ul.··-M Webster's dictionary I'. principle).QU are working with the: progression. it.'41 '. " Jt r- -• ' II..oU are able ·to. ·e·~~.The five . Finally ifyou are working with Em? A.h . 'have to know all the ~¢~.. it ..9hard l)ornonY..I V'MS' 0 :.of homonyms will be determined ·b. ! ._.just fine. .t: t:ha.. "Y by focuslna on the root '}S a visual an cho r 'p oin 1. Jt .) '~'4 .same 'hut come from different places (like-read and reed D:t p. . form with. .~~ :. Am. 0 : .'.. model): ~-~..al~Q. chords that sound '(he same . C" D"~etc .~. B·#.. keys. t t .In sometimes going with 'a'name other th .. wh. then Ab'. - . . 'place: of C".'. as "a word with the' same pronunciation as another butwith a.. Y'90 are. '-' t. willdo. . Be..· and -c) y:01J 'know the names of :tn'e riotes ·on 'the ·O.' .' .encounter . I: i • ~ .: . board .~ naming.. 'this way assumes that: a) 'there-is a roct in. different meaning. ~.awaile.. or instance. ' 'Till h~ k . place-of A7~thenit will becalled So.

.< the basic fundantentals of rn usic theorv .... ... t ... ".. . '1' In . rest assured that if you analyze th'e: . book. '. "How do I :K.onnec.Y1 x " ..... b. fl' •.:~e 'C' ··:O:f..ur t .rtna~.•.·ha'. .. chords in: this list that perplex -you.... maior scale .n·g: .. Analvze as used here :t.1:8 b .. ' ..·:o.. th''. .:y .: .et a teacher a'n~dlQr' some basic t11eo'rY~books.. thousands and thousands. t.' .Y '·:11']' .. 'you will understand the construction 'o:f"v-i'rtu:a!t.' ' . .Q.~sreave ..s.S8I:u.S01.~".i111 ·.ttons . 'I:.. .. first of all. t ..al ~). .3· ~r 1Iths. wi}') 'Se:·e ?~ma. ' nd '.I know what 'tQn'es can be. . OU(:.out :any:' .. ~.·:p~gre'~:on.~* .~ ..LS: In ads ..il~Jisi.~ ... '.:._t ' . ._.. ..'..g:is.lreer .._ .. '''1 "'::. ~w:il)1'e~~h: 'n.are missing .'. I'm afraid l~al '~(OU 'will h:ave re g...ress throu. .information can be transposed ·to -all..r. th .tlOW.. ~:"II \If'.. .have at fhis point: 1). .'·'e:c-:'" major sea e..ERV·A.' 'very" rtnportent. ~~'JIA..... are .eoreticat stam . (0 I •• -.. r . ":Y ·. '" .ft'.QPH. .. e- ." ..13 5' 7 l. .e'nf u fh:eir ·beauty·· and ('he~·biight. 'EL :2-77....but..:·". _.o:w Just.rom a.rd:INT.<__ d·" . .'n~...' . 'many of the advanced sounds' that a'ri:s. TO.zy ge~ner:al iew v .o' .: ' A ": . .o.(~" · ! __. . me' '<Fans.tl.rd Interval?".to ~tJ \.As y:ou _rJtbg.- I!-t' . i y .'..51·th._~~pg"What's a 3. . J~ .etv:als {ifY"o.. · m '1 -.YS1S '•..'". : ~o.· _... '.-lS.n.... ' .. . . :_~ .~·rstt~ap.._" . C'.'''' • f' '. 'to make sure that y:q'u.ca·use t.135 7 9 11 13 ....... '~l .. : ."are still: ...-::~atcnte means: 'itstn:g:~:Qtt ' " '.SQ~r1)e r _'h. ..·':$.... : . tHORD :CA..qJlo'Yl.d . " .· .. for that matter) to begin w'i'th?'·" and '2f) "How do .. (the Kt:y pte C 'will be.9.f'J.d. kai 11"· b . boek. ~sc . .'..·:e. VOle'E. -»:» .7 amongst other books.Given .: O:U '00:.. " .'Te:ftlettf ber . tobe ·.' "it . '_'.IIi.U :: ~... t II:"".. ".M.u.mernentcjust remember that . · ~- .'t" s... • e.:':. -1'" • . . .ev.".s :are~~th~o~~ng. .' __ :~ -.S~. .. used fer demonstration purposes but the -.._'_'..pl~. e ch erd are prese nt an" aeeou mte d for {many chord d Vi . _ ••..-.'..7 ..".w:er :to:the~s·e:·c:on... In 'other words._' of ..otd's tliat have~ missHlg. r·c("·· t. J. . Ole.'.. .tones-. .fQ'un·d thto·u'gh :~s... " ~. 'tt' . ·e. any' chord...STR..•..u" . o cprilmp. k ::·.1th chord t w . _.llS _(n:.{aml'les~Giveri ~/' s· . .q they produce. ...g~ e.~'.. see the Introduction if 'y::O.. hat tones are supposed to' be ~i'il'an 1. .{.eout of certain ..3ths.OU. CHORDS 'B'Y'"3. '/" .e' . '"_ '~'J_: .Ve.o.gh this brlocrk'-i y:ou._.~.In a f.rnlljo~r~ scale. '" < ~' .are.... " :. ". " . ..RD C'HE:M1ST'R:Y" ...ote . f"".eYh'. happy SO:U'D. ..flt as ~q~~.ohse'fV·atid·n. . '. '~:' ' .' tne h. ' .. c un 'h'.... o:nly. 1-s~q:(l.~1 y.. .._.substitution ·p'riri~'i.' tfi f . .o.td.~: .. ..Jn . • ·1.s~ome"t tmesj... ... ..diagram) you will meet in this.u'e$tio:n C:3n. and ·. ':~1.ord' ..E (als._. ·9ths...Y)....: '.e·y' 0. questions ybu.. _'.. . first question can begotten from guessed 'It. 13 .c·ho~d~Se·e C~HP.irt:glist contains only notes that are' found ". 'y vv .o. o d?"~ h ..t d' :' d'...n:·y· ch6:i:d~ with ·\tnissirl.. ...k~l).. Infcrruation is given..3 5"· 7: ...". .a6h n'ote~of a. .pOln t t.c:tip'ra 1:3. muon ctf . . The 3.....lorm. R~~Jlu. _:~ :.n.U missed: this P' oint) ~ ·....as to their construction.... •• :-. ''-(0·[ 3'Uy other chord.l '3 5 :7 "9 11 ?tllS .H'E.W" . only chords derived from a.. hfIi+io+-+-I 1& Two.~._.e~rychord i'n·tite ·follo·w.ned the Intrcduction). . .' • .u.·9' Th~: ans.a known a's C'HO:RD ·C. Ii ' ..lt.... .~ " ' 1Q·un". y ..!'o • _ . .1. t ·e..." : h.' . be .it"..trte: art of: c. .ples. . '._"'_' find t . '.or roots or even . ..1" ''1.·na"1--..:if< you cannot ~affoide·ithe:t of these alternatives at th·e. 'toi ~._.0: s f 0[· :.·or da f'" . .th" '... 0'. of a good teacher: or-from my First.ost. A .. . ' '.--" 5' 'h' .. .U'_"...". the notes of'a :.• ··th'. 'H:ow:e'v'·er.migh. assumes th::~t'you 'U.ifthere 'are some.o._" • ._-(...chords are built in ·3:r..vc.ti't~~.h:e'Y . .'. ese .. ._.. The following...of musicians ha~e~:be'~en attracted to' A)' ' ". .chord forms :(c:hord fOrm here means tile same thi. .-j".e:~~m.: :~_ . ') :E.EADrNG (vu:iee: le'~(lin..s:0'. a rea d k now .. 'nQt~. L'. t'h'" 'C ~.e· answers to the... tone's 'are 'Us'e~d to' efe'ate: smo'oth.':'. "]" 'Th' "h' d b D' I""T'O"N'--IC-' to h 1""" .' . give'n ch(Jrd.'..(l.. ma:n'Y ch.. :pJ:ogresslo:ns..iJ]'t. .g·~:'·lon~e·s'.. ..~-x..e.~on"e. -:.'threr ·. what chords can be Q1J.. ...TA.'.' ..other 'keys too).

- ~ .is left out .l·~ C'... Dm sus) iii: "Ern.. ..add other diatonic: notes ijn to' the' diatonic" triads or diatonic 7th. noticed in examining the Roman Numeralsymbols under these two progressions that th~ numbers [ vi it V· and IV V I ·a.Imagine....Usually these n.~:Dm·7. ·'··' . ... is: I ill IV 'V'(I.y musicians asa basis for j1tl.p:e. .J"..·F6/-9. ··t"~· 41' ~t>. .t 07' . ..lesser extent.9su·s".or-the root.Dm9~.G..'m7.'C~~'in a gell e-raI. .lIARM.. Onlytriad symbols .'.. .. F*JJ F~'I1. .J: (F=f/6.B. .. . . . ..E:m7. :.ifi.. . C7-~ .~usJCl9~. " .. the Baroque period ofmusic (rp~gb1y l'(iDa-t 7S.s) ji: Dm.'-. other words. J ...~.Ari1. B'm7/1l (no Sth.. ~m.L. : ._'~I ~7 t· . I-n modern times..Artl: :8° Th'e diatonic ·7th.'." '.7+) E .. F.:(J)" mostly triads and "to 'a. we wiIl.'. ~ These c'hgrds. The main .s~ . .c.~~ 'co'~po.V:r q~ G7:.0\.. even if a progression uses. F' G .Aro{.all.s../ll. .1V. . .~ : You may have.:j . these are twa examples of what.~ •. ' e :'d' 'X . Arn. role.~o.I' ~. '·.tg 'and what have you).D·m7' . be to. ... ' .ying a le.will be . sa:)' 'C/. Am:7ll. • . ~~~.t C/g'" .. as mentioned before.r. in. .~ Arri/9~ A:m9.t· Bm7bS/J 1.both symbols will be used in this 'book.. ~' ·~r· I . for instance.. . l?-ro.I:~~ :3 .9·Em? F /9 G:7su... .. chords In ~h~ key -of C are: C. ' . '~ ~l·-• ".J.. :C'-I4. these two points are ~ba'f this book' isabou ti ' AnywaY. The first oneweare gomg to work 'with. " U . can be and have 'been combined in countless.~ '~" F1~ F/9t. G:7/6.~le.. are.... •• ~ .. As you can . . Dm/9:. ."'..'.F/+l1" ·F+~1·1) .. l' .116.~ l' .used Ior diatonic.ng. Example: .pl~. " . " ...a·. 7th:c'hotds. . and learning how to use them./9+l.. "~ 'd . ..3:.a major triad) . with the triads . . 'G'7/11" ..~G13's·u. O'i • 0 ~~ r ' "'t'~: . ·C.". '.7.... constantly used b. . :Bm7bS. ~ I j~ .. it Is very important.th..'Em'$~:._' -¥ v'i' "..F6" '.s.. f..rn both.' '41" . Gsus.tl$$iri:g tones are' either the ·5th..m'7b:5'~5) t... complete list.a1s0 called BYi diminished 7th and written like '$t/J'7 -". -il" great detail.l..~~ . .of this book Wilt.G6 vi! Am:J . • .'..l·11 ·(~m7b:·9'. .71.). i t· : ~.. Amll.J. .: / . .I .11 4 .' •t :.En!'7 F'...J ~ ""I 11::' . and..th~. j' - .arrapiQ. -_ "_ -14. :.F'OltM·ULAS (meaning i progressions. harmonic "Cannulas (in.l. . . l~. ·or the most commonly used diatonic chords In the key of C: Including the EXT. .on with the show..J: .d' 61l)".ENS'IONS (extensions are chords that .. •.to concern yourself with is learning good sounding chord forms.cally it is-1/9..to be' well acquainted with harmonic formulas. chords) is: (capital Roman numerals in4ic.·ough $. . Example: sser . 'Dm6. ..C'6. that because they are '$0 well liked. iii?' IV 19 '¥7·su'$ J:r)~ .9sus: . " • ~. F~ 'F. (C'~/6..sition..pto~i~a.part of the function .(usuall¥ c'all e. W~lYS..Om 1 ].C619:.l. 9-9> G... the 1t}Js and extensions are' used very often.7+J v'i"i-:' :80".' W So. . .A. (.-. The diatonic triadsin tbc' key' of·~G··~e~'c·· Din Em.~ rn. X . .pp~.sense it is still I :iii IV V' 1. ': :'. '~.•. J.] suspensions and added 9t"hs were used. (~'+J. ·G7/6sus·. and . f61?l+'I. "_ -_ .. .. (Dm...O·NIC .. 4.7 :B'lli'7b:"5 A. . .G·7su.. cover this aspect of the study -of chord progressions. _. but don't be shocked if any' other tone .c.. Amsus.

".'~.5sioI.J'ID ." you WI:}'1' t.~. te th' e "..... . .- ... h'" en " : .. .chotds~ " especi alht some very' modern vOld~gg c"ming up later.t.~y 'pro"gre." -~ .... ':1' ".l1li ~~ .W to.".~:'1" :.. ..er 'u.~ t ~l ....' " .'" .'- .1WYlI"· ever~"some.':. y '... 1""' :j . '~'" pro b'I' .~~ " .~' .ve.. ..._. . . < '':/ . . ... ..J/ . I~ .ujd~.~ ..jf' ." ' "'~l._ .. '. .~. ~t· ~. I- " ~ 4IIe X~o ~~ .' . ~ '..nco'un. ': • to "..C·it·. . . -. ] . .1..~. ·5.. - .:fr..• "" '.. tf . r ..':..i:g. ..· . ~. .i ~.' ~ . . .1..."": ~~ . '.. ' . :~" . take .." . • : .- '. > .' 4~ 4. 4..I hi t~... 4" .. .4 : _ ) ~~ ~~_.in determining how lQ.._ _.e this isphysicany possiblel:so it 'is a good idea toat.~.p: ... "'=' 'W . ._ - I iii IV V (I) ~I A t' ..'.. :I~ ~. ... .'..~ . .ou.' J J' . . ':' :'1..' .. . 0:..) uem). . -.!Je to play them i~ aU keys Lwhe:r. ~"o [l[' :%~.. ". .. t' I' '~ ~ I!V" t: I . '8. ... .. -+-+-1 ..d : '. ' 4 I. : ".1 (~f]I. . .. . y . '.» ....:. : .' -".!I.. -::. .. " " u" ~~ .. 'y. . '. . < -~ r ..: . . "J: :: '. ..Mr: .au don't underi stan d· f·hi..-: . . " ~ . . 'J n '~ ~" ... . . " . : :]. least ttml&p:ose your favorites into alf the' It~s.t ..' " .. ..'Iheexamples in 'this bOOKwillotlly be given In one key each: hut 'it is 'important to be aJ. sound pretty terrible io"low'regis'terS :(ihal H~ on the lower frets) so le t your ears be 'the.. 4" .' . - ." .

[ . .:'!!Iiii h.. . .4~ .. ... . -' -..'" "'. III. . ~ - '. . . . .. e... ..:i I' 67 ( _ . " . ... > 'I' - ~ ~ '.: . :_('. . .. :. . . I· .. .. '~ ~4~ . . : .". . ..' .J ~~ JC:" .. I l 'II... /.. . . .. 11' I -- _~'t] -. _. > 0-' I.. ) . ~' ~ -C) ". .' . ' . "'"'a ·'1 - I . . ~' ':' :~. ._.--. .41 '.'~ '. . "... " .' . . ~ ' _. l': . : ~ . .tt . ':. . . . ""0 : . . '~~ .':: . .' 1I ' . ··tf. '_ ..' . -:·If. -. . .~ Ii- ...! .~' ".1.. . . H .- r .I e. ".. .t ~" .~. - .~._ : "'1~:~ .' '.~ ' • t._ ..' ' i . " r'. . ~t --:.~ -. '. _. ' 1- .E/1.J' . . .~. k-~ ~~ . . II < . " "• . :- .j •• .. ~.l. ·~·--'1·· -' . •• ::: •• • ' -.. . .: . :~'Fl'. ..~ .. .. ." ..•. " - ~~ . '~. .- - ~ .." . .. __ . . -... ~."' 11: ~11:. . _ '.-. .H" '.~ ~._ .' .: ':.U•. 4 .. " ~ .- . • . " .~ ~ . .. ~.. . '-' . • ~ -- . . btl J -. . ~ t. . _ . . '. .:~. . ~7 "I . ..: -. " . . '~ .· •• -"I .~ •.f .• ':. - - -. . ~. -" ...1 -. ~." . . ' I .f~ -' 0.16· . . . .. .''''iJ' . I " :-..· .iL:. . '. .. . '. - .. ' . .' -.1 •• '4" .

w... ••• " ·4~ ~AfJT'ltJiV : ." . . --. ' • I' . .'f. : ' .Io.' . . what will be referred to as a . F·ot instance..." ~t' .'~f o . • . d '~. " ~t .~ .~"G .(~11 the 'C major scalejto form the Em chord and these in turn would move up toform the P chord and . following notes (froIh the bass up}! E C 'G C·. be mo re cr.." ' .~ .HE·:MAJO..S TH'. . •r ..a chord scale can be built by . •• .t"· -. TRANSFERENCE Play the following: ~1C.. >"~' . ." the.I' ' ~ i ..~ t A-.J~.' This may-very wei] be true.1 .i' ~ .~I 10~l'~' 7 .D. about when playingchord progressions.'I~~~ . : ~. on. .~'s.S..AND STRIN'C. you wi'll be able to do ~Q:re. tiy. ~.starting on a major chord .and MOVJNG E·/\C.~ ~. 4'.E·'I~-THE.. "I. ':'~" . '~. . Cl-IORD.Ifthis is :nat· cleat to you. .g understood.Q be-easy ~Jfirst. tbink t o get he r. .JJ c.. If you contirnre the same 'procedure. Dm chord..~ u the'fe·by forming the.. '_ . '.ea.CALE wHICH HAS. .-~' . '. Anyway .diatonic in (he flrstplace? t. ~ .A'LE~.e will just call it 1:1 CHO'R..~. the E moves . .. .learrring any'ohord progression to.• . p 'to F.. / .HORD SCALES . d -e I ...... "So.h~~.•" .h<-e:· Because only notes of the major 'scale are-used. THE SAME: N'AME A. . If.. big: deal? I 'already knowthe diatonic triads ofthe C scale.I ~ . in (he' above example. .: . . " . j .- . "4 . . . .c. I~ 'W... ' " '·d .:~.' '. game you.. . 'but in the . .notes of the Dm would move 'u·p.t this: stage of the. I' . ~.:to find the next diatonic chord. . --• .iv e if' )rO." ". . information to sink in. tight? . ...• .tl}e way.t. . . . the chord scale. ..(C in this case) .if' .o-g (U ke n't run.: _Nt . J 1 .DJArONJC..Iris important to tHINK whenyou arefirst. 'w:h'y is It. . " .. " '.1 iii iV' V]. ~~.. ~1). 'pyY yoursel f or with the help of someon e else. '. . .. ~'~ ' .get the..for short. A. .4 t.. '4 t~~ . .-~ ~" ~ .. DIATONIC 'C.' Cll(l~:P SCAL.s!~ .: ' . diatonic: part b. . an p lay an. don't go any further until you have cleared it up...' .t1'"':llIN •r • j' .R.. SC... ··sQ mightbe saying'. iJ.d"4:ftn:e'~~lIul1i:'be. the :C to D. .~ ~~i ~ . the: C .~~' :(0 '.~ '4 t :. '.' .. .E ip a major 'key' . :- S'. .OT. in.. . the.~".CHORD' UP TO 'THE:' NEJ(T .:e1n.E. . but this discussion the is to make sure you J<:rtOW' how to build and play them ON 'THE ·G'U1TAR.H N.d.• . £. The two things to think.4 ~: : •• It ' ~~~ .... G to A" and the C'to :D. ..cJior·d contains the. This is. are: I) The-names of the c h ords.NOTE IN' T.. Here is: another example: 17 .:. f. .t 5.chord scalesfto be discussed belowjor what have Y'QU. J I: 7: . I~' l.

. ~. .yo~ are..q·u... '. :" 141 .. ... win. •.N:S. The' secret of: being able to 'utilize this technique .' .. .'. _0 t·l~· 'f .-. • 0~• .3'.obatJly totally' lost (se:rio~~sly-if. 1-.FE·R·ENCE.. Notice that this technique enables you to play a long.t.:~... _:~ example: Starting from this chord: " .~ •.. ·CIf.. .tlla~''~you. ··t tl . To find the 'same chord . ..t ..· ' .. 'you. . "read the directions :slo\!lly' once.. _.'. You would getthe following: " ... '" • I~.. '... . . that is. cxampie: . . . .~..' ... .' -.'( strings.e..' 'cr. 7..3· ~ ~ . r'4 ~ 4-1 ...' ..~..ow . ~O .~I'·~... .·f ~ . t ~ : ••...n.. • •• I·..J '_ ' •~. it ~ ... retain the same visual shape 'unless any note.. 4 t... : ~ ! • • t. 1 . .t J~ . .M ..Q.'tt _'''''.' . •• .'.~t ~ .er chord scale..• le is the. move the' no~~.. same as that describedabove for triads. J. '~..~ ..you want to' hear tlle... . l·g..4 -. ~ .~ 4. . •• .group of strings.~ " '. . •. . ~l ~t. chord over to the. '~O . .d '~..Iies In the' foJ1 .. j~' 'It • I' H' . -e • .. "jt .. :e~ _.high·et)..~4..ec'hni. .:: ~~.. ' ~.. \Pr1 7. referred 'to as S~:RlNG :T·RA. . . .. . '.. •.e~ . ~'4~._" .re·._ -.~. '..' " . "."" 4t . ." . highet .'Star-ting from thischord: .• : . J. N.' . c .. . ~ '. .' .' • . . .. .. . • 4 J_. j '~ i' • ~~ . .! voicing on the next. i£. '4 ... • t· t~· .J ' if.: t· .' ...1i! . . .g' .~ . .•. .. ~~ . Jj. .'.' - . _. .~.5 "_ . "4". ' I " r" .~' .2n:d string. '~ . . In which case y ou :. Now elf)' the rO'lIo~ing: . " .z:.~". .pr.~ ~ .~u t· •• . .e that 'will p·:e·. move ~:I the notes iii the.~ I ~.~ • ~." . hereis ..has landed on the . ..'~'" I . A-7 d . ... . . . ":" This chord' scale utilizes a ·t."~ j ~ •~ d' ~t ] .eJ I' : 'The princ . .~ . thereby creating the other chords. just moveall the notes in the C=f up to the p next notes in the C· maier scale. I :j '. '".• ·~.. onefrettriow move 'the wholechord down' five frets (or up sevenil . .. ' " • " . i.am·e··qhor-~ an octave . " .··S... •• I~' . j t. ~? -... mere): . ~I~ . next higher group 0.' .' .• .~ ..3'~~...5 .. .. .' a.dlU ~ •. . ..~~elin~~.ti.

4 ~: .' :J.. k·..~' next ldwrer group 'af strings.' 1 '.. ")~.~ " . <'.. . " "~.~. '. '--. " . ·t • . '.'sue. it. I. '__ .. •...' _..' 4 ~..More examples: " . .I .s'flJite ~"lh'~ as :1 . . . . same chord volcingor» t'1te n.room ".• . .-"::" '. .." "'h high 'r': t (al:SO~.~. Y'O'U start to: "run out.' ·".. .'J t' ..un.seven...' . 'If : it . . .h~ i6i. 1.« ~..!.. '.. .. . '~t : ~I... th:j.~~ '" ...~:lnwhlch case 3 ~lOU move t~'is..lo:wer.. ..._- The string transference 'prin.. . i' .. J. :'_"'" . new move: ~~tie.a).. ++-I . • ." . notes 10: the chord over to' t'h. ~.:8'· '..1 . .llowlng is theoretically 'possible: . lower stri'ngS.'~ IN t it? C9-' . . '. ..-+-t.. -- " 1. '. .n. •.1" _".." .'.":_. ~ ~ .hole' chord up 'five.'1_2: ...: " ~ ...~ ·7·. . .'. 'Of.. ~ 0 ..&lt~:~ .in~ situations where 'while the fo.. note . 2.:1. _~. iii " ~ . ...'".. 9ctave lower).g... . :..o. retain the same vistJ. < ".:~ ... ..:~ J: ~.• 19 .__.. : t.ci:p]e~can be' 'h:elpt'.. I .. . ..".. ."".. C.J t I.d.' i~s' ...gr:'QU.' . .' _"It '''r ~~ ~ . :. For instance...'$ Q·n.t.. I s .he_s.d' >::.d'on the ... ' J L """ J t: ~ t~ 4 t·. '. '. ..~.I). ...pC.. it "is not that 'e'asy '1..rd~. .: " ' •.. frets '(or down ..~ i!-++.... -.strin. 4._ -." . ._.. _I""~.' ~. move all the.~ . Examples: a . .. ... If you want to' hear the' W same chord .. .P of-strings.: ' 're:.-: " ..~ ' M.-".~ hoiIIt .. ...a.' _ '~.~' ...' -. . .• :.' " . J " < . "-4l ._ - ~.d:~·weaker up there '(1)." <' 'G-_.. " .. ~ .~. .- A~" ".. ' :'. !I't .e:~-t. .. .~hj ... ... To ':firtd the. . "'. ~ .ul .'. :. .. " • •• ' .0' pl:ay ·the' ih d . • . .o.. Cr . . .. -._ . . -. picture unless any 'note has' lande..11 " .)..\\ln one fret.

." .. ~ •y • ~ • . ~. 4 . ~ .usa. .~ ' 8.t. • ._7 .. . ·. ' '. -..~~: : ~. ~. '. .m all :the forms). .. . t.•.~ '. " .But 'using the stringtransference ~ '. t' :.. Key' of 'E:.~ . . ~ ~> M I~.. ~ ~~ .'. j .. • .t .: tt. "......>: ..but this will be covered'.~~ . 1. It .E 'M'AlERIAL: The folloYlin:g is a list of chord forms to start your chord 'scales from: the forms that would be derived from the.. . . ··PRACTlC.. ... ' t ~'.7 . . ~4'.~ t. '~. .the principles . i ~...'. •• . .:~ ! .. ... "but you should practice them in all 'key'S 6':v~ntuall. •... •.~ ~' . _. . be most valuable for' the serious guitarist.clear. A knowledge of chord scales Will prove to. .. ~ ..l~~.~ . . ..~ . ...J. . . ' > : '.it·. . .' ~ .. •• '4' - '..l " e .' pj) • . ..- 4..' . " . l' .~ I...... . -...hen: 'you practice b·\1i-lq. 'in the key of 'E. ~ H :~ • - .' . . Jr. . ~ •. I .~ .. you might 'play' any or the following instead: G:I-' ~7 &. ' 4' .. .' Iater._:~ ... many ideas ~pn:~g from. 4. . . it 'will be. • :~ f..I:.' :-. • . : . ~r . . '. . : . . •.. ..~.-. .) .:. . -. it -~ . .. '.~t:_ 4 .·::. ". . • ~ .apply· to minor 'scales and ~e'y:s. 7. . _.. - J • j~" ..... '7 '... .the: chord scales (ro..••. . . ..F. . .. stQn/g' transference method are grouped together (if tpi. "" ~. . 4 ....• ~ . ." ~.. ~'.' " ...-" . many..~'" _. . . •• .' .. .such knowledge. _ 4..• _ .-: :4 : . ~.' . ~..~'..... . '--'1 .ing. . ': .. .. l~_ . ... < ~ ~! ... t.. _" '.s ls not .. ~' ..•.: 'L·. ~. The forms are given. . ..Ii IJ.. ...'.. VI.. .1 "~ .. . ~t· . _. .. jl' A ~ " . CfII\ ·'·~'l. ~ . principle. :J _ . ...' •.•.. .~~' . ~~ It _.

I . .'-". .. :·iAii . .. .g two." "."R'~. ".~ a certain iJl'lgic 'in l:!rt Inversion chord :·s··c:ah~:s' that seams tn is b...111·qy·e. .:. ._'..-lreT·e.c tl' .'.' .··tll·ellT...__ _ _ _ :_ _ -Mo~vhlg lines. '1' i·' :....".". " 'that these ·ate· 1. For instarice.~..:k'il1g l.AI.g with 3::.alternating them.:... ·1C: . .··~. '~. '0 . " "- '. 'E"$<: ·)·N······M· A·:" J: O'->R" K' 'E""'T:~' R'D'" S··'C'AL'" ". i" £ ...J. ~ ~ __ ...g·e.'. em up" in ~·c·erlain-w·a~ls. " :.' ..e"x~.~_. '". ."_ _ _ ...j. '[D····(:A'·1'0'. n J '!'" '. m ing if 'you . " J( '. ~J..ehord s'Gulc-~arul Iollowing tJl«...).. .. d' ~: ~..n'.it asthis only if"segarate ·.. technique involves findingtwo interesfing intervalsin a chord and .th:e~-"team conoepr".~ • .." :.~. jI' '..notice 'One more point that 'Should h.~··'te.ncte...'.~mention ed ..".rl<il1. . ». h r Ex.. Jr ". are 1110re~'e:a.triads.: By ~de':£b'r-atibIl?: I mean ~'''.l "..b.': I '">~. :3 note triads) for ./1 6.>.. . ." 'Me S' 'F""·O·'R···~. ~.' _. . ••~~ ·d .. . _:.. ..: '''. ~~. H. ...t~ lriu:d~s-:gQ.' .£ -l·"~ !'.sily·.-. . these t::h ord scaleswil I be.ls what George 'Van Eps calls. ~~ . . . .Y~CfU':will .. ~.2t1 d inversion brofhers. l' 4t' £ J( ..as far '~S. a Iew JJ):Qxe: . ~.~. '.~ "._ _ __ ...i. " :." ~~~ . when 'w'\l...": I. notes with one tj"l1g~r would 'no:(b'e ~p. are some more chord forms . I~ '7. · ·aoin:pog:e·f'~nd players to. mples: a . d·eJayil1)4:. . b:~t a this is .'. .-p'h:ysicallY. .:e:c~otate. ~i. ... 4:J)'Q..' ..k' '·1 .k ."'" .·~ve·qra·w~n.4".ctllal1J~.:' :_. ... ..ge'~t"in..._.j~.ts. J( .~ I 'think 'G'eorge refers to . .' - . ..f . -.suoh as: 1._: .~\."":.. t .' '·c .n . .:>.". . .~ •. : < ..''.ote·s. i.~ J19t '~~llot~·riads Qr '7tl~ chords...... .'.': •... H' .. '.E.. £ J ...'.ai1ts'·of fin.."".~." -'~'~.1. .. ore fUJ1 and willsoun d nlt1te interest . ~ ~( 1-. '... . This ...' .fy:a...-tr~~~il~g moving.T~ _ . use them more frequently than their root po·slr{on or :.' . ere (this~ time .~al:e.\l"~1:ples.St. " ~' JIii. .:' .d... used in' '~·. ~'...·..c: 4'~ : ~~~ " l " : ..:. ".:I)1.<1... '~"" :p''' ~.. . .·O ] j .h left hand.O i .d.~ ~~·I. .'. e ': I _ \ This ..plj~i11gthe '·~·re·grn'" concept.. • '.t' . nc 'CH"O' :. .~lu.here ~. Iine the concept ..' 4 J. E~·r . ·/1 ~ • t ._·. inversions: t. FO'. .' .'4".4' .oJlly·true .' " N' .

." . .. '...• . not I. order to play ·this D#·. .. .• ~ " '~". ~ '. '1'.~~ ..1..~ . .moving 'line: . t.. ...'''' • :il .. ..I' .. . Notice that the moving effect is transferred to different voices alternately iiI this. you will come 'up ·Wit·h lots of sounds....' -e.. .: . : '_ ~ . .6 . I.sometimes situations Ilke this are unavoidable on -the guitar.t are used to 'ir). . F* .'.. ·' ...~ •.': P .. . (which is pretty ca's:y to 'work with once-you e.' I· You will probably want to' 1i'ft off-your 2'nd.~~...' . . . . .. according to-taste.• ':~I I..~ " "'-r ..f'.. . .. 7'1--I'~~ A· . : "III·· . . . :1.. 1 . ' . '5".fipg.. " .. E' .' .~•• .. . . ." f ': '. I....' - ... It." ...... ~ t~ ~... example.. .... " .. • . .. .p. .." J " • . . elaborateones... .t.. '. Also notice ...: . . hat rhe t patternstarts on IV." ..~~.. . ".. " . ~ ".. • .i. .. Ier now. experiment.. :... .. ' . . . patterns usingchord scares can start OJlany degree at' a scale..:.e-r from the --" . I.. • '. . tip...'. " ..... .irrg.'.:*t. __ t .. . ".A' note in. .. . : ~.c .. 0 ..-: .. Even just using the delay cone . .' 41 .'4' ~ .. ..-.doJI.' '.'·. '.l. ..... ": i-": I'... i. . ' ·'·if .. 4·x· .. . !: ._ " o . but y ou rnightenjoy making up some of your own ..-'. • J . ':..~. .: " ~...I':" ... .. .' · . ' ~ ..:.0' .. ...j··· ' . .. J ~u "~'" . >.:..~[ . ook will list many b many more An patterns such as' these and also . ~~... . .. .·~~.." ... I'...4W·.... ' IE· Ji-. ' 1 . ... £.' . . . This :p~att~r:nCPlTl bines the delay principle and a .'" . I~ f· _! Ii 'I I . . . It.

' • ~~ 'i . : .-. ..~ : ~1-_j ~:. -'.t I . :". -' .: _' t " '."..Q ·~t&f.-. F.• .j~'. ... J' : ...I . dj.: ~ :-. "J': ~=.'11 " . r1: .. .~" :U ~'J . .. ._~~' ·MI' . ' -' _..':r:.t I ' '-' ... .) T'l" buil:din. "7 .-." .~ «' .' '!.. 1 ..~- ...... . . . . ~ '. . _..it.. -u•.:1't'h~ ·c'1I0R.: - . . .11.::. - . .l . . 7th· chords: from the' 'fdllowitl~:_fenns: Q. V 1iI!'..1' 1.. ••• :1 .....'. .~~' 'j _4 .. ..tt.". " " . .F'O~MS (MAJ.. ~: ' .~ ~" .':i ..a j.:-r.:~ ... ·~t . .l j . .~ .. .... uau '.Atonie._ :~ I : ."" .. : .. '-tiki'-'.. . __ ' ' .- ..'" '"..: .. '.1".'t t .-.. . '..O:R 'KEY. . '.-'.. I ~. 'J . 'IioooiIoiooiIo .I~' .E..:P 'D_A'TQN.i: . .-' . : 11Ii.~' ~~- .-..""- .~.'1 ~~ .- .. .:11:. v- ~~ • I h' t I . .._ '1 -: R .. l '_"it:: .I. ' _it ._' •• .. ' Jt . • n : : .. t-1_ J.- -...'. '_.. £~ _t' ~ '_ _~.-:' ~i • r • ... ~~ It••· ..•..

n 2~ :PR.' (~~~j6t K·e.f or these 'progressions might be "Progressions ":d erived from diatorric chor d.WIS'~~ "RO:QT MO\t.r fundamentals of.11~. gw·(J... - '. tll~is subiect 0-( '~B:a$$ i::9g1.'./- .U want to rorrstruot similar vatiatiotts.are j-ust "teasers".Ll~E.L. • .s~." .' " ". -' .OU: Will' 7see why.Y concerning.E 'B.~ (~1ajo-t 'KI~!)/) (will be abbreviated: "S'\~~B]· . .:.go.~Q'M.~ :P::a:O. _. .~~ll.:re . and 'y... .." ' .clear if y\o'u understand ~~lQ'U. .p." ':' :~' • This section will deal '\yfth 'two 'types of progressions: 1.: " '.."''. ." " " 'SW"""'R"'.:'"'~ am "d' ~·W"...ll1 anyway.y:>. P very he. .E: 'S':''S'-".~am presented ples I~ .':- I'.' " .P.~ the examples give.. .:e. musie "'the'a. S A$'S:. .. ."·R' .". (will 'be abbreviated: . :·O""G.~~nN'T'~:.' '" ".O'~~RE"SSl~lN:S' B'[JI:L~r' ~..M.-. ~' •. you may i have 'te gC'.- I .'an:y pieces of music have been writtenusing these <'~'il~.l~will probably find them to be 'v~.S$lQl'rS: ..I'"~'""'N'"":'~' " .'scales' '." " • . . . z- "_ ~ .·R(J~ :'. but "if to:gefh~er. .'~<~. I. The f~'W"~Dri ef'<e:~'¥.z. " ..E. :.EW. CA..tttve. '. . :e:rijo:S[' ·111e."1 '.ot ·at:tra."·"'·B·· P"'"..l$.. _ '\ .ry' . your inversions.. -.t Also.... . " .J' 1-=1' "+-4' -'~ ~""I -. ~":-'-: " • • -" '". ~: - " .~ The logic behind them will tre<.' " < -' • :.. .lUSIC lheoTy act If you don't. in to. :)'4'.j."'.i0.:SWRJ -Another . IT.S and ·'·O." ·R·' ' '. . ".l.. i\n~aly. '0"" ".d~.~ ....Ull/r F. V:o:~um'l(2'wi) l.".r.' • ~ '- ' .' .P..S'C'AL'E. '~ .GRE.'.narfle . ".' .~ " > .~~~ thoroughly.' ·~tO.

" .. . 1. "..::: '.. '. - .- . '4 ~ . ..."fE' .. ...-. 'It' ' -' . :. .... .- .~ . " . .. ... e i - . _.. . .! " " ' r • : .' -. - " . ". . ' ':- . '. . -I. " .. .. '."'R . " .. .'~' )II 'j' '~. ._ ..~ 15: . ..+-. . . -..- " . " . " ' ' I" . ' . ~41'. +..~-. '. ~.• -1' " ..~. .. ~-" . fI. ..~ . .:t '. . . - .' . ... ....

..t. proelems Will help you In another w'ay: the pregressions theft become your friend·g· as far as· developing the necessary manual dexterity and coordination which are . It. V".l?n. meaning: 'play' each oneat least a 'couple" 'of' times 'with a.pat1a.yo·u ay' run.the left.more ~:g: ·26 . You may be curious as to how the many variations on. .gi. a . arid ·. Remember.more than twenty 'pagee .ord h ·.related :ili .ably: wonder' wh:y so 'marty examples of this progression are given· (~"Look M~abe·J..bou~ its worthiness . fingering where it is lntiicated.you will become. Y-QU Will.sofOr the purpose-of e·. .I ask.mentioned e·atlie~~:.·hav:s complete charts on the resolution or'v 'to I~J... meaning the first progression in a :song' or piece . but . I_':.continued practice' of'the examples 'which pose the. the: first few pages.v·en harmonic formula are 9.dy.Another j·m. pitch in..· I VI' ·'e'. diffieult instrument . You' should always try resolving the 'V ·to 1. Whie·'piayittg through the 'e~xamplers"in:··order. progression.in almost 'all eases) starting from 'differeQ~t f~nn~s(ch.n. . they' aremeant to be . . ere refersto the highest.' . (Volume· 2 wlli. ii 'V' (and the c19sely' . As.dgment a. •.' (" d -. :111 V'~I II t :p~:~yea Qrd. the chords.. .into physical difficultiesat first which wII! preventyou m fro..IS."). .· .shapes). hand.. in ...m 'being able to hear the Inrended sound of some Pt~gte':ssj.)..D. -.in: the history of music.lhis... entire fingerboard from many different angles.. ' ·M.rgarrized~ Mainly b'Y ·melQdi:es ·(:m~10.~r~. ~a.ainly to show-just what can be done with a simpleharmonic formula. asan "opener". fair shake..diatonic harmonic formula 'is 1.Remember 'to pay' close attention to.'the same. probably any other .11":. One.is that·you glv·eeach example a.vi ii 'V).guy Greene's gone ct~y .:. .xplorUlg-the.maltyin.reasonable amount of continuity and 'smoothness before making ~y' value fu..All.aware ofthis.':V" . Some of the examples willgive YOll i~d:eas.after this.. ~·p.~' . prO D.essential to coping: with this. you're ·0"11 'your own. '.is e'SP'epia)ly' common to find this progression used . 'Vi.ons~ In these casea.' : '. n how to o do thts.. This progression has been used: as much . .ai. .

.. .- ~ ": ".:ore'. '...'. n " '. " ~'. .7 .· " " " .".. ...l: ~.. I.~ ~ 'A t ~"':: .'.. . '~t..' " " : 4.. . .. " .of-'differen'c.' .'. "....~··t'our·all' y. ." • '.t=: •. J -4'-".. . " ." '.."Il. '- ' > ":.. . '.. " •• '.). .p.ill I Y.' :faVo. .'... .' •• Ii .~" .ore" " " v:" .ri:"h': _..~ " ." ..~'''' :BS'men..t. ..: ~ I'_". _..~ :' .:.' .< - '~ ' .>".y ip one key too....:Yirlg~ ~'~Iwon't be able.J r .c.. . '.~~_n.. _.. :' i. " .... '"..0.t b " ':'d" . _J . tllo.' " ..' .." . .. """ ".> '" ~OS."sh·:. . A ': ' _ .long. In fact. ".'.'" . :'-' - ...':~.' ' : '"."'. 'tf4t. < ~ rrt '..4 . . 0« ~'..Jl~e a breath . laterin various 'k'~ys.e. b.:' '..:» .Y ':. "ti. . ..e. ..- ': - .: ~< I.. "' . a y-ou. " . It '." ' . .g the ke:y can 'pe...Q'f: fresh air.:. "_-'.. .~ -. " ""CAi'II.~/' y''()u~..·t '<1" st y"~o'ur": "rans·po~:e.<~.~:.. _. ': .'-.n allY': of'these if Y"ou g'"':e.~ •• '. . .• '". ~ I ~.d '.J'. 'L_ " . .r. /' ': .:.. '_: ..". ... to v:1a'y it any rno'te. . '.. ' .O _.. . +"+-1 . (~~'Ye:ah.'. .t:~.t'_ ~'.".' I·".. " "' -.. : 10.fI_' ' Jy' .. All examples urc given in the: :.. ~ :1" .C :'~' .:. Say' you know a song in '1h:e. ..." . . . ..:. .ritesJ to all' keys i-f~possible.~.'....M...k~e:ys f 'C:or ~E:~-t first. . ' " '. . " .' '.'.. e'~~' G~ Changing il to E or 8' k of will makea lot .e. Try it and see. . .:.. 'if: ~ .' '" .ne...ich o cap creep in if you s.. ": .L7 ·""'~W....hB~gin.:' " .".. .'})) Seriously do: trychangitt'a keys t. ·a-' ~a. ~?..uld t.. if anyfhing -in music ever sounds monotonous to Y'Q'u.tt • " " ~. ".. ' " .-.'- . n. This-is done teavoid monotony 'wh. '" . sa._-'.

0 ~ . . " " J" .: . ' 00....0 Oi' I .:. .00 _ - 0 0 0' . i... .' .. . f' .~.. .. I. " •• '.- ~T'7 .i .'Q ''1~Q'' .• .': " . 'oj ~ . ': ) ". . .. ' •It .. .• " :' . : J'o ~'.. '... . 0 . ..: ~'t " ~. It ~: ~" " 0.0 0. . . . 0.. .

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. ' ./~..... .' 4'···. · III' . .' ... ~ •• :..' . ... " '. " F:. . . " ". ' . 4·~· -I .. . .' . r -4. r -. "" ..~' .... " . . _. .. " ... . . • ~'"I .. . • E .~ •..r. ~ ~ ~~~ . . " ..~ . " . . --- " D- ".- ..... I" I ~:. - ':- . I... 11': . . ~.- " ..~ " _ .~ - . . Ii '.. :. . .. ':3 1-+~ . ~.: ·:3'" "-7 -.J 1. ~4[ . . ". " 'tt '. p .' ...I' -. .' .. -=.ii' I II: .~. . ." " .~I:~. j . . . 't..' ..._ . . . .. _ . -. - . . ...". ..... ' . _ -- . ·k ~ ... .. 0" ~ .--.. .~'".. .. . .:~.... .. .' .'.. ~. "j .. . .. .' ..7 '.." ...... .. --. "_.... '.1' . .

_- ~... . portions if . .~. .V's and-. .-~:_' ~~ I~ ..n{it:. & "7-. . ' . -• ":. - :' -- . .- • ~ I .- Y '0' ..~'. -. ~[ .. ' ' :.... as given. . . .". I i~ ! .~" .- .!iy~J:y. .: .: .. " ..' .. '. . -._ " .y win :'be able to: use. 'I ~ : :~J. i... .. . ~~' .' .... ._ " 0.. i '! j .- ... . ...-~ ._..: .~7 ~I~: --. " .< - . -:! . --( '-.. . ~. 1'_·_' " . ...._ vi ii 'V':s REPEATED Lvi :ii Iii C'8:. . .r . _: '_ ~"l I- . " " lh~ whole} erfec...:' -- ] :" ." ._ • ' . .. .h : -. .. . "0'. -- -- . . ._" .~ .. ..(. ~ - - ." ~ .. .":' .": ~ ." - ". .: ..n tend to get: ~mo. .: - ~ . ~ " ..0 "' " .. nut later 'YO.~ . l _ • _ T_ . c.~:~: ~ _'" ~"'f .- 'a . .-.. _- " - . ' -. ~ " - '~ .••.'..! J . " J". .' - . . ·dS·' . • _ v -". '. '- . ... I 'j It'. i ~:rath. .1 - ~. I ~_ .. .. r ' -'. . T . . " ...~ ~. " - '" p ~ .. . .". . I I: !.. •.. .. " .i~f! ~.~~ 4 ~: .. t. These sounds ---.-" .'n" _" .erthan . I'': . 1!t!A1 3 . " _. 0"': . s· .tnOl)8 play·ed. ~ . _. 7" . . . 0"·· . . ·.

. .-. . OF 4THS IN MAJOR KEY:S TbJ~harmonic formula.. play Jbes~ cycles... . progressions. .· . :.r II. but unfortunately the physical limits 0'[. - ~~ ~~ .' •• IIo. and then carry the pattern down.. ' c -' I~ A. ..y·'QU. h'3S been very -popular for a Iong time: It is often . as the C'¥C.. . J / 'Ir .:~ '.. ) .·4th) aboveF.. : '-. ~.j ~ .a 4.. will see that F is.''~.C'-" - v J '14.. using 7th. .J. .7' QIl1/7 G.LE 'OF . " £. ~ 1 •• :. .~" ~] fiI ~ . When':yq'u...: :4. i!... the diatonic cycle of 4t~:~ is 'c+ F:~n.io Iii "vi ii. 1. Ithe string' transference slightly changed the F-?' pattern at the end. . I E L f.•t . -. A ..l ". ~~- C"fJ""..• 10' .. :. J l: .. 4. musical . just the first" third and fifth diagrams above. "[~>isa 4t~h. r t ! e ii r. Involves units ...O'NIC CYCLE.4tlls 'usc . of 4tll'S:: Most cycles of .? 'C:~-'E'~ etc.going ·30 little:' Ionger).Em?) Am7 :Din7) G7 C'-1-~ B-'~7-. 'be viewed as. .' £r. .' ~ ).nm. ...'. -~ .. ussec . instrument necessitutc .scale and the second fourth.~ is another ¢ xarnple: Jj. " r.ii 'V'.i 1. t·. (1:1.. . ~- 7' ~ ..J fl· "'.1 tf ~·-7 ~~ _. OIJ_:. for that-matter]. is GO·l1 tained fn the cycle of . d '1.' Uiffcrcn.and CH OR 0 ]t( AM~S·· whH~. is where: your knowledge of chord .1 ": ..: A cycle of :4tl)$... " ... ~ ~ . Here... This ·~J1P_rd Will be disc. cy-cle tobegin on otherchords than the J.t: pitches. will sink In better with tnis te'¢ht:li:q~~'-. above 'B~. : ••• 1 . 5ths} meaning each chord root is····ct 4th higher (or Sth Iower) matt the previous chord roor. or any '.t AIsQ.. ~.: .~- ~ 4" 7 .' .....f r "~ ~:. . a good connection 'of the.' ••. .- ~ ~. ~. rh~ first. Example: '11) tIle key of C. This. r1M. while they alternate With each other. already familiar.they."..... _J~ { -. ·'R'E:MIND.J.. ~ - . . " ··4 t 4' ~ ~ ~ : •.th·e· key. . ~ ..~"-. .r . 'i"..-' . .' for instance.' 4).hs. · of B'4l? .ete. rv :_. . is a 4th higher in . ~..a S:·EQ~UENCB· attern (a sequence is: au exact repetition . chords. two chord. it i~still the diatonic cycle.y<?tJ play: itt ~hcJ.. .."!' .. . . j .' " ..E·R -...~~ _.at the. ] IV viio' iii vr ii V" I IV' . and sixth diagrams belong to.:.~t '. ~ ...." ' " .-. -'..abcve can also. -J: (f L- -' . .. "4 . nd ·so all._• II this-type of thing sometimes. scales' descending.. .. ~. a ' 'Notice that ii! vi .-""" .. .~.idea but using p •.' Looking.- .4 .·V l' IV vii:o~hi 'vi 'etc. .tlJ7:b'5 . if ·y·:ou wish to keep a pattern . second. di: ". two ehords: C~ F=r.~ lIS long as each chord.. ~ _~ I l ••.~ ~ e. •. l1li I' :- . ".AT..ths: pattern Is to get. fourth and sixth diagrams. i~~ U .. J r- . first two chords.4ths" (or ..' ~r . .. -:~ ~" )1:.~nJ run..' '.'. ~' . - .seales comes in IMPORTANT.Y()~should know' thatIt is co m mon for the.. i_ J(. . ater.Em7 Am. referred '1'0.' T'HE DI. .Il' ....1.. ... now 'play Just the. pattern as-illustrated . .n Muman N. . "Try ·pta·yins. One triek to creatinga good cycle of' 4. 'third and fifth diagrams belong to.: f. a11at he r... . . '11 .".... Example: .-ft .of 3.the.erals.tll aboveCj B is:'-a 4th (. "". - ...4f..-. .._' . " . '4 • ~ '~ { -- t ..9' ..~ ::·F ~ . .. ·T'HI:r-tK··i.~. a song inthe following form: IV' yiio' iii vi ii V L No-matter which chord it starts.~ with wh lch Y9~' are..' .. youmight encounter the cycle -111' .rootnames of thechords.\' - . . I v. Notice that the: sequence pattern used here. .7 ru ~ . one chord .

...~ . ..--rtr ..'~~ I' .1 I~~~ p" ) I • .'r . so ".i(yO:'U we given 1. ..ate gifmg to. . . " ~.. .enl in this type" of situatio«. "~7' II ~ _.~"~l' . I I..~1 '\ . ' I ( '-ta:. fbt the ... in the long rub these fingerings will be easier.S.' 2..' ~ .. start from _tv ~io' Of T l¥'..'.Ihem. .givenhistead of the (and IV..~ ' .- .g: from I·V'._ . otice thatonce 'l~elniti~ good connection of I and IV is made! it.:-:. I j.~. ~ . I'~" ~'~ ..4 .if you 'an! starting from scratch on thissubjeet ~ you. Only' the J !l:li.eplayin~.. th~. just a matter or figuring put the n deseending chord scales.·.e. - ~. . .. example ..:1. -' . r-: you might change It f{)Jt74 'AI ' .. .' ~...IiIJ- \(. also changed to makt!. • . ~ I.le.: &i . - . '''~ .ot a diat.J):ft Ci.' exatuplth.£7 ..'. __ e.:ch s.1l. .". Sometimes .g<)in.' . OK~ sc how ... .: . "-...." : ' ft ' :.. ~..:.I . '. •. Y QU: 'will see some of :yo... "y7)i.:..~'~!I"i •..f the first cycle pattern YO"U will eemeup withwill be as fallows: . _' . .. Ih t. ".:. - t·· ~ : . . se. is.~ _. i. so it is ju~t a question of' putting the.youw:iUhave to leavea note. a note). most -of whicnyou alreadY' know if you have-done your homework.' ~.#Q-and F#m chord'S near the beginning..tring set..· . whether YOU. work with them) 'by figuring' out the chord scales. _. from both chprds..1\.tems tif )\uu. which shouldbe helpful lnrrreruorizing..'It 7:H' 5 . . ·-. . A. : . · 741f1n1·· ':/' 'f J( J? .already know many chord scales and someiil vih V 1 patterns. : ' ". cycle Qf '4ttrs s·tartiit. ..: ~ ...sake· of vatidiy.. you can. ~ . ~ •..j". Occasionally the.."''''S'll~ ~>. .conrfectiobs? Well. The fingering enthe G.. but youshould make 'them into cy-c:leol' 4thpaf. .: I-!-I" '~ .: ._" .1 teaJiy'know'the whole' Instrumentvyou ltv- ..-. and ~lterl\aiirlg them.....•. Exampie: If this . II' . " .. in a Coyole r.. 'I' ."-E12D7 ~ J." ' '...t 4t . . .. .do. P - ~:-. tryand find them yourself 01' you can consult the foUQwing Iist. . . chord scales is still the same. due to...... :-' . ..'''~ Iii ..-~. .C4~'...In formation toge therin aSliihtlydiff ererlt 'light... out ora :chotd (ort}lange.P IV chords 'will he given in this list.-. .1 'A.• 1 .friends from the in Vi Ji V progressions cropping up as-you are playing these. AYsicru problem. -'t. . was. :J I' .::~.~ little easier (4(11'1'1 laugh.r. 'j~.~n... u ~ .. th.lB·'. But the procedure -of figuring out the. '1.a' £:r'.. :~.. . ..u'r old..cycle by the-two altcrnatmg.I.:..if. ..and viio'~ll~d~wall.". -' ... 'Here I. ' . Iikewise the fi'n@efing orr the C#tn arrd Bm near the end1..- . FQ..~~.yo~ find allthese good 1tu IV.. . ~.. .6horii:shuQld oceur just use y:'QUt' -o·Wn·ju:dgm'. _I.Iv. .~.rn' . . '·t ~ -h F1I' ' '( <.'. practice eachcycle in all 0ctaVes' ()uea. -: . " 0 ... #" •t: .• ' .- ~~. 4 •. it isnot as..~~JF-Ir' .. .' shouls.U4~' . '2.••_.'.. . ' . -: .

'1: ill . ."~".. h d -..t the re~t Qt the chords in 'those t:yCles win 'm<~ 'the whole thingworth checking 'QJJJa..". ~ ..~~~. not.. " . "+'1-1b thi "f" _ lri · try corn bini :.Y''..:i 0 ".·:ernsrrugn " ~_' . one reminder: the. more about tl :1$. ...:J( overused.'..:~_. few cY~:.· '.t 'Y.¢rse~lati()n~hips witb cycles f_not!iing. t esentual '~li' '. .~ . J~ If: ".. -.'190 -: S.' ... ...' r ." h other 'r~ eas. 0 • -.notoIlQUS. b1J. :51 . ~: ~.'t'.ou~ 'WI.. "tt..io'd .. Finally..a. and 'you will .lc~u ""·7 .Q _.to worry about. Be prepared tf) see: sonre ainazing ihv.:"' .'.part 0:f~.' • ..'"!tl~ Even Just eornbining different cy'cle but " tt. :.~ 'I.-~ ' •t..a beautiful harmonic tool... ~ . '.ow"" e + .. .an J:Q.: bthere is 'no harm in experimenting 'riM....·t. I" tervo J urnes 0' tins senes. '+'1 . ..r n.~'ml'l1gi I ·~t:.91lr Q. : e...min.. :rI.~'~::W.a'way" on y. "_p . cycle of 4ths is .~. ~ 0 ~ [.i. well).'.p·att. '. • I~ '.".g.:..i..:: .'J.:-9 arr d V:. I.."Qrne. .. t..a rnentkined...." d .l-.m :. • v .iI""* I:/' " ".Ol]. ' .~<' t~ia.Y 1'1l"O. but it can be Mc.' ". .' ill .. .ny:w~Y..8.p'ti:rba'bly ·g'et ~ ktck out Of th'e..' .' . cnoras (..~ ' ' ' -'- ~~7 • II • " ..:~.5.. v . \it" .3.p...J . as .. ]~. .. : . '$~oun~~: a great. WI' errcounter ·~s.'7 n')". so -': ~ "11" 'h' . this will beclear.- -". . <' " .~ " .l·· Jj'.

J_--.! . ~. . ..1.. .... . . -'1' 1. . S·J . ... '. \ .' ~ -.... I' . . '. '~. .. j . ' '¥".. ...I "o~ . .-·· ." . . ~~ '.... ! 'j ~.... r. . . 1 ....k-l ('#F)nroA.. .fo it·:. L • 1 ". . " ~ '1 .. l·.': ". . j . :1 ) ... . '~' 1 'j . ....t4. . ~. . ~ ~J~ .' . ..- . r: 1 .i ..~~~. 1iiI.. .

." .. ... 1. :..' ': ..'...' .... :...... ... . '~J < • .... . II ..~ .~ . 'l......~t' 11:' ...- "..' . •... - .•... " f . '. II~. '.... ~t· ~ < .~ . ': '. "~ II . .... : If .~ .. .'~ - .. I'I!II! ~I· .3 .• .. : ·5. .. ~) .r oj ~ •• ~ t i~ ·1J. ~ . ~..._......".J n '. .

... ! J• • ! e» . J . ..j 5·4···. ... i: I .: ' .

5"·~ ...' '~ . ' . '1'1 ._."..:' ~~ .. . '" . " 111 fllf] II[]I .' . - 0" . •• '~- . . . . -i- ... " . I' ~ f: !.Ii......" . .'. . Illt:~ IIIII . '. ~ .. .... tr1l" . J. • '. . !' (.' < ~ . .. ..' . s- / ~':. t . '. ..' ::'~..

. . I.. .. "'7 . t.. .. : ..' " l ..» . . 1 ".". I.I.t .' ... ~. ' '. ~tl'·. ·-~~ . I . ... .' " .-·' . r' ... . :~~ .. .. . ..' . ..... .. .£).. .. . I·'.... ..J•..:' . I ' : I :.... .·..... ~ .. ' ~ . . '... J' . ._::...... J. . -: I'~~"""" ~:""1:" . ~*-I II·" --. -_ .... . ..r- .. ~.. ' .- '. ': .. ..... 1 . .. .. ' .... .I 5. .. -.. . ..· ~ . " . .. ' '. i I.. _.. . .. . I ". !. . ! I ..' t· .. ..".

. . .' .. : : . :. . .. . . '" i' ':. " . ~.. . ' ' ... ! ! . ". ~ 9'· ~' . . . I:t . " ... . ." . - . II' I i'. 'I ~ I 57 . - ' . II'"" .. ' " .. .

. " . " .j. . . . .: .'... ' : ' . ~ i . : " -' . . . " . i . . !. " . _.. " ".' .. .. ! . J . : . I " r. ': { ~ . .'.. . 'j .. " .' . t I . t. "i i~ '-.. . .I -..1 .I . . ". : .. :" .~ . . " ' .. ' .''-' .

~~s~.. not diatonic.RSO. '- .ehY· C' and vou see.well~.·.. •• _ • 3~..$'····. the I .ds.d m:o:o. ..:~ .an..e~t words.t. :o~.j. J Q. what we will call :S. by the human ear 'but don't be afraid l'o.. are.~'J3tr~ t _q~~e.k.ic~ For il:lstt-fnc~e.beused from J10'W.'. • oJ' ~ • • _. · ""J.on.~ _~ _..e~Jlu.. 'But first._ \..ns-vler t.gr'e~~iott~. ilii V~I7ii7 V1 (and 17' VI1ii7 V7) :Ma'n. and :k~e.ont')'" five fin·gers·.' ·w· _..<:re·pla.." A(].u'ppo. _ .are 'in the key of C~1'why' does the .I. .ds..t:is put..principle In much music that you.ehords are great .nt ·.you care 19 be.:a~y'nt.I.:. .. both of·:the.+.#:9).~.-..t altered tone when fhe 'VI? ·i·..'" thi·s. ..r trl·a. . 'do it jus. ~.~· does ..'~e. at'e. :VI?: (In. :Y'Q'U will make ..S:subiect. . For-instance..la·S.:). lla' .• • • ..li.M.• ' . f ·seri.p...o·'W.$io~laJly. UWh'y.$'~' ...g.A·7b~. . ~ .ke:~p' your eyes~artd ears 'fi?"(~"fi. you Will start noticing ~simllar applications of the... ..it 'o~ut..fricn.r.mus:i:~ 'a~..._.ize"n 'a.chord sound Jg'oo~d on.s.o~n:c of ·y'ou·r . admi] that s9'm.. .J.pla~t"the... whicf..is typ:e .e.to .. .M. B:7b.R' complex explanation to..b.stlbj'e.~ ·~:c:e·-:r.(7·(11. For example.. _.crl... 'i' o'r i o ••• '. ..V? commonly use 'what are-usually referred to l~ as A:L:TEaE'Il T.s are straight. "._-81: is replacing the normal . -- .st:ion: W.R" _ ..'I'·11·': I. type ehord . ::.: . .rson' 'w:h{~. note &:n~(l.rr~.Q'f' questj'on.key of E "~"~ .a".m'.ns' a Y'QUh sons in. an'$:w'et our 'mos~t 'm?t~slcqu..'Ie' >~~t·f'~.lj:a.. th:e 'maj""o..major .: .1. / ':~' ".r. . ..len ~"..stionJ '·"WJlY (Joe'S man: . -.e. Example: You might s. ~'o..A.Nature'?'bas¥ i_s~:ove. .of ..S.Yi. in.t Of li~~tu·re"'s' v. one 'simpie.. " • < '..' .prefer On .. Arr~ whv "l'~"ij h'l'~s:~i i' tried to work out a 'si-tn'rile'..·:differe:rtt . "-. explanation foris .' " .f . key such :~S>..l31)..iu'~(_j ~g'ou:awhen used smoothly with.c·'~'p't"e:d·. M.ork .. txtter.-s.question.fundamentalquestion un.uf' the' notesare diatonic to: the maier scale.-:PR'. "d omirran t 'for minor .Q'IJ.. ():r you 'mi~t ._ _.rent @:JI' pefsonattaste. .~ ~fO'UVldJl . ~.. • .. ..s tJl~" lilujor c'ho·rd.l' .. :tt...{J:a.. used in -smooth connection with t~~~ chords Jp~..orils?)t' Possible answer: ... - ""':'" ..sica]ijatz an.?' "Or :evert :m..j'n.the '~"~Y :Qf.ie. _.good with /Ja....~f running 'up against a .ning.cti:t)n: . . ~...r= L' .' ...:f-:s. ··.: ~ ". .NBS:· (6am~ely b S~ #5.. a iii? V1:7tIi7'V7 p:rog/cesslan..c.:que.B~S:TITIJT:E:G~HORJ)S'andsoon. js' Jj..ar to yourself...:~'.. :in~Jcadof :six or 'ni..J! '_ .a:s:ei1·· it. other c'h. ~tn'dt·h:is· is in ~n:ow...leaj:j.f:~.t:his:~s~e.esting for :y. .~" >.' ..).c:t that .l'._ . ott .3..':.l...·"y. ..ost .this a i.:riv. .' ~..nt:ail1~sa 'C..'9 -in the . :dth.hJ~n{~. ~.requires . like 'most. .n.. ..thev sound good.~'~J[n-H.. these are. -.-" .ca.:_~.scale sotm d.d.a~~{dominant '7th. :Oc. If' vou .I -.:1. .· . 'f.E'm'i JI111 is. almostall kinds ofmusic.' .answe·~.Y·· :ilE. ·w1to'. 'yet y.AJf'·R ·K.ugh ~a ·-tt.t:T~) oJ J1L'j'b'o~ok. /Why should' '..bou.'. s~pirit there ~ a..~~e:. gfven degree.. In. AlthQ. ..·'S. 1I.·. E • . ' .A 'DOM1N'ANT ?lh. Q ~ .J -_..rU1'qri:ic formula is.": ·CH:O'::~\'~R' O 0.m.ou-nds w:blch l\rete: us~e.-:~ .·rlone:.: d.. 8e'r±e:~~hQuys+io. .a.."'.ries.ve··.h. orr.b::~lt .. ( :!: 'b:e·: a·:·~. ~.. 'p'o'pulat :mu's.oY~rn·e.~? ....·wi'tlliJl"!tstilf}Ule pot4:'n.. -.... .'SI N~S ..-'the.0ne: ~ex. Actually.J.. we ·wIltwork with some ne·w common harmonic formulas ·tlUit utilize such ct~tttures+. n.Q1h.e·sin th:e first p'Ia·c.. :?~y-..-r···n'. If V/fJ .S I:N·G SU B~S'T ('T'U.REPLACE'D 'WITH ".e'1 {If you are'~not u~~are' oJ tile' o·vetto·ne. ·.... fact. carr 'a. .r the ·b. ~as''y:o"u ]Cfl9.. - .lJol"diatoriic.·r.u 'H' you itii.1.~' .~ur<l~ teacher .cant to :d~:t"e. .A.. let's follQ'W the chain ..e·nc:o~U·!lt'e... ..ety important.'S~ .O"G"R"E. .generated b'~'the.ds dllrin. '~"1.3 ·J'b 9'.~tn'd'remember your uwn "rules" as Iaras what type of colors you.H0 ruJ.#'. ~ v~ t:o' ~ I' - '. j ust give many goo. . .a.tim-e ·p'eTio. same ~c.ti"c~~~ also depends tc and $-.~+ ::f(.go further and :g}!ne:r~~.B·e~au..lJo·r~ many 'diffe}re. 'these arethe..v.e.5'ij.c-s:t.W' (X' hope).Q·. ' .nerm rather th the excep ·t·:·'l'·.ijot~ .of questions...C':O:RDING' 'TQ~''PE.bJ~ct::~if. . .'or ~a. v.{teal with tli:i. - . (··. . " .on' :tlle' lon¥.~ let ·'y·ou'be 'yo..cplorsan. .i\?......~lt . to: be-iii? 'V1'7 ii7 V7' whe·re :VI7:c~ be .er·qu'~'s:tiol1:s. 'CH"Q. w'ilf p'rob~hlY' h. This principle ~sV:~fY commonly utilized ]:1"1.ns··Vi/i.J. .going... ~s.s. players.U. 'th'is .Y._pJ1:.r.at w.:i? Because ....'ar Ie i manner ''10 wbat 'was said befcre: ~"VI7'sounds .F.o:ssibl:e. _ _. .m7'+ and. :'.goo:d.' _.~~.'n'" ... u~$tio.f . the' :k." . n_:h t'ha'.asto the 'i'Wny:~:"?-'" -may ·.~ ~._ _' ..: ••• •• • .Q examples of the ~pr~q..cile..a·Sl~S·. . If you and .•. alrea ely: hear."1'+ contains a 'D:' note re 'tIle· and 'S'1:b'9: :ctl.tpreeedeor rqljow it 11 (the examples wil~ illustrate Ule wide rangeof ground 'that the termvsmooth connection" really cove.~u . 'y'ou·l111ve already seen some-examples of il or V ch(l-td:s' 'that \\..on 'VI7.. r ~S... 1~. ':should j~. - . to:11e.'t.ro'v.remembet. _.O.~.G.k.T"E'.urather than waste ytiU" timeand mine t: it: seemed more-reasonable to.Q·LJ· to.·t·.d.C··'·~ah y:' Q.NAL TAST'E:.s~ notes are non-diatonic to t:h'e~ ofE. to.. '.'?··F'p'~. most of the time.r'~$~·nibp.$:ihle: atisw er~'.ry·of 'c._.' . C.RD:.r. b·9 ot .n"h:e t one. .·ot. _. vii in .' " r i ! ~ r: .' '. _. '\Y'ell. h "(as..~ _ :(l: ~ _ _~. chord :sY'Jl'Ib~Q]~' going . to rnake sure 'we have 'o..e 've... '-- I' i~ I Th'e HI?· 'Y17: Il7 V'1 :pal. -"'.. ..' . • .·:Cwould be Am7 while 'VI? would be.liisto.·pla.ties ·otl. _... iii' _.--- . · . .'u~:h. dead-ends . k ~ .}'P.' -:"_ .a.r.e' 'h:a:sic'.~ Will be' '~S(!'fJfor :iii7..rt():n~e..Y chord progressions iYl maier keysuse chords-that ·are<..U.mi' ZY'PE..d.a: ~""'th' '·at· ':S'~:t'h·.cil~i~iii?).~ 'why' fs ·Ih~ef.r~.0·· .J -- _ . ~ . - J -: - •• ..nt" Last QJle. fo=tlt?wl. :A1J. You will :i1.~ ~. For the curious: There are reasons :fQr'most of the musical phenomena enJo'ye~d. ruind~ is . the progression C: 'E'? 1\:I1l· there is the concept .hY..<·1·' ··b. concept must be stated: A'NY' ..S. TYPE: C.n.f'i'· .An·y 'way " 't~'~ 'tlT~t '11eW b~.oti¢c' that 'VI7 and..:.~~~:ions ··. OJ ele'v·en ~ntl :a half!'''~' 'T'he~ p.A:pparently:for' it ::niari ' s e·r-. Question :~ Wb 'I' does .ying_ alllife.:q t·he. 'each . ""'a:~'?1_·t·. .e.> . .9.s~:mi. . W:'-~h\} thi.._' ·1~·~'. Example: F:#'.'U" .

~ ! i ! . .. . i I .". ~.havco do.01) S to. ~. The ~liff~rence"S". 'fa I low ~' . :- . ...-.. . .. .... . >j' ". ! 'I' ! r " j' " .' . . Quite' a ~diff~tert:c:c 'th:eir colors.. .'" " .. with in.:'S1. you will he encountering. right? And yet rh e)" are '~l). ... ." 6() . ." " i . JA~'a4af: -.." .!~ ! . . ~ . .'(S. . I .I j' 1'. . " ... '.'. types of sounds ill the progres. L " " ~ h.I i.all these. . " :. . ..li)1) ~ii'VI ii 'V~s. . J J . ..! .<. ! ! ~ . . . j'-: 1.. " '"'n'" .!:' L " ~ . . r the p:. .. . : ) ~! . '..n".tiilcular 'YOKINGS 'ann CHonn QUALITtES.. ' .~"" fJl" " . " .' " ." .. >' " .

~ ~' 'all progressions from :an'y" . .. - .' ' ~ .'" ....". '...- .' .~.. .- ''': . ..:.! • " " . '" " ' _.lon als_o~)Reme:inbet res61~c the Yy-'s to rs occasi:6naJly. I -.. be.- ~i..:en graup vour favorites . ~:. ve 'tt . -'.I'. ~. ..- ~: ~...h grouped 'together. " .. it i ..according -·ly'y._. . ".._ "i..:. . ... ..' . - ... -_ ":~' AI 'I. : . make :£!h list of all ~.:." ._: -" " •.. ~'Y'P)~" organization of :i._"~' different startJng' 'chordsziverr In these ~iii:(I) VI ii V's. ' " ' - :t~ .. " . .. . ~' fim1 >1" .. ~ onihe 1 vi il V sect. .» . . .. "' " . . . .'" . . ". . arid th. .j ....' ".~ . i·s. :. .'- . ...:· e.... : -..:. ... '/~' '_.. .. ..~ " . "._ " " .t. .Ii• ' '. (In Iaet.wa. '-)- ... -. _.~.11 !" You will notice a different 'to ..- . '..section. " " t" ' 4f . ·: t .: '~'.. '. _}JJ .. . .. ".. - ' .. -.... '".~ ..:'~ .. " - -" .. . . ! . " .-.l" '.:"..' . [ ~" . .given "starting" chord are 'ptett~~ 'Jil'ilt...' " '. :' .y~to: memorize your ra-vQrit~:~ to tT~s'~'". ' . r... :1-. -' - ' .. "I' . r . . .1' '~ :j . I.~ "~'. ~ :. ~' .. . .. II . . :.-i. " .-:". ..'. .. - . " .:' - ..'. . . .- .I . ...FfllWt1 " --.'-r. • .. _ < - . '_ '. ' . . " -' . ~ . ' - _ ' ~ . . .". . _' . ."."" '. -. this-technique waul d.._'. .'.~ . - . - • . .' ... '. .t11is. ."' ' "I .). ~' - - - .·6"1 . ~~ '~~ '•• '. .. :-.• -.. A good . 'i . - - . ... . -. -. ..> " : .=. '- ~ -." l' .. .

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. .'" . of Iii 7). jus!' to see what you .may ·wish $re' to go ~ba:C:~ the Hi? vj7' it'7 'V1.g ~tlie 'V17)" but most ofthem we're derived in o'~lIe'r' ways.te'atin. .a similar i7 'V'7 (""shioD. progressienis to g:o..is going to be lil? vi 7"11.P with. Remember to tty' resolving the . .rin:s \1J. . . u.is ll7.ii)'" 'vi?iI17 V"7.."t'Q.'#. You may be wonde.y. in... " - - ..') ".JQID·e Jj.. 1 . 'occ~lsi()'n.'?" _' V""I'" '-7: • J . '...:i .y'pu-r'iii7 ·vi? V1 'p·rogres·sion:sand raise the 3:rd (0n'e fret higher) In the lit. The nexf harmonic formula to concern us.Anyway:~ here are some other variations :on ']. - . a.. .~ .QU.~' >. <. types..c.ti:Gi].h:ywe :::did'nl'tderive the 11 'V'17""1i'7-' progressions ..' .'_ '.c~tUallysome 'ortheth' wete~ (that is.tw'o 3'rds in. ': :.A'..". • . .. if:~Y·ou ...' '.rd~o... ..th~"t~Q" and jU!i:t leave the tither one alone: 'this ·w.fr. . . to' corne.. ' .]7·'~s-If there are . .'. ! I. iii? vi? .' i. .V'7":s>to 1."'. .ill. spe::clfically to produce rnore desirable sounds. to. .:~.".' :tl'7 '. . tl'le 9:~rdwas. . . " ' 7 " . Thequickeat w~y fPI YQ~.'" 'V:'"7:)' I ":.' (.7 '1'1:(sometimes IT' w'ill be used in pJ.'s and raise. ~. :. .in many cases.raised in tbe.."vi"7'~.ii7 V7··s ·:il1. - .'".th e. V''. thereby m·ak:in·gthem 1. '1·1·····7 .bac:~.all.~u ~I..9' chord . tl1ereb:. 1. -- ". . . '..a'1'e... the ·3·..: as explained above.. If are dealing with a jjm·711. .'. • J- .o:J)1.' _' - ". .a"o'" d' 'I~'" ~····:7' >iII!". However.:..Y' .·y:'pe.j y. pitch of .~t~h ll th in 'lh'e soprano (highest piteh) then none l~tS' of these ideas :will work very well. • '.nthe v:i7. upwith somegood examples of this... .:- ...c.V·"" . "..s':" 'Y. create-a .' .·11'1":' · 'VI" '1/1.7:.."try raiSi~' the 'J'rn th·i~ the lo'W.er.~ 'w.

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' l.~ " • '~ . d.~. .~:~". The last harmonic formula yte 'will. .' ~. '. . ".book IS lIl7 VI7 II? V1 . progression.:. ~. ~.. . J: 'j ~. A summary . . .t 7 . d: . .~. .. ~ ~ 'iI" . .+ 4·'." . . ~. '. • tI .. . J~ !~" . _·.. &7 '.~ ~~. . J" '< .~ 2 ..~~.»I6~ ~ c .. -. 'j.":: J" " 11- " .··$14·'"'1 1'" . .~ .1'3 . : . : 'CI . ..". ~.~ :I~:. .~'. j'. ThcIc. 4' • . ' .C~t examples i ~. '4 I. C~ n :~ _.. ~ II' .. . en because there" are many different attractive sounding chords ~hat fit togetheo well on t41S progression. . ' i" ... -. deal Wi~Jl in this ..~~ .of starting forms is as. . . i: : ~.~ £IJ : . • .. --~ 7 1.' " : .~I· \~ ~. which CHord: starts the. . ~...~: .'" :4 I . 1M ~ _. . .~ . '' '~' 14- .' It :'~ " I . ' i. t. .·.. I" .: ' . follows: -v . . These I:' v examples are organized. ••• .. . .. .. l .~ . 1. .': hf : . " . ." • J' '... I II' t ..r: (i) ~~. . .4 .'~ . '. -'"I 'j .. J~ t- L ... . .~ .' . r ... ~ il 4 " •.. " " j" . .again..once . 11 . according to..·arcmu~y diffcI.

~ • i- (~ ._ ._.4r 4 _ : 'J <. If you ..f progressions) is '~Js9{uri for your 'ear .·be alarmed ifyou getbored with lhi. In' p many cases..b·5·~. i ..3: good chance that you would not: erijQY''a piece 'of music In which almost every chord was art altered dominant..t fool around with I~ or 17 for III7 (these are all common sounds). 'the spirit of combining shorter 'progressions .. .s section though..'. " .o 'ttiis:. you' rnay wish to try' using.a . ade up almost totally at ' eo m ·~i-ces. . sounds 'ot a 'more normal. I: ~. on't 'forget to occasionally try resolving ."' il ~ .. B ~ ~t U( . ". D .decide to skip around..Dori. 'place of "VI? types.~rY "spicy" chords.s·:ifthey are prepared With. '~~ ~~ u This type. of technique (that -is" of eombimng the ·con·sonant"J. in: small doses and adU -some of your favorite' examples of these lIJ. would.:you '·!jligJt.ome of the more ts "normal" progressions 'you 'have already studied. .otl 'play' throughthese examples for even.-. in one. . 3:. to I's.uP1a:j....s·one .. chord that you 'cannot find the right fingering for. . "4 ~ • II . I :. - . . there . But there ...n order to makelonger progressions.~7. unfortunately. . .. and it is good 'for -.: t ~ _.. Jusl as most :. which are Y. .~~t.. . .. exposure.(f ·. . and '2) almost all of the-examples use altered dominant 7:th.'smentioned earlier.~ .nothave a.because of the c:o0 ttast .scaley" nature {lr~t" i ~ . types . into." 'tJ . 'the chances ire great that the fingering was given earlier somewhere . iii 7: . ~. diatonic '.qualification ·t. the ear will accept-altered chordsmoreeasily ·in·inost. . '~ JJ ~. • . given. sense" this' is what you 'wilt be hearing (the "pieee" of music being one' example after another) if y. this 'will probably bea normal reaction due to the fact that:" .W. . Please remember.. -.i. . . either ofthese chords would-sound very 'good .~ #:5'~sr and . ::- 'I..experiment and see what you think. given aIittle-time and. . :' .for your own good. X:r :' -~ ::11:.- ~ . 'it - •" 4 .( .:.]} there 'are an incredible number of variations. . . r r. ii·. with #9':st. " yl. " ~.. b 9.111 lace Q-{ IIJ7 types.'~r~' .. - - 79 ."1o·ubecause it will get 'you..V111l7' V7'·i·So . .~ .. ~1 - :~"4'i~ 3 • t' e"fM ~ . :. . this book. '~ J" ~ "~H" " ~.40 not upon flrst hearing. . t~ •• ~~' I.· The solution? l)lke this whole sectior. 5 .. meal.sJ.j I ~ : !" .._. ".. you willprobably learn ·to enjoy these sounds" even If you '..f·.~.the V'7~S'.. AJ~Q.. . .from the b. A.egjnning to· the ~'ndi! .' . ~""'f'. a Iewminutesin.is . Occasionally.·~case... . approached in order. .p' ple. ~ .lnd dissonant types o.is: meant to be . . .'s.. and yet. ~" . '~~ " 4. _l.. - . and 'you run across a. types (altered dominants are those.IJ).Of vi7 tYIU~:Sin. .9f ...

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