You are on page 1of 54

@

ULTRAMODERN

o/l-fl' _,

'r:=l "'J
II

@--; @-_........;tnf-J.. . I'. : n' . ·\


l
j! \.~
;..j

'.J

,-' __.)

.~

SQU"·JDS FOR IfJ&~~QV~9Er.!G

(Dedicated to Wally Cirillo) CREDITS: Cover Photo _ Copyist David Spitzer James LeBrasseur on this project

A very special

thanks

to Don Mock for his encouragement

.(REVISED

EDITION)

Copyright ~ REH Publications. Inc .. 197£ international Copyright Secured, Printed in U.S.A. All RightS Reserved Pubushed by REH PUBLICATIONS. INC., 111 N. 75th, Seattle. Wto.96103. (206) 783-9734

ES1GNS OF TONALlTY ES G

- - - .. - '" .~ DOMINANT CHORDS ' , _ " - . - '"

3 " .8

S OF DIATONIC HARMONIES SCALES

DESIGNS FOR THE DIMINISHED DESIGNS FOR DOMINANT

'1
17 21 26 - ·33 42 _ ·48

AND ALTERED SCALES

DESIGNS FOR THE CHROMATIC DESIGNS FOR CONVENTIONAL DESIGNS OF VARIED HARMONIC

PROGRESSIONS APPLICATIONS

DESIGNS OF THE PERFECT 5TH INTERVAL DESIGNS FOR FREE STYLE IMPROViSATION

INTRODUCTION To understand the music in this book and how to use it to its full advantage, I will give you a general Idea of my concept of music. Because 01 the many years that I have been playing and the varied experiences I have had, I have arrived at a point where Diatonic Harmony. Chord Symbols Key Signatures. Key Centers or similar devices no longer have any hold on me. In short,1 have become liberated. freed from the weight of thinking of music as opposed to just playing it. Bear in mind this took 28 years. Now then, when reading through this book, remember that these lines came out of my intuitive sense not from some mechanical formula. I wrote them down as they were bei ng born. All these designs were conceived at this point of departure from diatonic music. I began to realize how to use them in other situations aside from free style playing. I started to incorporate them into tunes with chord changes and found a way to sound inside and outside at the same time. t began to see the twofold nature of these ideas: that they waver in and out of tonality and are perfect for both tonal and atonal playing. I have made chord suggestions tor many of these designs to give them a bit of harmonic stability. I'm sure you will find many more chords that they will fit. But I caution you not to limit them to chords alone for they are also very powerful under free circumstances. Let me offer this advice: 1. Practice these lines very slowly, at least a dozen times or more. In this way the mind will record the music correctly. Playing fast lends to many mistakes which later must be reprogrammed. 2. The interval skips may be new to some of you and learning to play them will increase your technical ability. which of course will lead to greater freedom. So be pat ient. 3. The fi rst finger always determ i nes t he posit ion you are in. 4. Transpose all these lines to other keys when range will allow.
I

jj,;Et,n:: Sce_.= s~1 ~ CD E G .~ I E _..... r~r::._ ~ '"" ~ C ~~ ~'a5_ T ~ E ~l:: _ c..OU:: .... ':. 5=!I .0 (lc:re2lSe m~l:Jdic po-:.-e;. -., e5~ Pe :,nonie 1:!'~"5:~": il-z <'lJ3P;:2n..i:" enn CO urlulIur sl. :.:, I~ (}- i'TItn]'- ~ Cl<lt!ma,1is fully digested arid the ~. ~ ~ ana you· ..ill have the freedom ese lines aside from the ones ng techmque (a.lrernating down, ear has become 'lamiliar with ~h~ sound's of these designs. the irnu!.i e sense will 10 play them under tonal or 81O:1al circumstances. There are man other chords I suggest, this area is very flexible. Also remember that the suggested fingerings up] may be chanqed to each players preference. Try each oi the first 10 designs l , A:;us4. Dm9, Ern l l and Fmaj7. The crrcled numbers on the guilar necks correspond 1.0 the order of the notes '1. Tne numbers below the notes are sugg~sted fingerings.

= ,,~

~.., ,
r
":J
~'

r-

8 ~ ;;:;::;~:>'
-~ill
v

T
If}

(0
I'" I

....,

0 -~
D
I

0
,;
I .;

~~~0
IJ

(2)
f

.l

...l

I
1

2.

...

, ....
til

• :.
,I

_1 t

-c-

I
,

1
.n
1.1"

0
,

CD
0

0 0
0 0 0

0 0 0 0

CD

:<

CD
(i)
~11'--

PIa y 1 thru 7 and 7 back to 1


".",.,_

,I, " ,1.1


LJ

,<

..
f'"

• ...

~
1

~or

(0

=;i=
1

"

J
I

I I

2.

CD
I I

(0
a

+
0

5 B 7

0 0

c
0

CD CD

r-,

-1

..
c
,

!!I!:!

-+

...

3
,/'
!

~
~"I
'I'

,:V8
::::.

CD
0

<,

~=
+
I I
,I
I

r>.

:<
I

8
@
!

0)

~'

0
,

&

:::

(1?

(0

I:

C·l

i i
I ,

t -- -

3,

-'_.

I)
"..

r-,
I

....

4~ /'
V

~ ~

I I I I 1

12

0 G> 0

0 8

,0,
3

_ ,G)@I

1,8,1
I I

r0
d

I I

01

@
0

I I

I I I

I
0

1 I I

~. "
n

(2)
y

~- ~
,J

CD-+-;
f"

(5)~ ,~ 1
9

" '" LJ

"\

-.;L-

.J ..:...+- ~

"'5 V

l..-e~
7

iJ

17
D

~~
4

~'"'"
1M
w

+
6
<)

of ....

-_

'"

.,
J

.J

II 11 II

::::;ft::

@
!

5 3

0
0

"

I
J
1
'0

I
9

....

7
5 3

6 E

0 0 0

~
2

~
I

-,I
-

""'_'o::::.-=- ~
f
9
7

1 ~

.,

I f J J

;:

6 6 .: 0

.-.

s
3
I

\.)!

(.'::',

e'

.e;

\i

n
V

8
~

~
I

"

.....

~c

.J


1

:1

0
~~~+
t

-tfJ-

-l-

fo....;:~

f---- ..
fl

--

- ---:"-:r~

3
1

@ .....

--._,'

,
L.-

-"

i'
---;,'-j

It

•,

-~ -.:::--

U U

,---~----~--~--~--~------~G)

~--~--~----r---4----+----~--~C0-

n
II

II ,"\ '-_V
U

I'

_,_
+
1

,
I

@
I

,
_.

"
,
21

$I

,
1

=t:-,,_ ,
-+
1 1

-+-:10'"

---4-

----II'-

"
1

I
J ,
1

• •
I I

-+

-t

-t

19

9 V

G-e 0@
4

@@

@_@

8@
0

0 0 0 C>

0_0

..

@0 00

<6 r
'-

(2)

J ~
I

r ..
c

~
1

f
1

CD

FF
~

r
1

JJ ,
1c

~
1

J1 , •
~

41
~ 1

...

=*=
1

I
I I
I
,-

I~
V

0_0
@

(2)

08

80 8@

CD

@@

8@

Accidentals appjyto

2ssigned

o 'e

C7 ..C9, C13, Gm6, G"rn7, Gm9, Em7b5 or Bbmaj7b5


I

--;:. ,r. 1'\


OLJ
J

0~
n

0
A

-- ... -

-~
f/I

--...:: 7 ~-p-

~
1-

r-,
~
[

4-

....

~_'
1

IJ1

___
0.

II


I

4~

I
10

®
1

.I
~

CD

I I

I_Gj. I I I

I I

c
10

V
(Same chords as #11)
(',

I I

I 1
I

I
0

I
0

.1' ..... '-'

1.1 7

(0
I>'~'

-~
~

~
"J.f

0
...
I

0 ,

-'_

- r-

-l-tf1

p-r-

EiCiM

r
1

r-, 12

""

'" 1

~
1

• •

CD
0 .._.
5

G, 0
10

0 0 0

V
II

Ci?= ·c;s:.'_0
(Same chords as #11)

(:)- ~0

CD

(0
v ,
'--'

-fJ-

=~ ,
+
1
I

'-j

"
1~-=~

? ~

.I

0A
P
I I

I' 3
IV

r,
'i

I P

l
I

-. "',

I
I
\:)

~+ +
1~/

=+=
1

• • •

I I

r:-;
~!

~
,

<-'
I

r:-.

G::.
:::::>

"_

I
c

Po.

,I

CD

" -...;....

:0@

--. T

.;

"'.
~
7"

~-'-I---1 j
'tnY.;'

.
I
V
LI

CD
1
t:=="

J7

~-~~ _..lll="

......

..;

.~ .
'"

--

Li

>-0 ~~0~ ~-0

-0-,-0 CD

.1

..
J

I
I I

1
I
I

~~O
C7

CD

=
0

1 I
l T
I I
0

"'T7
'\..

,.
rv

an d a It era t'Ions _ JJ.


'-.:..,;

_ .....
.-P'

U .__ '"

-/,'

--,

c::~~
'\

err

-~

I 1

I
I

I I
I I

.,
I

tP1
<;-0
I

t:~-fr
1
I I

.1 _l_
I

:.

--.--.,.
0
5

Ii' u If II

'-

F#7, F#9, F#13, G#6, C#m7, C#m9, A#m7b5

[I,

~5
/"\
.1#'. C , .. I.,

0
c c
0

CD

0 0

or Emaj7b5

,_.
2 0

I I

0'

(2)
C7 and al1eration~

(j)__",-~
~ ~

._.."'
-

~-r:.

.,
=

4-

_' ........
1
3 '"'-'

--, ,1

, -~
#

,9)

....

L...--~~ ,
~
\

... - ~:~ ..16

tf~
1

t-,

'S

:.

~ ~

- ~f-~±
j

• •
II

...

16
/'"

:~--0-L@-~0-~ -&"-0 (0 @
(2)

0--0

Bb7 and alterations

7 -I

=t "J

-I- -~b~l
1

0~+=
(;

or Bbmaj7bS

1./1

i1± 11,
bo..

@
f,;,
1..::-1

, -.,_
I

~
I

..__

",-

.'

r-,
~I

4.

~'-l_J'
5 •
4

,
J
I-

~~

,
I

t
1

"
i

I i

~
J

I I I. I

~
1,

-I-,jS:-

• I'
~.

c'

.
I

il

,,-;:.
,_.
,

~~f:$=>-@--~G)
9
7

CD
-

=
~

c
"

;'

",&L-@ I'

.:

.~

I'

These desi.gns a;:J;l Y '0 a:1Y give. CI ord in t e Key 0 0 ,2:j:). For sxa e, when thinking harrnonicaliy, if you see A13, any at these I,ines will work well fo that chord. Once again, realize that you do not need to restrict yourself to the key. The harmony for D Major is: (Dmaj7, Em7, F#m7, Gmaj7, A7, 8m7, C#m7b5)

r-, 18 f
0

(2)

00
@

CD

08
0

c
0 0
,

V r-,
.'

t;@'

I
0

@.@

f@@

14

0 0 0 0

'-------------~--------~----------~G)~--~----~--~--~--~---80
0
3

0°1

~
8

~
I

.7

'T-~.
I

"'. <:»
17

I
18

20·
0 0. 0 12 C 0 C

<.....:

@-~

G
8

-L..

i --'- -V- ..'


!.

..

I ..L

z.

, ~

tl

D
1

I
00

'...----@,
t:--.,._,@.
~-+-@


t

~--I08 " I
~-.ofO@ 1 ~-"""'_'G)
'0

'.1

i
c

·0

0)

CD@
c
<::>
0

&

I
I I I
I

~
0

leD

G:>- 00

•,


po

, •
t

" •

,/
"

n v
'\

8_~~
n
~-' I
yI

13

(5,
...:Y
('T

_j"J

""

LI

>L_

o.

M
!-lo'

1 .J
.JJ:.

@
, ..l.
11

@-,... M
l_,j

I
11

II

II

""'''

1.

'"

....

_J-.

"

1f ~-

::;t 14"

"\

-;;;-

I I

• •

I.

23

Ir----;--+--l--+--+----+-!

1;----I---+--+-0

~~--~~~1~-~-~-~G)~-~--~~-_.--~--~-.--~~-~

~~---+--~{3~--~--+_-~~--_+-~-4_~+--~~--_+--~~

8_~CD~-+-_0-r~-+--r_-;--+-~--~_O_+-~-O~ __ o
CD

8}-+---;---+-l' ,H---+-l.' 5)-+---;--+--+--~---1 (2)-+--+--+-@.....,._-+-@-+--'-'-+--t---+--+--f----I

I
r-,
24
~

"t

8> ,

0 Qj- ....

(2)

0)

....
0

4-

.1.

@- r-@ @

-G>- f-@- -cv


ev@ @

-&

-.

-t

CD
~

'.

·~--(S

CD
5

rt:«: I
0

I
'~0

"
0 0 :=>

I
allty

I I
0

-G)-l...0
_24 ''''' as

~ rreat <> a

--

..

abou

'.
it

I
works "
r-:

I
weft wlth o: r- \i ""
;

I
I
arrnontc stabtury)

,
f

II

ha

OU

E 01 .~I

SH~D SCA ES

here are only 3 Diminished scales. They are: C dim, Db dim and D dim. The s ruction of this scale is alternating whole steps and half steps.· Eg. C dim s.... ale: F Gb Ab A Eb B C C

Notice that by using the notes C, Eb, Gb or A, which are all a minor 3rd apart, as startinq points, we have the C dim scale starting on different pitches. Therefore, the C dim scale provides us with 3 other diminished scales: Eb dim, Gb dim, and A dim. The Db dim scale will yield Db dim, E dim, G dim and Sb dim scales. The 0 dim scale gives us D dim, F dim, Ab dim and 8 dim scales. This covers all 12 possibilities tor the diminished scale. Now let us examine the four dominant 7th chords (B7, D7, F7, Ab7) related to the C dim scale. The C dim scale against any of these dominant 7th chords produces the following chordal tones: R, 3, 5, b7, b9, #9, #11 or b5 and 13. At this point we can see the flexibility of this scale when we deal with the alterations of the 7th chord. E.g. 87b5, B7b9, 8?#9, 87b5b9, 87b5b9#9 The diminished scaie generally begins 112 step above the root of the dominant chord. For example, if B7 were the dominant 7th chord we would use the C dim scale, which Is '/2 step above B. Another way of looking at this Is to start on the tonic note of the dominant 7th chord and build the diminished scale starting with a 1/2 step. e.g. Putting the B before the C dim scale: BCD Vz Eb F Gb
Vi

Ab

ABC

Remember that you are actually playing the C dim scale starting on B, not the B dim scale. Keep in mind also that each design may be transposed up or down in minor 3rds, and applied to the same chord, enabling us to take inthe entire range of the guitar. By transposing one design tn minor 3rds (e.g. C to Eb to Gb to A) you can complete the minor 3rd cycle and take control the 7th chord and its alterations. Chart for finding the Dlrnlreished scale for its given 7th chords'. DOMINANT B7 C 7TH CHORD

07
Eb

F7 Gb

Ab?

C? Db

Eb? Gb? E
G

A7
Bb

Db? E? D F

G7 Ab

Bbz... 8

DIMINISHED

SCALE

T ere are other functions Ier the Diminished scale. For minor chords, (m6, m7, • b5) start on the root of the minor chord. (E.g. for Cm? play C dim scale starting (root)). And of course the most obvious use for the diminished scale is over :.-;:' diminished 7th chord, which starts on the root. E.g. tor C dim 7th chord play C :: -;; scale.
J

1i

G?, Bb7. Db? or E7

#>

n 1.1

(0

(0

..,.-..

~
Fl

~v
U

',1,\

V~
+

v ...

,0 Il
"

,
N

=t

_e-

=r: .,
z..
1.

III

U ~

1..

r
~

e
r

,.~~ ~
........ ,

I ~

~=--

r-,
25

+
c

+ I

/LG>
r-,

00

0-=- --0
1

I
0 5

I I
@

I I

I
c

1
I

I I

.-,

,-...

I I

I
0

,I
I
I !
c

13
,-.,

10

@@

@-~.
<:::>
9

I
<:::>
:=>

C
'-'

V
,\.

.
9

I(

JL L<

n
'\

b _:,_ p-~
f 0;;;;;:

CD
-.J

~LI U

.0- ~0
c
2

r--,.....
v, n
r
oJ

@
~
II

1
c

" I

'1'

• --.1

I I I

-7z.
1

r-,
5

8>
~

26
V
I

0V

Kv0

I'

-:

"2(';;\

G--:~e

QI
9.
'-

./

:.:.; <:»

--

~------

_---

,.... dlrn desig t: iJ .e:

CD

.'5' >....::.-u

-,

,-

.'\ J

"----'

~.

.. p=+
(0 I ,,--,. I

..J

I I

.....=:;:::l
"I

I
'

:i'"
b

,>j,.

'j,\

4ii'-

-,

~ ~

Ie

,15

ff

.
VB

t'I'

-0 ,..-

t· r

'

I
-=

r-;
0
0

__..... 1 ~ ~ ,
i '.

LI I

-I

~~ .p-

.,

_,
P

If?' 'it _-_ -fJ

I I:

!I

Zr

4-'

@.@
'\1 5

~=--0 G
G7. Bb7.

1(3\

LCD

I
I
I

CD

c:

__,

'-.;;.-I

/
(Ab dim design)

Db7. or E7

-n-(1)
',.(.
_./

CD

CD

-~

'-I 1·'

I,

pr:;-~-..-....!:". '\ .I

._;

=&F

"

11

-0~

.@-t· =2£:-18'
1

~'+V .-t'F:~ V:
L

I@I

~: t

011

~!

P'9,

r "'

~
J

"'_[iii; r r'
I

"", F

..

"
Co

• I

17

In

l?-~
s:

_.

"'"

• ...

• -: •

@~

r-@
.'2'

0-

:ffij-@ 05

€>--i--@

0 0

=
0

0-

ki>-~CZ J '0-~ '


0-kV
.

; ~. ~f-@

---

,~H.

I ,_ .~,---@

=
,'I

I
I ,

c-

c
0

' I~~

~.

0>
~

1<:

I'

--

13

(1or E7. G1. Sb?


I

5.

:-"\ I

,
I

Db? an d'

The G?b5 arpeggio is inserted here and combined with the already explained diminished lines. The insertion of this aroeggio does not limit us to only G?b5. By examining the relationship of the notes in G?b5 to the other three dominant chords (8b7, Db? and E7), the following alterations occur.

G7b5 8b? Db? E7

R G

13
b5

3 8 b9
b?

b5

b7

Db
#9

F 5
3 b9

R
13

#9

G 7b5 arpeggio

1 e

30
3

=-5 1

.-..
<I

C' 0

..
CD

G 7b5 arpeggio

(2)

L.J

g E ~[ f J d r
1

-+

-t

---r-,.1

1
I

,I

1,31 :
:

--.:

0,C

I=. ....

___';l~+--+-:

Et%l

-_

--+-:--~----fi---'"

=c c-:
!

l"q
t"

-'

(G7b5)

,... ",,\
'-L.i

\I

r.
,/

I I"'!

y
I

I;.')

I ~

'"•

,
I

" L1-r

1-=

-~--

.'

V ...

r-...
II
r

130 f
i·..
I
I I

(G7b5)

.,.,,_-.=-.~

-'-'~

~ ... V'

:::;t: =;:= V'. -,-I

"" f",. .
I 6'

_Ii I:: It Ii

=z»:
r

L, I:\.
,. OJ

r.
L<f

__,
Y

(G7b5)

....

,
:/
".

~-rL

~
I
I,.ot

, ~- "

--

!_

........

!" f

,..

....

~
I

_.J

~'

~-V'

=± -,-

• I • •

(G7b5)

30)

(G7b5)

--;I

16

...:J

.......

I::J

--

jJ':1

CHO.

os
7tn chord. are: .A7b5. should be

This chapter continues with more lines dealing with the dominant H re I base allthe designs on A7 and its alterations. Some suggestions A7b9 .. A7b5b9, ATtig, A13b5, A13b5b9 and A7b5b9#5. These designs ransposed to all other dominant chords.

.~.


6 5 0 0 0

J2

c
4 0 0
I

-r

G)

CD

CD·

I
.1.

4
2

1
..

3,
V

0 6

.0

~
<I

0 0

0)

CD

'i-S ,....
~.
IlL

"

-.u.-

'7

::;;1..
1

V.I2

...

r•
z,

...
til

('!' I

11'

eo

'Ut., I

I J

L..

CD _,._-:IL ~-:I
~-.

0' _;_
1

-~

IT

~-

@
lJ.

U"

1.

3-

2.

it-f-i
-...

Ao...

~ 4-

--4.

,• ,• -,JI

r: ,.I .#' ff,,,-, ,~ d

0: ~ .----

0
1'1

~~

-(-

;J.
I
h

I
I I

...J

I (?

~,""

J;.
oJ..

,~

ii,

~
I

~~I

---.; g

'11

1-

1'1-

,
.1 ....

il

'"
I

~ -c'I

i'

'I
J

'35' ~
-

V
i i

I I

I
0 0

I
G) I

I I (3',\ I I ~I

or

~J 81

t:\

I
t

-0 .
I

I I

J
I

I I

j
c
c

I I

I I I I

I I

I
i

I
I

I--i

!~ I

I II

~,:-

Ii f

~ ~ ~

r
i
J

I
0

CD
0 12 13

(8l

0>

1_'I I
I

1
J

I
~

,0

---;?-

+...

r-,
36
I !
I

Z
~ -2~

"'t

.1.

,4

'~~0

c:
~
lit
I
l.i.

~ '-

8@

G)-r-0 @
0

,,
I

\2)

G)
CD
r
"-'
4
I

1 1~

::::

v~
/' f'

r,

'- -'
tJ

'f

~4

P, I

,.,

..
I

-,
,
z,
16

0
[/

! I

,
I

~ ~
1

I
_JtL

@ """.
r

"4~
I

~ II
I It

r-.I
~ ~

4:

..
1

::::

"'"

V~
Z.

"'"
I,'

~+1

-r#-~-#-

_.

f

9(~

""__:I'

r:-

00"--D
~3·f,'E

"--'l~ I \:.;I~':

_'

_.J

,--..

~. , ..._,

~. I
("

:::: ::::
'I

I
• c..

I
'I

r-..

~,
,J _L _11

CD
~~
1

~
-~

o ~l-f.-

"J
.J

"'

~
t

I'-.....

..
A
0

...

...

l.I!

-.?-

...
7

~.

1
._ 6 0

=~ P ::t:: I, -v"'_~-!"~'7'!!'

~t-

__..,
r-

0)
I

I
r3-

r>
• .....:~.~.J

It.

~··~·f
1

JA

"

)1

..

--:. ~
E

of

-4-

4-

~
\

40-

B7,

~
0

~e:0@

0@-0
(2) I

Ii

-. , C0

@@r-@

T I I I

I I

I
I
I
CO

I
I I I
I

I
I

4-

+
(2)
II

·W-~0 0"0 kD'-'@ 15

'tr 1-8
0
~

c
0 0

@@r~

e-

r-,

_...
:.
1
Z

.... .... 0,.....,


5

r-,

1.

--..,.

~
1

-r-.P
1

1
1

0
C

68
V

0
3

(D-

(2)
2

g.

@
17

10

@
I:'

B-

,.
"--

oJ

r-r.1

V
CD "
;,
I

l
--,-

A I

'I J

-7
1

~
II

..

IoJI If

"
.+
---e

-r
f

r-,

_..,

"

I --. -


I

CD

""
CD

8•

,9
V
I

0- ~0
I

--=;-

c-L0

0 ..-

:1

~--+---+---~--~--4---~--~G)~--~---+---+--~~~~--~--+---+-~ c ~--~--~---r---+---+---4---43~---+---+---4~--~--~-----~--+---~~ <=>

~~--+---~--~--4---~G)~--~--~--~---~--~_c--~--~--~--~--~---4

!~--~G0- C0~Ir-c--~----T---+---4---~---~---+---

G0.~---L--~---L--~--~----~--L_--L---~--~~

(Combination

of 39 and 38)

(Combination

of 38 and 40)

6. t1fFJ pDill cSt fj ktitctE1trslr1 @


L ... -,,~

(Cornbinat ion 01 41 and 401

-G--

-f'!--i-

ff

. .~

.-

,.

1"1_,-jI' _,_

20

UCSIGNS

rOI~ THE CHROMATIC

SCALES

This chapter beptns with two chromatic scales. When used by themselves they fit any chord type, major, minor or dominant 7th and their alterations, simply because the chromatic scale has every note ot every chord in it. By joining the chromatic scales with designs 44 and 45 we have four designs for the suggested chords of eg, Gm6, Em7b5 and Bbmaj7b5. The rest of the chapter deals with the same chord types but are not directly related to the chromatic scale,

(C chromatic scale in fourths used for any chord type because it contains every note in any given chord.)

Any C chord

{i)--0-PB=-G

42

-0-~
Co

@-~@

0@~0
c

0 0
,

---

!f,

1..

J.

Af.

1..

1-

I
I

0_@ CD@ ~0~ r-(D8-

G)- -8

r-<?-

rev

r-0

I I I

I I~ :::

.,-..

3r: chromatic

scale may be played over any chord type. major. minor. dominant and their alteraf

51

r-,
143 V r-,
0 0

0-~0
G)
0

0-.-(2)

0
8

0
'-'

0
0

0 0 0

-@15

@- ~8

r@
..

~- ~
14

=0

il

13

Bbmaj7b5~ Em7bS or C7 and extensions

r-, 44
0 0

9 B

I
c
C

'"

0- kD
3

CD

I
::>
C-

(2) -

22


Note that Gm6 and Em7b5 are the same chord Em7b5 without the root C) and C9 is the same as Gm6 and

Gm6, Em7bS, Bbmaj7b5 or C13

LI

!45

'"
r.
~
LI

~*.
I~
i ;
~.

CD
~

-('-

~-=
~

-f

46

!
CD
0

I
'-'

I
C> C

C>

V
Gm9.

,
_Em7b5, C9 or Bbmaj7b5

r F1F2 WUi4E0,
0~
1

bG)
~

:+=(

CD
j.

-r~ I
c

-,.~

--,-

r-;

...
0

I
0 0

!46, V
(2)
r ~ ......
-


1

0- ~
CD

CD

~r-G)
0

@@r@

® CD

~~~
J

[ P'(
f 2.. s
r>. \..,3/

r4..J
-4

e' 1

~T~ ~1.

r-,
I

"
r:»
\;!

'i-

4-

i~ ,
__,_
l.

@ "

~~

I
1
C

8
'-.:./ ~.

,-:::- ~0
r-"

:=: :=:
-e

r;;;--~, '-..::./ .._,

6-~@
f.?
'-'

+3"
,__'

r'-

.__-

23

Gm . Em1b5. C9 or 8bmaj1b5

f
~ ~

-+

.. .z.. •

• ~

-t

I
I

7~ ,
~

80)

I @--@ L-I 0@I'~

I@

~-GI CD I
,I

(2)

II

=:

I
'::::.

,.-;;--.,1 .,

I I

:::>

I
1
-t

1..

<,
:::; C>

1..

4-

0-L0 D

~.

@ ev8CV@ @-"-@---@- ..... @

6:<-r&f-0

~I

r:-.

-+-

r-,

1
!!

48
V

.~

(1' <:»

G)
\.:.)

G)-i-o r:;_--.

0@
fi1 \.:..I

'_
0

-I

I I I I

=:

t,3'

r>
~,

==:>

'@--(0
c
,~

.Q
'-.:;.t

I
II

,--...

·s

\:.Y

C>

I
:1

I I

II

_.

ocs

ges

Ions

15 Da..;,E. and alter uon s)

Em7b5. Bbmaj7b5,

Gm6 or C7 (all extensions

i
1

......+
1 ,

1)

l tIL

.1

T,

n v
,/

~~~

, :~V-fL-'_
~
) VP

,
_Jot ,. If

I , I
J 1 1

-!01 v.,

"

,....

I V'

L)

p,....
1

~~1
l'1'•
.-- :1 r~,-

...

s....

..

!'!

I I

"

1t

'\

v L'~ er: "\


'\. ./

",~
JI'"

~ ~~

'-'

...
1

~
..

, .....~
11 ,...

_~ _~_,...f:=:~ +

I ~,

1.

I , .... f

....

..

-~V,_.- ,_ -'
.1

P-JIF-I

,- --

, b6 ~
If

..
P

:1

_I

.. •

..

J'

.1.%."

111

,
f

...
.L
../

,;---.",.".

,
t'1-

-+- -~~,

~....L-r

-'_ l VI

, . ~ .. b,
I(

..,

£~

_I

++

'\

• • •

25

.-~:AG:'S

FOR CDrWENTIONAL

PROGRESSIO~S

ii:~')

H(:re are some 4 bar ideas to sound unconveruiona: on tne cor.verv ional proqressior of emai7, Am7, Dm7, G7. They work well for The following 4 bar senuences, T,y rieSlgns 49 r r 5~ over each of these or ooressions.

=¥icmai =&=

Am7

Em7

A7

=Iifig =t¥
(Example) Em7

Em7

+ Eb7

8m7

Ebm7

8m7

Bbm7

r-, 49
4 0 3

8 5 -;.. 0

-C1>-00

r-,
15

16 12

@
@

&V

e @

'-'

I~ 0)
3

(0

G -

G
I

r-.
c

@
(,;\
'-'

@ @

1/

12

.r.;-.

'2'
rr-;

/
2:::'

G::

r-,
! I I

:,50 •
.
"

rt-.
,

J
4

2 0

I
I I I
0

0 5

r
'I

00'
G)

I I

-I
f 1
I

.1

I I I
I I

1 I
C

1 I

l I 1

r-,
c'

15

e
'-'

@
0

12 0

~4

10

r-,
3

,
2 0 0 0
, ,

0-

0 0

V r-,
I

kV_0
0
@ @
~
13 9

e
.;;..>

(~v

I
0

e
\~

c
0

27

a>

0' t?~, .

,.".

--=
1

.-

-0~

....

=K
13

t-~-

c;:.,

@....;

-8
16

,!
I
'-'

I
I

I
~

I
I

.-..

1
,I

CD
oJ

@
J

..:.

4-

...
T

04-

.J I
0

...
I

V' ,

i..

r-.L
V
~
j

T
0

0-k;:;:r~~
(E.'":-.:»

~erJ

-~

II

28

It ,,\ V

,
tt__.I

r. v

0
_I""

C'~

f'i

"

I
;

"
-#

--.!'_.__
.~

.. .

'" r

~r
I J::l_tfI d

I
,

j9r

I
I

n,I

"'

..

3i

II

~rrl

---"'~
y
v

~
)o!_

L VII
V ..
iii

,_,

-{L- (

[/8

Ii
I _j

g 67

r-,
"

"
I
0 3

52

1 .

00

10
I I

00
::::>

I
1

\.:_.:

rz-

,
I I I
I

II

~
0

"_

'-

V
r-,
G
12

@@
c

14 0

J
0

~
0

I
C

..._

@
V

""

0)

.:

I
'1
t
J

.
E

0
~ ~ f ! ~ "t ~ 1

@~

....

[1

~~

~~

~~~

.,

.....

...

<,
00
c

*
L

I
~
"

00

Co

V r-,
@@
C

@
,4'

~
:=:>

c
0

@
9

Ii

,.

n
.;

(0
.-::;;0..-

~
\.';f;

~
Ii
III

CD Jf vf
'" 1

--,-~-:
I

'"

~
I I
I

-...:..
",;

=rI

~ ~r V
1

""\

"'-"

.. -r-1

,.. r
I ~r 0

I
I
I

I
Y

]I'

,.
I I,

---I
I I

V~~
I I

...

.of

53
I

'~
4

'8G>
0

<2)
5. 0

I
I

I
I

:1

_,

-,

~
0

0)

I I

I
I
,

0) @)"'@

14

0@
<::>

Hi

0
0 0

<::>

n
." ,I

8
=;;=

CD
II

-+-

[_0 ~-~
LI

13

I
[;'

"t.

'--'

II.

~ f

10'1

,. ..
\

.... .V

.
~

~ ~C
'1

...
t' ..

--.
1

• ••

00
0

=
"2 1

0 0

~
a

::::>

--

JI

.:9@.
,
I

1,,-

0@
--,

@
~'

0'

I
0 0

I
i

1S'

'"

"

z.

""
I
-1
i

-+-

'S....
80
~

1.

-i

1..

r-. I
54~ ~
~.

I I 0)
I

CD
=

100

\.V

IE,"'

,I
j

V
r-,
i",

I I

-' I
;:;:

I
~

0
10

@B

0)

G)@
0 0

~
CO

I
0

IIr
r-,
I

.t

1
4-

1
J.

""'i-

kD0

CD

r80
0

0
~
CO

:::-

0:'

L(, ',,---,
I

1D

~@
I,

e ~

0@
0 c:;.

c::

:::;

1S

'"

r-,

II
~
0 0

:2
4

55~ P

CD
5
" "

CD

0
0

,--.

V r-,
V

10

~~

14

@@ @@

<::>

13 16

0 C

3.

r-.
o

0
3

0
<I

0)

CD

0
8

c:C
'-

::::-

V
0

@@ @@

0e @G

10

I
I
::::>
0

13

@
19

r"

,~

..,

32

DESIGNS OF VARIED

HARMONIC

APPLICATIONS

Designs 56 thru 61 are good examples of how to create tension over one chord {Bm?}. The most important thing to remember in outside or atonal playing is resolving melodically. Notice how we start and end on Bm? The chords above the music give us a clearer insight into how outside tonality is created. Once these lines are well learned, you will find them popping into many other musical situations.

Bm11
1'1
II

17

....
J

u,8
'tJo. #

- --

F.#-

»>:

.-

--P-

U R
I

f"
I ,

1/6 -y
I

L.

Fm7

(9)
d
[ l/ IV I?

8m?

@ 13
r:

"

II

L)~~
Krr0
1

""

'.
t:

-w _
U.

l'

tio

I
1

'"

If

II I II
It

r-,

56

:0:K2>.
0
~-

r-,
5

eV

@~

r0
15

@
10

.@-

V
em7

--A

G)

Bm7

CD

F#m7

Bm?

I
-~
0

I~
I ,

r-,
0

0-~

.~ K'V-

o Lev

~ <:»

-G)- ~

\2._;.,

r:

33

Bm1 Ftl Abmaj9

...

~-

V
r-,
~

: 0): ~ 1·0-r~-+-G) 8
r-r-: ~

01=0 I
I@I

'01

-4 r>.

1..

c
::::>

1
J

:=::

1..

I
I I
~

"'
0

,£.

4-

"t

'V
n
OJ

@ G-'-(B
Bm11

0ei0@ . 0-~0-L...{l)-"_0

<D-r-~
,..

c
I

::::>

,
I
1

B chrornatlc scale descending in 4ths

F#
n.
1.1.

"' , "-

(2)
,

" V

~'"
1

-~
-

~0
."

,..
I

Fm7 t VI

<2)
9

l/,

JL

...,

.,
I

I.f.

a
1/11

~
t

II I

"

~--~--~--~--~G)~--~--~--~

5 8 ~---+-_o-+G

CD

0-+-~

t----!!---+9S

~--~--~GV

GY Gl~~--~--~~
0:;

@-+--'-'--i~----4

G)
!

/
,
i

r)
r.I

._

I? ~

J
""'"

I I

bJ

~:if
3

J ,I
2-

Pi ,

CD

8m7

..
,.

:=::

Same harmonic structure


8m7

as #56 .. ..

(#59 is #56 transposed to the lowest register)

n
If'

"J
'-'

'"

0~ ~,....
I.~

..-:~
& l
'f..... ~

G)

..

@
v
I

~.
I

- ...

--=4I
v'" ""'"
(J'

rl

'I.

=:±= ,,~ 1

l'

IV

-;,_

'" V
1

10 i"

r-,
,

-()-- b ~t:: =;t=


1

!1

-;'-,~ 1

59 •~-0~
,

~ ~

c-

~,
V
v'_G-~8
I '-OJ

00 ,

c .~

::::>

G)

16

~
.~

@-~
10

@@

L"-_

n v

'"

_....
V---'-

.. "

n~

LI.

~I-

.. •

1f-,l

~=

~'--

==~
1

!'lor.

---,,-

"


I I

~,
::::
3

0-~ 0-~0-~

c
6

c::

V
I

r-.I
I
~ ~
0

==

\..3..

0-~@

_;


-

35

Same harmony
Bm7

as #57. (#60 is #57 transposed to the lowest register)

·1

r-,
60
W

J
-

0
7

V· r-,

&:~
0

"~

I
0

"

@@
16

.G>-~

13

..
CD

~ ._, c
0 0.

·0-LcV

f9';
'-J

00r-0

--

......-

--

.•
Bmi 1
r
_

.(

·Jt:8· In t he 10','est register! n....

-,
I

r: \..:../
I

F#
I

__-f"

~.

Fm7
;;-:-:J

CD
~..._..::r"L_ ~,

@
. t'
I
-__'

,'J '-'

..:---

~
w

LJ.
~#

I U

I
l<I .J
I

I I

_l

~=tt=
1

--T1

JI

--r- .'
1

---d-

b-'~_;_ -d1

-;-

- I~t:
z,

-+-~+ -,:1
1

-1

-.
, ,
I I I
~ ~

-,

j
c

1•'--0- f-G)

~.

CD

00 ,

CD

0
6

I I

c o
o o o o c

0@r-::--r---r-t-i-+--+--l~+-==-I----I--I----J--l-_J

8m7

bI
:S?r+__
I~
-4 __

-~~G)rt_~-G):7~r---t-~c-i----rl~O=-+---1---~--~.~----~--+-~~~--

1~~G0i~--~G0,~--~G)~--~----~--i_--~---L--_L--~~--L_--j_--_l--_l--~

Gmaj7b5

or A 13

Csus

rl
L
II If , ". 1..1 U

0
p-

F#sus ~
I

"i'

CD
F~

-="'"

0-

F#sus
.,); ~
'ni
LJ,

r:;

If)

''-ij_-~~-.f~J1)

I 1 ---p!'-

.
;
~

,;

Ol

a_

_1_
j

OJ

=--.,

)'1

+
~ ~

I II I
II

1,2

0-~
2

0~

~cv

G)

t
V t

f.

I I I I

CD
10

=:>

9. 1

I
)

@
12

~ ~

I I

Gmaj?b5 or A13 Brnaj? Bmaj6/9 Gmaj6J9


,

~ ,.,..... rl"
"1..' ./

#--2I

--t-

_L

-,tL

L
J

"'"

4-

c.

CD
LI #

4-~,
I

-f!'~

CD

T
1 ....

1""

• • •

'"
631
Ebmaj6/9

@0

11
'-'

r~ -0'
7 '-'

G)
4 0 0

@-~@

Bmaj6!g

(2)

CD
~
V -

Gmaj6/9

.f

, "
t!J

r:
'\

J I-

v'·
~

1.4

I
L.o.

I
v 1

CD
9

"

_.....,._

..

V•

r-~
1

-+


.,

~I-

l-

.,
r-I
1

I I

• •

:::;;iC

l-+--+---+--+-G)+--f-C--f----;--+---+--+----i o c c

38

es.

Gmaj7b5

I
Csus
~
IJ

.,.........

Gmaj7b5

F#sus
~

rU

F#sus
tJ

If' '\ '-.' LJ

"

~'-

-:;,- 1f .1 -

or
;

--tl'- 'f\


S

...

n~


~
1

~-+- ;

,
~'-

'U ,

L.I.

_l!j_

U,

Ll.

_R

M ...
_.."..

---fL ft .. t::? I
I

---y-!fJ I I

11

...

..
J"

...

-+

,. , ,.
IL

r.
'\ /

;.It
itII

...

__,.._
.J.
lAo '[1

t....J

Fltsus

I ,

",~
P

11

.u u.,

-..:-

of-

--tf-..- -- ,
-f-

~ 1

-+.-

,-

....

Emaj6/9

__L_

=t=tf:±::

Smaj7

~
1
Bmaj6/9

+
Ebmaj6/9

'1

r
f .,
j

~
"
'\

_L_I l
I

+- t7_~
I
""r

G mal '6/9
---,'_

'-/
I,_.,

/'

I
1

J
1

r
1

....

.•
I(

rJ
~

1
L..

Bmaj6/9
I-t..! V•

Gmaj6J9

I
14 _V'"

~~

II I

V-

-:?1
\

...,

y'"

....

r+= .,
1

=r:
+

",
1 1

i'

--T-~-e-_1-

____j_

...,n

~E~.
)
I'
I

eas

es

r-,
,

""""CD-

to 00
(2)

CD

0 6

,-,.

V@@ .... 8,

f-~~@-0@

<,
,

~@ ,-@
I

@)

'"
V

I
1

L@.

@- r-@

r--@- ~@~-0> ~@- ~@f-@

0
,

(#64. measures 5 thru 7) ~


!

'0-~0-~'

0-~~k?)

G)

C 0

c
0

CD

r-,
0 9 10

@
@
::= 1-:;-;1
\:J

@8
c
:::>

::=

V
~---i-(19:'-t--+---~H
L_ __ _......."

~----~~~----~---T-~-r----~--~----'-----r----r----~--~----~--~~--~---c-

..._" ~_,~,_+- __-+ ~_

~ __~~ __~

~_-+

~ __ ~

::=

+-__-+

+-__~

~ __~

40

~64.

measures

8 and 9 and first

4 notes

of mess;.re

'. J

" s ~ ~

0,
_'

I I

c
5

8 0

1
I

J
r-,
~ {J ,
P~'

1
3).J,

0- 0~

I I
I

~I
~

-r

I I

I
I I

I I

I
I

I I

~,

,
I
I

I
r
J

I I

I J

I
o

1
9
10 0

@@

:2

81'-"'1
=-

1 R-,I G· I
I
I

I
1

@l

rz».
~

t1?

--

I
I
:;,

I I

(#64, the last 4 notes

of measure

10 plus measures

11 thru 13)
1.

r-;
.CE>- ~
C 0> 0 0

0
5

C>

r-.
-

...
cg>
l!>

@
,_.,

~~

-c·
\~ '--""

I
I

V
~l--~~ : . GG I

<0

I !

:~ EV-rl' -,~-~-rt --~--~l~~~_'--~l---+--_~---+---+~-+I---r__'


__L__ ~ __

~-r-_--+l---+--_~--~:--~~---r---+---+--=~:--~
~I _ ~ __ ~~ _ __ L__

~ __~~25_j_~JL~~~I~__~~~~,_~I

~i _ ~I __ ~ __ ~ _

DESIGNS OF THE PERFECT 5TH INTERVAL


Lines 65 through 70 are built on the perfect 5th interval, progressing up in minor 3rds. I have put together several combinations to give you an insight into this very popular interval. You will at once recognize many more possible usages for them. I have found these lines to work well for intros, endings and freestyle playing.

Note: 65 thru 68 deal with the same four chords

placed in different

positions.

Gmaj7

- __
Bbmaj6/9 a ~.,~

(Perfect 5ths progressing


Dbmaj6/9

up in minor 3rds)

Gmaj6/9

LI

n v
"\

(0

I
0'

~
r/ A

0 .~
1.
(.I

Emaj6/9

T-~-

" -' 0

=;=

(Ji

~~-

V"

r
f

Iii
I

lJ

II
]I II

r-.
65
.,,/

;-0
3

r-,
,~

!-G)

0
(0

e
(2)

0
0

.,,/

Gmaj7 Gmaj6!9

CD

Dbmaj6/9

Bbmaj6/9

£1

r., ,
II.....'

" ""

"

'J

-0) ~

-~
,

Emaj6/9

I
~I

r
1

f'tJ. '" •
[.I "

l V,I

I
JP

Gmaj6/9

V.6

,•

17---v1

"

Q"-

~. -r ,
@

~ ~
1

I I I I

r-,
6 f-G;
(i'i
~ I

CD

r-.

0
(2)

r:-@ :-@

(2,~.
\.:.../

_-

.,,/

0)

I I f

!!

42

a]
Bbmaj5/9
,

'J

8
L./

Grnaj Dbmaj6/9

-/'
,

V ._

t_
VI

Emaj6/9

~~

-f-

v~
J
6

.-

..
,~

-(i~

JJ.

~-

l
D j

Grnaj'6/9

r-,
~.

-r

~Bff

0>-~ .'"
->til

~
I

...J
I

_a

7'-

~ ~

.of

!67
r-,

I!

1-0- f-G)
(2)

CD

c c

0
G) r@}
15 11

.0- 1-0

r@

'-

e-

Gmaj7 Gmaj6/9
Dbmaj6f9 I
171

Bbmaj619

'J

(2)

, rl "

" u

..

... _,_.

CD

Emaj619

VJ
1

[[L I

l
1
of

r
1
0

~J ..
Ff
I

Gmaj6/9

@)
~
.-?'"

~. J

~-rt

=it::
.L

r-,
68
r-G) (2)

..

~
1

_I _) _I _I

0- 1-0
0 8

0
0)
~

'-'

V r-,
I-@

CD
@
~
11

k0.

@-{

--

i !

!,..

,--,
i

43

Gmaj6/9

0)

r--;
~r-@
I

@-r-@

~@-r@

e-~e
@

-'

CD

V
Abmaj]
Abmaj6!9

8
n

Dbmaj6/9

Gbmaj6/9

CD

Bmaj6/9

Emaj6/9 Amaj6/9

" •v "
L

'\

_j_

=;jC

...
1

-~

... .
J

0ILL
I

~_J_
,.1

r-

v~ I s
6

£71

~-..._
W_L

JI'L ..1:

__,._.
L..I.. J•

-,-11
1

U,II

.
I

HJ ,
R-

Abmaj6/9

:::;it:

.
1

'S

...._

+.t' ..
t

...

1"1

...

1I

...l

• • • ....

<,

70 r-0
~

0@
@

0)
-'

~,-,e
4

V
15

r§>"":.@@

.cgr ~@
-

~
0
,-.

II
0

-@--~

oLgnou this book you will urido ubte dty find other cnords to t.:.. ese lines. Fore he remainder of this book I have made very general chord suoc e st ions. Keep str etchmo your ears, there are many more to be found.
Dbm9 or Emaj9 Abm11

71

~
0

0 CD
4

G:;
0

CD
c

3
:2

V
r-,
.

-.2_.;

I
c
0

@@

@@,
c

0
';?

"

V
8bm11

CD

1
I

I~
,

,2..

0@ ,...-..-----..,
CD
6" ~)

C0
~

C~ l" "
r--..

.:»

-1 1
I

G 0

45

L__

Bbm11

.1

'I

I
I

72 ~

1 1

1 1

,.....,

1 I

I
0

I
0

0(2' I
<::»

0@
:>

~I
0

\..;._).

'7'

I
_l

1,

°1

~ ~

I
1
f

I
1

1
I

I
I

I
!
I

!
I

l7""
1I

r-;
I

t.

-;

I'

,
0 0 0

.
~

6 0

,
(2)
3

~ c

_l

l
Bm11, Gmaj7 or Em9

It

~l @

1 i

I 1 I

rz-.

I...V

1 1

::::-

1 ~

73

--

r: c:

r:-. \-.::_'- ~i...2.j -

'2)0· G) . ~

<?'~C0

,~. .....:_....

Ii I:
,

..-

0[@
,f>

~fr ~;~
<:»

r-03\ '....__.

6
,,-...

":.

r.:.
'---'

4c

G maj7, Em9 or Bm11

~7' 1"'\ V

Q
-~.
P"

,.

n
1I

-I--

-r--"'--:::-

-CD _~_I --iL- , CD


-L

-,~
(III

¢,~ ~

@ -@
A

~~

,_ 1/

--=--:.~~
1
J

1-

----

t'

I_
~.

-=-1

.z

t=.-

;J

r ,.
A.

til

L ~I

(j"

'U

I?

1
1 1

otJ
>

.~

4-

I"

I~d

74'

~ ~ ~ ~

l
I
!
~

I I I i
I
:::>

I .
c

00
10

0G:}

if'.

-:
r-,

I I

I _:_ IG) II 91

'ev

G
:;:,

'0

20

@~

'-'

~
0

,~

V
G
V"

()

,_",.",.__.
VI
L

,t'

J I,
"'\

., I t'9

-...

I
I

'-' J '-'

~
y

@
~

~.J

t1~,_ ~t

V-

"" ...I PI._..

--

~
I

:>

""--iI=

""""")If-

<,

(0-

c:
J 0 C

CD

r> ~
'"-/

V I~
I!

r>;

~I

* t

@[e r-<V ~

@- ~6"-r-GJ

@;.

,.-.

47

==::.G',S

FO!=! FREE STYLE or C7b5b9.

I!\~:=:-OVISATION in the catagory o.t free style playing

De s iq n s 75 through Bhmaj7b5

83 are once: again

~~ 1

"''- __~ __~~

~ ;

..

-.2

__'~ __~~

__~

11,

-tl

=*__~ __~ __~~ __~~

G)~ __~~

"[~--~---+--~----r---~--~(0-~G0~--~G)~---+----~--+---~---+--~--~
~~'-----~--~---+--~~~~---+~7

~~----~--~----~---L-~-~~'.-L----L----L----L---~--~----~--~----~--~----4---~

~--~----~--~--~----+----+-G0-~~·~--~~--~---+----~--~--~----+I----~~
Crn
F#m11
L.

G0~--~~--~--~----~--~---1----+-~ ,,----~---+i--~I~--+_--~--~·G0~--4-C0~---+--~r---+---~--~----;I---tt

--++-0' --8

F#m11

~r V
-\-~

CD

,
1-

0)
-ci

Obm11
I
I

--t1__

,
I

... (,d
!

y"

~~ 1

--'
... ~

.,
8@
@

+
G· ....___.
rr-;

I
I
I

s ) Bm11
,
1

v
J

I !
r-

~\

~
.--...

16

~: ! !

.c

"_:_""

-,

7
1 """

"7) ._

,.
I

~bm11
loa. ~. V
I
I

IJ. .;..
V

·0..., ..
_ .... I'"

/1

:7,
1
1

,
AI

I~

Bom11 ~~-.~--------I ,-',

.__/

,__

~-.;:

IL..

i
1

I
.

I
J
)

"
1

.~

1.

+
.

-4

,
"---, ~ r--

r-,

~+~-t-vo ~
11-

-.:

~, -#1

• •
I
I:

I
::::

.2...-J
._/

r;.~ ~(.< '0

(6'.

I ./

I
I
r:

r:

<::»

;::;

!
r

.~-

___.

iB·

\.:...:..--

;:::.

i
I
I

r-, fl 1,__ _,. . 7 I,'.,


~!,;'

-4

;-1 -0'
I,,,
f-',

". __
[.

VV

I'

-..-'-.:J_ ...._'-V_-_,_"T_-i-0--+-_-+-_..., I. I l' ~ 0-'----''-----1


3 8
t.

~ i3..'-"II_-+-_~--+_-t-D---; IT1•

I 0-rJ--.---'~--r------I~'tI'1 I ,"}-t- --4-G)--t--+------i ",

I I ,,_j - I ~ 0-;---(0 1--:-----1f-----I [~;._ -+, --+1--+--I@~.9 I' t 8)-:-"----+1---'1


.cC~..,

'--r---t-'
I

--I.-----,--.---,---r----,---~__r______, £,--f-, --+--'I--j,t-@ I ,

rg-'n --+r -----!ic__-!-I


IS
!,

4'

C\ \;_]j-,

;:=;:,

_l__G?,1

@-L-_~

Dbm11

1-+-~~8

Ff.lm11

r-,
I

t
~

,
B 0

Z.

r-.
@ =
5

"

78
!V
,
r.
OJ

00
;> 1

\..!_)

r>;

&
2

, ~
6

I
I

I
0

8
F

-@- I-@
18

V
-

I I

=
20

8
~

Ebm11 _ Gbm11
I _1'!
,.. r

If '\
"

.__,'J

,V
1"

104

.. 1

V"
1t

CD
HAt
If

....

"

r-

CD
....
I

Ebm11

... L r v,
I

~~ .

@~

-!,Z

Gbm11 ~,L

@ ±
i'

Am11
~

,,-

4- -e- -f+- -- -pt:


.I
J

=~
1.

_I-

I I I
Ii

<,

"\"

.of-

...
,

l.

.t

.. ...

2.

-+
,I

::::

::::

:85= -0

..._ 0--(1,)

r-

~ c ~ c
0

'-

f'

-(;)- f--G

~ \-

.
f
~

I I
I

I
~
I'

'>=~,
0
12'

I I

I I

I I

, '-

I
49

=-

~.-€> -

r=-. to

20

~ 11.

I ~.
I

I,

~'

19

I
I

'0

~
'

1
!,

I I

II"

,
L.J

" J

0
iii

~-&~

r-_

.-

_l
~~, d

I
0 .i!l
-",-

II

-- --:...:::
!:I

- ,..~t
~
o.--~~

lA,
A

'll

-,tZ

-+-

~f _,: - Ir _ '--t1

""
j

11

_.

II

V
"

-4
f

r-,

...

--V

"""

_lJ _11 1i
t'

~'~

I! <:>
n
1..1

79

0-1-8
~.-<

1/

0_l_G)
1'-",

I 0-~Q

0-f-r

@- ~8
(1?
"-...-/

@ @

s
I
~

G)

j
D

CD

V
..
1
I

'. ~

--.

CD

e
C>

r-.
V
, ,
n
'\ 1..1 1\

-z:1

=iF
1
;>


1

:JI
_I

-p-

-4

10 0)1 (u)lG)
G)F#m7

3:

0
4

'-'

~ ~ ~
0

B 5

FmaJ7

'-

r-,
80

'=;;1=
f

-~ W-1l~ll
;

L 'I:

• ~f;
1
11

.. ,

.. ~


of

I
~ 1

l.Ito 11

... G) "
lIT

____,_ ef _

~ @ --+_ -F-IItII

'"
"

,
1

,
+

--.

z
~

• • •

..

....

®
9

1/
~
L--

0 CD ,
(2)

CD

C;

0CD
2

G)@ ~@
..... 15 '

@
0

@
:0

._..

'-'

sri·

~ ~
1 1

I ! I
I

---rt

~ ,...~

i~I:LJ
-sj

CD

Emaj7b5

o ~~ ·~ I,.
~
~
1 1

-I
~

I~

=r:
I

'12'

"

VLZ

---~--I-C r._
'-.::.-'

~\

0
(0

I I

I
I

'2)~ 50

-9-,;
-r,I.'\

,'- "' U

~-

_--r-L-

Gbmaj7 Bmaj7
- .. J

~
LJ. \~\ lit

E rn aj'7

~-;;:;-

--'"

-t1~-~t~
t

AmaJ7

~~.~

...11
l-"
• til

Iff 4
I

Bmaj?

@
~
I

Gbrr..aj7

-,.

I
I

4i;"-

~~.~(1 -

W.,

i-?
I

r::<>r

6-

~H_-

1!§

'Llo

I.. I"
I

I I II ,Ii

"_r_ft_'

~+
1
1S

----p-

:):1+ .. ~-r
1

I IG)I
I

@'
~Q
0 0

r-,
~ ~

-0 I
I

.1

~e@
C7 and alterations or F#13b9

~-@i~@I -o--«
I @

I
I
=:

1
I

I
I I
c

,I

1
I

Gmaj7bS,

Cmaj7bS.

8
.;;;;;t

r-. "
I

'1

"

;;

-+

..
B
@ ~ @

,
.~ ~@ @- I-@

:;

:82

'0-tss '0-1-0~
1

G)
0

@
0 2 0

r-.
V
-

I
,

@@
,7

r-,
,

c:

' 2 B 1 :,\1

I~'

~_ !0G) 0
10,

~.

,
j I
I

~I

08
(0

V
::II

• g

I
~

1
,~r-> @-- ,0~
~L:::1SL~ .

~;:::::~-I

~1

R I
'

,-:? .1

'9

'2'

r@
"'!

,
i , !

-,

-,. ,
,-.
0

.
~~
"_/

"

.....
I

"

-I

-,,_

"._

,
Lot

--.
1

-~ :± ~::i:~::;;f~: v
l-

-;J'- -tIJ-

V ..

1. .41 "r ~

1-

\1

1.

po

.. ... V'"
04

(J

---~~:±~
I
t

........

~~'---=-r~~~:::2.: '-1

-j

--,?-

.J
01

-,-

""'Cl

" ..... '-, .J


t__'

V '"
I

...

III!

"",- ,) If'"

I
I

..
III

'"
1

S
tf

,•

14 V ..

k!. V

Ulf
A

r-V~
r'f
V

I
A .... '"

V"
\

'"

-+

"'-, If

"~I "
U

-,;

r, V

P'""

I
,..

"
1.1 V

"

p -

_!!.._

I
L1

., t7+1

_E
I

-,6I

~'--

,.

..

'f

..
I

....l

7" 71 ""\
'-, J '-.J

n v

-~ --

.s:

-f--~ -f-"--

e.

...

" M'

IL

"V

r7,

,
1

(]

-, U
'Oo~

""t!J!_

,tJ

..

y-

T
.. l.-

7.1 ~._

+ .;

++

'"

At

y-'

pI

1 .... 1

52

r-, 83~

Staff 1

0.

L8

00-[*= L0-..... 00r-0 ~


I~

@-~&-@

r-,
=>
15

._.

@_,-@_L:&._@

® 8@1-@

I
._..

~ ._.

<,
0 0

Staff

.~

0- r-0- ~cDf
1

~-

~@-

0- 08
13

~®-t@

~
0.

~ ,_.

12 .

<,
I

Staff 3

--

G).
'-"

@>

,0

-'-"

G) 0)
:';' '._:../

0@
' \j ..

~ ::::

I
I

(0

"

I I

I
~

::::

53

r-,
c
i

Staff 4

~ ~

~ ~

8-r-(!)
I
I.> ,~

CD
I

,-

0 8
0\.J

C0l ._I

'~'-r-@- IB'

CD

r-,
~

:=

I
.. 'C)

-::::

I
I
~
0

@.-

r2,\

9@13)'~

@- r-G @-'_@-~8--@'

r-,
0

Staff 5

CD
.~ '-0

(j)
c

CD

.-.. '-

I
I

'2\
:~
'-"'

--

V
~

!3)- ~@

@- ~@
::::

(3-f-@

0)- ~:,1"
"......._

::::

I I

1-)-

f-(.:";
'--"

I-