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Table of Contents

Introduction
How to Use this Book
1. The Fret Board
1. Overview
2. Horizontal Chromatic Scales
3. Horizontal Chromatic Scales: Play-along Exercise 1
4. Horizontal Chromatic Scales: Play-along Exercise 2
5. Vertical Chromatic Scales
6. Vertical Chromatic Scales: Play-along Exercise 1
7. Vertical Chromatic Scales: Play-along Exercise 2
2. The Major Scale
8. Overview
9. The Cycle of 4
ths
(and 5
ths
)
10. The Vertical C Major Scale
11. The Horizontal C Major Scale
12. Vertical Major Scales: Play-along Exercise 1
13. Horizontal Major Scales: Play-along Exercise 2
14. 100+ C Major Scales
3. 3-Note Arpeggios
15. Overview
16. Vertical 3-Note Arpeggios
17. Vertical 3-Note Arpeggios: Play-along Exercise 1
18. Horizontal 3-Note Arpeggios: Play-along Exercise 1
19. Horizontal 3-Note Arpeggios: Play-along Exercise 2
20. Horizontal 3-Note Arpeggios: Play-along Exercise 3

21. Horizontal 3-Note Arpeggios: Play-along Exercise 4
4. Minor Scales
22. Overview
23. Horizontal and Vertical Minor Scales
24. Natural Minor: Play-along Exercise 1
25. Harmonic Minor: Play-along Exercise 2
26. Melodic Minor: Play-along Exercise 3
5. 3-Note Minor Arpeggios
27. Overview
28. 3-Note Minor Arpeggio: Play-along Exercise
6. 4-Note Chords and Arpeggios
29. Overview
30. Major 7: Play-along Exercise
31. Learn Them All! It’s up to you!
7. Combining Horizontal and Vertical Arpeggios
32. Overview
33. Making a Practice Rhythm Track
34. C Major 7
th
: Play-along Exercise
8. Harmonizing the Major Scales
35. Overview
36. Intervals: 2
nds

37. Intervals: 3
rds

38. Intervals: 4
ths

39. Intervals: 5
ths

40. Intervals: 6
ths

41. Intervals: 7
ths


42. Intervals: Play-along Exercise
9. Playing Melodies
43. Overview
10. Harmonizing Melodies
44. Overview
45. First Part: The Melody
46. Second Part: The 3
rd
Above
47. Third Part: The 3
rd
Below
11. Triads & Their Inversions: Inversion Excursion
48. Overview
12. Harmonizing Scales with Triads
49. Overview
50. Learning & Practicing Triad Inversions
51. Triad Inversions: Play-along Exercise
52. Harmonizing a Melody with Triad Inversions
13. Harmonizing Scales with 4-Note Chords
53. Overview
54. Learning & Practicing Harmonizing Scales
55. Harmonizing Scales: Play-along Exercise
56. Harmonizing a Melody with 4-Note Chords
14. Modes
57. Overview
15. Chord Progressions
58. Overview
59. Learning Chord Progressions: ii-V-I and ii-V
60. Learning Chord Progressions: I-IV and I-IV-V

61. Learning Chord Progressions: I-vi-ii-V
16. Chord Melody Techniques
62. Overview
63. Chord Melody Techniques: Play-along Exercise
17. Harmonizing Scales with Three Notes
64. Overview
18. Voice Leading
65. Overview
66. Voice Leading Exercise 1
67. Voice Leading Exercise 2
68. Voice Leading Exercise 3
69. Voice Leading: Performance Example
19. Finger Control
70. Overview
20. Picking & Tremolo
71. Overview
21. Improvisation: Overview
72. Improvisation: Overview
73. Improvisation: Major Tonality
74. Improvisation: Major Improvisation Example
75. Improvisation: Major Improvisation Play-along Exercise
76. Improvisation: Minor Tonality
77. Improvisation: Minor Improvisation Example
78. Improvisation: Minor Improvisation Play-along Exercise
79. Improvisation: Dominant Tonality
80. Improvisation: Dominant Improvisation Example

81. Improvisation: Dominant Improvisation Play-along Exercise
82. Improvisation: Extended Dominant Improvisation
83. Improvisation: Extended Dominant Improv. Play-along Exercise
84. Improvisation: Major-Minor Pentatonic Scales
85. Improvisation: Major Pentatonic Improvisation Example
86. Improvisation: Major Pentatonic Play-along Exercise
87. Improvisation: Minor Pentatonic Improvisation Example
88. Improvisation: Minor Pentatonic Improv. Play-along Exercise
89. Improvisation: Flat 9 Minor Tonality
90. Improvisation: Flat 9 Minor Tonality Play-along Exercise
91. Improvisation: Flat 9 Major Tonality
92. Improvisation: Flat 9 Major Tonality Play-along Exercise
93. Improvisation: Diminished Tonality
94. Improvisation: Diminished Tonality Play-along Exercise
95. Improvisation: Diminished Over Dominant Tonality
96. Improvisation: Diminished Over Dominant Play-along Exercise
97. Improvisation: Augmented Whole Tone Tonality
98. Improvisation: Whole Tone Tonality Play-along Exercise
99. Improvisation: Super Locrian Tonality
100. Improvisation: Super Locrian Tonality Play-along Exercise
101. Improvisation: I-IV-V-I Progression
102. Improvisation: I-IV-V-I Progression Play-along Exercise
103. Improvisation: ii-V Progression
104. Improvisation: ii-V Progression Play-along Exercise
105. Improvisation: ii-V-I Progression
106. Improvisation: ii-V-I Progression Play-along Exercise

107. Improvisation: ii-V-i Progression
108. Improvisation: ii-V-i Progression Play-along Exercise
109. Improvisation: I-vi-ii-V Progression
110. Improvisation: I-vi-ii-V Progression Play-along Exercise



Introduction
I began taking guitar lessons with Frank Vignola in early 2004. Frank started each
lesson by asking what I was working on. I would play something; after about 3
bars he’d stop me. Without a pause, he would show me an exercise - we never
used a book - to target my shortcomings. As we worked through a lesson, I jotted
it down in a notebook so I could always remember it correctly.
One night Frank suggested we write a lesson book based on my notes from the
lessons I had taken with him. Of course I agreed enthusiastically. After the first
draft was complete Frank was pleased with the result but thought we should
expand on many of the lessons, add topics, fill in gaps and include video of him
demonstrating every concept. The goal: Develop a comprehensive guitar method
that players of all levels can use as an invaluable resource.
Despite our subsequent work as just described, the lessons in this book and the
accompanying videos are the same as those I worked on with Frank. As I learned,
they’re also the same lessons he worked on when he studied with such greats as
Joe Pass and Gene Bertoncini and Howard Alden. It is a practical method that has
proven itself suitable whether you’re a beginner or advanced guitar player.
Glenn Tosto
New York City, September 2011



How to Use this Book
Each chapter begins with an overview followed by step-by-step instructions that
correspond to the video segments. This is a supplement to the video and has
many of the lessons from the video written out in all 12 keys. After you have
watched the video segment, use this as a refresher to remind you of the lesson
you are working on.
For more guidance: notation, tablatures, chord grids, and examples are also
provided after the text sections.
Some lessons include graphic displays of chord shapes with fingerings. Rather
than starting with the chord grids and memorizing the shapes, we suggest you
work through the lessons first to increase your knowledge of the fret board. Refer
to these pages when needed and for confirmation that you have done the lesson
correctly.
Theory is covered throughout the book and can be very helpful to understand.
We encourage you to study this material but do not get hung up on it. If a concept
is unclear or confusing, read it through and move on. If you review the theory
after you have worked through the lesson you will likely have a better grasp of it.










Chapter 1
The Fret Board
Segment 1. Overview
In addition to explaining the guitar’s layout, the first lesson covers basic concepts
and terms that will be used throughout the book.
1. From lowest pitch to highest, the six guitar strings are named E-A-D-G-B-E.
2. We refer to each string with a number. The top E string, which is highest in
pitch, is the 1
st
string, the 2
nd
is B, the 3
rd
- G, the 4
th
- D, the 5
th
– A, and the
6
th
is Low E, the bottom string.

3. From the low E to the A string is an interval called a 4
th
. From the strings A
to the D and the D to the G are also a 4
th
apart. From the G string to the B
string is a 3
rd
and then from the B to the high E is another 4
th
.
4. The frets are metal wires embedded in the fingerboard. They are numbered
from 1 up, starting at the 1
st
, the fret farthest from your body.
5. Each fret is a ½ step. A whole step is made up of 2 frets.


6. The fret board is arranged based on the chromatic scale, which contains all
12 notes played sequentially.
7. The musical alphabet is 7 letters: A, B, C, D, E, F, G.
8. There is a whole step between notes A and B; there is a natural ½ step
between notes B and C, whole steps between C-D, D-E and another half
step between E and F.
9. Think of a piano keyboard: the white keys that are not separated by a black
key are B and C and E and F. Unlike the guitar, which is arranged on the
chromatic scale, the keyboard is laid out based on the major scale.

10. If you start at C on the piano and play every white key until you get to the
next C (octave), you play the C major scale.
11. Each note or step of any major scale can be referred to by Roman
numerals. More commonly we refer to notes in the scale with numbers,
such as the 3
rd
, 4
th
, 5
th
, etc.

12. Roman numerals refer to the chords that can be built on each note of the
major scale. I, ii, iii, IV, V, vi, and vii. The root chord is built on the first note
of the major scale, so the first note here is the I chord; the chord built on
the 5
th
note of the major scale is referred to as the V chord. Uppercase
Roman numerals indicate a major chord; lowercase indicate a minor chord.
Segment 2. Horizontal Chromatic Scales
In this segment we play the horizontal chromatic scale. In the play-along that
follows we will use the following approach.
1. Starting on the open top string, play each note up to the octave and back.
Remember there is a natural ½ step between the E and F and B and C.
2. Play all down strokes with your picking hand. Pick through the string and
allow the pick to rest on the string below.
3. Do not lift your fingers after you place them down on the fret board. Once
you play to the 4
th
fret, shift your hand up the fret board and play the next
note at the 5
th
fret with your 1
st
finger.
4. When descending, shift all 4 fingers into place one finger per fret.
5. Strive to make each note clean and even with a good tone.
6. Continue the same steps on each string.
7. Occasionally, think of the names of the note you are playing.
Segment 3. Horizontal Chromatic Scales: Play-along Exercise 1
1. Play the horizontal chromatic scale as demonstrated in the video and
written in the notation that follows.
2. Play the horizontal chromatic scales on each string, starting on the high E
string up to the 12
th
fret and back.
3. When ascending, keep your fingers on the fingerboard once they are
placed.
4. When descending, shift your hand down into place, positioning one finger
over each fret.
5. Test yourself by naming the notes as you play them.
6. Play to this video every day as a quick warm-up.

CHAPTER 1 SEGMENT 3
Horizontal Chromatic Scales: Playalong Exercise 1
Level: Beginner
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
V V g
V
V V g
V V g
V V g
V
V V g
V f V
V V f
V
V V f
V V f
V V f
V
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
3
T
A
B
I V V g
V V g
V
V V g
V V g
V
V V g
V f V
V V f
V
V V f
V V f
V
V V f
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
2
T
A
B
I
V
V V g
V V g
V
V V g
V V g
V V g
V V
V V f
V V f
V V f
V
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
1
T
A
B
I
V
V V g
V V g
V V g
V
V V g
V V g
V V
V V f
V V f
V
V V f
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
Starting on the open top string, play each note ascending and descending, naming the notes as you play. Remember there is a natural ½ step between the E and F and B and C.

6
T
A
B
I
V
V V g
V V g
V V g
V
V V g
V V g
V V
V V f
V V f
V
V V f
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
5
T
A
B
I
V V g
V
V V g
V V g
V
V V g
V V g
V f V
V V f
V V f
V
V V f
V V f
V
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
Segment 4. Horizontal Chromatic Scales: Play-along Exercise 2
1. Play the horizontal chromatic scale as demonstrated in the video and
written in the notation that follows.
2. Play this exercise slowly striving for a good tone. Eventually build to a
faster tempo.
3. Begin on the low E string, playing 4 notes before shifting your hand up to
the next position. Play up to the octave and down before moving to the
next string.
4. When ascending, keep your fingers on the fingerboard once they are
placed.
5. When descending, shift your hand down into place, positioning one finger
over each fret.
6. Play to this video every day as a quick warm-up.

CHAPTER 1 SEGMENT 4
Horizontal Chromatic Scales: Playalong Exercise 2
Level: Beginner
Gtr I: Untitled (E A D G B E)
4
T
A
B
I V V g
V V g
V
V V g
V V g
V
V V g
V f V
V V f
V
V V f
V V f
V
V V f
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
3
T
A
B
I
V V g
V
V V g
V V g
V V g
V
V V g
V f V
V V f
V
V V f
V V f
V V f
V
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
2
T
A
B
I
V V g
V
V V g
V V g
V
V V g
V V g
V f V
V V f
V V f
V
V V f
V V f
V
V g V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
1
T
A
B
I
V
V V g
V V g
V V g
V
V V g
V V g
V V
V V f
V V f
V
V V f
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
Begin on the low E string, playing 4 notes before shifting our hand up to the next position.When ascending; keep your fingers on the fingerboard once they are placed.
When descending shift your hand down into place, positioning one finger over each fret.

6
T
A
B
I
V
V V g
V V g
V V g
V
V V g
V V g
V V
V V f
V V f
V
V V f
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0
5
T
A
B
I
V
V V g
V V g
V
V V g
V V g
V V g
V V
V V f
V V f
V V f
V
V V f
V V f
V
0 1 2 3 4 5 6 7 8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 0

Segment 5. Vertical Chromatic Scales
In this segment we play the vertical chromatic scale. In the play-along that
follows we will use the following approach.
1. Start on the low open E and play each note up to the 4
th
fret, then move to
the open A string, play each note up to the 4
th
fret then move to the open
D, etc.
2. Play all down strokes with your picking hand. Pick through the string and
allow the pick to rest on the string below.
3. Be aware that when you get to the G string you only play up to the 3
rd
fret
before moving up to the open B string. This is due to an anomaly in the way
the guitar is tuned: The interval between each of the open strings is a 4
th

except for the G to B string, which is a 3
rd
.
4. Once you get to the high E string, descend playing the same chromatic
scale in reverse.
5. Next, test yourself by randomly choosing notes and finding all of them on
the fret board.

Segment 6. Vertical Chromatic Scales: Play-along Exercise 1
1. Play the vertical chromatic scale as demonstrated in the video and written
in the notation that follows.
2. Play from the low E to the high E at a nice slow tempo.
3. Focus on a good clean tone.
4. Do this every day, building your tempo over time.

CHAPTER 1 SEGMENT 6
Vertical Chromatic Scales: Playalong Exercise 1
Level: Beginner
Gtr I: Untitled (E A D G B E)
2
T
A
B
I
V g V f
V g V f
V
V g V f
V g V f
V g V f
V
V g V f
V g V f
V
V g V f
V g V f
V g V f
V
4 3 2 1 0
3 2 1 0
4 3 2 1 0
4 3 2 1 0
4 3 2 1 0
1
T
A
B
I
V
V V g
V V g
V V g
V
V V g
V V g
V
V f V g
V f V g
V f V g
V
V f V g
V f V g
V
0 1 2 3 4
0 1 2 3 4
0 1 2 3 4
0 1 2 3
0 1 2 3 4
0
Be aware that when you get to the G string you only play up to the 3rd fret before moving up to the open B string.
Play all down strokes with your picking hand. Pick through the string and allow the pick to rest on the string below.

Segment 7. Vertical Chromatic Scales: Play-along Exercise 2
1. Play the horizontal chromatic scale as demonstrated in the video and
written in the notation that follows.
2. Do these exercises with alternate picking, picking down up, down up.
3. Strive for an identical sound with both the down and up stroke.
4. Use alternate fingerings as follows: Start on the A at the 5
th
fret of the low
E string and play up 4 notes. When you move to the 5
th
string, shift your
hand down to play the next note on the 4
th
fret.
5. When you move to the 4
th
string, shift your hand down to play the next
note on the 3
rd
fret.
6. When you move to the 3
rd
string, shift your hand down to play the next
note on the 2
nd
fret.
7. Remember that when you move from the 3
rd
string to the 2
nd
string you
have to adjust for the different interval between those 2 strings, so do not
shift, play the next note on the 2
nd
fret.
8. When you move to the 1
st
string, shift your hand down to play the next
note on the 1
st
fret.
9. Play up to the A on the top string, and descend shifting up a fret when
switching strings with the exception of the move from the B to the G string.
10. Play down to the low A, sliding into the last note with your 1
st
finger.
11. Work to increase your tempo over time.
12. Finally, increase your speed while you play the 2-octave scale.
13. The most important thing is to strive for a good clean sound with an even
tone on every note.


CHAPTER 1 SEGMENT 7
Vertical Chromatic Scales: Playalong Exercise 2
Level: Beginner
Gtr I: Untitled (E A D G B E)
2
T
A
B
I
V
V g V f
V g V f
V
V g V f
V g V f
V
V g V f
V g V f
V g V f
V
V g V f
V g V f
V
V g V
5 4 3 2
6 5 4 3
6 5 4 3
7 6 5 4
8 7 6 5
9 8 7 6 5
1
T
A
B
I
V V g
V
V V g
V V g
V
V V g
V V g
V f V g
V
V f V g
V f V g
V
V f V g
V f V g
5 6 7 8
4 5 6 7
3 4 5 6
2 3 4 5
2 3 4 5
1 2 3 4
Play up to the A on the top string, and descend shifting up a fret when switching strings with the exception of the move from the B to the G string.
Play down to the low A, sliding into the last note with your 1st finger.
Do these exercises with alternate picking, picking down up, down up.
Use alternate fingerings as follows: Start on the A at the 5th fret of the low E string and playing up 4 notes.
After playing up 4 notes on each string, shift your hand down to play the next 4 notee one fret lower on the next string.
When you move from the 3rd string to the 2nd string you have to adjust for the different interval between those 2 strings, so do not shift, play the next note on the 2nd fret.

Chapter 2
The Major Scale
Segment 8. Overview
The major scale is the first of the diatonic scales and the foundation of western
music. I believe that the best way to learn the fret board is to start by learning the
various ways to play the major scale.
1. You build the major scale by starting on a key note and applying the
following formula: whole step, whole step, half step, whole step, whole
step, whole step, half step.
2. Write all 12 notes on a piece of paper and apply the formula above to each
of the notes to build the major scale in all 12 keys.
3. In this chapter we will approach the major scale both vertically and
horizontally and then we will combine the approaches.
4. Play in all keys around the cycle of fourths.
Segment 9. The Cycle of 4
ths
(and 5
ths
)
The cycle of fourths (also called the cycle of fifths) shows the relationships among
the twelve notes and tones of the chromatic scale, their corresponding key
signatures and related major and minor keys. Refer to the diagram of the cycle of
fourths. If you count letter names counter clockwise from C you see that the next
key, F, is 4 notes away. Counting clockwise from C the next key, G, is 5 notes
away, hence the name cycle of fourths or cycle of fifths.
In the lessons that follow, we will often practice our exercises around the cycle of
fourths, C-F-Bb-Eb-Ab-Db-Gb-B-E-A-D-G, rather than the chromatic scale. Using
the notes that make up the cycle of fourths as a starting point is a more musical
approach because it emulates chord changes you find in a piece of music.




Segment 10. The Vertical C Major Scale
We start with a 1-octave C major scale and work up to a 3-octave scale. After we
cover some basic scales, I will show you how to make up your own fingerings.
Since it is important to be able to play both vertically and horizontally, we will
cover both, beginning with the vertical approach, and then horizontal method.
1. Build the major scale by starting on a key note and applying the following
formula: whole step, whole step, half step, whole step, whole step, whole
step, half step.
2. Start with the basic vertical major scale beginning on the C at the 3
rd
fret of
the 5
th
string as demonstrated in the video and written in the notation that
follows.
Next we learn how to find other fingerings.
3. Place your first finger on the same C.
4. Play a one octave C scale beginning with your 1
st
finger, hunting down the
notes that make up the C scale.
5. Next, fret the same C with your 2
nd
finger and repeat the exercise. Using a
different digit to start the scale forces you to come up with an alternative
fingering.
6. Next, start with your 3
rd
finger and play a C scale.
7. Finally, start with your 4
th
finger and play a C scale.
8. Use this same approach with every C note on the guitar.
9. After you do the 1-octave scales, connect them to build 2-octave scales.
10. Then, do 3-octave scales.
11. Use this approach to find several ways to play scales, arpeggios and chords
in upcoming studies.
12. After playing in the key of C, take the major scale around the cycle of
fourths with the goal of playing in all 12 keys.

CHAPTER 2 SEGMENT 10
Vertical C Major Scale
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3
0 2 3
0 2
0 1 1 0
2 0
3 2 0
3
4
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3
0 2 3
0 2
0 1 1 0
2 0
3 2 0
3
3
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5
2 3 5
2 4 5 5 4 2
5 3 2
5 3
2
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5 7
3 5 7
4 5 5 4
7 5 3
7 5 3
1
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5
2 3 5
2 4 5 5 4 2
5 3 2
5 3
Finally, start with your 4th finger and play a C scale. Same notes as above, different fingerings
Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering.
Place your first finger on the same C. Play a one octave C scale beginning with your 1st finger, hunting down the notes that make up the C scale.
Next, start with your 3rd finger and play a C scale.
Start with the basic vertical major scale beginning on the C at the 3rd fret of the 5th string. Begin playing with your 2nd finger.

10
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10 12 14
10 12 14
12 13 13 12
14 12 10
14 12 10
9
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8
5 7 8
5 7
4 5 5
9 7 5
8 7 5
8
8
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8
5 7 8
5 7 9 10 10 9 7 5
8 7 5
8
7
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8 10
7 8 10
7 9 10 10 9 7
10 8 7
10 8
6
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8 10 12
8 10 12
9 10 10 9
12 10 8
12 10 8
Use this same approach with every C note on the guitar. Start with the 1st finger
Finally, start with your 4th finger and play a C scale.
Next, start with your 3rd finger and play a C scale.
Next, fret the same C with your 2nd finger and repeat the exercise.
Use this same approach with every C note on the guitar. Start with your 1st finger.

15
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5 7
5 6
3 5 7 8 8 7 5 3
6 5
7 5
14
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5 7
5 6 8
5 7 8 8 7 5
8 6 5
7 5
13
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10
7 9 10
8 10
7 8 8 7
10 8
10 9 7
10
12
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10
7 9 10
8 10
7 8 8 7
10 8
10 9 7
10
11
T
A
B
I
V
V
V
V
V
V
V
V V
V
V g V f
V
V
V
V
10 12
9 10 12
10 12 13 13 12 9
12 10 9
12 10
Next, fret the same C with your 2nd finger and repeat the exercise.
Use this same approach with every C note on the guitar. Start with your 1st finger.
Finally, start with your 4th finger and play a C scale. Same notes as above, different fingerings
Next, start with your 3rd finger and play a C scale.
Next, fret the same C with your 2nd finger and repeat the exercise.
17
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5
3 5
1 3 5 7 8 8 7 5 3 1
5 3
5
16
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5
3 5 6
3 5 7 8 8 7 5 3
6 5 3
5
Use this same approach with every C note on the guitar. After you do the 1-octave scales, connect them to build 2-octave scales, then, 3-octave scales
Finally, start with your 4th finger and play a C scale. Same notes as above, different fingerings
Next, start with your 3rd finger and play a C scale.
2. In our example we go as high as the 15
th
fret. You should play as high as
you can on your guitar.
3. Take note of your starting point when playing the lowest note of the scale
on each string. For example: In the key of C the high E string is the 3
rd
note
of the C scale, the B string is the major 7
th
, the open G string the 5
th
, The A
string is the 6
th
and the low E is another 3
rd
.
4. Recognize the root of the scale each time you play it.
5. Test yourself by thinking of the note and interval you are playing.
6. Start off with a nice slow tempo, striving for a good clean tone.
7. Continue to practice this lesson as a quick warm up, focusing on 1 or 2 key
signatures at a time.
Segment 11. The Horizontal C Major Scale
1. Play the notes of the C major scale, ascending and descending on each of
the 6 strings, one at a time, beginning with the open string.

CHAPTER 2 SEGMENT 11
Horizontal C Major Scale
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 3 5 7 8 10 12 14 15 14 12 10 8 7 5 3 2 0
0 1 3 5 7 8 10 12 13 15 13 12 10 8 7 5 3 1 0
3
T
A
B
I V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4 5 7 9 10 12 14 12 10 9 7 5 4 2 0
0 2 3 5 7 9 10 12 14 15 14 12 10 9 7 5 3 2 0
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 3 5 7 8 10 12 13 15 13 12 10 8 7 5 3 1 0
0 1 3 5 6 8 10 12 13 15 13 12 10 8 6 5 3 1 0
Recognize the root of the scale each time you play it.
Take note of your starting point when playing the lowest note of the scale on each string.
Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string.
4. Also, try playing the root chord before you start the scale on each string to
get the tonal center in your ear.
2. When you get to the root of the scale, play the chord in place of the note
to hear the tonal center of the scale.
3. Test yourself by thinking about what interval you are starting on in each
key.
Segment 12. Vertical Major Scales: Play-along Exercise 1
In this play-along we will apply what we learned in Segment 10, Vertical C Major
Scale. Use all different fingerings and positions each time you play through the
cycle.
1. Play the vertical major scales as demonstrated in the play-along video
segment and written in the notation that follows.
2. Start at a slow tempo and work towards increasing the speed each time.
Segment 13. Horizontal Major Scales: Play-along Exercise 2
In this play-along we will apply what we learned in Segment 11, Horizontal C
Major Scale.
1. Play the horizontal major scales as demonstrated in the play-along video
segment and written in the notation that follows. Note that in the video I
play all 12 keys on the high E string. Another approach is to play in each key
on all 6 strings before moving to the next key as written in the notation that
follows.

CHAPTER 2 SEGMENT 12
Vertical Major Scales: Playalong Exercise 1
Level: Intermediate
Gtr I: Untitled (E A D G B E)
7
T
A
B
I
e
e
e
e
e
e
g
g
g
g
g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
2 4 6
2 4 6
3 4 4 3
6 4 2
6 4 2
2 4 6
2 4 6
3 4 4 3
6 4 2
6 4 2
5
T
A
B
I
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
6
3 5 6
4 6
3 4 4 3
6 4
6 5 3
6
4 6
3 4 6
3 5 6 6 5 3
6 4 3
6 4
3
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
1 3 5
1 3 5
2 3 3 2
5 3 1
5 3 1 6
3 5 6
3 5
3 4 4 3
5 3
6 5 3
6
1
T
A
B
I
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
Gtr I
3 5
2 3 5
2 4 5 5 4 2
5 3 2
5 3
3 5
2 3 5
3 5 6 6 5 3
5 3 2
5 3
Use all different fingerings and positions each time you play through the cycle.

11
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5 7
4 5 7
4 6 7 7 6 4
7 5 4
7 5
5 7
4 5 7
5 7 8 8 7 5
7 5 4
7 5
9
T
A
B
I
g
g
g
g
g
g
g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
2 4 6 7
4 6
4 5 5 4
6 4
7 6 4
7
7
4 6 7
5 7
4 5 5 4
7 5
7 6 4
7

CHAPTER 2 SEGMENT 13
Horizontal C Major Scale
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 3
2
0
5 7 8 10 12 14 15 14 12 10 8 7 5 3
2
0
2 0
0 1 3 5 7 8
7
5
10 12 13 15 13 12 10 8
7
5
7 5 3 1 0
3
T
A
B
I V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4
7
5
5 7 9 10 12 14 12 10 9 7
7
5
5 4 2 0
0 2 3 5 7 9
12
10
10 12 14 15 14 12
12
10
10 9 7 5 3 2 0
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 3 5 7
9
8
8 10 12 13 15 13 12 10
9
8
8 7 5 3 1 0
0
2
0
1 3 5 6 8 10 12
14
12
13 15
14
12
13 12 10 8 6 5 3
2
0
1 0
Recognize the root of the scale each time you play it by playing a chord in its place.
Take note of your starting point when playing the lowest note of the scale on each string.
Play this Lesson in other keys, with the goal of playing in all 12 keys.
Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string.

CHAPTER 2 SEGMENT 13
Horizontal F Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 3 5 7 8
7
5
10 12 13 15 13 12 10 8
7
5
7 5 3 1 0
0 1
3
3
2
3 5 6 8 10 12 13
15
15
14
15 13 12 10 8 6 5 3 1
3
3
2
0
3
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 3 5 7 9
10
10
10
12 14 15 14 12
10
10
10
9 7 5 3 2 0
0 2 3
2
1
5 7 8 10 12 14 15
14
13
14 12 10 8 7 5 3
2
1
2 0
1
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
2
1
1 3 5 6 8 10 12
14
13
13 15
14
13
13 12 10 8 6 5 3
2
1
1 0
1 3 5
7
5
6 8 10 11 13 15 13 11 10 8
7
5
6 5 3 1

CHAPTER 2 SEGMENT 13
Horizontal Bb Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1
3
3
3
3 5 6 8 10 12 13
15
15
15
15 13 12 10 8 6 5 3 1
3
3
3
1 3 5 6
5
3
8 10 11 13 15 13 11 10 8 6
5
3
5 3 1
3
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2
3
3
3
5 7 8 10 12 14
15
15
15
14 12 10 8 7 5
3
3
3
2
1 3 5 7 8
7
6
10 12 13 15 13 12 10 8
7
6
7 5 3 1
1
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 5
7
6
6 8 10 11 13 15 13 11 10 8
7
6
6 5 3 1
1 3 4 6 8 10
12
10
11 13 15 13
12
10
11 10 8 6 4 3 1

CHAPTER 2 SEGMENT 13
Horizontal Eb Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 5 6
5
3
8 10 11 13 15 13 11 10 8 6
5
3
5 3 1
1 3 4 6 8 10 11
10
8
13 15 13 11
10
8
10 8 6 4 3 1
3
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 3 5 7
8
8
8
10 12 13 15 13 12 10
8
8
8
7 5 3 1
3
1
1 3 5 6 8 10 12
15
13
13 15 13 12 10 8 6 5 3
3
1
1
1
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 4 6 8 10
12
11
11 13 15 13
12
11
11 10 8 6 4 3 1
1 3
5
3
4 6 8 9 11 13 15 13 11 9 8 6
5
3
4 3 1

CHAPTER 2 SEGMENT 13
Horizontal Ab Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 4 6 8 10 11
10
8
13 15 13 11
10
8
10 8 6 4 3 1
1 3 4
3
1
6 8 9 11 13 15 13 11 9 8 6 4
3
1
3 1
3
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
1
1
1
3 5 6 8 10 12
13
13
13
15 13 12 10 8 6 5 3
1
1
1
1 3 5 6
5
4
8 10 11 13 15 13 11 10 8 6
5
4
5 3 1
1
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3
5
4
4 6 8 9 11 13 15 13 11 9 8 6
5
4
4 3 1
1 2 4 6 8
10
8
9 11 13 14 13 11
10
8
9 8 6 4 2 1

CHAPTER 2 SEGMENT 13
Horizontal Db Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
e
e
4
4
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 4
3
1
6 8 9 11 13 15 13 11 9 8 6 4
3
1
3 1
1 2 4 6 8 9
8
6
11 13 14 13 11 9 8
8
6
6 4 2 1
3
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 5
6
6
6
8 10 11 13 15 13 11 10 8
6
6
6
5 3 1
1 3 4 6 8 10 11
10
9
13 15 13 11
10
9
10 8 6 4 3 1
1
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 2 4 6 8
10
9
9 11 13 14 13 11
10
9
9 8 6 4 2 1
1
3
1
2 4 6 7 9 11 13
15
13
14 13 11 9 7 6 4
3
1
2 1

CHAPTER 2 SEGMENT 13
Horizontal Gb Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 2 4 6 8 9
8
6
11 13 14 13 11 9
8
6
8 6 4 2 1
1 2
4
4
3
4 6 7 9 11 13 14
16
16
15
13 11 9 7 6 4 2
4
4
3
1
3
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 4 6 8 10
11
11
11
13 15 13
11
11
11
10 8 6 4 3 1
1 3 4
3
2
6 8 9 11 13 15 13 11 9 8 6 4
3
2
3 1
1
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V
V
V
V
V
V
V
V
V
1
3
2
2 4 6 7 9 11 13
15
14
14 13 11 9 7 6 4
3
2
2 1
0 2 4 6
8
6
7 9 11 12 14 13 11 9
8
6
7 6 4 2 1

CHAPTER 2 SEGMENT 13
Horizontal B Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 2
4
4
4
4 6 7 9 11 13 14
16
16
16
13 11 9 7 6 4 2
4
4
4
1
0 2 4 6 7
6
4
9 11 12 14 12 11 9 7
6
4
6 4 2 0
3
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3
4
4
4
6 8 9 11 13 15 13 11 9 8 6
4
4
4
3 1
1 2 4 6 8 9
8
7
11 13 14 13 11 9
8
7
8 6 4 2 1
1
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4 6
8
7
7 9 11 12 14 12 11 9
8
7
7 6 4 2 0
0 2 4 5 7 9 11
13
11
12 14 12 11 9 7 5 4 2 0

CHAPTER 2 SEGMENT 13
Horizontal E Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4 6 7
6
4
9 11 12 14 12 11 9 7
6
4
6 4 2 0
0
2
2
1
2 4 5 7 9 11 12
14
14
13
14 12 11 9 7 5 4 2 0
2
2
1
3
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 2 4 6 8
9
9
9
11 13 14 13 11
9
9
9
8 6 4 2 1
1 2
1
0
4 6 7 9 11 13 14
13
12
13 11 9 7 6 4 2
1
0
1
1
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
0
0 2 4 5 7 9 11
13
12
12 14 12 11 9 7 5 4 2
1
0
0
0 2 4
6
4
5 7 9 10 12 14 12 10 9 7
6
4
5 4 2 0

CHAPTER 2 SEGMENT 13
Horizontal A Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
2
2
2
2 4 5 7 9 11 12
14
14
14
14 12 11 9 7 5 4 2
2
2
0
0 2 4 5
4
2
7 9 10 12 14 12 10 9 7 5
4
2
4 2 0
3
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
2
2
2
4 6 7 9 11 13
14
14
14
13 11 9 7 6 4
2
2
2
1
0 2 4 6 7
6
5
9 11 12 14 12 11 9 7
6
5
6 4 2 0
1
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4
6
5
5 7 9 10 12 14 12 10 9 7
6
5
5 4 2 0
0 2 3 5 7 9
11
9
10 12 14 12
11
9
10 9 7 5 3 2 0

CHAPTER 2 SEGMENT 13
Horizontal D Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
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V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4 5
4
2
7 9 10 12 14 12 10 9 7 5
4
2
4 2 0
0 2 3 5 7 9 10
9
7
12 14 12 10
9
7
9 7 5 3 2 0
3
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 4 6
7
7
7
9 11 12 14 12 11 9
7
7
7
6 4 2 0
0
2
3
2
2 4 5 7 9 11 12
11
10
14 12
11
10
11 9 7 5 4 2 0
2
3
2
1
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
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V
V
V
V
V
V
0 2 3 5 7 9
9
10
10 12 14 12
9
10
10 9 7 5 3 2 0
0 2
4
2
3 5 7 8 10 12 14 12 10 8 7 5
4
2
3 2 0

CHAPTER 2 SEGMENT 13
Horizontal G Major Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2 3 5 7 9 10
9
7
12 14 12 10
9
7
9 7 5 3 2 0
0 2 3
2
0
5 7 8 10 12 14 12 10 8 7 5 3
2
0
2 0
3
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
0
0
2 4 5 7 9 11
12
12
12
14 12 11 9 7 5 4 2
0
0
0
0 2 4 5
4
3
7 9 10 12 14 12 10 9 7 5
4
3
4 2 0
1
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 2
4
3
3 5 7 8 10 12 14 12 10 8 7 5
4
3
3 2 0
0 1 3 5 7
9
7
8 10 12 13 12 10
9
7
8 7 5 3 1 0

Segment 14. 100+ C Major Scales
The reason most guitar players can’t play what they hear is because they
haven’t mastered the fret board. The guitar is the only instrument with so
many options to play a simple C scale; and also why it is so hard to sight-read
on guitar. Begin working through my 110 Essential Fingerings for a C scale.
Learn 2 fingerings per week and your knowledge of the fret board will increase
tremendously in the first few months. This is the key to connecting your
fingers and your brain to your ears and playing what you hear. Do not concern
yourself with memorizing all of the variations. The point is to understand how
you can make small changes to the fingerings to come up with many
variations.






&
T
A
B
c
Guitar
Guitar
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
4 3 2 1
10 9 7 5
œ
œ
œ
œ
4 3 2 1
8 7 5 3
&
Gtr.
Gtr.
5
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
1 2 4 1
5 7 9
5
œ
œ
œ
œ
1 4 2 1
5
9 7 5
œ
œ
œ
œ
4 3 2 1
8 7 5 3
&
Gtr.
Gtr.
9
œ
œ
œ
œ
1 2 4 1
3 5 7
3
œ
œ
œ
œ
2 3 4 1
5 7 9
5
œ
œ
œ
œ
1 4 3 2
5
9 7 5
œ
œ
œ
œ
1 4 2 1
3
7 5 3
&
Gtr.
Gtr.
13
œ
œ
œ
œ
1 2 4 1
3 5 7
3
œ
œ
œ
œ
2 4 1 2
5 7
4 5
œ
œ
œ
œ
2 1 4 2
5 4
7 5
œ
œ
œ
œ
1 4 2 1
3
7 5 3
110 Essential Fingerings for a C Scale
Frank Vignola 2009
AUTHORS NOTE-
Suggested ngerings are written underneath notes.
These are just suggestions. You can use whatever
ngerings you are comfortable with.
&
Gtr.
Gtr.
17
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
4 3 2 1
15 14 12 10
œ
œ
œ
œ
4 3 2 1
8 7 5 3
&
Gtr.
Gtr.
21
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
3 4 1 2
5 7
4 5
œ
œ
œ
œ
2 1 4 3
5 4
7 5
œ
œ
œ
œ
2 1 4 2
3 2
5 3
&
Gtr.
Gtr.
25
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
4 1 3 4
6
2 4 5
œ
œ
œ
œ
4 3 1 4
5 4 2
5
œ
œ
œ
œ
2 1 4 2
3 2
5 3
&
Gtr.
Gtr.
29
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
4 1 3 4
5 7 9 10
œ
œ
œ
œ
4 3 1 4
10 9 7 5
œ
œ
œ
œ
2 1 4 2
3 2
5 3
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
33
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
1 2 4 1
5 7 9
5
œ
œ
œ
œ
1 4 2 1
5
9 7 5
œ
œ
œ
œ
2 1 4 2
3 2
5 3
&
Gtr.
Gtr.
37
œ
œ
œ
œ
2 0 1 2
3
0 2 3
œ
œ
œ
œ
4 1 3 4
5
2 4 5
œ
œ
œ
œ
4 3 1 4
5 4 2
5
œ
œ
œ
œ
2 1 0 2
3 2 0
3
&
Gtr.
Gtr.
41
œ
œ
œ
œ
3 0 2 3
3
0 2 3
œ
œ
œ
œ
0 1 3 4
0 2 4 5
œ
œ
œ
œ
4 3 1 0
5 4 2 0
œ
œ
œ
œ
3 2 0 3
3 2 0
3
&
Gtr.
Gtr.
45
œ
œ
œ
œ
3 0 2 3
3
0 2 3
œ
œ
œ
œ
0 2 4 1
0 2 4
1
œ
œ
œ
œ
1 4 2 0
1
4 2 0
œ
œ
œ
œ
3 2 0 3
3 2 0
3
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
49
œ
œ
œ
œ
3 0 2 3
3
0 2 3
œ
œ
œ
œ
0 2 0 1
0 2
0 1
œ
œ
œ
œ
1 0 2 0
1 0
2 0
œ
œ
œ
œ
3 2 0 3
3 2 0
3
&
Gtr.
Gtr.
53
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
0 1 0 1
0 2
0 1
œ
œ
œ
œ
1 0 2 0
1 0
2 0
œ
œ
œ
œ
2 1 4 2
3 2 0
3
&
Gtr.
Gtr.
57
œ
œ
œ
œ
1 2 3 4
8 10 12 13
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
4 3 2 1
15 14 12 10
œ
œ
œ
œ
4 3 2 1
13 12 10 8
&
Gtr.
Gtr.
61
œ
œ
œ
œ
1 2 3 4
8 10 12 13
œ
œ
œ
œ
1 2 4 1
10 12 14
10
œ
œ
œ
œ
1 4 2 1
10
14 12 10
œ
œ
œ
œ
4 3 2 1
13 12 10 8
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
65
œ
œ
œ
œ
1 2 4 1
8 10 12
8
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
2 1 4 2
10 9
12 10
œ
œ
œ
œ
1 4 2 1
8
12 10 8
&
Gtr.
Gtr.
69
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
3 4 1 2
10 12
9 10
œ
œ
œ
œ
2 1 4 3
10 9
12 10
œ
œ
œ
œ
2 1 4 2
8 7
10 8
&
Gtr.
Gtr.
73
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
4 3 1 4
10 9 7
10
œ
œ
œ
œ
2 1 4 2
8 7
10 8
&
Gtr.
Gtr.
77
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
4 3 2 1
10 9 7 5
œ
œ
œ
œ
2 1 4 2
8 7
10 8
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
81
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
4 3 2 1
10 9 7 5
œ
œ
œ
œ
4 3 1 4
8 7 5
8
&
Gtr.
Gtr.
85
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
1 2 4 1
5 7 9
5
œ
œ
œ
œ
1 4 2 1
5
9 7 5
œ
œ
œ
œ
4 3 1 4
8 7 5
8
&
Gtr.
Gtr.
89
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
1 3 1 2
5 7
4 5
œ
œ
œ
œ
2 1 3 1
5 4
7 5
œ
œ
œ
œ
4 3 1 4
8 7 5
8
&
Gtr.
Gtr.
93
œ
œ
œ
œ
4 1 3 1
8
5 7
3
œ
œ
œ
œ
2 4 1 2
5 7
4 5
œ
œ
œ
œ
2 1 4 2
5 4
7 5
œ
œ
œ
œ
1 4 1 4
3
7 5
3
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
97
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
4 3 1 4
10 9 7
10
œ
œ
œ
œ
2 1 4 2
8 7
10 8
&
Gtr.
Gtr.
101
œ
œ
œ
œ
1 2 4 1
3 5 7
3
œ
œ
œ
œ
2 4 1 1
5 7
4 5
œ
œ
œ
œ
1 4 2 1
5
9 7 5
œ
œ
œ
œ
4 3 1 4
8 7 5
8
&
Gtr.
Gtr.
105
œ
œ
œ
œ
2 4 1 2
3 5
2 3
œ
œ
œ
œ
4 1 3 4
5
2 4 5
œ
œ
œ
œ
4 3 1 0
5 4 2 0
œ
œ
œ
œ
2 1 0 2
3 2 0
3
&
Gtr.
Gtr.
109
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
4 3 1 4
10 9 7
10
œ
œ
œ
œ
2 1 4 2
8 7
10 8
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
113
œ
œ
œ
œ
1 2 3 4
1 3 5 6
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
4 3 2 1
8 7 5 3
œ
œ
œ
œ
4 3 2 1
6 5 3 1
&
Gtr.
Gtr.
117
œ
œ
œ
œ
1 2 4 1
1 3 5
1
œ
œ
œ
œ
3 1 3 4
3 5 7 8
œ
œ
œ
œ
4 3 1 3
8 7 5 3
œ
œ
œ
œ
1 4 2 1
1
5 3 1
&
Gtr.
Gtr.
121
œ
œ
œ
œ
1 3 0 1
1 3
0 1
œ
œ
œ
œ
3 1 3 4
3 5 7 8
œ
œ
œ
œ
4 3 1 3
8 7 5 3
œ
œ
œ
œ
1 0 3 1
1 0
3 1
&
Gtr.
Gtr.
125
œ
œ
œ
œ
1 3 1 2
1 3 5 6
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
4 3 1 4
8 7 5
8
œ
œ
œ
œ
2 1 3 1
6 5 3 1
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
129
œ
œ
œ
œ
1 2 4 1
1 3 5 6
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
1 4 2 1
6 5 3 1
&
Gtr.
Gtr.
133
œ
œ
œ
œ
1 3 1 2
1 3 5 6
œ
œ
œ
œ
1 2 4 1
8 10 12
8
œ
œ
œ
œ
1 4 2 1
8
12 10 8
œ
œ
œ
œ
4 3 2 1
6 5 3 1
&
Gtr.
Gtr.
137
œ
œ
œ
œ
1 3 1 2
1 3 5 6
œ
œ
œ
œ
4 1 3 4
8 10 12 13
œ
œ
œ
œ
4 3 1 4
13 12 10 8
œ
œ
œ
œ
2 1 3 1
6 5 3 1
&
Gtr.
Gtr.
141
œ
œ
œ
œ
3 1 3 4
5
3 5 6
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
4 3 2 1
8 7 5 3
œ
œ
œ
œ
4 3 1 3
6 5 3
5
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
145
œ
œ
œ
œ
1 3 1 2
5 7
5 6
œ
œ
œ
œ
4 1 3 4
8
5 7 8
œ
œ
œ
œ
4 3 1 4
8 7 5
8
œ
œ
œ
œ
2 1 3 1
7 5
7 5
&
Gtr.
Gtr.
149
œ
œ
œ
œ
1 3 1 1
5 7
5 6
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 3
8 7
10 8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
&
Gtr.
Gtr.
153
œ
œ
œ
œ
1 3 1 2
5 7
5 6
œ
œ
œ
œ
1 2 4 1
8 10 12
8
œ
œ
œ
œ
1 4 2 1
8
12 10 8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
&
Gtr.
Gtr.
157
œ
œ
œ
œ
1 3 1 2
5 7
5 6
œ
œ
œ
œ
4 1 3 4
8 10 12 13
œ
œ
œ
œ
4 3 1 4
13 12 10 8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
161
œ
œ
œ
œ
1 2 4 1
5 7 9
6
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
1 4 2 1
6
9 7 5
&
Gtr.
Gtr.
165
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
4 3 2 1
10 9 7 5
&
Gtr.
Gtr.
169
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
1 2 4 1
8 10 12
8
œ
œ
œ
œ
1 4 2 1
8
12 10 8
œ
œ
œ
œ
3 2 3 1
10 9 7 5
&
Gtr.
Gtr.
173
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
1 2 3 4
8 10 12 13
œ
œ
œ
œ
4 3 2 1
13 12 10 8
œ
œ
œ
œ
3 2 3 1
10 9 7 5
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
177
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
3 1 3 4
12
10 12 13
œ
œ
œ
œ
4 3 1 3
13 12 10
12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
&
Gtr.
Gtr.
181
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
4 2 4 1
12
10 12
8
œ
œ
œ
œ
1 4 2 4
8
12 10
12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
&
Gtr.
Gtr.
185
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
&
Gtr.
Gtr.
189
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
1 2 4 1
12 14 16
13
œ
œ
œ
œ
1 4 2 1
13
16 14 12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
193
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
4 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14 12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
&
Gtr.
Gtr.
197
œ
œ
œ
œ
1 2 4 1
5 7 9
6
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
4 3 1 4
10 9 7
10
&
Gtr.
Gtr.
201
œ
œ
œ
œ
3 1 3 4
5
3 5 6
œ
œ
œ
œ
1 2 3 4
3 5 7 8
œ
œ
œ
œ
4 3 1 4
8 7 5
8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
&
Gtr.
Gtr.
205
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
4 3 1 4
10 9 7
10
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
209
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
4 3 1 4
10 9 7
10
&
Gtr.
Gtr.
213
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 2 4 1
12
10 12
8
œ
œ
œ
œ
1 4 2 4
8
12 10
12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
217
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 1 3 4
12
10 12 13
œ
œ
œ
œ
4 3 1 4
13 12 10
12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
221
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
225
œ
œ
œ
œ
1 2 4 1
10 12 14
10
œ
œ
œ
œ
2 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 2
13 12
14 12
œ
œ
œ
œ
1 4 2 1
10
14 12 10
&
Gtr.
Gtr.
229
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 2 1
15 14 12 10
&
Gtr.
Gtr.
233
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
1 2 4 1
12 14 16
13
œ
œ
œ
œ
1 4 2 1
13
16 14 12
œ
œ
œ
œ
4 3 2 1
15 14 12 10
&
Gtr.
Gtr.
237
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
1 2 3 4
12 14 16 17
œ
œ
œ
œ
4 3 2 1
17 16 14 12
œ
œ
œ
œ
4 3 2 1
15 14 12 10
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
241
œ
œ
œ
œ
1 3 1 2
10 12 14 15
œ
œ
œ
œ
4 1 3 4
17
14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 3 1
15 14 12 10
&
Gtr.
Gtr.
245
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
1 2 4 1
12 14 16
13
œ
œ
œ
œ
1 4 2 1
13
16 14 12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
249
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14 12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
253
œ
œ
œ
œ
1 3 1 2
10 12 14 15
œ
œ
œ
œ
4 1 3 1
17
14 16
13
œ
œ
œ
œ
1 3 1 4
13
16 14
17
œ
œ
œ
œ
2 1 3 1
15 14 12 10
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
257
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
2 4 1 1
8 10
7 8
œ
œ
œ
œ
1 4 2 1
8
12 10 8
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
261
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
&
Gtr.
Gtr.
265
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 1 4
8 7 5
8
œ
œ
œ
œ
2 1 3 1
6 5
7 5
&
Gtr.
Gtr.
269
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 3 1
8 7 5 3
œ
œ
œ
œ
4 3 1 3
6 5 3
5
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
273
œ
œ
œ
œ
4 1 3 1
10
7 9
6
œ
œ
œ
œ
2 4 1 2
8 10
7 8
œ
œ
œ
œ
2 1 4 2
8 7
10 8
œ
œ
œ
œ
4 3 1 4
10 9 7
10
&
Gtr.
Gtr.
277
œ
œ
œ
œ
4 1 3 1
10
7 9
6
œ
œ
œ
œ
3 1 3 4
8
5 7 8
œ
œ
œ
œ
4 3 1 4
8 7 5
8
œ
œ
œ
œ
2 1 3 1
6 5 3 1
&
Gtr.
Gtr.
281
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 1 3 4
12
10 12 13
œ
œ
œ
œ
4 3 3 1
13 12 10 8
œ
œ
œ
œ
3 2 1 4
10 9 7
10
&
Gtr.
Gtr.
285
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 1 3 4
12
10 12 13
œ
œ
œ
œ
4 3 1 4
13 12 10 8
œ
œ
œ
œ
2 1 3 1
6 5 3 1
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
289
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
293
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 2 4 1
12 14 16
13
œ
œ
œ
œ
1 4 2 1
13
16 14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
297
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 2 3 4
12 14 16 17
œ
œ
œ
œ
4 3 2 1
17 16 14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
301
œ
œ
œ
œ
4 1 2 3
15
12 14 15
œ
œ
œ
œ
4 1 3 4
17
14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
3 2 1 4
15 14 12
15
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
305
œ
œ
œ
œ
2 4 1 2
15 17
14 15
œ
œ
œ
œ
4 1 3 4
17
14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
&
Gtr.
Gtr.
309
œ
œ
œ
œ
1 2 4 1
15 17 19
15
œ
œ
œ
œ
2 4 1 2
17 19
16 17
œ
œ
œ
œ
2 1 4 2
17 16
19 17
œ
œ
œ
œ
1 4 2 1
15
19 17 15
&
Gtr.
Gtr.
313
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
&
Gtr.
Gtr.
317
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 1 3
13 12 10
12
œ
œ
œ
œ
2 1 4 2
10 9
12 10
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
321
œ
œ
œ
œ
4 1 3 4
15
12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
2 1 3 1
10 9 7 5
&
Gtr.
Gtr.
325
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
329
œ
œ
œ
œ
1 2 4 1
10 12 14
10
œ
œ
œ
œ
2 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
333
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
337
œ
œ
œ
œ
4 1 3 4
10
7 9 10
œ
œ
œ
œ
1 3 1 2
8 10 12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
341
œ
œ
œ
œ
1 2 2 3
5 7 9 10
œ
œ
œ
œ
1 3 1 2
8 10 12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
345
œ
œ
œ
œ
1 2 4 1
5 7 9
6
œ
œ
œ
œ
2 4 1 2
8 10 12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
349
œ
œ
œ
œ
1 3 1 2
5 7
5 6
œ
œ
œ
œ
1 3 1 2
8 10 12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
353
œ
œ
œ
œ
1 2 3 4
5 7 9 10
œ
œ
œ
œ
1 3 1 2
12 14
12 13
œ
œ
œ
œ
2 1 3 1
13 12
14 12
œ
œ
œ
œ
4 3 1 4
15 14 12
15
&
Gtr.
Gtr.
357
œ
œ
œ
œ
1 3 1 2
5 7 9 10
œ
œ
œ
œ
4 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
&
Gtr.
Gtr.
361
œ
œ
œ
œ
2 4 1 2
10 12
9 10
œ
œ
œ
œ
4 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
&
Gtr.
Gtr.
365
œ
œ
œ
œ
1 2 4 1
10 12 14
10
œ
œ
œ
œ
3 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
369
œ
œ
œ
œ
1 2 3 4
10 12 14 15
œ
œ
œ
œ
1 2 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
&
Gtr.
Gtr.
373
œ
œ
œ
œ
1 3 1 2
7 9 10
œ
œ
œ
œ
4 1 3 4
12 14 16 17
œ
œ
œ
œ
4 3 1 4
17 16 14
17
œ
œ
œ
œ
2 1 4 2
15 14
17 15
&
Gtr.
Gtr.
377
œ
œ
œ
œ
2 4 1 2
15 17
14 15
œ
œ
œ
œ
4 1 1 2
17
14 16 17
œ
œ
œ
œ
2 1 4 2
17 16
19 17
œ
œ
œ
œ
1 4 2 1
15
19 17 15
&
Gtr.
Gtr.
381
œ
œ
œ
œ
15 17 19
15
œ
œ
œ
œ
17 19
16 17
œ
œ
œ
œ
17 16 14 12
œ
œ
œ
œ
15 14 12
15
110 Essential Fingerings for a C Scale
&
Gtr.
Gtr.
385
œ
œ
œ
œ
1 3 1 2
8 10 12 13
œ
œ
œ
œ
4 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17 15
œ
œ
œ
œ
2 1 3 1
13 12 10 8
&
Gtr.
Gtr.
389
œ
œ
œ
œ
4 1 3 4
13
10 12 13
œ
œ
œ
œ
1 2 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 1 4
13 12 10
13
&
Gtr.
Gtr.
393
œ
œ
œ
œ
2 4 1 2
13 15
12 13
œ
œ
œ
œ
4 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17 15
œ
œ
œ
œ
2 1 4 2
13 12
15 13
&
Gtr.
Gtr.
397
œ
œ
œ
œ
1 2 4 1
13 15 17
13
œ
œ
œ
œ
3 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 3
20 19 17 15
œ
œ
œ
œ
1 4 2 1
13
17 15 13
110 Essential Fingerings for a C Scale
8VA
8VA
8VA
8VA
8VA = play one octave higher than written
&
Gtr.
Gtr.
401
œ
œ
œ
œ
1 2 3 4
13 15 17 18
œ
œ
œ
œ
1 2 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 2 1
18 17 15 13
&
Gtr.
Gtr.
405
œ
œ
œ
œ
3 1 3 4
17
15 17 18
œ
œ
œ
œ
1 2 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 1 3
18 17 15
17
&
Gtr.
Gtr.
409
œ
œ
œ
œ
4 2 4 1
17
15 17
13
œ
œ
œ
œ
2 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 3
20 19 17 15
œ
œ
œ
œ
1 4 2 4
13
17 15
17
&
Gtr.
Gtr.
413
œ
œ
œ
œ
2 1 2 3
17
15 17 18
œ
œ
œ
œ
4 1 3 4
20
17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17
20
œ
œ
œ
œ
3 2 1 2
18 17 15
17
110 Essential Fingerings for a C Scale
8VA
8VA
8VA
8VA
&
Gtr.
Gtr.
417
œ
œ
œ
œ
1 3 1 2
17 19
17 18
œ
œ
œ
œ
4 1 3 4
20
17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17
20
œ
œ
œ
œ
2 1 3 1
18 17
19 17
&
Gtr.
Gtr.
421
œ
œ
œ
œ
1 3 1 2
8 10 12 13
œ
œ
œ
œ
4 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17
20
œ
œ
œ
œ
2 1 3 1
18 17
19 17
&
Gtr.
Gtr.
425
œ
œ
œ
œ
2 4 1 2
13 15
12 13
œ
œ
œ
œ
4 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 1 3
18 17 15
17
&
Gtr.
Gtr.
429
œ
œ
œ
œ
1 2 4 1
13 15 17
13
œ
œ
œ
œ
1 2 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 1 3
18 17 15
17
110 Essential Fingerings for a C Scale
8VA
8VA
8VA
8VA
&
Gtr.
Gtr.
433
œ
œ
œ
œ
1 2 3 4
13 15 17 18
œ
œ
œ
œ
1 2 3 4
15 17 19 20
œ
œ
œ
œ
4 3 2 1
20 19 17 15
œ
œ
œ
œ
4 3 2 1
13 12 10 8
&
Gtr.
Gtr.
437
œ
œ
œ
œ
2 4 1 2
13 15
12 13
œ
œ
œ
œ
4 1 3 4
15 17 19 20
œ
œ
œ
œ
4 3 1 4
20 19 17 15
œ
œ
œ
œ
2 1 3 1
13 12 10 8
110 Essential Fingerings for a C Scale
8VA
8VA

Chapter 3
3-Note Arpeggios
Segment 15. Overview
Chapter 3 is similar to Chapter 2, but instead of playing the major scale we play
arpeggios; first vertically, then horizontally, beginning with the C major arpeggio.
An arpeggio is made up of the same notes used to play the chord of the same
name. The difference is that when you strum a chord, you play all of the notes
simultaneously; when you play an arpeggio, you pick each note one at a time. The
most basic chord is a triad. As its name implies, it has 3 notes.
Build arpeggios and chords by selecting every other note of the scale, known as
intervals called 3
rds
.

You can identify any interval by counting the letter names in
the scale inclusively. So, to build a C major triad we count 3 letter names C-D-E;
we know that E is a 3
rd
away from C. From E we count 3- E-F-G and we know that
G is a 3
rd
away from E. Therefore, the C major triad is built with the 1
st
, 3
rd
and 5
th
,
or every other note of the major scale: C-E-G.
Since chords and arpeggios are made up of the same notes, a major arpeggio
contains the 1
st
, 3
rd
and 5
th
notes of the major scale, which are C- the root, E -the
3
rd
and G-the 5
th
. Arpeggios are building blocks for solos and important to master.
Segment 16. Vertical 3-Note Arpeggios
In this segment we use the same approach we used to identify the variations of
the C major scale and apply it to the C major arpeggio.
1. Find a C on the fingerboard.
2. Place your first finger on the C.
3. Hunt down the notes of the C arpeggio beginning with your 1
st
finger.
4. Next, fret the same C with your 2
nd
finger and repeat the exercise. Using a
different digit forces you to come up with an alternative fingering.
5. Next, start with your 3
rd
finger and play a C arpeggio.
6. Finally, start with your 4
th
finger and play a C arpeggio.
7. Use this same approach using every C on the guitar as a starting point.
8. The next step is to connect these arpeggios to build 2-octave arpeggios
with the same approach.
9. Next, play these arpeggios in the other keys around the cycle of fourths.

CHAPTER 3 SEGMENT 16
Vertical 3-Note Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
25
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
U
3
2
0 5
5
3 8 3
5
5 0
2
3 3
2
0 5
5
3 8 3
5
5 0
2
3
17
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
U
3 7
5
5 9
8
8
8
9 5
5
7 3 3
2 5
5
5
3 8 3
5
5
5 2
3
9
T
A
B
I
V
V
V
V
U V
V
V
V
U V
V
V
V
U V
V
V
V
U
8 12
10
12 8 8
7 10 7
8 8
7
5
7
8 8
7
5
7
8
1
T
A
B
I
V
V
V
V
U V
V
V
V
U V
V
V
V
U V
V
V
V
U
3 7
5
7 3 3
2 5 2
3 3
2
0
2
3 3
2
0
2
3
Use this same approach using every C on the guitar as a starting point.
same notes with 4th figner
3rd finger
1-octave example
2nd finger
1st finger
2-octave example
4th finger
3rd finger 2nd finger
1st finger
4th finger
3rd finger 2nd finger
1st finger
Segment 17. Vertical 3-Note Arpeggios: Play-along Exercise 1
In this play-along we play the vertical major arpeggio in all 12 keys around the
cycle of fourths just as we did with the major scale. The object is to get through all
12 keys at a slow tempo without stopping.
1. Play the vertical major arpeggio as demonstrated in this play-along video
and written in the notation that follows.
2. Fingerings and positions do not matter. Choose different fingerings each
time. The goal is to get through all keys without stopping. Use the hold note
to think ahead to the next key.
3. Next step is to increase the tempo a little.
4. Next, let’s play in ¾ time using quarter notes up to the octave and back.
Use the hold note to think ahead to the next key.
5. Remember to make up your own variations exploring all possible fingerings
and positions.
6. Practice this a little bit every day.

CHAPTER 3 SEGMENT 17
Vertical 3-Note Arpeggios: Playalong Exercise 1
Level: Intermediate
Gtr I: Untitled (E A D G B E)
28
T
A
B
I
g
g
g
g
g
g
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
U U
7
6
5
6
7
6
5
6
7 7
5
4 7 4
5
4 7 4
5 5
5
4 7 4
5
4 7 4
5 5
19
T
A
B
I
g
g
g
g
g
g
g
g
g
g
g
g
g
g
g
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
7
6 9 6
7
6 9 6
7
4
4 7 4
4
4 7 4
4
2 6
4
6 2 6
4
6 2
10
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
6
5
3
5
6
5
3
5
6
6
5
4
5
6
5
4
5
6
6
6
4
6
6
6
4
6
6
1
T
A
B
I
e e
e
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
Gtr I
3
2 5 2
3
2 5 2
3
3
2 5 2
3
2 5 2
3
3
3 6 3
3
3 6 3
3
example 1

88
T
A
B
I
g
g
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
2 6
4
5
4
6 2 6
4
5
4
6 2 2 7
6
5 10 5
6
7
6
5 10 5
6
7 7
76
T
A
B
I
e
e
e
e
e
e
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
4
3
2
2
2
3
4
3
2
2
2
3
4 4
2 6
4
4
4
6 2 6
4
4
4
6 2 2
64
T
A
B
I
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
6
5
4
4
4
5
6
5
4
4
4
5
6 6
6
6
4 9 4
6
6
6
4 9 4
6
6 6
52
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
3
3 6
6
6 3
3
3 6
6
6 3
3 3 8
8
6 11 6
8
8
8
6 11 6
8
8 8
40
T
A
B
I
3
4
e
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
3
2 5
5
5 2
3
2 5
5
5 2
3 3
3
2 5
6
5 2
3
2 5
6
5 2
3 3
example 2 3:58

100
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
U U
V
V
V
V
V
V
V
V
V
V
V
V
U U
5
4 7
7
7 4
5
4 7
7
7 4
5 5
5
4 7
8
7 4
5
4 7
8
7 4
5 5

Segment 18. Horizontal 3-Note Arpeggios: Play-along Exercise 1
In this play-along we play the horizontal major arpeggio in all 12 keys around the
cycle of fourths just as we did with the major scale. The object is to get through all
12 keys at a slow tempo without stopping.
1. In this play-along we will play the major arpeggios around the cycle of
fourths, ascending and descending on each string horizontally.
2. Begin with the root note of each of the arpeggios and play the arpeggios
up and down the fingerboard beginning on the E string and go around the
cycle before moving to the next string.
3. It is up to you to take this exercise to the other 5 strings.
4. A good way to begin this exercise is to start by playing just the root notes of
each key on each string:
C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G
5. Next, begin on the lowest note of the arpeggio. For example: in C, start
with the open E, the 3
rd
of the arpeggio, in the key of F start on F the root,
in the key of Bb start on F the 5
th
, in the key of Eb start on G the 3
rd
, etc.
6. Use this same approach to play arpeggios on all strings around the cycle of
fourths.
7. Note that in the video I do all 12 keys on the high E string. Another
approach is to play in each key on all 6 strings before moving to the next
key, as written in the notation that follows.

CHAPTER 3 SEGMENT 18
Horizontal 3-Note Arpeggios: Playalong Exercise 1
Level: Intermediate
Gtr I: Untitled (E A D G B E)
19
T
A
B
I
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
5 9 12 9 5 10 14 17 14 10 3 7 10 7 3
G D A
11
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
9 13 16 13 9 2 6 9 6 2 7 11 14 11 7 0 4 7 4 0
E B G
`
D
`
1
T
A
B
I
e e
e
e
e
e
e
e
e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
Gtr I
8 12 15 12 8 1 5 8 5 1 6 10 13 10 6 11 15 18 15 11 4 8 11 8 4
A
`
E
`
B
`
F C
It is up to you to take this exercise to the other 5 strings.

CHAPTER 3 SEGMENT 18.2
Horizontal 3-Note Arpeggios: Playalong Exercise 1.2
Level: Beginner
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 7 10 15 10 7 3
0 3 8 12 15 12 8 3 0
1 5 8 13 17 13 8 5 1
3
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 8 13 17 13 8 5 1
1 6 10 13 18 13 10 6 1
2 5 10 14 17 14 10 5 2
F
2
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 5 10 14 17 14 10 5 2
3 7 10 15 10 7 3
0 3 8 12 15 12 8 3 0
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 8 12 15 12 8 3 0
1 5 8 13 17 13 8 5 1
0 5 9 12 17 12 9 0
C
<edit me>
Note that in the video I do all 12 keys on the high e string. Another approach is to play in each key on all 6 strings
before moving to the next key, as written in the notation that follows.
Next, begin on the lowest note of the arpeggio.

8
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 8 13 17 13 8 5 1
1 6 10 13 18 13 10 6 1
3 6 11 15 11 6 3
7
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 11 15 11 6 3
4 8 11 16 11 8 4
0 3 8 12 15 12 8 3 0
E
`
6
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 8 12 15 12 8 3 0
1 5 8 13 17 13 8 5 1
1 6 10 13 6 1
5
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 6 10 13 10 6 1
3 6 11 15 11 6 3
3 7 10 15 10 7 3
B
`

12
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 11 15 18 15 11 6 3
4 8 11 16 11 8 4
1 4 9 13 9 4 1
11
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 4 9 13 9 4 1
2 6 9 14 18 14 9 6 2
1 6 10 13 18 13 10 6 1
D
`
10
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 6 10 13 18 13 10 6 1
3 6 11 15 18 15 11 6 3
4 8 11 16 11 8 4
9
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4 8 11 16 11 8 4
1 4 9 13 16 13 9 4 1
1 5 8 13 17 13 8 5 1
A
`

16
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 4 9 13 16 13 9 4 1
2 6 9 14 18 14 9 6 14
2 7 11 14 11 7 2
15
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
2 7 11 14 11 7 2
0 4 7 12 16 12 7 4 0
4 8 11 16 11 8 4
B
14
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4 8 11 16 11 8 4
1 4 9 13 16 13 9 4 1
2 6 9 14 18 14 9 6 2
13
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 9 14 18 14 9 6 2
2 7 11 14 11 7 2
3 6 11 15 18 15 11 6 3
G
`
B

20
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 7 11 14 11 7 2
0 4 7 12 16 12 7 4 0
0 5 9 12 17 12 9 5 0
19
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 5 9 12 17 12 9 5 0
2 5 10 14 17 14 10 5 2
2 6 9 14 18 14 9 6 2
A
18
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 9 14 18 14 9 6 2
2 7 11 14 11 7 2
0 4 7 12 16 12 7 4 0
17
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 7 12 16 12 7 4 0
0 5 9 12 17 12 9 5 0
1 4 9 13 16 13 9 4 1
E

24
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 5 9 12 17 12 9 5 0
2 5 10 14 17 14 10 5 2
3 7 10 15 7 3
23
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 7 10 15 10 7 3
0 3 8 12 15 12 8 3 0
0 4 7 12 16 12 7 4 0
G
22
T
A
B
I
g
g
4
4
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 7 12 16 12 7 4 0
0 5 9 12 17 12 9 5 0
2 5 10 14 17 10 5 2
21
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 5 10 14 17 14 10 5 2
3 7 10 15 10 7 3
2 7 11 14 11 7 2
D
Segment 19. Horizontal 3-Note Arpeggios: Play-along Exercise 2
1. In this play-along we take the root note and play them for 2 beats each,
around the cycle of 4
ths
on the top string as demonstrated in the video and
written in the following notation.
C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G
2. Next, play the same note in different positions as demonstrated in the
video and written in the following notation.
3. It is up to you to take this exercise to the other 5 strings.
CHAPTER 3 SEGMENT 19
Horizontal 3-Note Arpegios: Playalong Exercise 2
Level: Intermediate
Gtr I: Untitled (E A D G B E)
14
T
A
B
I
e e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
g
g
g
g
g
g
g
g
g
g
W
W
W
W
W
W
W
W
W
W
W
W
W
8 1 6 11 16 9 2 7 12 5 10 15 8
1
T
A
B
I
e e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
g
g
g
g
g
g
g
g
g
g f
W
W
W
W
W
W
W
W
W
W
W
W
W
Gtr I
8 13 6 11 4 9 2 7 0 5 10 3 8
Next, play the same note in different positions.
It is up to you to take this exercise to the other 5 strings.

Segment 20. Horizontal 3-Note Arpeggios: Play-along Exercise 3
In this play-along we play the 3-note arpeggios around the cycle of fourths on the
top E string.
1. Play the horizontal major arpeggios as demonstrated in this play-along
video and written in the notation that follows.
2. Starting with the root on the top string, play the major arpeggios: 1-3-5-3-1,
using quarter notes, ending with a whole note on the root, around the cycle
of fourths. When you get to the hold note think ahead to the next arpeggio
you are going to play.
3. It is up to you to take this exercise to the other 5 strings.
4. Note that in the video I do all 12 keys on the high E string. Another
approach is to play each key on all 6 strings before moving to the next key.

CHAPTER 3 SEGMENT 20
Horizontal 3-Note Arpeggios: Playalong Exercise 3
Level: Intermediate
Gtr I: Untitled (E A D G B E)
19
T
A
B
I
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
5 9 12 9 5 10 14 17 14 10 3 7 10 7 3
G D A
11
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
9 13 16 13 9 2 6 9 6 2 7 11 14 11 7 0 4 7 4 0
E B G
`
D
`
1
T
A
B
I
e e
e
e
e
e
e
e
e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
Gtr I Gtr I
8 12 15 12 8 1 5 8 5 1 6 10 13 10 6 11 15 18 15 11 4 8 11 8 4
A
`
E
`
B
`
F C
It is up to you to take this exercise to the other 5 strings.

Segment 21. Horizontal 3-Note Arpeggios: Play-along Exercise 4
In this play-along we play the arpeggios around the cycle of fourths on the top E
string. The only difference between this play-along and the previous one is that
we will begin with the lowest note of the arpeggio rather than the root. For
example: In C, start with the open E, the 3
rd
of the arpeggio, in the key of F start
on F the root, in the key of Bb start on F the 5
th
, in the key of Eb start on G the 3
rd
,
etc.
1. Play the horizontal major arpeggios as demonstrated in this play-along
video and written in the notation that follows.
2. We play quarter notes ending with a whole note when we get back to the
lowest note. During the note of rest, think about the next arpeggio you are
going to play.
3. Speed is not the goal. The goal is a nice clean tone and even notes.
4. Note that in the video I do all 12 keys on the high E string. Another
approach is to play each key on all 6 strings before moving to the next key.
5. It is up to you to take this exercise to the other 5 strings.












CHAPTER 3 SEGMENT 21
Horizontal 3-Note Arpeggios: Playalong Exercise 3
Level: Beginner
Gtr I: Untitled (E A D G B E)
17
T
A
B
I
g
g
g
g
g
g
g
g
g
g
V
V
V
V
U V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
0 4 7 4 0 0 5 9 5 0 2 5 10 5 2 3 7 10 7 3
G D A E
9
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
4 8 11 8 4 1 4 9 4 1 2 6 9 6 2 2 7 11 7 2
B G
`
D
`
A
`
1
T
A
B
I
e e
e
e
e
e
V
V
V
V
U
V
V
V
V
U V
V
V
V
U
V
V
V
V
U
Gtr I
0 3 8 3 0 1 5 8 5 1 1 6 10 6 1 3 6 11 6 3
E
`
B
`
F C
Next, begin on the lowest note of the arpeggio.

More on Intervals

An interval is a relationship of 2 notes. Vertically they are played simultaneously;
horizontally, played sequentially. Intervals are named by counting letter names
inclusively. For example: C to E is a third.

This is how intervals appear in the major scale, starting with I, or the root:

# Of Steps Interval Type Alterations New type
1 2
nd
major any major decreased ½ step minor
2 3
rd
major any major decreased 1 step diminished
4 ½ 6
th
major any major increased ½ step augmented
5 ½ 7
th
major

2 ½ 4
th
perfect any perfect decreased ½ step diminished
3 ½ 5
th
perfect any perfect increased ½ step augmented
6 Octave






Chapter 4
Minor Scales
Segment 22. Overview
So far we have focused on the major scale, major triads and major arpeggios. In
this chapter we turn our focus to the minor scales. The three minor scales are:
The Natural Minor Scale
The Harmonic Minor Scale
The Melodic Minor Scale
1. The formula for the natural minor scale, from the root is:
whole step, half step, whole step, whole step, half step, whole step, whole step
2. The only difference between the natural minor and the harmonic minor
scale is a raised 7
th
. The formula for the harmonic minor scale from the root
is:
whole step, half step, whole step, whole step, half step, 1 and 1 ½ steps, half step
3. The melodic minor is unique because it is different ascending from
descending.
4. The formula for the melodic minor scale ascending is the same as the
natural minor scale:
whole step, half step, whole step, whole step, half step, whole step, whole step
5. Descending, the formula from the root is:
half step, whole step, whole step, whole step, whole step, half step, whole step
6. Apply the same approach to the natural minor scale that we applied to the
major scale. Write all 12 notes on a piece of paper.
7. Apply the formulas above to each of the notes to build the minor scale in all
12 keys.

Segment 23. Horizontal and Vertical Minor Scales
Vertical
The natural minor scale is derived from the major scale. In the key of C minor the
scale is related to the Eb major scale. In fact, it contains the same notes. The only
difference is that we start playing the scale on the C instead of the Eb.
1. Play a C natural minor scale beginning on the 3
rd
fret of the A string with
your 1
st
finger.
2. Apply the same approach to the natural minor scale that we applied to the
major scale. Find a C note on the fret board.
3. Place your first finger on the C.
4. Hunt down the notes of the C natural minor scale and play a one-octave
scale.
5. Next, fret the same C note with your 2
nd
finger and repeat the exercise.
Using a different digit to start the scale forces you to come up with an
alternative fingering.
6. Next, start with your 3
rd
finger and play another one octave C natural
minor scale.
7. Finally, start with your 4
th
finger and play another variation of the C natural
minor scale.
8. Use this same approach with every C note on the guitar.
9. It is up to you work through the harmonic minor and melodic minor scales
using this approach with a goal of playing in all of the keys and in all
positions.
Horizontal
10. Find the root note of the natural minor scale on the top string and apply its
formula to play the scale horizontally on one string at a time. Play the notes
of the scale all the way up the fingerboard. When descending, play all the
notes of the scale ending on the lowest scale tone before moving to the
next string.
11. Remember that in the key of C minor, the notes are the same as an Eb
major scale.

12. Next, start with the lowest note of the scale on each string and play the
scale. Each time you get to the root of the scale play the root chord.
13. Combine the horizontal and vertical approach with the use of jumping off
points to go from one string to another. For example, on the A string play
the C natural minor scale starting with the C at the 3rd fret. Play up to the
Bb and finish with the C on the D string.
14. Next, move off the A string at the 7
th
tone, and finish with the last 2 notes
of the scale on the D string.
15. Next, play the last 3 notes on the D string, etc.
16. Come up with as many different variations as you can.
17. Focus on internalizing the sound of the scale.





CHAPTER 4 SEGMENT 23
Horizontal and Vertical Minor Scales
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8 10 11
8 10 11
8 10 10 8
11 10 8
11 10 8
4
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3
0 1 3
0 1 3
1 1
3 1 0
3 1 0
3
3
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3
0 1 3
0 1 3
1 1
3 1 0
3 1 0
3
2
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5
1 3 5
1 3 5 5 3 1
5 3 1
5 3
1
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5 6
3 5 6
3 5 5 3
6 5 3
6 5 3
ex. 2
ex. 1
Use this same approach with every C note on the guitar. Start with your 1st finger.
Finally, start with your 4th finger and play a C natural minor scale. Same notes as above, different fingerings
Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering.
Next, start with your 3rd finger and play a C natural minor scale.
Start with the basic vertical C natural minor scale beginning on the C at the 3rd fret of the 5th string, starting with your 1st finger.

10
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10 12
8 10
8 9 11
8 8
11 9 8
10 8
12 10
9
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10 12 13
10 12 13
11 13 13 11
13 12 10
13 12 10
8
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8
5 6 8
5 6 8
5 5
8 6 5
8 6 5
8
7
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8
5 6 8
5 6 8 10 10 8 6 5
8 6 5
8
6
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8 10
6 8 10
6 8 10 10 8 6
10 8 6
10 8
ex. 3
Next, fret the same C with your 2nd finger and repeat the exercise.
Use this same approach with every C note on the guitar. Start with the 1st finger
Finally, start with your 4th finger and play a C natural minor scale.
Next, start with your 3rd finger and play a C natural minor scale.
Next, fret the same C with your 2nd finger and repeat the exercise.

15
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5
3 4 6
3 4 6 8 8 6 4 3
6 4 3
5
14
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5 7
4 6
3 4 6 8 8 6 4 3
6 4 3
5
13
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5 7 8
6 8 9
6 8 8 6
9 8 6
8 7 5
12
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10
7 8 10
8 9
6 8 8 6
9 8
10 8 7
10
11
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
10
7 8 10
8 9
6 8 8 6
9 8
10 8 7
10
ex. 4
Next, start with your 3rd finger and play a C natural minor scale.
Next, fret the same C with your 2nd finger and repeat the exercise.
Use this same approach with every C note on the guitar. Start with your 1st finger.
Finally, start with your 4th finger and play a C natural minor scale. Same notes as above, different fingerings
Next, start with your 3rd finger and play a C natural minor scale.

16
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
5
3 4 6
3 4 6 8 8 6 4 3
6 4 3
5
Finally, start with your 4th finger and play a C natural minor scale. Same notes as above, different fingerings

CHAPTER 4 SEGMENT 23.2
Horizontal C Natural Minor Scale
Level: Beginner
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3
1
0
5 6 8 10 11 13 15 13 11 10 8 6 5 3
1
0
1
1 3 4 6 8
6
5
10 11 13 15 13 11 10 8
6
5
6 4 3 1
3
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 3
6
5
5 7 8 10 12 13 12 10 8 7
6
5
5 3 1 0
0 1 3 5 6 8
11
10
10 12 13 15 13 12
11
10
10 8 6 5 3 1 0
1
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 3 4 6
8
8
8 10 11 13 15 13 11 10
8
8
8 6 4 3 1
1
0
1 3 4 6 8 9 11
13
12
13 15
13
12
13 11 9 8 6 4 3
1
0
1
Recognize the root of the scale each time you play it by playing a chord in its place.
Take note of your starting point when playing the lowest note of the scale on each string.
Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string.

CHAPTER 4 SEGEMENT 23.3
Natural Minor Scale Horizontal and Vertical Combined
Level: Intermediate
Gtr I: Untitled (E A D G B E)
7
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3
0 1 3 5 6
3 5 5 3
6 5 3 1 0
3
5
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5 6
3 5 6 8
5 5
8 6 5 3
6 5 3 3 5
1 3 5 6
3 5 5 3
6 5 3 1
5 3
3
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
3 5 6 8 10
6 8
5 5
8 6
10 8 6 5 3 3 5 6 8
5 6 8
5 5
8 6 5
8 6 5 3
1
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
Gtr I
3 5 6 8 10 11 13
10 10
13 11 10 8 6 5 3 3 5 6 8 10 11
8 10 10 8
11 10 8 6 5 3
Come up with as many different variations as you can.
Combine the horizontal and vertical approach with the use of jumping off points to go from one string to another.
Segment 24. Natural Minor: Play-along Exercise 1
In this play-along we play the natural minor scale around the cycle of fourths
starting with C minor. Refer to the video and the notation following as a guide,
but remember to come up with a different variation every time you play to it.
1. Play the natural minor scale as demonstrated in this play-along video and
written in the notation.
2. Fingerings and positions do not matter.
3. Try to vary your fingerings and positions each time you play to this video
segment.
4. The main focus is to get the sound of the scale in your ear and recognize it
when you hear it being played.
5. You can also do this to a metronome, increasing your speed incrementally
over time.

CHAPTER 4 SEGMENT 24
Natural Minor: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
1
T
A
B
I
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
Gtr I
3 5 6
3 5 6
3 5 5 3
6 5 3
6 5 3
3 5 6
3 5 6
4 6 6 4
6 5 3
6 5 3
Fm Cm
Use all different fingerings and positions each time you play through the cycle.

7
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
4 6 7
4 6 7
5 7 7 5
7 6 4
7 6 4
4
2 3 5
2 3 5 7 7 5 3 2
5 3 2
4
Bm F
b
m
5
T
A
B
I
e
e
e
e
e
e
e g
g
g
g
V
V
V
V
V V f
V
V V
V
V V e
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
6 8 9
6 8 9
7 9 9 7
9 8 6
9 8 6
6
4 5 7
4 5 7 9 9 7 5 4
7 5 4
6
C
b
m A
`
m
3
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
8 10 11
8 10 11
9 11 11 9
11 10 8
11 10 8
6 8 9
6 8 9
6 8 8 6
9 8 6
9 8 6
E
`
m B
`
m
11
T
A
B
I
e e
e
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
0 2 3 5 7 8 10 12 12 10 8 7 5 3 2 0 5
2 3 5
3 4 6
3 3
6 4 3
5 3
7 5
Gm Dm
9
T
A
B
I
g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V
V V
V
V
V
V
V
V
V
5
2 3 5 7 8 10 12 12 10 8 7
10 8 7
9 2 4 5 7
5 6 8 10 10 8 6 5
7 5 4 2
Am Em


Segment 25. Harmonic Minor: Play-along 2
In this play-along we play the harmonic minor scale around the cycle of fourths
starting in the key of C minor. Remember that the only difference between the
natural minor and harmonic minor is the raised 7
th
in the harmonic minor. Refer
to the video and the notation that follows as a guide, but remember to come up
with a different variation every time you play to it.
1. Play the harmonic minor scale as demonstrated in this play-along video and
written in the notation that follows.
2. Fingerings and positions do not matter.
3. Vary your fingerings and positions each time you play to this segment.
4. When working with scales remember to internalize the sound in an effort
to connect what you have in your ear with your fingers.
5. Strive for a good even tone.
6. Test yourself by thinking what note you are on and what interval it is.
7. Play these scales horizontally as well, using the same approach we used in
the previous lessons.
8. Combine the horizontal and vertical approach with the use of jumping off
points to move vertically from one string to another as we did previously.

CHAPTER 4 SEGMENT 25
Harmonic Minor: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
7
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V f V g V V f
V
V
V
V
V
V g
V
V
V
V
V
V
V g
V V
V
V
V
V
V
V
V
4 6 7
4 6 7
6 7 7 6
7 6 4
7 6 4
4
2 3 5
2 3 6 7 7 6 3 2
5 3 2
4
Bm F
b
m
5
T
A
B
I
e
e
e
e
e
e
e g
g
g
g
V
V
V
V
V V f
V f
V V
V
V V e
V
V
V
V
V
V
V
V
V
V
V f V g V V f
V
V
V
V
V
V
6 8 9
6 8 9
8 9 9 8
9 8 6
9 8 6
6
4 5 7
4 5 8 9 9 8 5 4
7 5 4
6
C
b
m A
`
m
3
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V f
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V V
V
V
V
V
V
V
V
8 10 11
8 10 11
10 11 11 10
11 10 8
11 10 8
6 8 9
6 8 9
7 8 8 7
9 8 6
9 8 6
E
`
m B
`
m
1
T
A
B
I
e
e
e
e
e
e
e
V
V
V
V
V
V
V f
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V V
V
V
V
V
V
V
V
Gtr I
3 5 6
3 5 6
4 5 5 4
6 5 3
6 5 3
3 5 6
3 5 6
5 6 6 5
6 5 3
6 5 3
Fm Cm
Use all different fingerings and positions each time you play through the cycle.

11
T
A
B
I
e e
e
V
V
V
V
V
V
V g
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V V
V
V
V
V
V
V
V
0 2 3 5 7 8 11 12 12 11 8 7 5 3 2 0 5
2 3 5
3 4 7
3 3
7 4 3
5 3
7 5
Gm Dm
9
T
A
B
I
g
V
V
V
V
V
V
V g
V V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V g
V V
V
V
V
V
V
V
V
5
2 3 5 7 8 11 12 12 11 8 7
10 8 7
9 2 4 5 7
5 6 9 10 10 9 6 5
7 5 4 2
Am Em
4. Vary your fingerings and positions each time you play to this video
segment.
5. Strive for a good even tone.
6. Test yourself thinking what note you are on and what interval it is.
7. Next, play horizontally on each of the 6 strings as we have done with the
other scales.





Segment 26. Melodic Minor: Play-along Exercise 3
The melodic minor scale is different ascending from descending. Ascending, it is
the same as the natural minor and descending you play a raised 7
th
and raised 6
th
.
Another way to play this scale is to ascend with the raised 6
th
and 7
th
and then
descend using the natural minor. I want you to practice it both ways but in this
play-along we ascend with the raised 6
th
and 7
th
and descend using the natural
minor.
1. Write out all 12 notes on paper.
2. Write out the melodic minor scales in all 12 keys using both formulas.
3. Play the scales around the cycle of fourths with the raised 6
th
and 7
th

ascending and the natural minor descending. Refer to the video segment
and in the notation that follows.

CHAPTER 4 SEGMENT 26
Melodic Minor: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
7
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V g
V f V g V
V
V f
V
V
V
V
V
V
V
V
V
V
V g
V g
V V
V f
V f
V
V
V
V
V
4 6 7
4 6
4 6 7 7 5
7 6 4
7 6 4
4
2 3 5
2 4 6 7 7 5 3 2
5 3 2
4
Bm F
b
m
5
T
A
B
I
e
e
e
e
e
e
e g
g
g
g
V
V
V
V
V
V f
V f
V V
V e
V f V e
V
V
V
V
V
V
V
V
V
V g
V f V g V
V
V f
V
V
V
V
V
6 8 9
6 8
6 8 9 9 7
9 8 6
9 8 6
6
4 5 7
4 6 8 9 9 7 5 4
7 5 4
6
C
b
m A
`
m
3
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V f
V f
V V
V e
V e
V
V
V
V
V
V
V
V
V
V
V f
V f
V V
V e
V e
V
V
V
V
V
8
5 6 8
6 8
5 6 6
9 7 6
8 6 5
8
6 8 9
6 8 10
7 8 8 6
9 8 6
9 8 6
E
`
m B
`
m
1
T
A
B
I
e
e
e
e
e
e
e
V
V
V
V
V
V f
V f
V V
V e
V e
V
V
V
V
V
V
V
V
V
V
V f
V f
V V
V e
V e
V
V
V
V
V
Gtr I
3 5 6
3 5 7
4 5 5 3
6 5 3
6 5 3
3 5 6
3 5
3 5 6 6 4
6 5 3
6 5 3
Fm Cm
Use all different fingerings and positions each time you play through the cycle.

11
T
A
B
I
e e
e
V
V
V
V
V
V f
V g
V V
V f
V e
V
V
V
V
V
V
V
V
V
V
V f
V g
V V
V f
V e
V
V
V
V
V
7
5 6 8
5 7 9 10 10 8 6 5
8 6 5
7
5 7 8
5 7
5 7 8 8 6
8 7 5
8 7 5
Gm Dm
9
T
A
B
I
g
V
V
V
V
V
V g
V g
V V
V f
V f
V
V
V
V
V
V
V
V
V
V
V
V g
V V
V f
V f
V
V
V
V
V
2 4 5
2 4 6 8 9 9 7 5 4
7 5 4
7
7
4 5 7
5 7 9 10 10 8 6 5
7 5
9 7
Am Em

Chapter 5
3-Note Minor Arpeggios
Segment 27. Overview
Remember the major chord is made up of the 1
st
, 3
rd
and 5
th
notes of the major
scale. The same concept applies to minor chords except that we use the 1
st
, 3
rd

and 5
th
notes of the minor scale. The only difference between the major and
minor triad is that the 3
rd
is flat ½ step. What each of the 3 minor scales has in
common is they all have a root, minor 3
rd
and 5
th
. The flatted 3
rd
is the foundation
of the minor scales as well as the chords and arpeggios derived from these scales.
Vertical
1. The minor arpeggio, like the major arpeggio, is 3 made up of notes. The
only difference between a major and a minor triad or arpeggio is that minor
has a flat 3
rd
, which means the middle note is played a half step lower. To
change a C major arpeggio or chord, which contains the notes C-E-G, to C
minor, flat the 3
rd
a ½ step to Eb.
2. Write all 12 notes on a piece of paper and apply the formula above to each
of the notes to build the minor arpeggio in all 12 keys.
3. Play the vertical C minor (C-Eb-G) arpeggio.
4. Apply the same approach we used with the major arpeggios. Find a C note
on the fret board.
5. Place your first finger on the C.
6. Play the C minor arpeggio starting with your 1
st
finger, hunt down the notes
to play a one-octave arpeggio.
7. Next, fret the same C note with your 2
nd
finger and repeat the exercise.
Using a different digit to start forces you to come up with an alternative
fingering.
8. Next, start with your 3
rd
finger and play another C minor arpeggio.
9. Finally, start with your 4
th
finger and play another C minor arpeggio.
10. Apply this same approach using every C note as a starting point.


CHAPTER 5 SEGMENT 27
Vertical 3-Note Minor Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
25
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
U
3
1
0 5
4
3 8 3
4
5 0
1
3 3
1
0 5
4
3 8 3
4
5 0
1
3
17
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
U
3 6
5
5 8
8
8
8
8 5
5
6 3 3
1 5
5
4
3 8 3
4
5
5 1
3
9
T
A
B
I
e
e
e
V
V
V
V
U V
V
V
V
U V
V
V
V
U V
V
V
V
U
8 11
10
11 8 8
6 10 6
8 8
6
5
6
8 8
6
5
6
8
1
T
A
B
I
e
e
e
V
V
V
V
U V
V
V
V
U V
V
V
V f
U V
V
V
V
U
3 6
5
6 3 3
1 5 1
3 3
1
0
2
3 3
1
0
1
3
Use this same approach using every C on the guitar as a starting point.
same notes with 4th figner
3rd finger
1-octave example
2nd finger
1st finger
2-octave example
4th finger
3rd finger 2nd finger
1st finger
4th finger
3rd finger 2nd finger
1st finger

CHAPTER 5 SEGMENT 27.2
Horizontal 3-Note Minor Arpeggios
Level: Beginner
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 10 15 10 6 3
3 8 11 15 11 6 3
1 4 8 13 16 13 8 4 1
3
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 4 8 13 16 13 8 4 1
1 6 9 13 18 13 9 6 1
1 5 10 13 17 13 10 5 1
Fm
2
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 10 13 17 13 10 5 1
3 6 10 15 10 6 3
3 8 11 15 11 8 3
1
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 8 11 15 11 8 3
1 4 8 13 16 13 8 4 1
0 5 8 12 17 12 8 0
Cm
Note that in the video I do all 12 keys on the high e string. Another approach is to play in each key on all 6 strings
before moving to the next key, as written in the notation that follows.
Next, begin on the lowest note of the arpeggio.

8
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V f
V
V
V
1 4 8 13 16 13 8 4 1
1 6 9 13 18 13 9 6 1
2 6 11 15 11 6 2
7
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 11 14 11 6 2
4 7 11 16 11 7 4
3 8 11 15 11 8 3
E
`
m
6
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 8 11 15 11 8 3
1 4 8 13 16 13 8 4 1
1 6 9 13 9 6 1
5
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 6 9 13 9 6 1
2 6 11 14 11 6 2
3 6 10 15 10 6 3
B
`
m

12
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 11 14 18 14 11 6 2
4 7 11 16 11 7 4
0 4 9 12 9 4 0
11
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 9 12 9 4 0
2 5 9 14 17 14 9 5 2
1 6 9 13 18 13 9 6 1
C
b
m
10
T
A
B
I
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 6 9 13 18 13 9 6 1
2 6 11 14 18 14 11 6 2
4 7 11 16 11 7 4
9
T
A
B
I
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4 7 11 16 11 7 4
0 4 9 12 16 12 9 4 0
1 4 8 13 16 13 8 4 1
A
`
m

16
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 9 12 16 12 9 4 0
2 5 9 14 17 14 9 5 14
2 7 10 14 10 7 2
15
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
2 7 10 14 10 7 2
0 3 7 12 15 12 7 3 0
4 7 11 16 11 7 4
Bm
14
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4 7 11 16 11 7 4
0 4 9 12 16 12 9 4 0
2 5 9 14 17 14 9 5 2
13
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 5 9 14 17 14 9 5 2
2 7 10 14 10 7 2
2 6 11 14 18 14 11 6 2
F
b
m

20
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 7 10 14 10 7 2
0 3 7 12 14 12 7 3 0
0 5 8 12 17 12 8 5 0
19
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 5 8 12 17 12 8 5 0
1 5 10 13 17 13 10 5 1
2 5 9 14 17 14 9 5 2
Am
18
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 5 9 14 17 14 9 5 2
2 7 10 14 10 7 2
0 3 7 12 15 12 7 3 0
17
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 7 12 15 12 7 3 0
0 5 8 12 17 12 8 5 0
0 4 9 12 16 12 9 4 0
Em

24
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 5 8 12 17 12 8 5 0
1 5 10 13 17 13 10 5 1
3 6 10 15 6 3
23
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 10 15 10 6 3
3 8 11 15 11 8 3
0 3 7 12 15 12 7 3 0
Gm
22
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 7 12 15 12 7 3 0
0 5 8 12 17 12 8 5 0
1 5 10 13 17 10 5 1
21
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 10 13 17 13 10 5 1
3 6 10 15 10 6 3
2 7 10 14 10 7 2
Dm

CHAPTER 5 SEGMENT 27.3
Horizontal 3-Note Minor Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
19
T
A
B
I
e e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
5 8 12 8 5 10 13 17 13 10 3 6 10 6 3
11
T
A
B
I
g
g
g
g
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
9 12 16 12 9 2 5 9 5 2 7 10 14 10 7 0 3 7 3 0
1
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
Gtr I
8 11 15 11 8 1 4 8 4 1 6 9 13 9 6 11 14 18 14 11 4 7 11 7 4

Horizontal
11. Begin on the lowest note of the arpeggio on each string and play the minor
arpeggios in every key. For example: in C minor, on the high E string, start
with the G the 5
th
of the arpeggio. On the 2
nd
string start with C the root, on
the 3
rd
string start with G the 5
th
, on the 4
th
string start with Eb the 3
rd
, and
on the 5
th
string start with C the root, on the 6
th
string start with G the 5
th
.
12. Go through all 12 keys, playing all the variations.
13. Next, play just the roots of the arpeggio on each string through the cycle of
fourths.
14. Starting with the root, play the arpeggio up and down the fingerboard on
each string.
15. Remember to focus on internalizing the sound of the minor arpeggio.
16. There are only 2 chord types: major and minor, so it is essential to spend
the necessary time practicing them thoroughly.
Segment 28. 3-Note Minor Arpeggio: Play-along Exercise
In this play-along we play the vertical minor arpeggio in all 12 keys around the
cycle of fourths just as we did with the major arpeggio. The object is to get
through all 12 keys at a slow tempo without stopping.
1. Play the minor arpeggios around the cycle of fourths, starting on Cm as
demonstrated in this play-along video and written in the following
notation.
2. Fingerings and positions do not matter. Choose different fingerings each
time. The goal is to get through all keys without stopping.
3. Use the hold note to think ahead to the next key.
4. Next, increase the tempo incrementally over time by playing this exercise
to a metronome rather than the video.
5. Remember to make up your own variations, exploring all possible
fingerings and positions.
6. Practice this a little bit every day.


CHAPTER 5 SEGMENT 28
3-Note Minor Arpeggio: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
19
T
A
B
I
e e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
7
5
5
5
7
7
6
5
6
7
5 8
7
8 5
Gm Dm Am
9
T
A
B
I
e
e
e
e
e
e
e g
g
g
g
g
g
g
g
g
g
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
6
4
4
4
6
6
5
4
5
6
4 7
6
7 4
4
3 7 3
4
5 8
7
8 5
Em Bm F
b
m C
b
m A
`
m
1
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
V
V
V
V
U
Gtr I
3 6
5
6 3
3 6
5
6 3
3 6
6
6 3
4 7
6
7 4
E
`
m B
`
m Fm Cm
Remember to make up your own variations, exploring all possible fingerings and positions.
Pay the vertical minor arpeggio in all 12 keys around the cycle of fourths just as we did with the major arpeggio.
The object is to get through all 12 keys at a slow tempo without stopping.

Chapter 6
4-Note Chords and Arpeggios
Segment 29. Overview
So far we have focused on 3 note chords and arpeggios. Adding a 4
th
note to the 3
note chords adds color to music, making it more interesting. Remember that to
build the triad, use every other note in the scale. Apply the same rule to find the
4
th
note. So, in addition to the 1-3-5 notes, C-E-G, we add the 7 or B to build the C
major 7
th
chord. The name comes from the fact that we added the 7
th
note of the
major scale to the major triad.
In this chapter we apply the same approach to the 4-note arpeggios that we used
with the 3-note arpeggios.
Vertical
1. Start with the major triads that you worked out on paper, in all 12 keys.
Build the major 7
th
arpeggios by adding the 7
th
note of the scale to each.
2. The same applies to the minor chords and arpeggios. Add a 4
th
tone to the
A minor triad to build the A minor 7
th
. In this example the 7
th
note of the A
natural minor scale is G so that is the 4
th
note we add.
3. Find a C note on the fingerboard.
4. Place your first finger on the C.
5. Play the Cmaj7 arpeggio (C-E-G-B), starting with your 1
st
finger, hunt down
the notes to play a one-octave arpeggio.
6. Next, fret the same C note with your 2
nd
finger and repeat the exercise.
Using a different digit to start the scale forces you to come up with an
alternative fingering.
7. Next, start with your 3
rd
finger and play another Cmaj7 arpeggio.
8. Finally, start with your 4
th
finger and play another Cmaj7 arpeggio.
9. Use this same approach using every C note on the guitar as a starting
point.
10. Do this in all 12 keys with all chord types.
11. Remember to strive to get the sound of the chord in your ear.

CHAPTER 6 SEGMENT 29
4-Note Vertical Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
23
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
3
2
0 4 5
5
3 7 8 7 3
5
5 4 0
2
3 3
2
0 4 5
5
3 7 8 7 3
5
5 4 0
2
3
17
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
3 7
5
4 5
5
3 7 8 7 3
5
5 4
5
7 3 3
2 5
4 5
5
3 7 8 7 3
5
5 4
5 2
3
9
T
A
B
I
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U
8 12
10
9 10 9
10
12 8 8
7 10
9 10 9
10 7
8 8
7
5 9 10 9 5
7
8 8
7
5 9
5
9 5
7
8
1
T
A
B
I
V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U V
V
V
V
V
V
V
V
U
Gtr I
3 7
5
4 5 4
5
7 3 3
2 5
4 5 4
5 2
3 3
2
0
0 1 0
0
2
3 3
2
0
0 1 0
0
2
3
Cmaj7
<edit me>
same notes with 4th figner
3rd finger
1-octave example
2nd finger 1st finger
2-octave example
4th finger
3rd finger
2nd finger 1st finger
same notes with 4th figner
3rd finger
2nd finger 1st finger

CHAPTER 6 SEGMENT 29.2
4-Note Horizontal Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
17
T
A
B
I
g
g
g
g
g
g
g
g
g
g
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
0 4 7 11 12 11 7 4 0 5 9 12 16 17 16 12 9 5 10 14 17 21 22 21 17 14 10 3 7 10 14 15 14 10 7 3
G D A E
11
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
g
g
g
g
g
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
9 13162021201613 9 2 6 9 131413 9 6 2 7 11141819181411 7
B G
`
D
`
1
T
A
B
I
e e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
V
V
V
V
V
V
V
V
U
Gtr I
8 12151920191512 8 1 5 8 121312 8 5 1 6 10131718171310 6 1115182223221815 11 4 8 1115161511 8 4
A
`
E
`
B
`
F C
<edit me>
Starting with the root, play the arpeggio up and down the fingerboard on each string.
If your guitaer does not have enough frets to play the high notes start the arpeggio on another string
or move an octave down to finish the arpeggio.

CHAPTER 6 SEGMENT 29.3
Horizontal 4 Note Major Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 3 7 10 14 15 14 10 7 3 2
0 3 7 8 12 15 12 8 7 3 0
0 1 5 8 12 13 17 13 12 8 5 1 0
3
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 5 8 12 13 17 13 12 8 5 1 0
1 5 6 10 13 17 18 17 13 10 5 6 1
2 5 9 10 14 17 14 10 9 5 2
Fmaj7
2
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 5 9 10 14 17 14 10 9 5 2
2 3 7 10 14 15 14 10 7 3 2
0 3 7 8 12 15 12 8 7 3 0
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 7 8 12 15 12 8 7 3 0
0 1 5 8 12 13 17 12 13 8 5 1 0
0 4 5 9 12 16 17 16 12 9 5 4 0
Cmaj7
Next, begin on the lowest note of the arpeggio and play the notes up and down on each string.

8
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 1 5 8 12 13 17 13 12 8 5 1 0
1 5 6 10 13 17 18 17 13 10 6 5 1
3 6 10 11 15 11 10 6 3
7
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 10 11 15 18 15 11 10 6 3
3 4 8 11 15 16 15 11 8 4 3
0 3 7 8 12 15 12 8 7 3 0
E
`
maj7
6
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 3 7 8 12 15 12 8 7 3 0
0 1 5 8 12 13 17 13 12 8 5 1 0
1 5 6 10 13 17 13 10 6 5 1
5
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 6 10 13 17 13 10 6 5 1
3 6 10 11 15 11 10 6 3
2 3 7 10 14 15 14 10 7 3 2
B
`
maj7

12
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 6 10 11 15 18 15 11 10 6 3
3 4 8 11 15 16 15 11 8 4 3
1 4 8 9 13 9 8 4 1
11
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 4 8 9 13 9 8 4 1
1 2 6 9 13 14 18 14 13 9 6 2 1
1 5 6 10 13 17 18 17 13 10 5 6 1
D
`
maj7
10
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 5 6 10 13 17 18 17 13 10 6 5 1
3 6 10 11 15 18 15 11 10 6 3
3 4 8 11 15 16 15 11 8 4 3
9
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 4 8 11 15 16 15 11 8 4 3
1 4 8 9 13 16 13 9 8 4 1
0 1 5 8 12 13 17 13 12 8 5 1 0
A
`
maj7

16
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 4 8 9 13 16 13 9 8 4 1
1 2 6 9 13 14 18 14 13 9 6 2 1
2 6 7 11 14 18 14 11 7 6 2
15
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 7 11 14 18 14 11 7 6 2
0 4 7 11 12 16 12 11 7 4 0
3 4 8 11 15 16 15 11 8 4 3
Bmaj7
14
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3 4 8 11 15 16 15 11 8 4 3
1 4 8 9 13 16 13 9 8 4 1
1 2 6 9 13 14 18 14 13 9 6 2 1
13
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1 2 6 9 13 14 18 14 13 9 6 2 1
2 6 7 11 14 18 14 11 7 6 2
3 6 10 11 15 18 15 11 10 6 3
G
`
maj7

20
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 7 11 14 18 14 11 7 6 2
0 4 7 11 12 16 12 11 7 4 0
0 4 5 9 12 16 17 16 12 9 5 4 0
19
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 5 9 12 16 17 16 12 9 5 4 0
2 5 9 10 14 17 14 10 9 5 2
1 2 6 9 13 14 18 14 13 9 6 2 1
Amaj7
18
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 6 9 13 14 18 14 13 9 6 2
2 6 7 11 14 18 14 11 7 6 2
0 4 7 11 12 16 12 11 7 4 0
17
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 7 11 12 16 12 11 7 4 0
0 4 5 9 12 16 17 16 12 9 5 4 0
1 4 8 9 13 16 13 9 8 4 1
Emaj7

24
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 5 9 12 16 17 16 12 9 5 4 0
2 5 9 10 14 17 14 10 9 5 2
2 3 7 10 14 15 14 10 7 3 2
23
T
A
B
I
g V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2 3 7 10 14 15 14 10 7 3 2
0 3 7 8 12 15 12 8 7 3 0
0 4 7 11 12 16 12 11 7 4 0
Gmaj7
22
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0 4 7 11 12 16 12 11 7 4 0
0 4 5 9 12 16 17 16 12 9 5 4 0
2 5 9 10 14 17 10 9 5 2
21
T
A
B
I
g
g
V
V
V
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V
V
V
V
V
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V
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2 5 9 10 14 17 14 10 9 5 2
2 3 7 10 14 15 14 10 7 3 2
2 6 7 11 14 18 14 11 7 6 2
Dmaj7

CHAPTER 6 SEGMENT 29.4
Horizontal 4-Note Minor Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
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e
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0 3 7 10 12 15 12 10 7 3 0
0 3 5 8 12 15 17 15 12 8 5 3 0
1 5 8 10 13 17 10 8 5 1
3
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1 5 8 10 13 17 13 10 8 5 1
1 3 6 10 13 15 10 6 3 1
2 5 7 10 14 17 14 10 7 5 2
Dm7
2
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2 5 7 10 14 17 14 10 7 5 2
0 3 7 10 12 15 12 10 7 3 0
0 3 5 8 12 15 17 15 12 8 5 3 0
1
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0 3 5 8 12 15 17 15 12 8 5 3 0
1 5 8 10 12 17 13 10 8 5 1
0 2 5 9 12 14 17 14 12 9 5 2 0
Am7

8
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1 5 8 10 13 17 13 10 8 5 1
1 3 6 10 13 15 13 10 6 3 1
3 6 8 11 15 18 15 11 8 6 3
7
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3 6 8 11 15 18 15 11 8 6 3
1 4 8 11 13 16 13 11 8 4 1
0 3 5 8 12 15 17 15 12 8 5 3 0
Cm7
6
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0 3 5 8 12 15 17 15 12 8 5 3 0
1 5 8 10 13 17 13 10 8 5 1
1 3 6 10 13 15 18 15 13 10 6 3 1
5
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1 3 6 10 13 15 13 10 6 3 1
3 6 8 11 15 11 8 6 3
0 3 7 10 12 15 12 10 7 3 0
Gm7

12
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3 6 8 11 15 11 8 6 3
1 4 8 11 13 16 13 11 8 4 1
1 4 6 9 13 16 13 9 6 4 1
11
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1 4 6 9 13 16 13 9 6 4 1
2 6 9 11 14 11 9 6 2
1 3 6 10 13 15 13 10 6 3 1
B
`
m7
10
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1 3 6 10 13 15 13 10 6 3 1
3 6 8 11 15 18 15 11 8 6 3
1 4 8 11 13 16 13 11 8 4 1
9
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1 4 8 11 13 16 13 11 8 4 1
1 4 6 9 13 16 18 16 13 9 6 4 1
1 5 10 13 17 13 10 5 1
Fm7

16
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1 4 6 9 13 16 18 16 13 9 6 4 1
2 6 9 11 14 18 14 11 9 6 2
2 4 7 11 14 16 14 11 7 4 2
15
T
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2 4 7 11 14 16 14 11 7 4 2
0 4 7 9 12 14 16 14 12 9 7 4 0
1 4 8 11 13 16 13 11 8 4 1
G
b
m7
14
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1 4 8 11 13 16 13 11 8 4 1
1 4 6 9 13 16 18 16 13 9 6 4 1
2 6 9 11 14 11 9 6 2
13
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2 6 9 11 14 11 9 6 2
2 4 7 11 14 16 14 11 7 4 2
3 6 8 11 15 18 15 11 8 6 3
E m7

20
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2 4 7 11 14 16 14 11 7 4 2
0 4 7 9 12 16 12 9 7 4 0
0 2 5 9 12 14 17 14 12 9 5 2 0
19
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0 2 5 9 12 14 17 14 12 9 5 2 0
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2 6 9 11 14 18 14 11 9 6 2
F
b
m7
18
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2 6 9 11 14 18 14 11 9 6 2
2 4 7 11 14 16 14 11 7 4 2
0 4 7 9 12 16 12 9 7 4 0
17
T
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0 4 7 9 12 16 12 9 7 4 0
0 2 5 9 12 14 17 14 12 9 5 2 0
1 4 6 9 13 16 18 16 13 9 6 4 1
C
b
m7

16
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1 4 6 9 13 16 18 16 13 9 6 4 1
2 6 9 11 14 18 14 11 9 6 2
2 4 7 11 14 16 14 11 7 4 2
15
T
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g
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2 4 7 11 14 16 14 11 7 4 2
0 4 7 9 12 14 16 14 12 9 7 4 0
1 4 8 11 13 16 13 11 8 4 1
G
b
m7
14
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1 4 8 11 13 16 13 11 8 4 1
1 4 6 9 13 16 18 16 13 9 6 4 1
2 6 9 11 14 11 9 6 2
13
T
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2 6 9 11 14 11 9 6 2
2 4 7 11 14 16 14 11 7 4 2
3 6 8 11 15 18 15 11 8 6 3
E
`
m7

Horizontal
12. Starting with the root, play the arpeggio up and down the fingerboard on
each string.
13. Next, begin on the lowest note of the arpeggio and play the notes up and
down on each string. For example: in C, start with the open E, the 3
rd
of the
arpeggio, on the 2
nd
string, start with B, the major 7
th
, on the 3
rd
string start
with G, the 5
th
, on the 4
th
string start with E, the 3
rd
, on the 5
th
string start
with B, the major 7
th
,
on the 6
th
string start with E, the 3
rd
of the arpeggio.
14. It is up to you to find all of the fingerings.
15. Do this exercise in other keys with the goal of playing in all 12 keys.
Segment 30. Major 7: Play-along Exercise
In this play-along we work on the vertical major 7
th
arpeggios in all 12 keys, just as
we did with the major triads. The object is to get through all 12 keys at a slow
tempo without stopping.
1. Play the major 7
th
exercise as demonstrated in this play-along video and
written in the notation that follows.
2. Change up your fingerings each time you play.
3. Play with both the vertical and horizontal approach.
4. Reference the Inversion Excursion manual to apply this same approach to
all of the 4 note chord types, such as major 6
th
, minor 6
th
, minor 7
th
, etc.
5. Experiment and work out your own exercises.

CHAPTER 6 SEGMENT 30
Major 7: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
20
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B
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g
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g
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V V
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5
4 7
6 6
7 4
5
5
4 7
7 7
7 4
5
14
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4 7
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7 4
4
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4 4
4
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6
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4 8 8 4
5
6
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4 8 8 4
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3 6
6 6
6 3
4
1
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e e
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V V
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2 5
4 4
5 2
3
3
2 5
5 5
5 2
3
3
3 6
5 5
6 3
3
6
5
3 7 7 3
5
6
Change up your fingerings each time you play this exercise.
Reference the Inversion Excursion manual to apply this same approach to all of the 4 note chord types.
Do this exercise in other keys with the goal of playing in all 12 keys.


Segment 31. Learn Them All! It’s up to You!
I have demonstrated the major 7
th
chords and inversions using the Cmaj7 as an
example. It is up to you to use the reference manual, Inversion Excursion, and
continue to work on all chord types and in all keys using the tools I have provided.
An important part of learning guitar is to work through these chords, arpeggios
and scales on your own. That is how you gain a deep understanding of the guitar
and internalize the different sounds. It is therefore an important process and a
necessary step to becoming an accomplished guitarist.

CHAPTER 6 SEGMENT 31
Learn Them All! It's up to You!
Level: Intermediate
Gtr I: Untitled (E A D G B E)
9
T
A
B
I
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8 7
8 5
6 5
6 3 4
3 6
5 6
5
4
3 4 3
4
5
6 5
6 3 4
3 6
5 6
6
4 8
D
`
maj7 A
`
maj7
5
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V f
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V f
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8 7
8 5 6
5 8
7 8
7
6
5 6 5
6
7
8 7
8 5 6
5 8
7 8
8
6 10 11 10 6
8
E
`
maj7 B
`
maj7
1
T
A
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I
4
4
e
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8
7 10
9 10
9
8
7 8 7
8
9
10 9
10 7 8
7 10
9 10
10
8 12 13 12 8
10
10 9
10 7
Fmaj7 Cmaj7
Below are basic 4-note major arepeggios around the cycle of fourths.
It is up to you to apply the tools given to you to learn them using all the different fingerings in all postitions.
Reference the included inversion excursion manual for more chord types.

25
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W
7
7 6
7 4
5 4
5 2 3
2 5
4 5
4
3
2 3 2
3
4
5 4
5 2
3
Gmaj7
21
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V g
V
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7 6
7 4 5
4 7
6 7
6
5
4 5 4
5
6
7 6
7 4 5
4 7
6 7
7
5 9 10 9 5
Dmaj7 Amaj7
17
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4
2 6 7 6 2
4
4 3
4 1
2 1
2
6 7
6 9
8 9
9
7 11 12 11 7
9
9 8
9 6
Emaj7
13
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I
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V V f
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V g
V
9 8 4
6
6 5
6 3
4 3
4 1 2
1 4
3 4
3
2
1 2 1
2
3
4 3
4 1 2
1 4
3
Bmaj7 G
`
maj7

CHAPTER 6 SEGMENRT 31.2
Learn Them All! It's up to You!
Level: Intermediate
Gtr I: Untitled (E A D G B E)
9
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8 6 3
4
5 3
5 1
3 1
3
6 8 11
10
8 10
9
8 11 13 11 8
9
10 8
10
11 8
11 8 4
Fm7
5
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5 3
5 1 3
1 5
3 5
3
3 6
3
6 3
3
5 3
5 1 3
1 5
3 5
4
3 6
Cm7 Gm7
1
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
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V
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V
V
V
5 8
7
5 7
5
5 8
5
8 5
5
7 5
7 3 5 8
7
5 7
6
5 8 10 8 5
6
7 5
7
8
Dm7 Am7
Below are basic 4-note minor arepeggios around the cycle of fourths.
It is up to you to apply the tools given to you to learn them with different fingerings in all postitions.
Reference the included inversion excursion manual for more chord types.

25
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
7
10 7
7
9 7
9 5 7 10
9
7 9
8
7 10 12 10 7
8
9 7
9
10 7
Em7
21
T
A
B
I
g
g
g
g
g V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
6 4
6 2
4 2
4 0 2 5
4
2 4
2
2 5
2
5 2
2
4 2
4
5 7 10
9
7 9
7
7 10
Bm7 F
b
m7
17
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B
I
g
g
g
g
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
6 4
6 2 4
2 6
4 6
4
4 7
4
7 4
4
6 4
6 2 4
2 6
4 6
5
4 7 9 7 4
5
C
b
m7 G
b
m7
13
T
A
B
I
e
e
e
e
e
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
6 9
8
6 8
6
6 9
6
9 6
6
8 6
8 4 6
4 8
6 8
7
6 9 11 9 6 2
4
6 3
4
E
`
m7 B
`
m7

Chapter 7
Combining Horizontal and Vertical Arpeggios
Segment 32. Overview
In this chapter we cover 4-note arpeggios. We take the same approach we used
to play the C major scale more than 100 different ways. We will use Cmaj7

as an
example but your goal is to play all arpeggios in all keys using this same
methodology. We know that to build the major 7
th
arpeggio we start with the
triad and add the 7
th
note of the major scale. In the key of C the major 7
th
chord is
made up of C-E-G-B. Reference the video and the notation included for the
following steps.
1. Start with your 1
st
finger on the C at the 3
rd
fret of the 5
th
string.
2. Play the C maj7 arpeggio horizontally. When you get to the last note, move
vertically off the 5
th
string and play the B at the 9
th
fret of the 4
th
string.
3. Next, start the same way but move vertically and play the G at the 5
th
fret
and the B at the 9
th
fret of the 4
th
string.
4. Finally, we play the G at the 5
th
fret of the 4
th
string and move vertically to
play the B at the 4
th
fret of the 3
rd
string.
5. Next, start with the 2
nd
finger on the same C and apply the same approach
as demonstrated in the video.
6. Next we use the C major 7
th
arpeggio to come up with simple musical ideas.
We start our first phrases on the root. I play a simple idea and you answer
with a phrase of your own.
7. Keep it simple, melodic and strive for good even tones.
8. Next, start on the 3
rd
, or the E of the arpeggio. I play an idea and you reply
with a phrase.
9. Next, start with E but play horizontally on the B string. Use bends and
vibrato to add expression.
10. Next, start on the 5
th
the G note at the 12
th
fret of the 3
rd
string and use the
top strings.
11. Finally, we start our musical phrase on the 7
th
note the B. This is one of my
favorites.
12. Go through all arpeggios around the cycle, maybe one a day for 5 or 10
minutes.
13. Make nice melodic ideas using these tonal centers.
14. Remember to combine the horizontal and vertical approach.

CHAPTER 7 SEGMENT 32
Combining Horizontal and Vertical Arpeggios
Level: Intermediate
Gtr I: Untitled (E A D G B E)
31
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
W
5
5
3 7 8 7 3 7 3
5
3
5
sl.
22
T
A
B
I
V
V
V
V
V
V
W V
V
V
V
V
V
W V
V
V
V
V
V
W
5 9 12
12
12 9 5 5 9
8 12 8
9 5 5
5 8
7
8 5
5
13
T
A
B
I
V
V
V
V
V
V
W V
V
V
V
V
V
W
V
V
V
V
V
V
W
3
2 5 9 5 2
3 3
2 5
4
5 2
3
5 9 12 16 12 9 5
1
T
A
B
I
3
4
V
V
V
V
V
V
W V
V
V
V
V
V
W V
V
V
V
V
V
W V
V
V
V
V
V
W
Gtr I
3 7 10 14 10 7 3 3 7 10
9
10 7 3 3 7
5 9 5
7 3 3 7
5
4
5
7 3
answer with a phrase of your own
Use all digits on all C notes to find all variations.
Next we use the C Major 7th arpeggio to come up with simple musical ideas. I play a simple idea starting on the root and you answer with a phrase of your own.
Next, start with the 2nd finger on the same C and apply the same approach as demonstrated in the video.
Next, start the same way but move vertically and play the G at the 5th fret and the B at the 9th fret of the 4th string.
Use this approach to come up with all variations.
Play the C maj7 arpeggio horizontally. When you get to the last note, move vertically off the 5th string and play the B at the 9th fret of the 4th string.

50
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
V
V U
12
let ring
12
8
12
8
12
8
12
12
12
8
12
8 12
P
8
12
12 12
46
T
A
B
I
V
V
k
V V V V V V
V
U
5 8 12
M
1/2
O
12 12
M
1/2
O
12 12
M
1/2
O
12 8 5
||
42
T
A
B
I
V
W
k
V V
V V V
V
V
V
U
9
sl.
8 8 8
7 7 7 8 7
8
9
38
T
A
B
I
V
V
k
V
u
V V
V
V V V
V
V
V
V
W V
u
5
5
3 3 3 7 3 3 3 7 3
5
3
5 5
34
T
A
B
I
V
V
u
V
u
V
k
V
V
V
V
V
V U
5
5
3 7 3 7 3
5
3
5 5
answer with a phrase of your own
answer with a phrase of your own
answer with a phrase of your own
answer with a phrase of your own
answer with a phrase of your own
starting on the 5th
starting on the 3rd

54
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V V V
V
V
V
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
U
7 8 7
8
9
7 8 7 8 7
8
9
10 9 9 9 10
9
8
7
H
8
P
7 7
H
8
P
7 7
H
8
P
7 7
H
8
P
7
8
9
10 9
||
answer with a phrase of your own
starting on the 7th
Segment 33. Making a Practice Rhythm Track
Whether you are working on scales, arpeggios, chords, melodies or improvisation,
it is useful to create a play-along track to practice to. Although there are play-
along tracks available free online and for purchase, I think it is best to make your
own.
1. Start by setting a metronome to the desired tempo.
2. Start your recording device.
3. Record a few minutes of the rhythm you want to work on. In our example I
play the Cmaj7 on the bottom 4 strings in the 1
st
position for one measure
and then play the Cmaj6 for one measure. We will use this play-along and
others throughout the remainder of this course.
4. After you have recorded a few minutes, stop the recorder and listen to be
sure you like the sound of the play-along.
5. Use this same method for creating grooves anytime you are learning a new
song.
6. Record the chords of songs to use for working on the melodies or soloing.
This is a great way to work on just about anything you are doing.
Segment 34. C Major 7
th
: Play-along Exercise
In this video segment we roll the play-along track we recorded to trade fours
using the various tonal centers and ideas we have covered thus far. Play along
using these ideas to vary the jam. You can copy what I do, or answer what I do
with your own phrase. I will let you know what tonal center I am using each time I
change it. Below is the list of tonal centers in order.


The ideas that I play use the following tonal centers:
1. Major pentatonic
2. Major 7
th

3. Major 7
th
arpeggio
4. Horizontal on the 2
nd
string
5. Major pentatonic into the minor pentatonic
6. Major 6
th

7. Low register
8. Low register on the 5
th
string
9. Same note on different strings
10. Bluesy lick
11. Thirds
12. Scale patterns
13. Focus on the 9
th

14. Bends with the suspended 4
th

15. Pull-offs
16. 6/9 chords
17. Thirds with a bluesy ending
18. It’s up to you to make play along tracks in other keys and in different
tempos.






Chapter 8
Harmonizing the Major Scales
Segment 35. Overview
This Lesson builds on the horizontal scales and arpeggios that we have worked on
previously. An interval is the distance between two notes. When thinking of
intervals, we often count up. For example, in the key of C the 2
nd
is D, the 3
rd
is E,
the 4
th
is F, the 5
th
is G, 6
th
is A and the 7
th
is B. To harmonize the major scale, play
2 notes at the same time. In this chapter we harmonize the C major scale with all
of the intervals beginning with the 3
rd
. We start with the 3
rd
because it is a very
familiar sounding interval. Think of it as playing 2 C major scales on 2 different
strings at the same time.

1. Play the C major scale on the 2
nd
string, beginning with C at the 1
st
fret, up
to the octave at the 13
th
fret and back.
2. Next, play the note a third above each scale tone on the 1
st
string,
beginning with the open E, play all the notes of the C major scale to the
octave at the 12
th
fret and back.
3. Now, play the notes from step 1 and 2 simultaneously, ascending and
descending the fret board. In essence, play the C major scale on both
strings simultaneously with different starting and ending points. The
starting points, in this example are a 3
rd
apart.
4. Do not think of the intervals as grips.
5. Once you get the idea, apply this lesson to each string, beginning with the
lowest note of the scale on each string.
6. Next, start on D and harmonize with a 2
nd
. Counting from D to E we have
our 2 starting points. D and E. Play the notes of the C major scale with these
starting and ending points. Note that we did not start on the C note
because the lowest note on the top string is E and we need to start with a
D.
7. Work through all intervals, harmonizing the major scale with the 2
nd
, 3
rd
,
4
th
, 5
th
, 6
th
, and 7
th
.

8. After you master this lesson in the key of C, work with the other keys; your
goal is playing it in all 12 keys.
9. Take your time and go through one key a day. Some keys will be easier to
navigate than others. I think of Db and Gb like the jungle because until you
master them you will find yourself thinking, “Where am I?”
10. When practicing these intervals, internalize them and recognize their
sound.
11. I find it helpful to find 2 notes of a song or jingle that remind me of a
particular interval. For example, the first 2 notes of the NBC jingle (the N-B)
are a 6
th
apart. The Star Wars theme starts with 2 notes a 5
th
apart.
In the video segments that follow I demonstrate harmony on the 1
st
and 2
nd
string
and the 2
nd
and 3
rd
string. It is up to you to continue the same approach with the
other strings and in the other keys. The notation that follows has all of the
intervals on all strings in the key of C.


CHAPTER 8 SEGMENT 35
Harmonizing the Major Scales
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1
0
3
1
5
3
6
5
8
7
10
8
12
10
13
12
12
10
10
8
8
7
6
5
5
3
3
1
1
0
2
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0 1 3 5 7 8 10 12 10 8 7 5 3 1 0
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1 3 5 6 8 10 12 13 12 10 8 6 5 3 1
In the upcoming segments we will harmonize the major scale with each interval.
Now, play the notes from step 1 and 2 simultaneously. In essence, play the C major scale on both strings simultaneously with different starting points.
Next, play the note a third above each scale tone on the 2nd string, beginning with the open e and play all the notes of the C major scale to the octave and back.
Start by playing the C Major scale on the 2nd string, beginning with C at the 1st fret and go up to the octave at the 13th fret and back.
Segment 36. Intervals: 2
nds
1. In this segment we concentrate on harmonizing the major scale with 2nds.
Our starting points are D at the 3
rd
fret of the 2
nd
string and the open E
string. We will play 4 beats per interval.
2. This interval may sound dissonant to you, but when you hear it in the
context of a full chord, it has a pleasing sound.
3. Next I demonstrate on the 2
nd
and 3
rd
strings, with our starting points of A
on the 3
rd
string at the 2
nd
fret and the open B string. You will notice that
there is not as much of a stretch for these strings. That is because these
strings are tuned a 3
rd
rather than a 4
th
apart.
4. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

CHAPTER 8 SEGMENT 36
Intervals: 2nds
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U U
U U
U U
U U
U U
U U
U U
U U
U U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
3
0
5
2
7
3
8
5
10
7
12
9
14
10
15
12
17
14
19
15
17
14
15
12
14
10
12
9
10
7
8
5
7
3
5
2
3
0
3
T
A
B
I
U
U U
U U
U U
U U
U U
U U
U U
U U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
3
0
5
2
7
4
9
5
10
7
12
9
14
10
15
12
17
14
15
12
14
10
12
9
10
7
9
5
7
4
5
2
3
0
2
T
A
B
I
U
U U
U U
U U
U U
U U
U U
U U
U U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
2
0
4
1
5
3
7
5
9
6
10
8
12
10
14
12
16
13
14
12
12
10
10
8
9
6
7
5
5
3
4
1
2
0
1
T
A
B
I
U
U U
U U
U U
U U
U U
U U
U U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
3
0
5
1
6
3
8
5
10
7
12
8
13
10
15
12
13
10
12
8
10
7
8
5
6
3
5
1
3
0
Though not on the video, below are the intervals for the other string sets.

CHAPTER 8 SEGMENT 37
Intervals: 3rds
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
2
0
3
2
5
3
7
5
8
7
10
9
12
10
14
12
15
14
17
15
19
17
20
19
19
17
17
15
15
14
14
12
12
10
10
9
8
7
7
5
5
3
3
2
2
0
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
2
0
3
2
5
4
7
5
9
7
10
9
12
10
14
12
15
14
17
16
19
17
17
16
15
14
14
12
12
10
10
9
9
7
7
5
5
4
3
2
2
0
2
T
A
B
I U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
2
1
4
3
5
5
7
6
9
8
10
10
12
12
14
13
12
12
10
10
9
8
7
6
5
5
4
3
2
1
0
0
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1
0
3
1
5
3
6
5
8
7
10
8
12
10
13
12
12
10
10
8
8
7
6
5
5
3
3
1
1
0
Though not on the video, below are the intervals for the other string sets.
In essence, play the C major scale on both strings simultaneously with different starting points.
Segment 37.Intervals: 3
rds
1. In this segment we concentrate on harmonizing the major scale with 3
rds
.
Our starting points are at the C at the 1
st
fret of the 2
nd
string and the open
E. We will play 4 beats per interval, going up the scale and down.
2. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

17
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
V
V
U
U
13
12
13
10
12
10
12
10
sl.
12
8
10
8
10
5
6
5
6
7
8
7
8
5
6
5
6 8
sl.
9
8
9
6
7
6
7
5
5
1
2
3
4
5
5
6
7
5
H
5
6
P
7
5
5
6
7
5
5
15
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
9
8
9
8
9
10
10
8
9
6
7
6
7
5
5
5
5
3
4
3
H
4
5
5
5
5
10
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
12
13
12
13
12
13
10
12
10
12
10
12
10
12
8
10
8
10
8
10
8
10
5
6
5
6
7
sl.
8
7
8
7
8
7
sl.
8
5
6
5
6
5
6
5
6
5
sl.
6
7
8
7
8
7
8
7
sl.
8
5
6
5
6
5
6
5
6
3
5
3
5
1
3
0
1
6
T
A
B
I
W
W
V
V
V
V
V
V
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
0
1
3
5
3
5
3
5
3
5
5
6
5
6
7
sl.
8
7
8
7
8
7
8
7
8
8
10
8
10
8
10
8
10
10
12
10
12
10
12
10
12
12
13
12
13
12
13
5
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1
0
3
2
5
3
7
5
8
7
10
8
12
10
13
12
15
14
17
15
19
17
17
15
15
14
13
12
12
10
10
8
8
7
7
5
5
3
3
2
1
0
On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 38
Intervals: 4ths
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
2
2
3
3
5
5
7
7
8
9
10
10
12
12
10
10
8
9
7
7
5
5
3
3
2
2
0
0
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
2
2
3
4
5
5
7
7
9
9
10
10
12
12
10
10
9
9
7
7
5
5
3
4
2
2
0
0
2
T
A
B
I U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
1
2
3
4
5
5
6
7
8
9
10
10
12
12
13
10
12
9
10
7
8
5
6
4
5
2
3
0
1
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1
1
3
3
5
5
6
7
8
8
10
10
12
12
13
13
12
12
10
10
8
8
6
7
5
5
3
3
1
1
Though not on the video, below are the intervals for the other string sets.
Segment 38. Intervals: 4
ths
1. In this segment we concentrate on harmonizing the major scale with 4
ths
.
Our starting points are C at the 1
st
fret of the 2
nd
string and F at the 1
st
fret
of the top string. We will play 4 beats per interval.
2. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

18
T
A
B
I
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
8
8
10
10
12
sl.
12
8
8
10
10 10
9
8
7
10
9
8
8
10
10
8
8 10
9
8
sl.
7
5
4
5
4
5
5
3
3 5
sl.
4
1
0
13
T
A
B
I
V
V V
V
u
V
V
V
V
V
V
V
V
W
W
V
V
c
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
k
13
12
8
7
8
sl.
7
10
9
10
sl.
9
8
7
8
7
1
0
1
0
3
2
3
sl.
2
5
4
5
4
3
2
3
sl.
2
5
4
10
sl.
9
8
7
5
4
3
2
1
0
9
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
1
1
1
1
5
sl.
5
3
3
3
3
3
3
10
sl.
10
8
8
8
8
8
8
5
5
3
3
3
3
3
3
10
10
12
sl.
12
10
10
12
sl.
12
10
P
10
8
8
8
8
6
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
8
8
10
10
12
sl.
12
12
12
12
12
8
8
10
10
12
sl.
12
10
10
8
8
7
6
10
10
8
H
8
10
P
10
8
8
8
8
5
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
1
2
3
3
5
5
7
7
8
8
10
10
12
12
10
10
8
8
7
7
5
5
3
3
1
2
0
0
On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 39
Intervals: 5ths
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
2
2
3
3
5
5
7
7
9
8
10
10
12
12
14
14
15
15
17
17
19
15
17
14
15
12
14
10
12
8
10
7
9
5
7
3
5
2
3
0
2
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
2
2
4
3
5
5
7
7
9
9
10
10
12
12
14
14
16
15
17
17
19
15
17
14
16
12
14
10
12
9
10
7
9
5
7
3
5
2
4
0
2
2
T
A
B
I U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
3
2
5
4
6
5
8
7
10
9
12
10
13
12
15
10
13
9
12
7
10
5
8
4
6
2
5
0
3
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
1
1
3
3
5
5
7
6
8
8
10
10
12
12
13
13
15
12
13
10
12
8
10
6
8
5
7
3
5
1
3
0
1
Though not on the video, below are the intervals for the other string sets.
Segment 39. Intervals: 5
ths
1. In this segment we concentrate on harmonizing the major scale with 5
ths
.
Our starting points are C at the 1
st
fret of the 2
nd
string and G at the 3
rd
fret
of the top string. We will play 4 beats per interval.
2. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

20
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
W
W
U
U
8
5
8
5
8
5
8
6
8
6
10
sl.
8
10
8
10
8 8
5
8
5
8
5
8
5
8
5
8
6
8
6
8
sl.
6
10
8
10
8
12
sl.
10
8
6
8
sl.
6
10
8
10
8
8
6 8
5
15
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
8
5
8
5
8
5
8
sl.
5
6
4
6
4
6
4
6
sl.
4
8
5
8
5
8
5
8
sl.
5
10
7
10
7
12
sl.
9
8
5
8
sl.
5
10
7
10
sl.
7
6
4
6
4
5
2
3
0
8
5
11
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
10
8
12
sl.
10
12
10
13
12
13
12
8
6
8
sl.
6
10
8
10
8
10
8
10
sl.
8
12
10
12
10
8
6
8
sl.
6
10
8
10
8
13
sl.
12
13
12
12
10
12
10
8
6
8
sl.
6
10
8
10
8
6
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
sl.
1
5
3
5
3
5
sl.
3
3
1
3
1
3
1
5
3
5
3
5
3
5
3
7
5
7
5
7
6
7
5
8
6
7
5
5
sl.
3
7
5
5
3
3
1
5
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
2
1
3
3
5
5
7
7
8
8
10
10
12
12
14
13
15
15
17
17
19
19
20
17
19
15
17
13
15
12
14
10
12
8
10
7
8
5
7
3
5
1
3
0
2
On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 40
Intervals: 6ths
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
1
0
3
2
5
3
7
5
8
7
10
9
12
10
13
12
15
14
17
15
19
17
20
19
19
17
17
15
15
14
13
12
12
10
10
9
8
7
7
5
5
3
3
2
1
0
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
2
0
3
2
5
4
7
5
8
7
10
9
12
10
14
12
15
14
17
16
19
17
20
19
19
17
17
16
15
14
14
12
12
10
10
9
8
7
7
5
5
4
3
2
2
0
2
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
2
1
3
3
5
5
7
6
9
8
10
10
12
12
14
13
15
15
17
17
19
18
21
20
19
18
17
17
15
15
14
13
12
12
10
10
9
8
7
6
5
5
3
3
2
1
0
0
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
5
5
7
7
9
8
10
10
12
12
10
10
9
8
7
7
5
5
4
3
2
1
0
0
Though not on the video, below are the intervals for the other string sets.
Segment 40. Intervals: 6
ths
1. In this segment we concentrate on harmonizing the major scale with 6
ths
.
Because of the big stretch, start with C on the 3
rd
string at the 5
th
fret and A
on the top string at the 5
th
fret. We will play 4 beats per interval.
2. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

13
T
A
B
I
V
V
V
V
V
V
W
W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
W
W
W
W
U
U
7
7
3
4
5
5
5
5
7
7
3
4
5
5
12
sl.
12
10
10
7
7
8
9
13
14
12
12
15
sl.
16
13
14
12
12
8
9
10
10
7
7
8
sl. sl.
9
3
sl.
4
0
0
9
T
A
B
I
V
V
V
V
V
V
u
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
5
12
12
10
10
8
9
5
5
3
4
5
5
1
2
1
2
3
4
7
sl.
7
5
5
10
sl.
10
10
10
8
9
13
sl.
14
12
12
10
10
8
9
8
T
A
B
I
V
V
V
3
V
V
V
3
V g
V g
12
sl.
12
12 10
sl.
10
10 8
sl.
9
5
T
A
B
I
V
V
u
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
8
9
12
12
7
7
10
10
5
5
8
9
7
7
5
5
3
4
5
5
3
4
1
2
0
0
On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 41
Intervals: 7ths
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
1
2
3
3
5
5
7
7
8
9
10
10
12
12
13
14
15
15
13
14
12
12
10
10
8
9
7
7
5
5
3
3
1
2
0
0
3
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
0
2
2
3
4
5
5
7
7
8
9
10
10
12
12
14
14
12
12
10
10
8
9
7
7
5
5
3
4
2
2
0
0
2
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
0
1
2
3
3
5
5
6
7
8
9
10
10
12
12
13
14
15
12
13
10
12
9
10
7
8
5
6
3
5
2
3
0
1
1
T
A
B
I
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
5
7
7
8
9
10
10
12
12
13
14
15
12
13
10
12
9
10
7
8
5
7
4
5
2
3
0
1
Though not on the video, below are the intervals for the other string sets.

Segment 41. Intervals 7
ths
1. In this segment we concentrate on harmonizing the major scale with 7
ths
.
Our starting points are C on the 3
rd
string at the 5
th
fret and B on the top
string at the 7
th
fret. We will play 4 beats per interval.
2. This interval may sound dissonant to you, but when you hear it in the
context of a full chord, it has a pleasing sound.
3. On the video I make up a musical idea using this harmony. Listen to what I
play and answer me with your idea.

15
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On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 42
Intervals: Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
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Gtr I
5
3 3
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3
5 7
sl.
7
5 5
7
5
9
6 6 6
10
8 8 8
12
10 10 8
sl.
8
Segment 42. Intervals: Play-along Exercise
Here we play to the C major play-along track using all of the intervals we worked
through, starting with 2
nds
. I will play a musical phrase and then you answer me.
Once we get through all of the intervals, we mix them up. Strive to get the sound
of each interval in your ear. Make your own play-along tracks to explore other
keys. See the video segment as well as the notation that follows.


33
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2

Chapter 9
Playing Melodies
Segment 43. Overview
Songs and melody have everything you need to know about improvisation. All the
intervals, scales, arpeggios and phrasing are in songs and melodies. Learning to
play melodies in all positions of the neck not only helps you to internalize a
particular song, but also is a great way to learn to “sing” with your guitar. In this
segment of the course we will apply the same principles to melody that we used
to play the major scale.
1. Learn the melody of a song on the guitar. We use the song “All of Me” for
our study.
2. Sing the melody.
3. In my opinion, basing solos on melody is the best way to approach
improvisation.
4. When learning melodies, try to analyze the melody. For example the first
notes of “All of Me” outline a C triad, followed by a fill and a second phrase
that outlines and E chord. Next we outline the A7 chord and end on the 3
rd

of the D minor.
5. Learn to play the same melody in different positions by using the first note
of each phrase as a starting point. Finger the note with your 1
st
finger and
play the phrase. This is the same approach we took with our scales and our
arpeggios.
6. Next, start the phrase with your 2
nd
finger and play the phrase of the
melody.
7. Next start with your 3
rd
finger and play the phrase.
8. Finally, start the phrase with your 4
th
finger and play the melody.
9. Apply this approach to all of the phrases and at all of the starting notes all
over the fingerboard.
10. Play the phrases horizontally on each of the strings.
11. Work out the melody in different keys and in all positions.
12. Add expression to the melody by using bends, vibrato and slides.

13. Spice up the melody by adding other notes and expression, which results
in an improvised solo based on the melody. The key is to learn a lot of
melodies.
14. Another exercise is to pick any note on the guitar and hunt down the
melody starting on that different note. This helps connect your ear to your
fingers.














CHAPTER 9 SEGMENT 43
Playing Melodies - All Of Me
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
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B
I
V
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V W
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V W
8 3 0 0
13 8 5 5
17 12 9 9
10 5 2 2
15 10 7 7
8 3 0 0
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7 7
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5 2 2
5
5 2 2
5 0
2 2
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13
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14 14
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12 9 9
13 8
9 9
1
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Gtr I
8
8
9 9
8
8
9 9
8
8 5 5
8 3
5 5
6th string 5th string 4th string
3rd string 2nd string
1st string
Horizontally
4th finger
3rd finger
2nd finger 1st finger
3rd C
4th finger
3rd finger 2nd finger
1st C
1st finger
2nd C
4th finger
3rd finger
2nd finger 1st finger
Play the first phrase of the melody uing each of your fingers to start the phrase.

31
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j V g
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V V g V f
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W f
1 10
sl.
8 5
|||||
5 4
M
1/2
5
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M
1/2
6
O
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5
sl.
7
M
1/2
8 6
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||||
9
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H
10 8
H
10
P
8 7
9
9
||||
9
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5
8 5 5 4 5
6 5
8 6
Dm7 A7
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V W
8
8 5 5
8 10 8 7
9 5 5
E7 C
Add expression by using vibrato, hammer ons, pull offs, and bends.
Apply the same approach to the other phrases of the first 8 bars.

39
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10 8 5
|||||
4
M
1/2
5
5
M
1/2
6
O
5
5
sl.
(7)
M
1/2
8 6
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V V g
8
8
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|||
9
8 10
8 10
M
1/4
8 10
M
1/4
8 7 (1)
tr
||
9
9
|||
9
5 6 7 8 9
Make an improvised solo by adding notes to spice up the melody.

Chapter 10
Harmonizing Melodies
Segment 44. Overview
In this chapter I show you how to harmonize a melody. This is a good example of
applying theory and technique to creating music, which is what it is all about. We
use the first 8 bars of the song, “All of Me”. We record the melody and build on
the recording by adding the 3
rd
above and the 3
rd
below. We will start with 3
rds

since they are the most popular interval to harmonize with. For the following
segments, see the video demonstration and the notation that follows.
Segment 45. First Part: The Melody
1. Play the melody of a song. In our example we will play the first 8 bars of
the song, “All of Me”.
2. Remember to explore all the possible ways to play the melody, in all
positions and beginning with each of your fingers, just as we have done
with our previous lessons.
3. Record a track of the melody.
Segment 46. Second Part: The 3
rd
Above
1. Next, harmonize the melody with the 3
rd
above.
2. For the first phrase, over the C major chord, play each melody note a 3
rd

above in the key of C.
3. When you get to the next chord, E7, play the melody notes a 3
rd
above
in the key of E major.
4. When playing over the A7, think in terms of the A major scale.
5. When playing over the D minor, use the notes in one of the minor
scales.
6. Record the harmony.



Segment 47. Third Part: The 3
rd
Below
1. In this segment we will continue to apply the same concept. The only
difference is that we play the melody notes a 3
rd
below the original
melody.
2. For example: for the first phrase over the C major, count down 3 from
the first melody note: 1-C, 2-B, 3-A. We identify A as the melody a 3
rd

below C.
3. Continue to apply this approach to the first 8 bars of the song.
4. Add this harmony over the recorded track of the other 2 harmonies to
hear the 3 parts together.
5. Try other intervals using the same method. Remember to play in all
areas of the neck, using all possible fingerings.
6. Next, harmonize the melody using all of the intervals and combinations
of intervals. Identify the ones you like best and those you do not care
for. This is how you begin to develop your own sound and style.







CHAPTER 10 SEGMENT 45-47
Harmonizing Melodies - All Of Me
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
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A
B
I
V g
V
V
j
V g
V
V
V g
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u
W
9 7
8 7 8
10 9 7 5 5
Dm A
9
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I
4
4
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V
3
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12
12 8 8
12 13 12 10 7
9 9
E C
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V g V f
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u
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5
8 5 4 5
6 5
8 6 6
Dm A
1
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B
I
4
4
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V W
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V
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3
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V g
V W
Gtr I
8
8
9 9
8 10 8 7
9
9 9
E C
Record a track of the harmony.
Record a track of the melody.
Segment 46- 2nd part- roll the track and play the 3rd above the melody.
Segment 45-1st part: Melody

21
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W
6 5
6 5 6
8 6 5
7
Dm7 A7
17
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V W
V
V
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V
V g W
10
9
10 10
10 12 10 9
9 6 6
E C
Explore all the possible ways to play these lines, in all positions and beginning with each of your fingers.
Record a track of the harmony.
Segment 47- 3rd part- roll the track of the harmony and play the 3rd below the melody.

Chapter 11
Triads and Their Inversions: Inversion Excursion Reference
Segment 48. Overview
Inversions are the various ways to play a chord. In essence, you play the same
notes of a chord, but arranged in a different order. Chord inversions are an
important part of your study; they add variety to your rhythm playing and really
help build excitement when accompanying a soloist.

Included in this course is an encyclopedia of chord inversions that I prepared
called, Inversion Excursion. Inversions are a lifelong study and should be
approached as such. Inversion Excursion is a great reference, but it is important to
learn how to find inversions on you own. When working with inversions, strive to
recognize the sound of them.

1. Finger the C major triad (C-E-G) on the top 3 strings as follows: C on the 5
th

fret of the 3
rd
string, E on the 5
th
fret of the 2
nd
string and G on the 3
rd
fret
of the 1
st
string.
2. Find the 1
st
inversion of the chord on the same 3 strings by identifying the
next chord tone (i.e., C-E-G) on each of the 3 strings.
3. Find the 2
nd
and final inversion on the same 3 strings following the same
procedure (i.e., identifying the next chord tone on each of the 3 strings).
4. Repeat the lesson on each set of strings using major and minor triads.
5. Included in this chapter is a chord shapes supplement to help you get
started.
6. Work out all sets of triads on each set of 3 strings, this time skipping one
string. We refer to these as “spread voicings.”
7. Apply this approach to all major and minor triads.
8. Do this exercise in other keys with the goal of learning your inversions in all
12 keys.
9. Refer to the Inversion Excursion supplement and take a key or 2 a day and
incorporate the inversions into your practice routine.

CHAPTER 11 SEGMENT 48
Triads and Their Inversions
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
3
1
7
6
6
10
11
10
3
3
3
8
7
6
12
10
11
5
3
3
8
8
7
13
12
10
6
5
3
10
8
8
13
13
12
B
`
2
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
1
1
5
6
5
10
10
8
3
2
1
7
5
6
10
10
10
3
3
2
8
7
5
12
10
10
5
3
3
8
8
7
13
12
10
F
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
5
3
9
8
8
12
13
12
2
0
1
5
5
5
10
9
8
3
2
0
7
5
5
10
10
9
3
3
2
8
7
5
12
10
10
C
In addtion to the inversions that follow, begin work with the Inversion Excursion supplement.
Apply the same approach to the other strings.
2nd inversion 1st inversion
Play this Lesson in other keys with the goal of playing in all 12 keys.
Find the next 2 inversion of the chord on the same 3 strings by identifying the next chord tone (i.e., C-E-G) on each of the 3 strings.
Finger the C major triad (G-C-E) on the top 3 strings as indicated in the tab below.

7
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
2
2
6
7
6
11
11
9
4
3
2
8
6
7
11
11
11
4
4
3
9
8
6
13
11
11
6
4
4
9
9
8
14
13
11
G
`
6
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
2
1
6
6
4
10
9
9
3
1
2
6
6
6
11
10
9
4
3
1
8
6
6
11
11
10
4
4
3
9
8
6
13
11
11
D
`
5
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
4
4
8
9
8
13
13
11
6
5
4
10
8
8
13
13
13
6
6
5
11
10
8
15
13
13
4
3
1
8
6
6
11
11
10
A
`
4
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
4
3
8
8
6
12
11
11
5
3
4
8
8
8
13
12
11
6
5
3
10
8
8
13
13
12
3
1
1
6
6
5
11
10
8
E
`

11
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
3
2
7
7
5
11
10
10
4
2
3
7
7
7
12
11
10
5
4
2
9
7
7
12
12
11
2
0
0
5
5
4
10
9
7
D
10
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
2
0
6
5
5
9
10
9
2
2
2
7
6
5
11
9
10
4
2
2
7
7
6
12
11
9
5
4
2
9
7
7
12
12
11
A
9
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
0
0
4
5
4
9
9
7
2
1
0
6
4
5
9
9
9
2
2
1
7
6
4
11
9
9
4
2
2
7
7
6
12
11
9
E
8
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
4
2
8
7
7
11
12
11
4
4
4
9
8
7
13
11
12
6
4
4
9
9
8
14
13
11
2
2
1
7
6
4
11
9
9
B

12
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
3
3
7
8
7
12
12
10
5
4
3
9
7
8
12
12
12
5
5
4
10
9
7
14
12
12
3
2
0
7
5
5
10
10
9
G

CHAPTER 11 SEGMENT 48.2
Minor Triads and Their Inversions
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
3
3
7
8
6
12
11
10
5
3
3
8
7
8
12
12
11
5
5
3
10
8
7
13
12
12
3
1
0
6
5
5
10
10
8
Gm
2
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
3
1
7
6
5
10
10
10
3
2
3
7
7
6
12
10
10
5
3
2
8
7
7
12
12
10
1
0
0
5
5
3
10
8
7
Dm
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
1
0
5
5
5
9
10
8
2
2
1
7
5
5
10
9
10
3
2
2
7
7
5
12
10
9
5
3
2
8
7
7
12
12
10
Am

7
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
4
2
8
7
6
11
11
11
4
3
4
8
8
7
13
11
11
6
4
3
9
8
8
13
13
11
2
1
1
6
6
4
11
9
8
E
`
m
6
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
2
1
6
6
6
10
11
9
3
3
2
8
6
6
11
10
11
4
3
3
8
8
6
13
11
10
6
4
3
9
8
8
13
13
11
B
`
m
5
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
1
1
5
6
4
10
9
8
3
1
1
6
5
6
10
10
9
3
3
1
8
6
5
11
10
10
4
3
3
8
8
6
13
11
10
Fm
4
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
4
3
8
8
8
12
13
11
1
0
1
5
5
4
10
8
8
3
1
0
6
5
5
10
10
8
3
3
1
8
6
5
Cm

11
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
3
2
7
7
7
11
12
10
4
4
3
9
7
7
12
11
12
5
4
4
9
9
7
14
12
11
2
2
0
7
5
4
10
9
9
Bm
10
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
2
2
6
7
5
11
10
9
4
2
2
7
6
7
11
11
10
4
4
2
9
7
6
12
11
11
5
4
4
9
9
7
14
12
11
F
b
m
9
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
2
0
6
5
4
9
9
9
2
1
2
6
6
5
11
9
9
4
2
1
7
6
6
11
11
9
4
4
2
9
7
6
12
11
11
C
b
m
8
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
4
4
8
9
7
13
12
11
6
4
4
9
8
9
13
13
12
6
6
4
11
9
8
14
13
13
4
2
1
7
6
6
11
11
9
G
b
m

12
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
0
0
4
5
3
9
8
7
2
0
0
5
4
5
9
9
8
2
2
0
7
5
4
10
9
9
3
2
2
7
7
5
12
10
9
Em
CHAPTER 11 SEGMENT 48.3
Spread Major Triads
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
10
10
12
15
13
3
7
6
8
6
10
12
11
13
3
3
6
13
10
15
5
3
6
8
7
11
6
3
7
10
8
10
13
12
15
B
`
2
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
5
5
7
10
8
10
14
13
3
1
5
7
6
8
10
10
13
8
5
10
12
10
13
3
2
6
13
10
14
5
3
5
8
7
10
F
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
12
12
14
17
15
5
9
8
10
8
12
14
13
15
5
5
8
15
12
17
7
5
8
10
9
13
8
5
9
12
10
12
3
2
5
C
Work out all sets of triads on each set of 3 strings, this time skipping one string. We refer to these as “spread voicings.”

7
T
A
B
I
g
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
6
6
8
11
9
11
15
14
4
2
6
8
7
9
11
11
14
9
6
11
13
11
14
4
3
7
14
11
15
6
4
6
9
8
11
F
b
6
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
11
13
13
3
6
4
6
10
9
11
9
13
3
2
4
6
6
9
4
1
6
8
6
9
11
10
14
9
6
10
13
11
13
4
3
6
D
`
5
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
6
8
8
10
13
11
13
17
16
6
4
8
10
9
11
1
1
4
11
8
13
3
1
4
6
5
9
4
1
5
8
6
8
11
10
13
A
`
4
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
3
3
5
8
6
8
12
11
13
11
15
5
4
6
8
8
11
6
3
8
10
8
11
13
12
16
11
8
12
3
1
3
6
5
8
E
`

11
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
12
14
14
4
7
5
7
11
10
12
10
14
4
3
5
7
7
10
5
2
7
9
7
10
12
11
15
10
7
11
14
12
14
5
4
7
D
10
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
7
9
9
11
14
12
2
6
5
7
5
9
11
10
12
2
2
5
12
9
14
4
2
5
7
6
10
5
2
6
9
7
9
12
11
14
A
9
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
4
4
6
9
7
9
13
12
2
0
4
6
5
7
9
9
12
7
4
9
11
9
12
14
13
16
12
9
13
4
2
4
7
6
9
E
8
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
9
11
11
1
4
2
4
8
7
9
7
11
13
12
14
4
4
7
14
11
16
6
4
7
9
8
12
7
4
8
11
9
11
14
13
16
B

12
T
A
B
I
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
7
7
9
12
10
12
16
15
5
3
7
9
8
10
12
12
15
10
7
12
14
12
15
5
4
8
15
12
16
7
5
7
10
9
12
G

CHAPTER 11 SEGMENT 48.4
Spread Minor Triads
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
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V
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V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
7
6
8
12
10
12
15
15
10
12
11
13
17
15
5
8
8
10
7
11
13
12
15
5
3
8
15
12
15
6
5
7
10
8
12
Gm
2
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
12
14
13
3
7
5
7
10
10
5
7
6
8
12
10
12
15
15
5
2
6
8
7
10
12
10
15
10
7
10
13
12
14
5
3
7
Dm
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
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V
V
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V
V
V
V
V
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V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
7
9
8
10
14
12
14
17
17
12
14
13
3
7
5
7
10
10
12
9
13
15
14
17
7
5
10
5
2
5
8
7
9
12
10
14
Am
In addition to the triad inversion studies covered, refer to the Inversion Excursion and take a key or 2 a day and
incorporate the inversions into your practice routine.

7
T
A
B
I
e
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
1
3
2
4
8
6
8
11
11
6
8
7
9
13
11
13
16
16
6
3
7
9
8
11
13
11
16
11
8
11
14
13
15
18
16
20
E
`
m
6
T
A
B
I
e
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
10
9
11
15
13
3
6
6
1
3
2
4
8
6
8
11
11
13
10
14
16
15
18
8
6
11
6
3
6
9
8
10
13
11
15
B
`
m
5
T
A
B
I
e
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
5
4
6
10
8
10
13
13
8
10
9
11
15
13
15
18
18
8
5
9
11
10
13
15
13
18
13
10
13
4
3
5
8
6
10
Fm
4
T
A
B
I
e
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
12
11
13
17
15
5
8
8
3
5
4
6
10
8
10
13
13
15
12
16
6
5
8
10
8
13
8
5
8
11
10
12
15
13
17
Cm

11
T
A
B
I
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
9
11
10
12
16
14
4
7
7
2
4
3
5
9
7
9
12
12
14
11
15
5
4
7
9
7
12
7
4
7
10
9
11
14
12
16
Bm
10
T
A
B
I
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
4
6
5
7
11
9
11
14
14
9
11
10
12
16
14
4
7
7
9
6
10
12
11
14
4
2
7
14
11
14
5
4
6
9
7
11
F
b
9
T
A
B
I
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
11
13
12
2
6
4
6
9
9
4
6
5
7
11
9
11
14
14
4
1
5
7
6
9
11
9
14
9
6
9
12
11
13
16
14
18
C
b
m
8
T
A
B
I
g
g
g
g
g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
6
8
7
9
13
11
13
16
16
11
13
12
2
6
4
6
9
9
11
8
12
14
13
16
6
4
9
4
1
4
7
6
8
11
9
13
G
b
m

12
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B
I
g
V
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V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
4
3
5
9
7
9
12
12
7
9
8
10
14
12
14
17
17
7
4
8
10
9
12
14
12
17
12
9
12
3
2
4
7
5
9
Em
Chapter 12
Harmonizing Scales with Triads
Segment 49. Overview
This lesson builds on previous horizontal lessons, incorporating the study of
inversions in a logical approach. Most chord progressions are built using the
harmonized major scale, so this lesson is essential to your progress.
1. We start by playing a C triad on the top strings.
2. Identify the next triad in the harmonized scale by playing the notes of the C
major scale horizontally on each of the 3 strings. In other words, play a C
major scale on 3 strings at the same time with different starting and ending
notes, strumming the 3 notes once you identify the next chord.
3. Take the same approach to the other sets of strings. Starting on a C triad,
move up the C major scale, playing the notes on each of the strings
simultaneously.
4. After you have done this exercise in the key of C, work through the other
keys.
5. Finally we can apply the same approach to spread inversions, which are the
same chords skipping one string.

CHAPTER 12 SEGMENT 49
Harmonizing Scales with Triads
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
3
2
5
5
3
7
7
5
8
8
7
10
10
9
12
12
10
13
14
12
15
15
14
13
14
12
12
12
10
10
10
9
8
8
7
7
7
5
5
5
3
3
3
2
3
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
2
0
5
3
2
7
5
4
8
7
5
10
9
7
12
10
9
14
12
10
15
14
12
14
12
10
12
10
9
10
9
7
8
7
5
7
5
4
5
3
2
3
2
0
2
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
0
1
3
2
3
5
4
5
7
5
6
9
7
8
10
9
10
12
10
12
15
12
13
12
10
12
10
9
10
9
7
8
7
5
6
5
4
5
3
2
3
2
0
1
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
Gtr I
5
5
3
7
6
5
9
8
7
10
10
8
12
12
10
14
13
12
16
15
13
17
17
15
16
15
13
14
13
12
12
12
10
10
10
8
9
8
7
7
6
5
5
5
3
C
Raise each note in the chord to the next scale tone on the string.
Start with the notes of the C major scale C-D-E-F-G-A-B; build a chord on each step of the scale using only the notes of the major scale.

8
T
A
B
I
e
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V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
2
1
5
3
3
7
5
5
8
7
6
10
9
8
12
10
10
14
12
11
15
14
13
14
12
11
12
10
10
10
9
8
8
7
6
7
5
5
5
3
3
3
2
1
7
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
1
1
3
3
3
5
5
5
7
6
6
9
8
8
10
10
10
12
11
12
14
13
13
12
11
12
10
10
10
9
8
8
7
6
6
5
5
5
3
3
3
2
1
1
F
6
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
5
5
5
7
6
7
9
8
8
10
10
10
12
12
12
14
13
14
15
15
15
17
17
14
15
15
12
14
13
10
12
12
8
10
10
7
9
8
5
7
6
3
5
5
5
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
2
1
3
3
3
5
5
5
7
7
6
8
9
8
10
10
10
12
12
12
13
14
13
15
12
12
13
10
10
12
9
8
10
7
6
8
5
5
7
3
3
5
2
1
3
Use the same apporach with spread inversions.
After you master this Lesson in the key of C, begin work with the other keys with the goal of playing it in all 12 keys and on all sets of strings.

12
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
3
3
5
5
4
7
7
6
8
8
8
10
10
10
12
12
11
13
14
13
15
15
15
13
14
13
12
12
11
10
10
10
8
8
8
7
7
6
5
5
4
3
3
3
11
T
A
B
I
e
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
3
1
5
4
3
7
6
5
8
8
6
10
10
8
12
11
10
14
13
11
15
15
13
14
13
11
12
11
10
10
10
8
8
8
6
7
6
5
5
4
3
3
3
1
B
`
10
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
3
3
6
5
5
8
7
7
10
8
8
12
10
10
13
12
12
15
13
14
17
15
15
15
13
14
13
12
12
12
10
10
10
8
8
8
7
7
6
5
5
5
3
3
9
T
A
B
I
e
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
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29
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33
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34
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42
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G
Segment 50. Learning & Practicing Triad Inversions
Now it is up to you to apply the same concepts we used to study the major scale
to the study of harmonizing the major scales with triads.
1. Start with the notes of the C major scale C-D-E-F-G-A-B; build a chord on
each step of the scale using only the notes of the major scale. (Recall that
triads are built using thirds, or every other note.)
2. Finger the C major triad (C-E-G) on the top 3 strings as follows: C on the 5
th

fret of the 3
rd
string, E on the 5
th
fret of the 2
nd
string and G on the 3
rd
fret
of the 1
st
string.
3. Raise each note in the chord to the next scale tone on the string. Once you
find the most logical fingering, strum the chord. This is the D minor chord,
referred to as the ii chord because it is built on the second tone of the
major scale.
4. We refer to each chord with a Roman numeral that corresponds to the
scale tone on which the chord is built.
5. Continue to do this, hitting all scale tones. In essence, you are playing the C
major scale on 3 strings simultaneously with different starting points, which
yields the following chords:
C major is the I, or root chord C-E-G (1-3-5)
D minor is the ii chord D-F-A (1-b3-5)
E minor is the iii chord E-G-B (1-b3-5)
F major is the IV chord F-A-C (1-3-5)
G major is the V chord G-B-D(1-3-5)
A minor is the vi chord A-C-E (1-b3-5)
B minor is the vii chord B-D-F (1-b3-b5)
6. Included in this chapter is a chord shapes supplement to help you get
started.
7. Next, apply the same method to harmonize the major scale using spread
inversions.
8. Next, find breaking points where you can move from a lower set of strings
to the next set of strings using the same concept we used with the major
scale and the arpeggios. In other words, play the harmonized major scale
on the 3
rd
, 4th and 5
th
strings. When you get to the final chord, move
vertically and play the last chord on the 2
nd
, 3
rd
and 4
th
strings.
9. Next, move vertically from the lower strings to the higher strings to play
the last 2 chords, the last 3 chords, the last 4 chords, etc.
10. After you master this lesson in the key of C, begin work with the other keys
with the goal of playing it in all 12 keys and on all sets of strings.

CHAPTER 12 SEGMENT 50
Learning & Practicing Triad Inversions
Level: Intermediate
Gtr I: Untitled (E A D G B E)
4
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Gtr I
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0
Find breaking points where you can move to the next set of strings using the same concept we used with the major scale and the arpeggios.
Play the harmonized major scale on the 3rd, 4th and 5th strings, as we did in the previous segment.

5
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Try switching 2 sets of strings.
Find as many variations as possible. Do the same with the minor scales. Play in all 12 keys.

Segment 51. Triad Inversions: Play-along Exercise
1. On this play-along we strum 2 beats of each triad, first on the top 3 strings
and then on the 2nd, 3rd and 4
th
strings, starting with the C triad. Refer to
the video demonstration and the notation that follows.
2. It is up to you to expand this exercise to include all sets of strings, in all
keys. Also move from the lower strings to the next set of higher strings the
same way we have done in previous exercises to achieve all possible
variations.
3. Next, play the chords as arpeggios, hitting one note at a time using all down
strokes.
4. Move this exercise into the minor scales and into the other keys with the
goal of mastering all 12.

CHAPTER 12 SEGMENT 51
Triad Inversions: Playalong Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
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Gtr I
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17
15
It is up to you to expand this exercise to include all sets of strings, in all keys. Also move from the lower strings to
the next set of higher strings the same way we have done in previous exercises to achieve all possible variations.
Strum 2 beats of each triad, first on the top 3 strings and then on strings 2, 3 and 4, stating with the C triad.

41
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35
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13
on 2nd 3rd and 4th strings
on top strings Next, play the chords as arpeggios, hitting one note at a time using all down strokes.

46
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2
3
2
2
0
1
0
2
Segment 52. Harmonizing a Melody with Triad Inversions
In this segment we apply theory to practice by harmonizing the first 8 bars of “All
of Me”. In this chord melody exercise we use the same approach we took when
we harmonized the major scale with triads. Refer to the video segment and the
notation that follows.
1. Start by playing the melody horizontally on the B string.
2. Next, harmonize the melody with triads, choosing inversions of the chord
you are playing over that have the melody note on the B string.
3. When you get to the E7, use an E major triad chord not the E7.
4. Using the methods we have used throughout the course, come up with all
the different ways to harmonize the melody without trying to memorize
what you play.
5. Use the same approach of moving from a horizontal approach to a vertical
by switching string sets at different points.
6. Remember that it is important to use what we learn theoretically to create
music. This is a great way to apply what we have learned thus far to make
music.


CHAPTER 12 SEGMENT 52
Triad Inversions: Harmonizing a Melody
Level: Intermediate
Gtr I: Untitled (E A D G B E)
9
T
A
B
I
V
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W V
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E C
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W V
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1
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E C
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V
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V W
V
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3
V
V g
V W
Gtr I
8 3 0 0 8 10 8 7 4 0 0
E C
Here is anoter example incorporating a vertical move accross strings. The melody note in this example is not always the top not of the inversion.
Find the inversion of the triad that has the melody note on top.
Play a phrase of a melody on the 1st string.

17
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E C
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E C
Apply this technique to the rest of the song and other songs you are working on.
In this example we apply just the vertical approach.
Here is another example of mixing horizontal and vertical inversions.

Chapter 13
Harmonizing Scales with 4-Note Chords
Segment 53. Overview
This chapter builds on the previous chapters where we harmonized the major
scale and melody with triads. We will use the same approach with the added 4
th

note. Remember that the Inversion Excursion supplement of this book has all the
variations for your reference.
1. Remember that chords are built by choosing every other note in the scale.
With that in mind, start with a C major triad (C-E-G) and add the next note
B and you have a C major 7
th
chord.
2. Play the C major 7
th
with the root on the 5
th
string, the 5 on the 4
th
string,
the 7 on the 3
rd
string and the 3 on the 2
nd
string.
3. Raise each note in the chord to the next scale tone on the string. The root
on the 5
th
string moves up a whole step to the next scale tone, here: the D
on the same string. The G is raised a whole step to the A, the B is raised a
half step to the C, and the E is raised a half step to the F.
4. Once you find the most logical fingering, strum the chord. This is the Dm7
chord, referred to as the ii chord because it is built on the second tone of
the major scale.
5. Continue to do this, hitting all scale tones.
6. In essence, you are playing the C major scale on 4 strings simultaneously
with different starting points, which yields the following chords:

Cmaj7 is the I chord or the root chord C-E-G-B (1-3-5-m7)
Dm7 is the ii chord D-F-A-C (1-b3-5-m7)
Em7 the iii chord E-G-B-D (1-b3-5-m7)
Fmaj7 the IV chord F-A-C-E (1-3-5-M7)
G7 the V chord or the dominant G-B-D-F (1-3-5-m7)
Am7 the vi chord A-C-E-G (1-b3-5-m7)
Bm7-
5
the vii chord or the half diminished B-D-F-A (1-b3-b5-m7)
7. Apply this lesson using each inversion as a starting point.
8. Using the same approach, harmonize the major scale on each set of four
strings.
9. Next, harmonize the major scale with 4 note spread voicings, skipping the
5
th
string first and then the 4
th
string, as indicated in the following notation.
10. Once you learn these inversions in the key of C, move to other keys with
the goal of playing them in all 12 keys.
11. Be aware that you can add other intervals, such as the 6
th
, 9
th
, 11
th
; to the
triad to come up with additional four note chords.
12. Included in this chapter is a chord shapes supplement to help you get
started.

CHAPTER 13 SEGMENT 53
Harmonizing Scales with 4-Note Chords
Level: Advanced
Gtr I: Untitled (E A D G B E)
3
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4
5
Start with a closed Cmaj7 chord with the root on the 5th string and raise each note in the chord to the next scale tone on the string.
3rd inversion
2nd inversion
1st inversion
move down 1 octave
I
ii
iii IV V vi vii
I
vii
vi
V IV
iii ii I

7
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2
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2
2
0
1
3rd inversion
2nd inversion
move up 1 octave
1st inversion
4th inversion
move down 1 octave

11
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14
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10
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9
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8
3rd inversion
move up 1 octave
move down 1 octave
move up 1 octave
move down 1 octave
2nd inversion
1st inversion
move up 1 otave
4th inversion
move down 1 octave

15
T
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T
A
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I
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7
7
5
5
8
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7
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10
10
9
9
12
12
10
10
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14
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15
15
14
14
5
5
3
4
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7
5
5
5
5
3
4
15
15
14
14
13
14
12
12
12
12
10
10
10
10
9
9
8
8
7
7
7
7
5
5
3rd inversion
move up 1 octave
2nd inversion
move down 1 octave
1st inversion
move up 1 octave
move down 1 octave
spread voicings skipping the 5th string
move up 1 octave
move down 1 octave
4th inversion

19
T
A
B
I V
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3rd inversion
1st inversion
2nd inversion
spread voicings skipping the 4th string
move up one octave
move down 1 octave
4th inversion

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Apply the same approach to harmonizing the major scale in all 12 keys.
4th inversion
CHAPTER 13 SEGMENT 54
Learning & Practicing Harmonizing Scales
Level: Advanced
Gtr I: Untitled (E A D G B E)
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Apply vertical movements to switch string sets on all steps of the harmonized scale.
Practice this in all areas of the fingerboard and in all 12 keys. Do the same with the minor scales.
2
3

Segment 54. Learning & Practicing Harmonizing Scales
In this segment we harmonize the major scale with 4 notes the same way we did
with triads. We play the harmonized scale finding breaking points to move
vertically from a lower set of strings to the higher strings.
1. Play the harmonized C major scale on a lower set of strings. When you get
to the last chord of the scale, move vertically and play it on the next set of
strings. You can switch from strings 6-5-4-3 to -5-4-3-2 and from strings 5-4-
3-2 to 4-3-2-1.
2. Next, switch strings on the last 2 chords of the scale.
3. Next, switch strings on the last 3 chords of the scale, etc.
4. Remember to do this exercise in all 12 keys, spending a little time each day.




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CHAPTER 13 SEGMENT 55
Harmonizing Scales: Play-along Exercise
Level: Advanced
Gtr I: Untitled (E A D G B E)
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Next we combine the horizontal and vertical approach by switching string sets at different points in the scale.
Harmonize the major scale with 4-note inversions, playing 2 beats of each chord starting with the Cmaj7 chord on the inside strings.










Segment 55. Harmonizing Scales: Play-along Exercise
1. In this play-along we harmonize the major scale with 4-note inversions,
playing 2 beats of each chord starting with the Cmaj7 chord on the inside
strings.
2. Next we combine the horizontal and vertical approach by switching string
sets at different points in the scale.
3. Apply the same concept to play the harmonized major scale with 4-note
spread voicings.
4. Finally, we play the chords as arpeggios, picking the notes individually.

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Arpeggios
Spread voicings

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Segment 56. Harmonizing a Melody with 4-Note Chords
1. Now let’s apply the concept learned in the previous sections to making
music. We revisit the first 8 bars of “All of Me”, using the same approach
we used to harmonize the melody with 3-note chords, this time using 4-
note chords.
2. Note that harmonizing melodies with 4-note chords offers many more
options. For example, in addition to 7
th
chords we can use 6
th
, 9
th
or 6/9
chords. When we play over the E7 and the A7, we can use the dominant
chords rather than triads.
3. For our example we will start with the major C 6/9 chord to the E7 chord.
See the video demonstration and the notation that follows.
4. Use this approach for all the songs you are working on.
5. Mix it up by using triads and 4-note chords, major 7
th
and major 6
th
chords,
dominant 7
ths
and dominant 9
ths
.





CHAPTER 13 SEGMENT 56
Harmonizing a Melody with 4-Note Chords
Level: Intermediate
Gtr I: Untitled (E A D G B E)
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Mix it up by using triads and 4-note chords, major 7th and major 6th chords, dominant 7ths and dominant 9ths.
Use the same approach we used to harmonize the melody with 3-note chords, this time using 4-note chords.

Chapter 14
Modes
Segment 57. Overview
Modes are scales that are built using a common scale. If we start on each note of
the major scale and play up to the octave we have our 7 modes based on the
major scale. Do not get caught up with the theory, just remember that you are
simply playing a major scale starting and ending on intervals other than the root.
The important part of learning modes is to recognize the sounds of the different
intervals and use them to color your solos by starting and ending on notes other
than the root.
Beginning on each note of the major scale and playing up to the octave yields the
seven modes or scales. These scales are also related to the chords that are built
on the same step of the scale, as covered in the lessons on harmonizing the major
scale.
1. Strum a Cmaj7 chord to get the sound of the chord in your ear.
2. In the key of C, play C-D-E-F-G-A-B-C and we have our familiar major scale
also called the Ionian mode.
3. Strum a Dm7 chord to get the sound of the chord in your ear.
4. Next, start on the 2
nd
note, D, and play up to the octave and you have the
Dorian mode. D-E-F-G-A-B-C-D. This scale is a minor scale, related to the ii
chord, Dm7; it works well when improvising over the ii chord. This scale is
also great to use over the I chord because it highlights the 9
th
, the D in the
key of C, which adds nice color to a solo.
5. Strum an Em7 chord to get the sound of the chord in your ear.
6. Starting on the E, or the 3
rd
note, play the scale up to the octave, E-F-G-A-B-
C-D-E, yields the Phrygian mode, perfect for playing over the iii chord, the
Em7 in the key of C. This scale is also good to use over the I, and ii chord.
Over the ii chord the Phrygian mode highlights the 9
th
of the chord.
7. Strum an Fmaj7
#11
chord to get the sound of the chord in your ear.

8. Starting on the F or the 4
th
note and playing up to the octave, F-G-A-B-C-D-
E-F yields the Lydian mode. This is another major scale that works well over
the IV chord. It is also good over the ii and V chords.
9. Strum a G7 chord to get the sound of the chord in your ear.
10. Starting on the 5
th
note of the scale yields the Mixolydian mode, G-A-B-C-
D-E-F-G, which is another major scale that works well over dominant chords
or the G7 in the key of C. Many classic jazz musicians that I have played
with like to use the Mixolydian mode over the I chord by starting and/or
ending a phrase on the 5
th
.
11. Strum an Am7 chord to get the sound of the chord in your ear.
12. Starting on the 6
th
note, A, play the scale up to the octave, A-B-C-D-E-F-G-
A, which yields the A natural minor scale or the Aeolian mode. This scale
works well over the vi chord or any minor chord. It is also good over the ii
chord (the Mixolydian mode of the Dorian) the IV and I chord.
13. Strum a Bm7
-5
chord to get the sound of the chord in your ear.
14. Starting on the 7
th
note of the major scale B, play the scale up to the
octave, B-C-D-E-F-G-A-B, which yields the Locrian mode. This scale works
well over the vii chord and is also good over the I chord because it
highlights the major 7
th
interval.
15. The 7 modes of the major scale and the corresponding chords are:
Cmaj7 is the I chord or the root; the related mode is the major
scale also referred to as the Ionian
Dm7 is the ii chord; the related scale is the Dorian
Em7 the iii chord; the related scale is the Phrygian
Fmaj7 the IV chord; the related mode is the Lydian
G7 the V chord or the dominant; the related mode is the
Mixolydian
Am7 the vi chord; the related mode is the Aeolian
Bmin7
-5
the vii chord or the half diminished; the related mode is
the Locrian

Vertical
16. We can approach modes the same way we approached the many ways to
play the major scale. Play a one-octave scale beginning with your 1
st
finger
hunting down the notes and coming up with logical fingerings.
17. Next, fret the same note with your 2
nd
finger and repeat the exercise.
18. Next, start with your 3
rd
finger and play another one octave scale.
19. Finally, start with your 4
th
finger and play another variation of the scale.
20. Use this same approach with every mode in the key of C.
21. Play this lesson in other keys, with the goal of playing in all 12 keys.
Horizontal
22. Play the 7 modes of the C major scale, ascending and descending on each
of the 6 strings, one at a time, beginning with the root of the mode.
23. Combine horizontal scales with vertical using the same approach we took
with the major scales. That is, playing horizontally and choosing different
notes to move vertically to the next string.
24. Play this lesson in other keys, with the goal of playing in all 12 keys.








CHAPTER 14 SEGMENT 57
Modes
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I V
V
V
V
V
V
V
V
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V
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10
9
10
8
10
7 9 10
7 9 10
8
12
14
12
13
7 9 10
7 9 10
8 10
14
15
14
15
9 10
7 9 10
8 10
7
Bm7
`
5 Am7 G7
1
T
A
B
I
V
V
V
V
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V
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3
5
4
5
3 5
2 3 5
2 4 5
5
7
5
6
5 7 8
5 7
4 5 7
7
9
7
8
7 8 10
7 9 10
7 9
8
9
9
10
8 10
7 9 10
7 9 10
Fmaj7 Em7 Dm7 Cmaj7
Beginning on each note of the major scale and playing up to the octave yields the seven modes or scales.
These scales are related to the chords that are built on the same step of the scale.
Start by strumming the chord to get the sound in your ear and then play its related scale.
Locrian Aeolian
Mixolydian
Lydian Phrygian Dorian
Ionian

CHAPTER 14 SEGMENT 57.2
Vertical Modes
Level: Intermediate
Gtr I: Untitled (E A D G B E)
3
T
A
B
I
V
V
V
V
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V
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7
9
7
8
12 13 15
12 14 15
12 14 15
12 14
12 13 15
12
15 13 12
14 12
15 14 12
15 14 12
15 13 12
Em7
2
T
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10
12
10
10
10 12 13
10 12
9 10 12
9 10 12
10 12 13
10
13 12 10
12 10 9
12 10 9
12 10
13 12 10
Dm7
1
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A
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V
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8
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9
9
8 10
7 8 10
7 9 10
7 9 10
8 10
7 8 7
10 8
10 9 7
10 9 7
10 8 7
10 8
Cmaj7
Beginning on each note of the major scale and playing up to the octave yields the seven modes or scales.
These scales are related to the chords that are built on the same step of the scale.
Start by strumming the chord to get the sound in your ear and then play its related scale.
E Phrygian
D Dorian
C Major
7
T
A
B
I
V
V
V
V
V
V
V
V
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14
15
14
15
7 8 10
7 8 10
7 9 10
7 9 10
8 10
7
10 8
10 9 7
10 9 7
10 8 7
10 8 7
Bm7
`
5
6
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I
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12
14
12
13
5 7 8
5 7 8
5 7
4 5 7
5 6 8
5
8 6 5
7 5 4
7 5
8 7 5
8 7 5
Am7
5
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10
9
10
8
3 5
2 3 5
2 3 5
2 4 5
3 5 6
3
6 5 3
5 4 2
5 3 2
5 3 2
5 3
G7
4
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8
9
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10
13 15
12 14 15
12 14 15
12 14
12 13 15
12 13 12
15 13 12
14 12
15 14 12
15 14 12
15 13
Fmaj7
b
11
B Locrian
A Aeolian
G Mixolydian
F Lydian

CHAPTER 14 SEGMENT 57.3
The Horizontal Ionian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
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V V
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3 5 7 8 10 12 14 15 14 12 10 8 7 5 3
8 10 12 13 15 17 19 20 19 17 15 13 12 10 8
3
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5 7 9 10 12 14 16 17 16 14 12 10 9 7 5
10 12 14 15 17 19 21 22 21 19 17 15 14 12 10
1
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8 10 12 13 15 17 19 20 19 17 15 13 12 10 8
1 3 5 6 8 10 12 13 12 10 8 6 5 3 1
Cmaj7
Play the 7 modes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the root of the mode.
It is up to you to combine horizontal scales with vertical using the same approach we took with the major scales.

CHAPTER 14 SEGMENT 57.4
The Horizontal Dorian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
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V
V
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V
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V V
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5 7 8 10 12 14 15 17 15 14 12 10 8 7 5
10 12 13 15 17 19 20 22 20 19 17 15 13 12 10
3
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7 9 10 12 14 16 17 19 17 16 14 12 10 9 7
0 2 3 5 7 9 10 12 10 9 7 5 3 2 0
1
T
A
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10 12 13 15 17 19 20 22 20 19 17 15 13 12 10
3 5 6 8 10 12 13 15 13 12 10 8 6 5 3
Dm7

CHAPTER 14 SEGMENT 57.5
The Horizontal Phrygian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
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7 8 10 12 14 15 17 19 17 15 14 12 10 8 7
0 1 3 5 7 8 10 12 10 8 7 5 3 1 0
3
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9 10 12 14 16 17 19 21 19 17 16 14 12 10 9
2 3 5 7 9 10 12 14 12 10 9 7 5 3 2
1
T
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V V
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0 1 3 5 7 8 10 12 10 8 7 5 3 1 0
5 6 8 10 12 13 15 17 15 13 12 10 8 6 5
Em7

CHAPTER 14 SEGMENT 57.6
The Horizontal Lydian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
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8 10 12 14 15 17 19 20 19 17 15 14 12 10 8
1 3 5 7 8 10 12 13 12 10 8 7 5 3 1
3
T
A
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V V
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3
0 2 4 5 7 9 10 9 7 5 4 2 0
3 3 5 7 9 10 12 14 15 14 12 10 9 7 5 3
1
T
A
B
I
V
V
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V V
V
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V
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V
1 3 5 7 8 10 12 13 12 10 8 7 5 3 1
6 8 10 12 13 15 17 18 17 15 13 12 10 8 6
Fmaj7
b
11

CHAPTER 14 SEGMENT 57.7
The Horizontal Mixolydian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
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V V
V
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3
0 2 3 5 7 8 10 8 7 5 3 2 0
3 3 5 7 8 10 12 13 15 13 12 10 8 7 5 3
3
T
A
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I V
V
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V V
V
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0 2 4 5 7 9 10 12 10 9 7 5 4 2 0
5 7 9 10 12 14 15 17 15 14 12 10 9 7 5
1
T
A
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I
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V V
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V
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3 5 7 8 10 12 13 15 13 12 10 8 7 5 3
8 10 12 13 15 17 18 20 18 17 15 13 12 10 8
G7

CHAPTER 14 SEGMENT 57.8
The Horizontal Aeolian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
V
V
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V V
V
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V
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V
0 2 3 5 7 8 10 12 10 8 7 5 3 2 0
5 7 8 10 12 13 15 17 15 13 12 10 8 7 5
3
T
A
B
I
V
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2 4 5 7 9 10 12 14 12 10 9 7 5 4 2
7 9 10 12 14 15 17 19 17 15 14 12 10 9 7
1
T
A
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5 7 8 10 12 13 15 17 15 13 12 10 8 7 5
2
0 1 3 5 6 8 10 8 6 5 3 1 0
2
Am7

CHAPTER 14 SEGMENT 57.9
The Horizontal Locrian Mode
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
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V V
V
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2 3 5 7 8 10 12 14 12 10 8 7 5 3 2
7 8 10 12 13 15 17 19 17 15 13 12 10 8 7
3
T
A
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V V
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4 5 7 9 10 12 14 16 14 12 10 9 7 5 4
9 10 12 14 15 17 19 21 19 17 15 14 12 10 9
1
T
A
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7 8 10 12 13 15 17 19 17 15 13 12 10 8 7
0 1 3 5 6 8 10 12 10 8 6 5 3 1 0
Bm7
`
5

Chapter 15
Chord Progressions
Segment 58. Overview
Chord progressions are 2 or more chords organized into groups. Songs are written
by putting melody over chord progressions. Though my approach is to learn how
to play all variations of chords and their inversions in every key, you only need to
know a handful of chords and a few chord progressions to play hundreds of songs
in all different styles of music. In the coming segments I teach you the most
widely used progressions. In the video segment that accompanies this segment I
give you samples of these progressions as played in songs you know.
1. When working through these lessons try to internalize the sound of each
progression.
2. When listening to music try to identify the progression being used.
3. When working on songs, play the progressions in all keys using all the
inversions. This is a great way to take the exercises we have been working
on and apply them to making music.
4. My mentors have always told me that to become an accomplished player,
learn songs. The more songs you learn the easier it is to improvise.
5. Rather than thinking about scales, modes and memorized licks, my
approach is to base improvisation on the melody.
6. The way I approach music is to learn as many melodies as possible and
learn the chord progressions that are used to harmonize them. The way to
study them is by using the same approach we have been using with the
scales and arpeggios and apply it to melodies and chord progressions,
coming up with as many variations as you can.
7. Learning these progressions is key to learning songs and playing songs is
what it is all about!
2. Start in the key of C with a C chord. Finger the C on the 5
th
fret of the 3
rd

string, the E on the 5
th
fret of the 2
nd
string and the G on the 3
rd
fret of the
1
st
string.
3. Move the notes on each string up to the next scale tone the same way we
harmonized the major scale. This is the D minor or ii chord.
4. Next, from the C major chord, move up the harmonized major scale 5 steps
to the G, or V chord.
5. A good way to start working through this progression is to play the I chord
followed by the ii chord to the V chord and back to the I.
6. Next, start on the ii chord and play ii-V-I.
7. Play the ii-V changes all over the fingerboard using inversions, in all keys.
Use inversions that allow you to stay in the same position rather than
moving your hand all over the fingerboard.
8. Jazz players usually use 4-note chords, so use the same concepts with the
Cmaj7, Dmin7 and G7 inversions.
9. Sometimes, just play the ii-V inversions all over the fingerboard and in all
keys.
10. Learn this progression all over the fingerboard, using all inversions using
the same approach we have used throughout this course.
11. Remember to internalize the sound.
13. Included in this chapter is a chord shapes supplement to help you identify
ii-V-I chords that are related, or that require minimum movement to go
from one to the other.
Segment 59. Learning Chord Progressions: ii-V-I and ii-V
1. The ii-V-I progression is an important progression in jazz.

CHAPTER 15 SEGMENT 59
Progressions: ii-V-I and ii-V
Level: Intermediate
Gtr I: Untitled (E A D G B E)
10
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5
7
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3
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Cmaj7 G7 Dm7 Cmaj7 G7 Dm7
7
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Gtr I
5
5
3
7
6
5
4
3
3
5
5
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7
6
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4
3
3
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5
5
3
5
5
3
5
5
3
5
5
3
1st inversion
Jazz players usually use 4-note chords, so use the same concepts with the Cmaj7, Dmin7 and G7 inversions.
Play this ii-V-I I chord V chord
ii chord
I chord
Find a ii-V-I using the 2nd inversion
Play this ii-V-I
I chord V chord ii chord 1 chord
Find a ii-V-I using the 1st inversion
Next, start on the ii chord and play ii-V-I.
I chord V chord ii chord I chord
Finger a C chord. Then move the notes on each string up to the next scale tone the same way we harmonized the major scale.
This is the D minor or ii chord. Next, from the C major chord, move up the harmonized major scale 5 steps to the G, or V chord.

14
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G7 Dm7 G7 Dm7 Cmaj7 G7 Dm7
Sometimes, just play the ii-V inversions
2nd inversion
Learn this progression all over the fingerboard, all inversions using the same approach we have used throughout this course.
5. Next, play the first inversion of each chord by moving horizontally on each
string to the next chord tone.
6. Next, play the second inversion of each chord by moving horizontally on
each string to the next chord tone.
7. Find the I and IV chords on the next set of strings.
8. Identify all of the I-IV chords all over the fingerboard and in all keys.
Remember to find chords that are close to each other so you move
minimally from one chord to the next.
9. Do the same with your spread inversions.
10. Add the 4
th
note to the chords and play a C dominant chord to the F7 and
back to the C7.
11. Try all the inversions of the major 7
th
chord.
12. Next, add the V chord or G to the I and IV in the key of C.
13. Play the I-IV-V progression all over the fingerboard using all different
combinations.
14. Internalize the sound.
15. Use a song form that has these chord changes and play it using all the
inversions to explore your many options.
Segment 60. Learning Chord Progressions: I-IV and I-IV-V
1. The I-IV and the I-IV-V are both very common progressions found in many
songs.
2. Start with the C chord: finger the C on the 5
th
fret of the 3
rd
string, the E on
the 5
th
fret of the 2
nd
string and the G on the 3
rd
fret of the 1
st
string.
3. Next, find the closest IV chord or F. C at the 5
th
fret on the 3
rd
string, F at
the 6
th
fret on the 2
nd
string and A at the 5
th
fret of the top string.
4. Play the chords I-IV-V

CHAPTER 15 SEGMENT 60
Progressions: I-IV and I-IV-V
Level: Intermediate
Gtr I: Untitled (E A D G B E)
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Gtr I
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9
Play the I-IV-V progression all over the fingerboard using all different combinations.
Now, lets add the V chord to the I-IV
Apply this approach in all 12 keys all over the finger board. Next, do the same with 4 note chords.
Apply the same approach to bar chords
Do the same on all sets of strings
root position 2nd inversion 1st inversion
Play a C chord as indicated below. Then, find the closest F chord.
Segment 61. Learning Chord Progressions: I-vi-ii-V
1. In this segment we cover the I-vi-ii-V progression.
2. A good way to really get the sound in your ear is to sing the bass notes. In
the key of C the bass notes are C-A-D-G.
3. Explore the various positions to play this progression using the same
approach we took in the previous segments of this chapter.
4. The style of music you are playing will determine if you will use triads, 4
note chords or 4 and 5 note chords with extensions.
5. Add the 4
th
note to the chords: C-Am7-Dm7-G7. Play in all positions, using
all inversions.
6. Use this progression as a study to learn it all over the fingerboard, finding
as many variations as possible.
7. Next, substitute a dominant chord for the ii and V: Cmaj7-A7-D7-G7.
8. Another variation is to play the ii chord as a Dm7: Cmaj7-A7-Dm7-G7.

CHAPTER 15 SEGMENT 61
Progressions: I-vi-ii-V
Level: Intermediate
Gtr I: Untitled (E A D G B E)
18
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Gtr I
3
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3
Next, substitute a dominant chord for the ii and V: Cmaj7-A7-D7-G7.
Use other inversions, adding notes to the chords. Following are 4 examples. Find more and play them in all positions, using all inversions.
Explore the various positions to play this progression using the same approach we took in the previous segments of this chapter.
etc.
G D A C
A good way to really get the sound in your ear is to sing the bass notes. In the key of C the bass notes are C-A-D-G.

34
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V V f
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k
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c
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7
example from video at 3:58
example from video at 3:22
Another variation is to play the ii chord as a Dm7: Cmaj7-A7-Dm7-G7.

Chapter 16
Chord Melody Techniques
Segment 62. Overview
Chord melody is a great way to add color and dimension to a melody. In this
segment I demonstrate the 3 techniques that I have come up with using the first 8
bars of “All of Me”. By now you should have played this melody in all keys,
horizontally, vertically, a combination of both, in all areas of the fingerboard.

1. Start by playing the melody as indicated in the notation that follows.
2. Next, on the last note of each phrase play the applicable chord that has the
hold note on top. Strum the chord in place of the last note. Begin with the
triad. In our example we will play the C triad with the melody note E on top.
3. Play this phrase in all positions starting with each of your fingers to find all
the variations. Use your inversions and play this phrase and the others all
over the fingerboard.
4. When we play the second phrase over the E7 chord, use the E major triad in
place of the last melody note, E.
5. Next, play the same phrase using a 4-note chord: E7.
6. Use the same approach over the A7, ending the phrase with the A triad
with the E on the top. We can also explore by using the A7 or the A7 flat 9,
in place of the last note of this phrase.
7. When you get to the Dm, you have additional options. For example, the
Dm7, Dm6, Dm9, etc.
8. Use the horizontal approach to explore further.
9. Next, play the underlying chord that has the melody tone on top on the first
and last note of each phrase.
10. Finally, play the chord inversion that has the melody note on top in place
of every note in the melody. See the video demonstration and the notation
that follows. It is beneficial to work with one phrase at a time, finding all
the variations and inversions before moving on to the next phrase.
11. When you come across a note that is not part of the chord simply slide the
chord into the note.

12. Next, add bends and runs using scales or arpeggios during the pause. Work
out simple runs that lead to the next chord with the melody note of the
phrase on the top of the chord.
13. Do not be concerned with playing in time when you first start.
14. Use this approach to learn songs you are working on.




CHAPTER 16 SEGMENT 62
Chord Melody Techniques
Level: Intermediate
Gtr I: Untitled (E A D G B E)
9
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A
B
I
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Cmaj6 Cmaj7 Cmaj6 Cmaj7 C
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V W
j V g
V
V g V f
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W
5
8 5 5 4 5
6 5
8 6
Dm7 A7
1
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V W
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3
V
V g
V W
Gtr I
8
8 5 5
8 10 8 7
9 5 5
E7 C
Next, on the last note of each phrase play the applicable chord that has the hold note on top. Strum the chord in place of the last note.
Find as many variations as you can for the first phrase.
Start by playing the melody as indicated in the notation that follows.

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V
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9 9
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5
C C C
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j V g
V
V g V f
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j V g
V
V g V f
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W
j V g
V
V g V f
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4 5
6 5
8
5
7
5
6 4 5
6 5
8
5
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5
6 4 5
6 5
8
5
7
4
6
Dm6 Dm7 Dm
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A9 A7 A7 A A7
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W
W
8
8
3
5
4
5
3
5
4
5
8 10 8 7
9
6
4
5
6
4
5
8 10 8 7
9
5
6
4
5
5
6
4
5
8 10 8 7
9
7
6
7
5
7
6
7
5
E7 E7 E Cmaj7
Next, play the underlying chord that has the melody tone on top on the first and last note of each phrase.
Continue to come up with as many variations as you can. Use the horizontal approach and expression to explore further.
Adding the next phrase
another inversion
adding the next phrase
adding the next phrase

46
T
A
B
I
V
V
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
V
V
3
V
V g
V g
V
V
V
V
V g
V
V
V
V
W
W
W
W
V
V
V
V
V
V g
V g
V
V
V
V f
V
W
W
W
W
j
V
V g
V g
V g
V g
V f
V
V
V
V
V
V g
V
V
V
V f
W
W
W
W
W
W
W
W
9
8
8
5
5
3
3
5
4
5
3
5
4
5
9
8
8
10
10
10
9
8
8
7
6
7
7
7
9
7
9
5
6
4
5
5
6
4
5
5
4
5
5
7
8
6
8
4
5
2
5
4
5
2
5
3
4
1
4
4
5
2
5
5
6
5
6
5
6
5
5
5
7
5
8
5
7
5
6
Dm7 A7 E9 Cmaj7
38
T
A
B
I
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
3
V
V g
V
V
V
W
W
W
V
V
V
V
V
V g
V
V
V
W
W
W
W
j V g
V
V g V f
W
W
W
W
W
W
W
W
9
8
8
8
3
5
4
5
3
5
4
5
9
8
8 10
9
8
8 7
9
6
4
5
6
4
5
5
4
5
5
8
4
5
2
5
4
5
2
5 4 5
6 5
5
7
5
8
5
7
5
6
Dm7 A7 E7 Cmaj7
slide into the chord from below
Below is an example. Explore more options using the same approach.
Finally, play the chord inversion that has the melody note on top in place of every note in the melody.
Take each phrase and come up with as many variations as you can.
Segment 63. Chord Melody Techniques: Play-along Exercise
In this play-along we apply the chord melody techniques we learned to the song
“All of Me”, playing through the song 5 times using the steps below. Refer to the
video demonstration and the notation that follows.
1. Play the melody only.
2. End each phrase with a chord.
3. Start and end each phrase with a chord.
4. Play a chord on each melody note.
5. Next, I demonstrate how to use all the techniques together.
6. Finally, I increase the tempo and go through a couple of choruses as an
example, demonstrating what can be done using these techniques. Rather
than copy what I do, come up with your own chord melodies using these
techniques.


CHAPTER 16 SEGMENT 63
Chord Melody Techniques Play-along Exercise
Level: Advanced
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V g V f W W V
V
V
3
U
U
12 11 10 10 10 10
10
12 10 12
G7 Dm7 D7
9
T
A
B
I
V
V g W f W
V
V g
V
3
W
W U
5 4 3 3 5 9
7 10 8 8
Am7 E7
5
T
A
B
I
V
V
V W
j V g
V
V g V f
W
W
5
8 5 5 4 5
6 5
8 6
Dm7 A7
1
T
A
B
I
V
V
V W
V
V
V
3
V
V g
V W
Gtr I
8
8 5 5
8 10 8 7
9 5 5
E7 C
Play the melody only.
29
T
A
B
I
W
V
V
W W
U U
13 10 13
12 12 8 8
C G7 Dm7
25
T
A
B
I
W
V
V
W
V
W
V
V
W
V
10 8 7 10 8 7
9
8 12 10
A7 C Fm F
21
T
A
B
I
V
V
V W
j V g
V
V g V f
W
W
10 8 5 5 4 5
6 5
8 6
Dm7 A7
17
T
A
B
I
V
V
V W
V
V
V
3
V
V g
V W
13 8 5 5 13 15 13 12 9 5 5
E7 C

45
T
A
B
I
V
V g
V g
V
V
V f
W
W
W
W W V
V
V
3
U
U
U
U
U
12 11
9
10
9
10
9
10
9
10 10 10
10
12 10
10
12
10
12
G7 Dm7 D7
41
T
A
B
I
V
V g
W
W f
W g
W
W
W
W
W
V
V g
V
3
W
W
W
W
W
U
U
U
U
5 4
2
0
1
3
2
0
1
3 5 9
7 10
7
9
8
8
7
9
8
8
Am7 E7
37
T
A
B
I
V
V
V g
V
V
V
W
W
W
W
j V g
V
V g V f
W
W
W
W
W
5
8
4
5
2
5
4
5
2
5 4 5
6 5
8
5
7
5
6
Dm7 A7
33
T
A
B
I
V
V
V
V
V
V
W
W
W
W
V
V
V
3
V
V g
V
V
V
W
W
W
8
8
3
5
4
5
3
5
4
5
8 10 8 7
9
6
4
5
6
4
5
E7 C
End each phrase with a chord.

61
T
A
B
I
W
V
V
W
W
W
W g
W
U
U
U
U
U
U
13 10 13
12
9
10
9
12
9
8
8
9
8
8
C G7 Dm7
57
T
A
B
I
W
V
V
W
W g
W
V
W
V
V
W
W g
W g
W
V
10 8 7
10
9
10 8 7
9
8
5
6
7
7
10
A7 C Fm F
53
T
A
B
I
V
V
V g
V
V
V
W
W
W
W
j V g
V
V g V f
W
W
W
W
W
5
8
4
5
4
5
4
5
4
5 4 5
6 5
8
5
7
5
6
Dm7 A7
49
T
A
B
I
V
V
V
V
V
V
W
W
W
W
V
V
V
3
V
V g
V
V
V
W
W
W
13 8
3
5
4
5
3
5
4
5 13 15 13 12 9
6
4
5
6
4
5
E7 C

77
T
A
B
I
V g
V
V
V
V g
V
V
V
V f
W
W
W
W
W
W
W
W
V g
V
V
V
V
V
U
U
U
U
U
U
U
U
4
5
5
7 6
4
5
5
5
4
5
5
5
4
5
5
5
4
5
5
5 10 7
5
5
6
5
5
7
6
7
G7 Dm7 D7
73
T
A
B
I V g
V
V
V g
W
W f
W
W
W
W
W
W
V g
V
V
V
V
3
W
W
W
W
W
W
W
W
U
U
U
U
6
4
5 4
2
0
1
3
2
0
1
3
6
4
5
4 7
7
9
8
10
7
9
8
8
7
9
8
8
Am7 E7
69
T
A
B
I V
V
V
V
V
V g
V
V
V
W
W
W
W
j V g
V
V g V f
W
W
W
W
W
W
W
W
5
4
5
5
8
4
5
4
5
4
5
4
5 4 5
6 5
5
7
5
8
5
7
5
6
Dm7 A7
65
T
A
B
I
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
3
V
V
V g
V
V
V
V
V
W
W
W
9
8
8
8
3
5
4
5
3
5
4
5
9
8
8 10
9
8
8
9
7
9
7
9
6
4
5
6
4
5
E7 C
Start and end each phrase with a chord.

93
T
A
B
I
W
W
W
W
W
V
V
W
W
W
W
W
W
W
W
U
U
U
U
U
U
5
7
5
6
8 5 8
10
10
10
12
9
10
10
12
9
8
8
9
8
8
C G7 Dm7
89
T
A
B
I
W
W
W
W
W
V
V
W
W
W g
W
V
W
W
W
W
V
V
W
W g
W
W
V
8
10
9
10
10 8 7
8
10
9
10 8
10
9
8
7
9
8
5
6
5
7 5
A7 C Fm F
85
T
A
B
I V
V g
V
V
V
V
V
V
V
W
W
W
W
j V g
V
V g V f
W
W
W
W
W
W
W
W
5
6
5
5
8
4
5
4
5
4
5
4
5 4 5
6 5
5
7
5
8
5
7
5
6
Dm7 A7
81
T
A
B
I
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
3
V
V g
V
V
V
V
V
W
W
W
9
8
8
8
3
5
4
5
3
5
4
5
9
8
8 10
9
8
8
7
9
7
9
6
4
5
6
4
5
E7 C

109
T
A
B
I
V g
V
V
V
V
V
V
V g
V
V
V
V f
W
W
W
W
W
W
W
W
V g
V
V
V
V
V
V
V
V
V
V
V
V
U
U
U
U
U
U
U
U
4
5
5
7
4
5
5
6
4
5
5
5
4
5
5
5
4
5
5
5
4
5
5
5
9
10
9
10
10
4
5
5
7
5
5
6
5
5
7
6
7
G7 Dm7 D7
105
T
A
B
I V g
V
V
V
V g
V
V
W
W f
W
W
W
W
W
W
V g
V
V
V
V
V
V
V
V
V
3
W
W
W
W
W
W
W
W
U
U
U
U
6
4
5
3
1
2
4
2
0
1
3
2
0
1
3
6
4
5
9
7
9
9
7
9
7
7
9
8
10
7
9
8
8
7
9
8
8
Am7 E7
101
T
A
B
I V
V
V
V
V
V
V g
V
V
V
V
V
W
W
W
W
j
V
V g
V g
V g
V g
V
V
V
V
V
V
V
V
V
V
V f
W
W
W
W
W
W
W
W
5
4
5
5
5
5
6
8
4
5
4
5
4
5
4
5
3
4
3
4
4
5
4
5
5
6
5
6
5
6
5
5
5
7
5
8
5
7
5
6
Dm7 A7
97
T
A
B
I
V
V
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
V
V
3
V
V
V g
V
V
V
V
V
V
V
W
W
W
14
12
13
10
9
8
3
5
4
5
3
5
4
5
9
8
8
10
10
10
9
8
8
9
7
9
7
9
7
9
6
4
5
6
4
5
E7 C
Play a chord on each melody note.

125
T
A
B
I
W
W
W
W
W
V
V
V
V
V
V
V
V
V
V
W
W
W
W
W
W
W
W
U
U
U
U
U
U
5
7
5
6
8
5
7
5
6
5
5
7
5
6
8
10
10
10
12
9
10
10
12
9
8
8
9
8
8
C G7 Dm7
121
T
A
B
I
W
W
W
W
W
V
V
V
V
V
V
W
W
W g
W
V
V
V g
V
V
W
W
W
W
V
V
V
V
V
V
V
V
V
W
W g
W g
W
V g
V
V
V
V
8
10
9
10
10
8
10
9
10
8 7
8
10
9
10
8
10
8
9
8
10
9
8
7
3
5
4
5
3
5
4
5
3
5
6
7
7
4
5
4
5
5
A9 C Fm F
117
T
A
B
I V
V g
V g
V
V
V g
V
V
V
V
V
V
W
W
W
W
j
V
V g
V g
V g
V g
V
V
V
V
V
V
V
V
V
V
V f
W
W
W
W
W
W
W
W
5
6
7
5
7
8
7
8
4
5
4
5
4
5
4
5
3
4
3
4
4
5
4
5
5
6
5
6
5
6
5
5
5
7
5
8
5
7
5
6
Dm7 A7
113
T
A
B
I
V
V
V
V
V
V
V
V
V
V
W
W
W
W V
V
V
V
V
V
V
V
V
3
V g
V
V g
V
V
V
V
V
V
V
W
W
W
9
8
8
5
5
3
3
5
4
5
3
5
4
5
9
8
8
10
10
10
9
8
8
6
7
7
7
9
7
9
6
4
5
6
4
5
E7 C
Now take all these concepts and techniques and put them together. Experiment using differnt inversions and fills and make it your own.

Chapter 17
Harmonizing Scales with Three Notes
Segment 64. Overview
This lesson builds on our study of harmonizing the major scale, but instead of
adding one interval, we will harmonize the major scale with two intervals. The
same approach can be applied to harmonizing melodies. This is another way to
develop chord voicings. Experimenting with different combinations of intervals
will spark creativity in addition to helping you gain a better understanding of the
fingerboard.

It is important to note that several of the 3 note combinations we will work
through are impossible to play simultaneously; you just can’t stretch your fingers
that far. When working through such harmonies, simply treat them like arpeggios,
picking one note at a time while thinking vertically.

Essentially, you are playing the notes of the major scale horizontally on 3 strings
with different start and end points.

1. Start in the key of C with a C chord. Note that a C chord is made up of 2
intervals: a 3
rd
and a 3
rd
.
2. Do not think of these as triads; rather focus on the intervals between each
note.
3. Play the notes of the major scale horizontally, ascending and descending
with each interval staying on the same string. Remember, you are playing
the notes of the major scale on 3 strings simultaneously with different start
and end points.
Below are the combinations of intervals to work through. Start on the top 3
strings, and then move to the 2nd, 3rd and 4th strings. Some of these require a
fair degree of stretching. Be careful - if you feel strained, stop and take a
break. See the notation that follows for each of these variations.


Root plus:
II and II III and II IV and II
II and III III and III IV and III
II and IV III and IV IV and IV
II and V III and V IV and V
II and VI III

and VI IV and VI
II and VII II and VII IV and VII
4. Listen to the sound combinations and think about which players or styles
they remind you of. Then think about which you prefer to use in your own
playing.
5. Apply this same concept to melody. See the video for a demonstration and
the notation that follows. We will apply it to the song “All of Me”.
6. Apply this approach when adding a song to your repertoire. Whenever I
learn a new song I will spend time harmonizing the melodies with this
approach to really internalize the song. Once I do it I know the song
forever.





CHAPTER 17 SEGMENT 64
Harmonizing Scales with Three Notes
Level: Advanced
Gtr I: Untitled (E A D G B E)
5
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
3
4
5
5
5
6
7
7
8
8
9
10
10
10
12
12
12
13
14
14
15
15
16
17
14
14
15
12
12
13
10
10
12
8
9
10
7
7
8
5
5
6
3
4
5
5
5
1
7
6
3
9
8
5
10
10
7
12
12
8
14
13
10
16
15
12
17
17
13
16
15
12
14
13
10
12
12
8
10
10
7
9
8
5
7
6
3
5
5
1
3
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
0
2
1
2
4
3
3
5
5
5
7
6
7
9
8
9
10
10
10
12
12
12
14
13
10
12
12
9
10
10
7
9
8
5
7
6
3
5
5
2
4
3
0
2
1
3
5
5
5
7
6
7
9
8
8
10
10
10
12
12
12
14
13
14
15
15
15
17
17
14
15
15
12
14
13
10
12
12
8
10
10
7
9
8
5
7
6
3
5
5
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
Gtr I
5
5
3
7
6
5
9
8
7
10
10
8
12
12
10
14
13
12
16
15
13
17
17
15
16
15
13
14
13
12
12
12
10
10
10
8
9
8
7
7
6
5
5
5
3
5
3
3
7
5
5
9
6
7
10
8
8
12
10
10
14
12
12
16
13
13
17
15
15
16
13
13
14
12
12
12
10
10
10
8
8
9
6
7
7
5
5
5
3
3
root plus III and II big stretch! may need to treat as arpeggio. root plus VII and IV
root plus V and III on a different set of strings
root plus II and IV
root plus III and III
Start with a couple of examples in familliar territory followed by several combinations of intervals to work through.
Do not think of these as triads; rather focus on the intervals between each note.
Remember, you are playing the notes of the major scale on 3 strings simultaneously with different start and end points.
root plus V and VI
examples of spread inversions

13
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
5
3
7
6
5
9
8
7
10
10
8
12
12
10
14
13
12
16
15
13
17
17
15
16
15
13
14
13
12
12
12
10
10
10
8
9
8
7
7
6
5
5
5
3
5
5
5
7
6
7
9
8
8
10
10
10
12
12
12
14
13
13
16
15
15
17
17
17
16
15
15
14
13
13
12
12
12
10
10
10
9
8
8
7
6
7
5
5
5
11
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
3
8
7
5
10
9
6
12
10
8
13
12
10
15
14
12
17
16
13
19
17
15
20
16
13
19
14
12
17
12
10
15
10
8
13
9
6
12
7
5
10
5
3
8
5
5
1
7
6
3
9
8
5
10
10
7
12
12
8
14
13
10
16
15
12
17
17
13
16
15
12
14
13
10
12
12
8
10
10
7
9
8
5
7
6
3
5
5
1
9
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
3
5
7
5
7
9
6
8
10
8
10
12
10
12
14
12
13
16
13
15
17
15
17
16
13
15
14
12
13
12
10
12
10
8
10
9
6
8
7
5
7
5
3
5
5
3
7
7
5
8
9
6
10
10
8
12
12
10
13
14
12
15
16
13
17
17
15
19
16
13
17
14
12
15
12
10
13
10
8
12
9
6
10
7
5
8
5
3
7
7
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
3
1
7
5
3
9
6
5
10
8
7
12
10
8
14
12
10
16
13
12
17
15
13
16
13
12
14
12
10
12
10
8
10
8
7
9
6
5
7
5
3
5
3
1
5
3
3
7
5
5
9
6
7
10
8
8
12
10
10
14
12
12
16
13
13
17
15
15
16
13
13
14
12
12
12
10
10
10
8
8
9
6
7
7
5
5
5
3
3
Work through the following combinations of intervals on the top strings. We touched on a couple of these already in our examples above.
root plus III and II
root plus II and VII big stretch! may need to treat as an arpeggio
root plus II and VI
root plus II and V
root plus III and IV root plus III and III
root plus II and III
root plus II and IV

21
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
6
8
7
8
10
9
10
12
10
12
13
12
13
15
14
15
17
16
17
19
17
18
20
16
17
19
14
15
17
12
13
15
10
12
13
9
10
12
7
8
10
5
6
8
5
6
10
7
8
12
9
10
13
10
12
15
12
13
17
14
15
19
16
17
20
17
18
22
16
17
20
14
15
19
12
13
17
10
12
15
9
10
13
7
8
12
5
6
10
19
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
6
5
7
8
7
9
10
8
10
12
10
12
13
12
14
15
13
16
17
15
17
18
17
16
17
15
14
15
13
12
13
12
10
12
10
9
10
8
7
8
7
5
6
5
5
6
7
7
8
8
9
10
10
10
12
12
12
13
13
14
15
15
16
17
17
17
18
19
16
17
17
14
15
15
12
13
13
10
12
12
9
10
10
7
8
8
5
6
7
17
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
5
10
7
6
12
9
8
13
10
10
15
12
12
17
14
13
19
16
15
20
17
17
22
16
15
20
14
13
19
12
12
17
10
10
15
9
8
13
7
6
12
5
5
10
5
6
3
7
8
5
9
10
7
10
12
8
12
13
10
14
15
12
16
17
13
17
18
15
16
17
13
14
15
12
12
13
10
10
12
8
9
10
7
7
8
5
5
6
3
15
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
5
7
7
6
8
9
8
10
10
10
12
12
12
13
14
13
15
16
15
17
17
17
19
16
15
17
14
13
15
12
12
13
10
10
12
9
8
10
7
6
8
5
5
7
5
5
8
7
6
10
9
8
12
10
10
13
12
12
15
14
13
17
16
15
19
17
17
20
16
15
19
14
13
17
12
12
15
10
10
13
9
8
12
7
6
10
5
5
8
root plus IV and VI big stretch! may need to treat as an arpeggio root plus IV and V
root plus IV and IV
root plus IV and III
root plus IV and II
root plus III and VII
root plus III and VI
root plus III and V

23
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
6
12
7
8
13
9
10
15
10
12
17
12
13
19
14
15
20
16
17
22
14
15
20
12
13
19
10
12
17
9
10
15
7
8
13
5
6
12
root plus IV and VII play as an arpeggio

CHAPTER 17 SEGMENT 64.2
Harmonizing Scales with Three Notes Strings 2-3-4
Level: Advanced
Gtr I: Untitled (E A D G B E)
6
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
7
13
12
9
15
14
10
17
15
12
18
5
2
8
7
4
10
9
5
12
10
7
13
9
5
12
7
4
10
5
2
8
15
12
18
14
10
17
12
9
15
10
7
13
4
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
10
7
10
12
9
12
14
10
13
15
12
15
5
2
5
7
4
6
9
5
8
10
7
10
9
5
8
7
4
6
5
2
5
15
12
15
14
10
13
12
9
12
10
7
10
10
7
12
12
9
13
14
10
15
15
12
17
5
2
6
7
4
8
9
5
10
10
7
12
9
5
10
7
4
8
5
2
6
15
12
17
14
10
15
12
9
13
10
7
12
2
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
7
6
12
9
8
14
10
10
15
12
12
5
2
1
7
4
3
9
5
5
10
7
6
9
5
5
7
4
3
5
2
1
15
12
12
14
10
10
12
9
8
10
7
6
10
7
8
12
9
10
14
10
12
15
12
13
5
2
3
7
4
5
9
5
6
10
7
8
9
5
6
7
4
5
5
2
3
15
12
13
14
10
12
12
9
10
10
7
8
1
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
7
5
12
9
6
14
10
8
15
12
10
5
2
0
7
4
1
9
5
3
10
7
5
9
5
3
7
4
1
5
2
0
15
12
10
14
10
8
12
9
6
10
7
5
root plus II and VII big stretch treat as arpeggio
root plus II and VI
root plus II and V
root plus II and IV
root plus II and II big stretch -play as arpeggio
root plus II and III

13
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
9
15
12
10
17
14
12
18
15
14
20
5
4
10
7
5
12
9
7
13
10
9
15
9
7
13
7
5
12
5
4
10
15
14
20
14
12
18
12
10
17
10
9
15
11
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
10
9
13
12
10
15
14
12
17
15
14
18
5
4
8
7
5
10
9
7
12
10
9
13
9
7
12
7
5
10
5
4
8
15
14
18
14
12
17
12
10
15
10
9
13
9
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
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root plus III and VII big stretch play as an arpeggio
root plus III and VI
root plus III and V root plus III and IV
root plus III and III root plus III and II

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root plus IV and VII big stretch play as arpeggio
root plus IV and VI
root plus IV and V
root plus IV and IV
root plus IV and III root plus IV and II

CHAPTER 17 SEGMENT 64.3
Harmonizing Scales with Three Notes Application
Level: Intermediate
Gtr I: Untitled (E A D G B E)
5
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Gtr I
12
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IV and VI
VI and VI
VI and V
II and IV
III and II
IV and III
II and III
Harmonize the first phrase of All of Me with different interval combinations.

Chapter 18
Voice Leading
Segment 65. Overview

Voice leading, or using moving lines within chords, is a great way to add
movement and excitement to rhythm playing. This lesson has four different
exercises that will develop your voice leading skills. When doing the following
exercises, make sure you strive for clean sounding chords.

For this first exercise, refer to the chord shapes provided.

1. Using the low 4 string inversions, identify each of the major 7 chords and
their inversions.
2. Move minimally on each chord, to the major 6 chord. All you have to do is
identify the major 7
th
interval and drop it a whole step. Strum the major 7
chord for 2 beats followed by the major 6
th
chord for 2 beats and repeat
until it is smooth and clean.
3. Next we play a ii-V change in the key of G with the Am7 and the D7. From
the ii chord, move a ½ step down from the minor 7, or G note, to the next
scale tone F# for the D7. It might help to think of this as playing a D7 with a
raised 4
th
to a D7. Again, play 2 beats of each chord going for a smooth
clean sound.
4. Next, move from a Gmaj9 to the G as demonstrated in the video.
5. We can also continue moving the line from the 9 to the root to the maj7
th
and finally the 6
th
, all on the same string.
6. Using the above method, play each of the following chord changes. Try
different keys and different sets of strings. Refer to the chord grids on the
following pages for chord shapes and a sample of suggested fingerings.





||: Gmaj7

G6|Gmaj7 G6 |Am7 D7 |Am7 D7:||
||: Gmaj9 G|Gmaj9 G|Am7 D7b9|Am7 D7b9:||
||: Gmaj9 G|Gmaj7 G6| G Maj9 G|Gmaj7 G6:||
||: Am9 Am| Am7 D7|Am9 Am|Am7 D7:||
||: Am Am(maj7)|Am7 D7:||
||: Am9 Am|Am7 D7:||
7. Play over songs using the above to elaborate, especially when a song calls
for the same chord for more than one bar of music. Listen for the melody
and be careful not to clash with it.

Segment 67. Voice Leading Exercise 2
1. In this exercise we go from major 7
th
to dominant, targeting the IV chord
around the cycle of fourths. Listen for the moving line within the chord and
try to bring it out a bit in your playing.
||: Cmaj7 C7|Fmaj7 F7|Bbmaj7 Bb7|Ebmaj7 Eb7|
|Abmaj7 Ab7|Dbmaj7 Db7|GbMaj7 Gb7|Bmaj7 B7|
|Emaj7 E7|Amaj7 A7|Dmaj7 D7:||
Segment 68. Voice Leading Exercise 3
. The last exercise is a ii-V-I study around the cycle. Again, think of the ii
chords as the V chord with a raised 3
rd
.
||: Dm7 G7|Cmaj7 C6 |Gm7 C7|Fmaj7 F6 |
|Cm7 F7||Bbmaj7 Bb6 ||Fm7 Bb7|Ebmaj7 Eb6 |
|Bbm7 Eb7|Abmaj7 Ab6|Ebm7 Ab7|Dbmaj7 Db6|
|Abm7 Db7 |Gbmaj7 G6|Dbm7 Gb7|Bmaj7 B6|
|Gbm7 B7|Emaj7 E6|Bm7 E7|Amaj7 A6|
|Em7 A7|Dmaj7 D6|Am7 D7|Gmaj7 G6:||
Segment 66. Voice Leading Exercise 1
1. Play the following dominant chords around the cycle of 4
ths
. Hint: your
pinky never leaves the 3
rd
string.
||: G7 |C7 |F7 |Bb7 |Eb7 |Ab7 |
|Db7 |Gb7 |B7 |E7 |A7 |D7 :||
2. Next we add the ii chord before the dominant chord. Think of the ii chord
as the V chord with a raised 3
rd
. For example: In the first bar, rather than
thinking of Dm7, think of a G7 with a raised 3
rd
.
||: Dm7 G7|Gm7 C7|Cm7 F7|Fm7 Bb7|Bbm7 Eb7|Ebm7 Ab7|
|Abm7 Db7|Dbm7 Gb7|Gbm7 B7|Bm7 E7|Em7 A7|Am7 D7:||
3. It is up to you to use this same approach with all your inversions in all areas
of the fingerboard.



Chapter 19
Finger Control
Segment 70. Overview
In this lesson we introduce finger control exercises. These 6 exercises are
designed to help you build finger strength and build your picking strength and
pick control.
1. Apply your open hand, where the fingers meet your palm, to the neck of
the guitar near the 3
rd
fret.
2. Keep your palm parallel to the fret board.
3. Place your thumb on the back of the neck behind the 2
nd
fret.
4. Curl the fingers of your hand so that they are perpendicular to the strings
and apply the fingertips of each finger to the 2
nd
string, one finger per fret.
In other words, your 1
st
finger on the 3
rd
fret, 2
nd
finger on the 4
th
fret, 3
rd

finger on the 5
th
fret and your 4
th
finger on the 6
th
fret. If the palm of your
hand needs to come off the neck a bit that is okay but keep it parallel to the
guitar neck.
5. Keep this hand position while you play each of the 6 following exercises
one at a time. Repeat them a few times each before moving to the next.
6. If you feel strained take a break!
7. Do these exercises on different strings and in different positions.
8. Make up your own exercises using these concepts.
9. Do this for 10 minutes, or so, as a daily warm up.



Segment 69. Voice Leading: Performance Example
In this video segment I demonstrate voice-leading using the concepts presented
in this chapter as well as additional chord extensions. For example I may use some
minor 9
ths
in place of minor 7
ths
and 9
ths
and 13
ths
in place of the dominant 7
th

chords.



. Do not think of chords as “grips”, think of musical lines on a string.
. Make up your own exercises using the same concepts.

Chapter 20
Picking & Tremolo
Segment 71. Overview
Picking
I have played with many great guitarists over the years and I have always taken
note of their picking. What I have found is that everyone picks differently.
1. There is not one correct way to pick the guitar.
2. You have to find your own approach and choose the pick you feel most
comfortable for you.
3. What works for me is using a lot of down strokes, ala Charlie Christian. I will
switch to alternate picking, i.e., down up, down up, if the tempo is too fast
for all down strokes.
4. Sometimes I will rest my fingers on the pick guard.
5. Sometimes I will mute the strings with the palm of my right hand for effect.
6. I find that down strokes create a good attack and sound. When using down
strokes I often pick through the string and rest the pick on the next string.
7. I find that using down strokes both gives me a better tone and slows me
down in my playing which helps me to play fewer notes and think more
melodically.
Tremolo
8. Tremolo picking is alternate picking where you pick down up, down up as
fast as you can play.
9. To develop your tremolo, play on one string at a time to a metronome.
Start slow at first going for a good even tone.
10. As you warm up, increase the speed of the metronome.
11. When you get to a tempo that you can no longer play evenly to, stop and
write down the speed.
12. Continue this a little bit every day and you will be amazed at how fast you
are playing in 6 months.

13. A neat thing to do with tremolo picking is what I call stutter picking where
you use the tremolo picking on one string and add simple lines alternating
between the open string and the fretted note.














Chapter 21.
Improvisation
Segment 72. Overview
In this last chapter we apply all we have learned throughout the course to
improvising solos. We continue the goal of putting theory to practice with the aid
of play-along tracks.
Segment 73. Improvisation: Major Tonality
In this segment we explore how to make musical ideas using simple melodic ideas
based on the major tonality. We apply the concepts we have learned throughout
the course to improvising over the jam track.
Segment 74. Improvisation: Major Improvisation Example
In this segment we roll the major play-along track and I improvise over it using
what we have learned in this tonality. Throughout the video demonstration I tell
you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea
of its sound and application.

CHAPTER 21 SEGMENT 74
Improvisation: Major Improvisation Example
Level: Beginner
Gtr I: Untitled (E A D G B E)
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Gtr I
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V V
u
V V
u
V V
u
9
sl.
10 10 8
sl.
8 8 10 8 8 8 8
13
sl.
13
8 8
13
sl.
13
58
T
A
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I
V V
V
V V V
V
V
V
U
U
V
V V V
V
V V
V
V V
V
V V
V
V V
7 7
6
5 5 5
6
3
5
3
5 8
sl.
8 8 8
10
sl.
10 10
8
sl.
8 8
9
sl.
10 10
7
sl.
8 8

90
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I
V V
V
V
V
k
V
c
V V
V
V
V
V
V
V
V
V
V
V
V W
j
V
c
j
8 8 10 12 8
5 5 5 7 9 5
8 10 12
10
12 10 8
9 9
3
86
T
A
B
I
V V
V
V
V
k k
V V V
V
V
V
k k
V V V
V
V
V
V
V
V W
8 8 10
sl.
5 8
5 5 5 7 2 5
8
sl.
8 8 10 5 8
5 7
8 8
82
T
A
B
I V
V
V
V V
V
V V
V
V
V
V V V
3
V V
V
3
V
V
V
3
V
u
V
0 4 0 5 5 7 9
sl.
9 4 5 7 14
sl.
14 14 12 12 9 7 5 4 4 4
78
T
A
B
I
V V
u
V V
V
V U
V
V
V
V
V
V
V
V U
5 5 8 8 10 12
sl.
12 5 8 10 12 15
sl.
12
sl.
10 12 12
74
T
A
B
I
V
V
V
V
V
V
V V
V
V
V
V
V
V
V g V
V
V g
V
V
V g
V
V
V V
P g
z
V
V
12
sl.
10 8
10 8
9 7 7
10
7 9
8 10
8 11
M
1/2
11 8
11 8
10 8
10 8 10 10
8
H
10
sl.
9

110
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I
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V V
V
V
V U
8 10
7 8 7
10 8
9 7
10 9
10
9
sl.
9
10
7 7 9
10
7 7
106
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V V
V
V
V W W
k
7 8 7
10 8
9 7
10 9
10
7 7 9
10
7 7 7
102
T
A
B
I
V
V
V
V V
V
V
V
u
V
V
u
V
V
V V
V
V
V
u
V
V
u
U
8 10
8 12
sl.
12
sl.
7 10
sl.
5 8
sl.
3 7 1 5 5
5 8
sl.
3 6
5
5
98
T
A
B
I
V
V
V
V
V
V
V V W V
V
V
V
V
V
V
V
V V
V
V U
2 3 7 3 10 7 14
sl.
14 14 14
sl.
12 10 7 10 7 5 7 3 3 0 3 3
94
T
A
B
I
V V V
3
V V V
3
U
V V V V
V V
V
V U
7
sl.
7 7 10
sl.
10 10 14
sl.
3 3 3 3 7 7 10 14
sl.
14

118
T
A
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I
V
V
V
V W
2 4
5
2 2
114
T
A
B
I
V
V
V
V
V
V
V
V
u
W
W
W
W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
k k k
12
12
12
10
12
12
12
10
12
12
12
10
7
5
5
5
7
5
5
5
7
5
5
5
7
5
5
5
12
12
12
10
12
12
12
10
12
12
12
10
7
5
5
5
7
5
5
5
7
5
5
5
7 5 3
5 3
5 4
Segment 75. Improvisation: Major Play-along Exercise
In this segment we roll the major play-along track and trade fours. I play four bars
and then you play four bars. You can copy what I am doing, or play something in
response to what I play. Throughout the video demonstration I tell you what
scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like.
Segment 76. Improvisation: Minor Tonality
In this segment we explore how to make musical ideas using simple melodic ideas
based on the minor tonality. We apply the concepts we have learned throughout
the course to improvising over the jam track.



CHAPTER 21 SEGMENT 75
Improvisation: Major Improvisation Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V
u
V V
V
V V
V
V V
V
u
V V
V V
V V
V
V U
5 8 12
sl.
12 8 12
sl.
12 8 10 10 5 10
sl.
10 8 8 15
sl.
15 12 8 8
9
T
A
B
I
V
V
V
V
V V
V
V V
j
V
V
V
V
V V
V
V V
V
V V
j
9 10
9
8
7 7
8
7 7
9 10
9
8
7 7
8
7 7
8
7 7
5
T
A
B
I
V
V
V
V
V V
V
V
V
V V
V
V
V
V V
V
V
V
V
V
V
V
V V
V
V
V
V U
7
H
8
P
7
10
7 7
H
8
P
7
10
7 7
H
8
P
7
10
7 7
10 8
9
9
H
10
P
9 7 9 9
H
10
P
9 7 9 9
1
T
A
B
I
4
4
V
u k
V
V
V
V
V W
k
V
V
V
V
V
V
V
V
V
V
V
U
Gtr I
12
sl.
10 8
10 8
9
sl.
9
8 10
8 10
sl.
8
10 8
9 7
10 7
10
"Major 7 Arpeggio"
"Major 7
" Major Pentatonic"

33
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I
V V V V V V V V V V V V V
V
V
V V V V V V V V V U
3 3 3
8
sl.
8 8
12
sl.
12 12
8 8 8
3 7 5 3 3 3
8
sl.
8 8
12
sl.
12 12 12
29
T
A
B
I
V V
V V
V V
V V
V V
V
V V
k
V
c
V
V
V
V
V
V
V
V U
2 2 3 3 7
sl.
7 10
sl.
10 14
sl.
14 10 12 12
sl.
10 14
sl.
10 12
sl.
7 10 12 14
sl.
10 10
25
T
A
B
I
V V
V
V
k
V
k
V V V
V
V V
k
V
c
V V
V
V
k
V
V
V V
V
V
V W
7 7 5 7 10
9
sl.
9 9
7 10 10 5 7 7 5 7 10
7 9 9 12 10 9 9
21
T
A
B
I
V V
V
V
V
V
V
V
V
V
V V
c
V V
c
V
V
V
V
V
V
V
V
V V
V
V V
V
V
10 10 8 10 8
9 7 9 7
10 7 7 7 7 7 10
7 9
8
10 8 7
10 10
7
8 8 10
9
17
T
A
B
I
V
V
u
V
V
V
V W
V
V
V
V g
V
V g
V
V V
V V
V
V
W
12
sl.
10 8
10 8
9
sl.
9
8 10
8 11
M
1/4
8
11 8
10
M
1/2
O
10 8
M
1/4
8
10 7 10
"Same Note on Different Strings"
"Low Register on 5th String"
"Low Register"
"Major 6th"
"Major Pentatonic into Minor"
Horizontal on 2nd String"

50
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V V
V
V V V
V
V
k
V
k
V
V
V
V
V
V
V
V
V
V
V
k
V
V V V
V
V
V V
V
V
10 10 8 10 10 10 8 10 12 10
8
9
9
10
8
9
9
10 8 10 8
8 8 8 10
7 10 10 8 10
sl.
46
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V V V
u
V
V
V
V
V
V
V
V
V
V
V
V W
10 8 7
10
8 7
10 8
7
10 8
9 9 9
10 8 7
10
8 7
10 8
7
10 8
9 9
42
T
A
B
I
V
V V V
V
V V V
V
V V V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
u
V
V
V
V
u
U
U
13
sl.
12 12 12
12
10 10 10
10
8 8 8
8
7 7 5
6
5
6
7
8
5
6
3
5
3
5
0
1
3
sl.
5
3
5
37
T
A
B
I
V
V g
V
V g
V V
V
V
k
V g
V
V V
V g
V V V V V V V V
V g
V V V
P g
V
V
8
11
M
1/4
8
11
8 8
11
8
11 8
10 10 8 10 10 10 10 10 10 10 10 8
10 10 10
8
H
8
sl.
9
"Bends with Suspended"
"Concentrate on the 9th"
"Scale Patterns"
"Thirds"
"Bluesy Licks"

74
T
A
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I
68
T
A
B
I
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
P g
R
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V g V V V V V
V
10
8
9
8
9
10
10
10
8
9
8
9
10
10
10
8
9
8
9
10
10 8
8
sl.
9
8
9
8
9
10
10
10
8
9
10
10
8
10 10 8
8
M
1/4
8
M
1/4
8
M
1/4
8
M
1/4
8
M
1/4
8
M
1/4
10
64
T
A
B
I
W
W
W
W
V
V
V
V
c
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
c
V
V
V
V
V
V
V
V
c
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
k k k k k k
3
sl.
3
2
2
8
8
7
7
8
8
7
7
8
8
7
7
8
8
7
7
8
8
7
7
8
8
7
7
3
3
2
2
3
3
2
2
3
3
2
2
3
3
2
2
8
8
7
7
8
sl.
8
7
7
58
T
A
B
I
V
u
V
V g V f
V V
V
u
V
V g V f
V V
V
u
V
V g V f
V
V
V
V
V
V V
V
V
V g V f
V
V
V
V
U
10 10
P
9
P
8
P
7 7 10 10
P
9
P
8
P
7 7 10 10
P
9
P
8
P
7
10 8
9 7
10 10 5 9
P
8
P
7
P
5
7 5
sl.
3
sl.
2
54
T
A
B
I
V V V V V V
V
V V
V
j
V
c
V V V V V V
V
V V V
V
k
5
M
1/2
O
5 5
M
1/2
O
5 5
M
1/2
O
5
5
5 5 7
sl.
5
5
M
1/2
O
5 5
M
1/2
O
5 5
M
1/2
O
5
5
5 5 5
7
sl.
"Thirds with a bluesy end"
"69 Chords"
"Pull-Offs"
CHAPTER 21 SEGMENT 77
Improvisation: Minor Improvisation Example
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V
V g
V
V
u
V V
V V U
V
V
V g V f
V
V g V f
V V
V
V V
V g
V
k k
8
8
8
10
8 7 7
8
M
1/2
8 8
8 7
9 8
10 8 7
10 10
7
10 10
8 10
9
T
A
B
I
V
V
V g
V
V g
V g V f V
V
V V f V V g V f
V
V g V
V
V f V g
V
V
V
V V g V V f
V
V
V g
V V
8
8
8
10
11 9 8 8
10 8 7 7 8
P
7
10
8 8
10
7 8 10
8
sl.
10
8 9 9 8
10
8
8
10 10
5
T
A
B
I
V
V
u
V g
V
V V g W
V V
c
V
V g
V g V f V V
V
V W
k
10
7 8 10
8 9 8
8 8 8
11 9 8 8 8
10
8 8
1
T
A
B
I
4
4
W V V
V g
V W
V
V g
V V V
V
V g
V
V
V V U
k
Gtr I
10 10 10
8
8
sl.
8
10
8
8
sl.
8 8
10 8 10 8
10 10 10
Segment 77. Improvisation: Minor Improvisation Example
In this segment we roll the minor play-along track and I improvise over it using
what we have learned in this tonality. Throughout the video demonstration I tell
you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea
of its sound and application.
Segment 76. Improvisation: Minor Tonality
In this segment we explore how to make musical ideas using simple melodic ideas
based on the minor tonality. We apply the concepts we have learned throughout
the course to improvising over the jam track.



33
T
A
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I
j
V V g
V V
V
V
V f V
V
V
V g
V
V
3
V f V
V
V
u
V V g
V
V f V V
V
V W
10
H
11
8 8
11
P
8 10 10
P
8
10 8
H
10
P
8 7 7
10
7 7 8 10 7
sl.
7 7
10
7 7
29
T
A
B
I
V V
V
V g
V
V
V g
V
V f V V V
V
V g V f V
V
u
V
V
V
V W
10 10
8
8
8
8
8
10
10 10 10 10 8
11 10 10 8 10 8
10
8 8
25
T
A
B
I
V
V
u
V g
u
V
V
u
V
u
V
V
u
V
u
V
V g
u
V
u
V g V f
u
V
u
V
V g
u
V
u
V
V
u
V V
V g V g
10
7 8 10
8 8 10
7 7 8
11 11 9 8 8
10 8 8 7
10 10 10 8 8
21
T
A
B
I
V
V
u
V g
u
V
V
u
V
u
V
V
u
V
u
V
V g
u
V
V g
u
V f V
V
V U
10
7 8 10
8 8 10
7 7 8
11 11 9 8 8
10
8 8
17
T
A
B
I
V
V
V
V
V
V
V V
V
V V V
V
V g
V g V f V g V f
V g V V f
V W
8
sl.
12 8
8
12 8
8 8
12 8 8 8
10 8
9
P sl.
8 9
P
8
8 8 7
10 10

49
T
A
B
I
V V V V
V g
V V W
W g
W
W
W
V
V
V
V
V
V g
V
V V
V g
V
V
V
V
10
M
1/2
O
10 10
M
1/2
O
10 8
10 10 10
11
8
8
10
11
8
8
10
8
11 8
10
M
1/2
O
10 8
10
8
10
10
45
T
A
B
I
W
W
W g
W
V
V
V
V
V
V
V g
V
V
V g
V
V g V
V
V V
V
V
V
V g
V
V
V
V
V
V
V g
V
V V
8
8
8
10
8
8
8
10
11 8
11 8
10 8
10 8 8 10
8 8
10
10
10
8 10
10
8
sl.
8
8
10 8
10
10
M
1/2
O
10
41
T
A
B
I
W V V g
V
V f W V V g
V
V V
u
V g V V f
V g
V W
7
|||||||||||
7 8 10 7 7 7 8 10
8
sl.
8 9
M
1/2
9 8
8
10 10
37
T
A
B
I
V V
V V g
V
V f V V V g
V
V V g V f V
V
V g V f V
V
V U k
10 10
7 8 10 7 7 7
H
8 10
8 9
M
1/2
8 8
10 8 7 (8)
tr
|
7
10
7 7
||

65
T
A
B
I
V
V
V g
V
V
V g V f V V
V
V
V g
u
V f V
u
V
V
V
V V
V
V g
V
V V
V g
V W
8
8
8
10
7
9 8 8 8
8 7
9 8 8
8 7 8 10
M
1/2
10 8
11 8
10
M
1/2
O
10 8
10 10
61
T
A
B
I
V
V
V g
V
V
V g V f V V
V
V
V g
u
V f V
u
V
V
V g V f
V V V V V V
V g
V V V
V
V g
8
8
8
10
12 9 8 8 8
8 7
9 8 8
8 7
9 8
10
M
1/2
O
10 10
M
1/2
O
10 10
M
1/2
O
10 8
10 10 10
8
8
57
T
A
B
I
V V
u
V V g
V
V V
V
V g
V
V V
V g
V V V
V
V g
9 8 10 11
8 10 10
M
1/2
8
11 8
10
M
1/2
O
10 8
10 10 10
8
8
53
T
A
B
I
V g
V
V
3
V g
V
V V
V
V V V
V
V g
V g
V
V
V
V
u
V g V f
V
V
V
V
u
V g
V
V V g
8
H
9
H
10
8
10
10
M
1/2
O
10 8
10 10 10
8
8
11
8
8
10
8
11 10 8
10
8
10 8 10
8 9
M
1/2

81
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A
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I
V
V
V g V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V U V g
V V
V
V g
V
V
V
j j
8
8 11
M
1/2
11
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
11
P
8 11
P
8 11 (8)
tr
||||||||||||||||||
11 (8) 11
P
8 8
10 8 10
8
10
77
T
A
B
I
V
V g
V
V g
V f V g
V
V
V V g
V
V f V V g
V
V V
V g
V
V g V f V
V
V W k
V
V g
V
V g
V
V
3 6
5
3
3 4
3 8 10 11 13 10 10 11 15 11 10
11 8
8 7 7
10
7 7
8 11
8 11 8
11
73
T
A
B
I
V
V g
V
V g
V
V
V
V
V V g
V
V f V
V
V
V V
V
V g V f
V V
V g
V W
3 6
5
3 5
4
3 6 10 11 13 10 10 8
8
10 10
8
8 7
10 10 8 10 10
69
T
A
B
I
V
V g
V
V
V
V
V
V g
c
V
V
V g
V
V
V
V
V
V g
c
V j j
10
8
8 10 8
8
10
8 8
10
8
8 10 8
8
10
8 8

103
T
A
B
I
V
V
V
V
V
c
V
V g
V g
j
V
V g
V g
V
V
V
V f
V
V
V
V
V g
V g
V
V
V
V
V
V
V
V
V
V
V
j
V
V
V
V
c
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
k k k k
8
8
10
10
10
8
8
8
8
8
8
8
8
8
10
10
10
8
8
8
11
10
12
10
11
10
12
10
11
10
12
10
11
sl.
10
12
10
11
10
12
10
11
10
12
10
11
10
12
10
11
10
12
10
11
10
12
10
11
10
12
10
11
10
12
10
99
T
A
B
I
V
j
V
V g V
V g
V V
V f
V V
V
V g V g
V
V f V
V g
V V
V
V f
V
V V g
V
V
V
V f
V
V g
V
V
V
V
V f
V
V g k
8
13
11 11
11
10 10
10
8 8
8
6 6
6
5 5
4
3 3
6
7
6
7
4
5
4
5
3
4
4
5
4
5
6
7
8
sl.
8
94
T
A
B
I
V V
V
V g
V
V
V
V V
V V V
V g
V V V
V
V V
V
V V
V
V
V V V V V
V
V g
V V V
V g
V
c
j k
12 12 10 8 10 8 5 8 8 5 5 5 8 5 5 5 10 5 5 10 5 5 10 5 12
sl.
12 12 12 12 10 8 5 5 5
4
5
90
T
A
B
I
W
j k
V
c
V V
V g
V
V
k V
u
V
V
V g
V V
V g
c
V V
V g
V
V V V V
10 5
5 5 8 5 12
sl.
8 14
sl.
12 8 5 5 3 5 5 8 5 12
sl.
12 12 12
sl.
86
T
A
B
I
V V
V
V g
V
V
V g
V
V g V f
V V
V
V
V
V
V g V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V V
V V
10 10
8
8
8
8
8
10
11 10 8 8
8
8
8
10
11 10 8
10
8
10
8
10
M
1/2
O8
10
8
10
M
1/2
O8
10
8
10
M
1/2
O8
10 8 10 8 8
10 10

111
T
A
B
I
V V
V g
V
V
V
V g
V V V
V g
j
V
c
V V
V g
V
V V
V
V V
j k
13
M
1/2
13 11 13
M
1/4
11
13 11 13 13 13
11
M
1/4
8
8 8 11 8 13
M
1/2
O
13 11
13 13
107
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V
V
V g
V V
V g
V
V g V f
V g
V V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V V V V V V V V V
k k k k k
11
sl.
10
12
10
11
10
12
10
11
10
12
10
8
11
8 8
11 8
11 10 8
10 10
11
10
12
10
11
10
12
10
11
10
12
10
13 11 13
M
Full
13 13 13
M
1/2
13 13
M
1/2
13 13
M
1/2
13
Segment 78. Improvisation: Minor Improvisation Play-along Exercise
In this segment we roll the minor play-along track and trade fours. I play four bars
and then you play four bars. You can copy what I am doing, or play something in
response to what I play. Throughout the video demonstration I tell you what
scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like.

CHAPTER 21 SEGMENT 78
Improvisation: Minor Improvisation Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
9
T
A
B
I
V
V
c
V g
V
V
V
V
V
V V
V g V f
V
V g V f V g V
V
V g
V
V
j k k k k k
10
7 8 10
8 10 12
8
10
M
1/2
10 9 8
10 8 7 8 7
10 8
7
10
5
T
A
B
I
V
V
V g
V
V
u
V
V
V V W V
V
V g V f
V
V
V
V
V
V
V g V f U
8
8
8
10
7 8 7
8
M
1/2
8 8 8
10 8 7
10 9 10 9 10 9
sl.
6
sl.
5 5
1
T
A
B
I
4
4
V
V g V f
V
V
V
V
V
V
V g
V V
V
V
V V
V g
V
V V g
V
V
V f V
V
V g V j
Gtr I
8
11 10 8 10 8
10
8
10 8 10 10 8
10
8
sl.
7
8 10
7 8 10
8 10 10 8
8 8

27
T
A
B
I
V
V g
V V g V V f
V
V V V V V
V g
V
V g
V V g V V f
V
V V V
V
j
10
8
8 9
M
1/2
9 8
8
10 10 10 10 10
8
10
8
8 9
M
1/2
9 8
8
10 10 10 7
sl.
23
T
A
B
I
V
V g
V
V g
V f V
V
V V
V
V
V
V V g
V
V g
V
V f
V V V
V V W
10
8
8
6 10 10 8 10 10 8 10
sl.
10
7 8
8
6 8 10 13 13 13 10 10 10
18
T
A
B
I
V
V
V g
V
V g V f
V
V
V
V
V
V
V
V g V f V V
V g
V
V g
V
V
V
V g
V
V V
V g
V V
V g
V
V g V f
V g V f
V g W
8
8
8
10
11 10 8
10
8
8 10
8
10
9
M
1/2
8 8 8 11
8 11
P
8
11
8
11 8
10
M
1/2
10 8
10 10 8
10 9 8
11 10 9 8
13
T
A
B
I
V
u
V g
V
V g
V V
V
V
V V
V g
V
V g
V
V
V
V g
V
V
V
V g
V
V V V
V g
V W
k
8
11 8
11
8 8
11 8
10
M
1/2
10 8
10 8
8
10
10
8 10
10
8
8
10
10 10
M
1/2
10 8
10 10

45
T
A
B
I
V g
V
V
V
V f
V
V g
V k
V f
V k
V g
V k
V
V k
V g
V
k
V
V
V
V
u
V g
V
V
V
V f
V
V
V
V
V
V
V
V g
V
V
V
W
W
11
sl.
8
11
8
10
7
11
8
10
7
11
8
10
7
6
3
10
sl.
7
10
7
11
sl.
8
11
8
10
7
8
5
10
sl.
7
8
5
6
3
8
sl.
5
8
sl.
5
40
T
A
B
I
U
V g
V V V V
V
V V V V
V g
V V V
V
V
V
V
V
V
V
V
V
V
V
V V
V g
V
V g V f
V g
V
V V
W
8
sl.
Y
11 8 8 8 8
Y
11 8 8 8 8
Y
11 8 8 8 11 8 11 8 11 8 11 8 11 8 11 8 8
11 8
1110 8
10
8 8
10
35
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V V V f
V g V
V
V
V g
V
V
V
V g
V
V
V V f
V g
3
V
V g
V
j
11
M
1/2
8
11
M
1/2
8
11
M
1/2
8
8
11
M
1/2
8
8
11
M
1/2
8
8
11
M
1/2
O
11 10 8 8 10 8 11
M
1/2
8
8
8
11
M
1/2
8
8
11 10 8
10 8 10
31
T
A
B
I
V V
V g
V
V V
V
V
V V
V g
V
V
V g
V
V
V g
V
V
V
V
V
V g
V W
W
3 3 6 3 10
sl.
10 8 6 3 3 6 3 10 13 10 8 6 8 6 3 6 3 1 3 3
sl.
15
sl.

64
T
A
B
I
V
V g
V
V
V g V f
V
V V V
V
V g
V
V g
V
V
V V V V V V V
V
V V V V W
5
sl.
4 6 8
sl.
6 5 3
4 4 3
5 3 5
4 6 4 8 8
M
1/2
8 8
M
1/2
8 8
M
1/2
8 6 8 8 8 8 8
60
T
A
B
I
V
V g
V g
V
V
k k
V
V
V
V
V
V f
V
V
V
V f
V
V
V
V
V
V
V g
V g
V
V
V
V
V
V
V
V
V
V
V
V
V f
V
V
V
V f
V
V g
V g
V
V
V
V
V
V
V
V
V
V
V
V
V f
V
V
V
V f
V
V
V
V
V
V
V
V
V
V
V
V g
V g
V
V
k
V
V
V
V
V
k
V
V g
V g
V
V
j
3
4
3
3
3
3
4
3
3
3
5
6
5
5
5
5
6
5
5
5
3
4
3
3
3
3
4
3
3
3
3
4
3
3
3
5
6
5
5
5
3
4
3
3
3
3
4
3
3
3
3
4
3
3
3
5
6
5
5
5
5
6
5
5
5
5
6
5
5
5
3
4
3
3
3
5
sl.
6
5
5
5
3
sl.
4
3
3
3
55
T
A
B
I
V
V g V V
V
V V V V g
V
V
V
V f
V g
V
V f
V
V
V
V
V g
V
V g
V
V
V
V
V f
V
V
V
V g
V
V f V g
V
V f
V g
V g
V
V
V
V f
V g
V
V f
V
V
u
V g
V V
V g
u
U
U
13
sl.
11 11 11
13
sl.
11 11 11 11
sl.
13
11
13
10
11
8
10
8
10
8
sl.
10
11
13
11
13
11
13
13
15
13
15
15
16
13
15
11
13
10
11
11
13
11
13
10
11
8
10
8
10
6
8
3
4
3
4
49
T
A
B
I
V V
V g
V V V V V V V
V g
V
V g V
V
k V
V
V
V g
V V
V
V
V
V
V g V
V
V g
V V
V V
V g
V W
10 10
8 10 10
M
1/2
10 10
M
1/2
10 10
M
1/2
10 8
10
8 8
10
sl.
8
sl.
10
8 11
8 8
11
8
11
8 11 11 8
11 8 8
10
M
1/2
10 8
10 10

68
T
A
B
I
V V
V g
V
V
V
V V V V V V V
V g
V
V V V
V
V g
V
V
V g V f
V g
V g
V
V
V V g V f
V W
5 5
4
5
6 4 6 6
M
1/2
6 6
M
1/2
6 6
M
1/2
6 4
5
4 4 3 6 4
3
6
4 3 6 4 8 6 10 11 10 8 8
Segment 79. Improvisation: Dominant Tonality
In this segment we explore how to make musical ideas using simple melodic ideas
based on the dominant tonality. We apply the concepts we have learned
throughout the course to improvising over the jam track.
Segment 80. Improvisation: Dominant Improvisation Example
In this segment we roll the dominant play-along track and I improvise over it using
what we have learned in this tonality. Throughout the video demonstration I tell
you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea
of its sound and application.

CHAPTER 21 SEGMENT 80
Improvisation: Dominant Improvisation Example
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V V
u
P g
z
V
V
V
V V
V g
V
V
V g V
V
V
V V
V g
V V
j
10 10
8
H
9
8 10 8 8
8
H
9
10 8 8 10 8 10 10 8 10 10
sl.
9
T
A
B
I
W W V V
V g
V
V g
V
W W V
V g
V
V
V
V
V
V
8 8 8 8 11 8
11 8
8 8 8
11 8
9
sl.
7
10 8
10
5
T
A
B
I
W g V V f
V
V
V V
V
V V
V
V
V g V V g V f
V V
V
V V
j k
V
V
V
11 11 10 8
10 9 9 7 9 9 7
10 8 7 8 7
10 10 8 7 7
sl.
8 10
8
1
T
A
B
I
4
4
W g V V f
V
V
W V
V
V
V g V V
V
V V
V
V V
j
Gtr I
11 11 10 8
10 9
sl.
9 7
10 8 7 7
10
7 7
10
8 8
sl.

33
T
A
B
I
V
V
V
V g
k
V
c
k
V
k
V
k
V g
k
V V
V
V g
V
V
V
V
k k
V
V g
V
k
V
V
k
V
V
j
3
2 5
3 5
5
3 6 10
sl.
10 8 6 3
5
5 3 5 3
5
5 3
5 2
29
T
A
B
I
V
V
k
V
k
V g
k
V
k
V
k
V
k
V g
k
V
k
V g
k
V
k
V
k
V
k
V g
k
V
k
V
c k j
3
2 5
3 5
5
3 6 8
sl.
6 3
5
sl.
5 3
5
sl.
2
25
T
A
B
I
V
V
V
V g
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V g
V
V
V
V
V
V
3
2 5
3 5
5
3 6 8 6 3
5
5 3
5 2
3
2 5
3 5
5
3 6 8 6 3
5
5 3
5 2
21
T
A
B
I
V
V
V V g
V
V V
V
V
V
V V
V
V g
V
V
V
V g
V
V V
V
V
W
9
sl.
8 10 11
sl.
8 10 10 8 10 8 10 10 8
11 8
10
sl.
8
11 8
9
sl.
9 7 9 7
17
T
A
B
I
V V
V
V V
V g
V
V
V
V
V
V
V
V
V
V g
V V
V
V V
V g
V
V
V V
V
V V
V
V
V
10 10 8 10 10
sl.
6
8
9 7
10
7
10
7 9
8
6 10 10 8 10 10
sl.
6
8
9 7 7
10
7 7
10
7
10


53
T
A
B
I
V
V V V
V
V V V
V
V
V
V
V g
V
V
V
k
V
V
V
V
V
V
k
V
V
k
V g
V k
V
V
k
V
V
W
W
k
V
V g
V
V
V
V g
12
sl.
12 12 12
10
sl.
10 10 10 8
sl.
9
8
9
6
7
8
9
6
7
8
9
12
sl.
12
8
9
6
7
8
9
3
3
3
3
3
3
3
3
3
3
49
T
A
B
I
V
V g
V
V g
V f
V g
V
V g
V
k
V
V
V f
V
V g
V
k
V
V g
V
V g
V f
V g
V
V g
V
V
V
V
k
V
V
V
V
V
V
V
V
V
V g
V
V
V
V f
V
V V g
V
V
V
V f
V
P g
R
W
W
12
11
12
11
10
11
12
11
12
11
12
10
11
11
12
12
11
12
11
10
11
12
11
12
12
11
12
12
sl.
13
12
13
12
13
12
sl.
13
10
11
10
11
8
10
8
10 11
12
11
12
10
10 8
H
8
9
45
T
A
B
I
V
V g
V
V
V
V
V
V
V
k k
V
V
V
V
V
V
k
V
V
k P g
R
V
V
V
V g
V
V
V
V
V
V
V
k j
V
V
V
V
V g
V
V
V
V f
V
P g
R
V
V
12
sl.
11
12
12
11
12
12
11
12
11
sl.
12
11
12
11
12
10
10 8
H
8
9
12
sl.
11
12
12
11
12
12
11
12
11
sl.
12
11
12
11
12
11
12
10
10 8
H
8
9
41
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V f
V
P g
R
V
V
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V
V
V
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V
V
V
V
V
V
V
V
V
V g
V
V
V
V f
V
P g
R
V
V
11
sl.
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
10
10 8
H
8
9
11
sl.
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
10
10 8
H
8
9
37
T
A
B
I
V V
k
V V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V g
V W
j
3 3 3 3
2 5
5
5
3 6 10
sl.
8
11 8
10 9
8
9
8
9
10 8 10 10


69
T
A
B
I
V
V
V
V g
V
V
V
V V
V
V g
V
V
V
V
V
V g
j
V
V
V
V
V g
V
V
V V
V V V g
10
9
8
6 8 6
8
6 6
8
6
8
9
8
9
10 8 8 10
9
8 11 8
9
10 10 8 8 8
65
T
A
B
I
V V
V g
V
V
V
V
V V V
P g
z
V
V
V
V
V V
V g
V
V g V f
V
V
V W
10 10 8
10
10 8
10
10 10 10
8
H
9 10 8 9
10 10 8
10 9 8 10 8 7 7
61
T
A
B
I
V
k
V g
u
V
k
V
u
V
k
V g
u
V
k
V
u
V g
V
V g
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V
V
V
V V
V
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V g
V
8
11
8
11
8
11
8
11
11
M
1/4
8
11
8
11 8
10 9
sl.
9
10 8 10 10
8 9
57
T
A
B
I
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V k
V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V g
V g
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V f
V
V
W
W
k
V
V g
V
V g
V
V
8
sl.
9
8
9
6
7
8
9
12
sl.
12
10
10
8
9
6
7
8
sl.
9
8
9
6
7
8
9
8
9
6
7
8
9
12
sl.
12
11
11
10
10
8
9
8
9
8 11
8 11
P
8
11


85
T
A
B
I
k
V g
V
V
V
k
V
u
V g V f
V
V
V
V
V
V g
V
V V g
V
V f V g V f
V V
k
V
u
V
V
V
V
11
10
11
8
8 11 10 8
10 9
sl.
10
7
8 10 7 8
10
7 8 7
10 10
10
9
sl.
8 10
8
81
T
A
B
I
V
V
V
V g
V
k k
V
k
V
k
V
V g
V V
k
V
V
V
V
V
k k
V
k
V
k
V
10
9
8 11
10
10
9
8 11
10 10
10
9
8 11
10
10
9
8
77
T
A
B
I
V
V
V
V g
V
V
V V f V
u
V
V
u
V
V
V
V
V g
V
V
V
V
V
V
V V V g V f
V
V
V
j
10
9
8 11
10 8
11 10 10 8
10 10 9 7
10 8 10
9
8 11
10 8
11 10 11 10 8 10 8
73
T
A
B
I
V g
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V g
V
V
V
V
V
V f V V V
V V V
j
8 10
9
8 11 8
9
10 8 10
9
8 11 8
9
10 8 10
7 9 10
8 10 10
M
1/2
10 10 8 8 8


105
T
A
B
I
V
V g
V V
V
V W V V
V g
V V V
V g
V V
V
V
V g
u
V V
V
V
8
H
11
P
8
\\\\\\\
8
H
11
P
8
\\\\\\\\\\\\\\\\\\\
8 8 8
H
11
P
8
\\\\\\\\\\\\\\
8 8
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11
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8
\\\\\\\
8
H
11
P
8
\\\\\\\
11
8 8
11
8
101
T
A
B
I
V
k
V g
u
V V f
V
V
V
u
k
V g V V V f
V
V
V
V
V
V V
V W
9
11
M
Full
11 10 8
10 9
11
M
Full
11 11 10 8
9
sl.
8
9 7
7
M
1/2
7 5 5
97
T
A
B
I
V V V V V V V V V V V V V V V V V V
V g
V V V V V
V g V
u
V
V
V
V
13
sl.
8 8
13
sl.
8 8
13
sl.
8 8
13
sl.
8 8
13
sl.
8 8
13
sl.
8 8 11
M
1/4
8 8
13
sl.
8 8
11
M
Full
11 8
10
8
10
93
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V W
8 10
8
10
8
10
12
sl.
10 8
10
8
10 8
9 7
10
9
sl.
7
10 7 10 7
10 10 10
89
T
A
B
I
W
k
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
u
V
k
V
V
V
8 12
sl.
10 8
10 8
9 7
10
7 9
8 10
8 12
sl.
10 8
10 8
9 7
10 10
7 9

121
T
A
B
I
V g
V
V V V
V
V V g V
V
V
k
V f V V V V
V
V
V
V
V g W
8
10
8 8 8
10
8 8 8
10
8
10
M
1/2
10
M
1/2
10
M
1/2
10
M
1/2
10 8
10 9
sl.
10 8 8
117
T
A
B
I
V g V
V
V
k
V
V V V g V
V
V V
j
V g V
V
V V
V
V V V g
V
V V
j
8 8
10
8
10
8 8 8 8
10
8 8 8 8
10
8 8
10
8 8 8
10
8 8
113
T
A
B
I
V
V
V
V g
V
V
V
V f V
V
V g V f
V
V
V
V g V
V
V
V
V
V
V g
V
V
V V g V V f
V
V
8
7 10
8 10
9
8 10
sl.
10
8
11 10 8
9
10 8 7
10 7
8
7 10
8 10
9
8 9
M
1/2
9 8
9
10
109
T
A
B
I
V g
V
V
V V
V V
V g
V
V
V g
V
V g V f
V
V V V
V
V
V
V
V
V
11 8
H
11
P
8
\\\\\\\\
8
10
M
1/2
10 8 9
10 8
10 9 8 7 3 3 3 7
sl.
5 7
5 9
sl.
8
sl.
T
A
B
I
V V
V g
V
V V
V
V
V V
V
V
V g
j
V V
V g
V
V V
V
V V V
V
V g
V
j
5
sl.
5 3 5 9 9 5 9 12 12 9 12 15
sl.
5 5 3 5 9 9 5 9 9
M
1/2
9 5 3 5
9
T
A
B
I
V
V g V f V g V f
V
V V
V
V
V V
V
V
V
V
V
V
V g
V
V V f
V U
8
11 10 11 10 8 10 10 8
10
8 8
10 9 7 9 7 5 3 5 3 2 0 0
5
T
A
B
I
V g V V V V V V V V g V V f
V
V g V V V V V V V V g V V f
V
6 6 6 6 6 6 6 6 6 6 5 3
11
sl.
11 11 11 11 11 11 11 11 11 10 8
sl.
1
T
A
B
I
4
4
V g V V V V V V V V g V V f
V
V g V V V V V V V V g V V f
V
Gtr I
11 11 11 11 11 11 11 11 11 11 10 8
sl.
11
sl.
11 11 11 11 11 11 11 11 11 10 8
sl.
CHAPTER 21 SEGMENT 81
Improvisation: Dominant Improvisation Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
Segment 81. Improvisation: Dominant Improvisation Play-along Exercise
In this segment we roll the dominant Play-along track and trade fours. I play four
bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me,
if you like.

34
T
A
B
I
V
V
V
V g
V
V
V
V g
V
V
V
V g
V
k
V
u
V
V
V
V
V
3
2 5
3 5
5
3 6 8 12 15 18 15 12
sl.
8
10 8
9
10
sl.
30
T
A
B
I
V
V
V
V
V
V V g
V
V
V k
V
k
V
k
V
k
V
k
V g
k
V
u
j
1 3 5 6 8 10 11 13 1 3 5 6 8 10 11 13
26
T
A
B
I
V V
V
V
V
V
V g
V V
k
V
c V
V
V
V
V g
V
V
V W
8 8 6 8 5
sl.
5 3 5 5
5
8
sl.
6 5
5 3 5 3
5 5
22
T
A
B
I
V
V
V
V g V
V
k
V
V g
V
V
V
V
j
V
V
V
V g V V f V g V f V g V f
V
V
V
j
8
7 10
8 8
10 10
8
10
7
8 10
8
7 10
8 8 7 8 7 8 7
10 8 7
sl.
17
T
A
B
I
V
V
V
V V g V f
V
V
V g
V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V g
V
V
V
V
V
V
V
V
3
2 5
2 3 2
5 2
3
5 2
3
5 2
3
2
3
2 5
3 5 3
3
5 3
5
3
5 2 5 2 0 3

52
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
k
V
V
V
V
V g
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
u
V g
V
V
V
c
W
W
12
sl.
12
12
12
12
12
12
12
12
12
10
10
8
9
8
9
10
10
11
11
12
12
12
12
12
12
13
14
12
12
12
12
10
10
8
9
8
9
6
7
3
3
3
3
47
T
A
B
I
V
V
V
V
c
V
V
V
V
k
V
k V
V
k
V
V
k V
V
k
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
c
V
V
V g
V
c
W
W
V
V
5
7
5
7
9
10
9
10 10
7
8
5
7
7
8
9
10
9
10
9
10
10
12
10
12
9
10
9
10
10
12
9
10
9
10
5
7
3
5
3
5
4
sl.
7
43
T
A
B
I
V
V
V
V g
V
V
V
V g V f
u
V g V f
V
V
V
V
V
V g
V
V V f
V V
V
V
V V
j
3
2 5
3 5
5
3 6 5 6 5 3
6 5 3
5 3 5 3 2 0 0
3 2
3 3
39
T
A
B
I
V
V
V g
V
V g
V
V g
V
V g
V
V g
V
V g
V
V
V
V
V g
u
V
V
V V U
2 3
1 2 4 5
3 5
4 5
2 3 6 8 11 12 8
11 8 11 8 8 8

64
T
A
B
I
V
V
j
V
V
j
V
V
k
V
V
u
j
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
8
12
M
1/2
60
T
A
B
I
V
V g
V
V V
V
V
V
V g
V V V V V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
8
11
8 12
M
1/4
12 8
11 8 11 8
12
sl.
8
12
sl.
8
10
8
9
sl.
10 8 10
9
sl.
10 8 10
8
sl.
9
10
10
8
sl.
9
10 8 10
56
T
A
B
I
V g
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V
V
k
V
V g
V
k
V
V
V
l l l l l l
6
P
3
P
0 6
P
3
P
0 8
P
6
P
0 10
P
8
P
0 12
P
10
P
0 13
P
12
P
0 15
P
13
P
0 12
P
10
P
0 10
P
8
P
0 8
P
6
P
0 6
P
3
P
0

CHAPTER 21 SEGMENT 82
Improvisation: Extended Dominant Improvisation
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I V
V g
V
V
V
j
V
V g
V
V
V
j
V
V g
V
V
V
j
V
V g
V
V
V
j
10
8
7 10 9
10
8
7 10 9
10
8
7 10 9
10
8
7 10 9
9
T
A
B
I
V
j
V g
V
V
V g V
V
V g V
V V
V
V
V V g V f
V
V
V V
V
V
V g V f V g
V V
8
11 8
10 8
M
1/2
8
10 8 8 10 10
9
sl.
8 10 11
sl.
10 8
9
sl.
7 7 9
10 8 7 8
10 10
5
T
A
B
I
V V
V
V
V g V V f
V V
V V g
V
V
V
V
V
V
V
V g V V f
V W
V
V
V
V
3
k k k
8 8 10 8 11 11 10 8 8 10 11
8
11 8
10
8
9
sl.
7
8 8 7
10 10
10
9
sl.
8 10
1
T
A
B
I
4
4
V
V g V f
V
V
V
V
V
V g V V f V g
j
V
c V
V g V f
V
V
V
V
V
V g V V f V g
j
V
V
k
Gtr I
8
11 10 8
10 9 7
10 8 8 7 8 10
8
11 10 8
10 9 7
10 8 8 7 8 10
8
Segment 82. Improvisation: Extended Dominant Improvisation
In this video segment we continue our study of the dominant tonality. We roll the
C7 dominant play-along track and I demonstrate how to play over it using all we
have learned throughout the course. We use the C7 mixolydian, which is the F
scale starting and ending on C, the whole tone scale, and diminished tonalities,
the super locrian and the suspended 4
th
. Throughout the video demonstration I
tell you what scale, arpeggio, chord tone, etc., that I am using, so you get a good
idea of its sound and application.

29
T
A
B
I
k
V
V g
V g V f
V g V f
V
V g V
V
V g
V
V
V
V
V g V V g
V
V
V g V f
j
V V V V V g V V V
V g V V V
V V V V
12 11 9 8
11 10 8 7 7 8 7
9 7 9
10 8 8 8 10 8 11 10 10 10 10 10 11 11 11 11
8 8 8 8 9 9 9 9
25
T
A
B
I
V
V
V g V f V g V f
V V
V
V W
V g
V V g
V g
V
V g
V
V f V g
V V g
V g
V
u
V
11 13
P
11 10 11
P
10 8 8
10 9
sl.
9
8
sl.
10 11
8 9 11
8 10 11
8 9 11 12
11
21
T
A
B
I
V
k
V
u
V
V g
V
V
V
j
V
V g
V
V
V
V
V g
V
V
V
V
V g
V
V
V
V
V
V g
9 10
8 11
sl.
10 13 12
12
11
10 13 12
10
8
7 10 9 12
sl.
11
10 13 12 10
13 11
17
T
A
B
I V
V g
V
V
V V
V
V
V g V f V g V f
V
V
V
V
V g
V
V
V V
V
V
V
V g
V
V
k
10
8
7 10 9 9
10
7
8 7 8 7
10 8
7
10
8
7 10 9 9 7 9
sl.
10
8
7 10

44
T
A
B
I
V g V
V
V g
k V
V
V
V
V g
V
V
V
V g
V
V
W
V
V
V g
V
V
V
V g
V W
9 9
9 11 7 9
10
7
8 10
7 9
9
8 12 10
10
9
9
8 12
sl.
10
11
8 8
40
T
A
B
I
V g
V g
V
V
V
V
V
V
V
V
V g V f V g U
k
V
V
V g
V
V
V V
V g
V
k
V g
V
V g
j
8 11 9 8 9
P
8 9
P
8 9
P
8
11 10 11 10 10
9
9
8 12 10 10
11
8
9 11
11
36
T
A
B
I
j k
V g
u
V g
V g V f
V
V g V
V g
V
V g
V g V f
V g
V
k
V V g
V g
V
V g V
V
V V
V
V g
V g
V
V
V g
V
V
V
V
V
V
V
11
11
sl.
9 8
11 9 9
11 9 8
11 10 8 10 10 11
8 9 11 11 9 11 11 9 11
9
11
9 11
P
9 11
P
9 11
P
9
11 9
33
T
A
B
I
V g V V V
V V V V
V V V V V g V V V
V V V
V g V
V
V g
W
11 11 11 11
8 8 8 8 10 10 10 10 11 11 11 11
8 8 8 11
M
1/4
11 8
11
8

61
T
A
B
I
V
V g
V g V f
V g
V g V f
V g
V
V g
V g V
V
V g
V
V V
V g
V V V
P g
z
V
V W
k
V
V g
j
12 11 9 8
11 9 8
11 9 11 8 8 9
11
8
10 10 8 10 10 10
8
H
9
10 10
8 11
57
T
A
B
I
V
V
V
V g
V
V
V
V
V
V
V g
V
V
V
V
V g
V
V
V
V
V g
V
V
j j j
12 13 10
11
12
11
10 13 12
12
11
10 13 12
12
11
10 13 12
12
11
10 13
52
T
A
B
I
U
V g V f
V g
V g V f
V
V
V g V V g V f V
u
V V
u
V g
V g
V
V g
V g
V g
V f
V
U
10
9 8
11 9 8
10 9
11 10
H
11
P
10 10 10 10 11
8 9 11
9 11
8 11
M
1/4
8
48
T
A
B
I
k
V g
V V g V f V g V f V g V f V g V f V g V
V g
V g V f
V
V
V
V
V g
u
V f
V g
V V g V f V g V f
V g
V g V f
V
V
V g
j
11
8 9
P
8 9
P
8 9
P
8 9
P
8 9 8
11 9 8
10
8
9
8
11 10
11
8 9 8 9 8
11 9 8
10 9
11

77
T
A
B
I V
V V g
V
V
V
V
V f V
V
V
V
V
V
V
V
V V
V
V W
10
7 8
7 10 7
8 10 10 8 10 8 10 8
9
10 7 7
10
7 7
72
T
A
B
I
U
V
V
V
V g
V
V
V
V
V
V
V
V V
V
V
V
V
V g V f V V g V f
V
V
V
V g V f V V g V
10
8
7 10
8 10
7 9
8 10
sl.
8
10
sl.
8 8 10
sl.
8 12 10
11 10 10 11 10 8
9 7
8 7 7 8 7
68
T
A
B
I
V V
V g k
V
V g
V
V g
V
V g
V
V V
V
V V
V
V V
k V g
V
V g
V V
V g
V
P g
z
V
V
V
V
j
10 10
8
M
1/4
8 11
8 11 8
11 8
10
M
1/2
O
10
8
10
M
1/2
O
10
8
10
M
1/2
O
10 8
10 8 10 10 8 10
8
H
9
10 8 10
65
T
A
B
I
V
V g
V
V g
V V
V
V
V
V
V g V f
V g
V
V
V
V g
V V
V
V
V g
V
V
V
P V f
V g
V
8 11
P
8
11
8 8 11 8
11 8
11 10 8
10
8
M
1/4
10 8 10 10
8
10
11
M
1/4
8
11
M
1/4
8
11
sl.
10 8
10

93
T
A
B
I
V
V
V
V
V
V
V
V
V V V V V V V V V
V
V
V
V
V
V
V
V
V g
V
V f V g
V
V
7 10
7 10
7 9 10
8 10 10
M
1/2
O
10 10
M
1/2
10 10
M
1/2
10 10
M
1/2
10 8
10 9 10 7 9
10
7
8 10 7 8
10
7
89
T
A
B
I
V
V V
V
V
V
V
V
V V
V g k
V
V g
V
V g
V
V g
V
j
V
V f
V
V
V
V
V
V
V
3
V
V
V
3
V
V
V
3
j
9
sl.
8 8 10
9
sl.
7
10 7 10 10
8
M
1/2
8 11
8 11
P
8
11
8
8 10
8 12 10 8
10 8
9 7
10 7
10 8 7
85
T
A
B
I
V V
V
V g
V
V V
V g
W V V
V
V
V
V
V
V
V
V
V V
V
V
V
u
V
V
V
V
u
V
V V
V
V
10 10 8
11
M
1/4
8
10
M
1/2
10 8
10 10 10
7
10
9
sl.
8 10 8
12
sl.
10 8 8
10
M
1/2
8
10
8
10
M
1/2
8
10
M
1/2
8
10 10 8
10
81
T
A
B
I
V
V
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
8
8
9
10
10 12 10 8
10 8
9 7
10
7
10 7
10
10
7 9
sl.
8 10
8 10 12 10 8
10 8 10
8 10 10
M
1/2

109
T
A
B
I
V V
V g
V
j
V
c
V V
V g
V
j
V
c
V V
V g
V
V g
V
V V
V g
V
j
V
c
k k k k k
5 5 3 5
5
5 5 3 5
5
5 5 3 5
4
M
1/2
5
5 5 3 5
5
105
T
A
B
I
V
V
V
V
V
V
V
V g V V V g V f
3
V
V
V
V
V
V g V
c
V
V
c
V g
V
V
V
V
V
V g
V V
V
c
k
3
6 5 3 5
P
3
5 3 3 2
H
3
P
2
5 3 2
5 3 1 0
3
0 1 3
2
sl.
3 2
sl.
3 1 3 3
5
101
T
A
B
I
V
V g
V
V
V
V
V
V
V
V V g
V
V f
V
V
V
V
V g
V
V
V
V
V
V
V
V V g
V
V f
V
V V
12
sl.
11
10 13 12
13
10
11
8
10
6
8
5
6
3
5
12
sl.
11
10 13 12
13
10
11
8
10
6
8
5
6
3 3
97
T
A
B
I
V g
V
V
V
V
V
V f V g
V
V g
V
V g
V V
V g V V
V g
V V V
P g
z
V
V
8 10
7 9 10
8 10 11
8 11
M
1/4
8
11 8 8
sl.
11
M
1/2
10
M
1/2
O
10 8
10 10 10
8
H
8
sl.
9

124
T
A
B
I
V
V
u
V
V
V
V
u
V
V
u
V g
V
V f
V
u
V
V
u
V
V g
(
12
12
10
10
8
9
8
9
6
7
5
5
5
5
3
3
120
T
A
B
I
V V
V
V
V g
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
c
k k k k k k
8 8
10
12
sl.
11
12
12
11
12
12
11
12
12
sl.
11
12
12
11
12
12
11
12
12
sl.
12
10
10
8
9
12
11
12
12
11
12
12
11
12
12
sl.
11
12
12
sl.
12
117
T
A
B
I
V
V V g
V V g
V g
V
V g
V
V f V g
V V g
V V g
V
V g
V f
V
V
V g V f
V
V g
V
V g
V
V g V f
V g
k k
8
7 8 10 11
8 9 11
8 10 11
8 9 10 11 12
11
8
11 8
11 10
10
8
M
1/2
10 8
10 9 8
11
113
T
A
B
I
V V
V g
V
j
V
c
V V
V g
V
j
V
c
V g V V f V g
V V
V
V
V
V
V g
V
V g V f
V
V
k k
5 5 3 5
5
5 5 3 5 3 6 6 5 6
5 5
6
5
3
5
6 3 9 8
11
8

CHAPTER 21 SEGMENT 83
Improvisation: Extended Dominant Improv. Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
9
T
A
B
I
V
u
V g
V
V g
V
V V
V g
V
V g
V V V
V
V V g
V
V
V
V g
V
V
V
V f
V f
P g
z
V
V
V
V
V
V g
V
V
V g
V
k
8
11
M
1/4
8
11
M
1/4
8
10
M
1/2
10 8
10 8 10 10 10
8 10 11
M
1/4
8
11
M
1/4
8 11
sl.
12
11
12
10
10 8
H
8
9
8
9
10 8
10 8
11 8
sl.
5
T
A
B
I
V
V g
V
V
V V
V
V
V g
V
V
V
V
V
V
V V
V
V
V g
V
V
V U
k
12
11
10 13 12 12
13
10
11
12 10 12
11
10 13 12 12
13
10
11
12 10 9 9
1
T
A
B
I
4
4
V V
V g
V
V
V
V
V
V
V g
V
V
V
V
V
V V V V
V
V V
V
V
k k k
Gtr I
8 8
11
8
11 8
10 9
sl.
10 8 10
7 9 10
8 10 10
M
1/2
10 10 8 10
sl.
10 8
10
sl.
Segment 83. Improvisation: Extended Dominant Improvisation Play-along
Exercise
In this segment we roll the extended dominant play-along track and trade fours. I
play four bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me,
if you like.

28
T
A
B
I
V
V g
V g
V g
V
V
V
V V
V
V g
V g
V
V V f
V g
V V g
V g
V
V g
V g
V g
V f U
8
11 9
11
9
11 9 11 11 9 8
11
8
11 10 8 10 11
8 9 11
9 11 13
sl.
13
24
T
A
B
I
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V g
V
V V
V
V U
12
11
10 13 12
13
10
11 8
10 9
sl.
10
7 9
8 10
8 11
M
1/4
8
11 8
10
M
1/2
O
10 8
10 10
18
T
A
B
I
V
c
V g
V g
V
V
V
V
V
V
V
V
V g
V g
V
V
V
V
V
V
V g
V g
V
V
V
V
V g
V g
V
V
V
V
V
V
U
7 8 11
9
8
11
9
8 11
9
8 11
9
8 11
9 12 15 12
14
15
12 9
11
12
9 6
8
9 6
8
10 8 7
14
T
A
B
I
V g V f V g V f
V g
V g V f
V
V
V
V
V g V f V
V g
V V g
V g V f
V g
V g V f
V
V
V g U
9 8 9 8
11 9 8
10 9 10
P
9
11 10 10 8 10 11
9 8
11 9 8
10 9
11 10

45
T
A
B
I
V
V g V f
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V g
V
V
V
V
V
V
V g V f
V
V
V
V
V g
V U
8
11 10 8 10
sl.
8
9 7 9
sl.
7
10 8 10 8
10 8 7 10
8
7 9
8
6 10 8
11 10 8
10 9
sl.
10 8 10 10
41
T
A
B
I
V
V g
V
V
V
V
V
V
V
V g
V
V
V f
V
V
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V
V
3
V
V g
V
3
V
V g
c
W
k k k k k
5
P
3
P
0 5
P
3
P
0 5
P
3
P
0 8
P
5
P
0 7
P
5
P
0 9
P
7
P
0 10
P
7
P
0 9
P
7
P
0 10
P
7
P
0 9
P
7
P
0 10
P
7
P
0 9
P
7
P
0 7
P
5
P
0 5
P
3
P
0 5 3
5
37
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V V V
V
V
V V V
V g
V
V
V
V
V
V
V V
V
V V
V
V
V
V
V
P g
z
V
V
11
sl.
12
11
12
11
12
11
12
11
sl.
12
11
12
11
12
11
12
11
sl.
12
8 8 8
11
sl.
12
8 8 8
11
sl.
12
8
11
sl.
12
8
11
sl.
12
8
10
8 8
sl.
9
8
9
10
10 8
H
8
sl.
9
32
T
A
B
I
V
V
V g
V g
V
V
V g
V
V
V g
V g
V
V
V g
V
V
V g
V g
V
V g
V
V
V
V
V
V g
V g
V
V
V g
V
V
U g
12 10
11
11
10 8
9
9
8 6
7
7
6 4
5
5
4 2
3
3
6 4
5
5
8 6
7
7
6 4
5
5 3

64
T
A
B
I V
V V g
V
V
V f
V
V g V
V
V
V
V
V
V V g V
V
V
V
V
V g V f
V U
10
7 8
7 10
10
sl.
8
11 10 8
10
8
9
sl.
10 7 8 8
7
6 10
sl.
8
11 10 8 8
59
T
A
B
I
V
u
V V
V g
V
k
V
c
V V
V g
V
k
V
c
V
V g
V
k
V
k
V
c
V
V g
V
k V j j j
12
13 13 11 13
5
5 5 3 5 12
13 11 13 15
M
1/2
5
5 3 5
3
M
1/2
55
T
A
B
I
V
V
V
V g
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V g
V
V
V
V
V V
V
V
10
9
8
6 10 6
8
9
10
9
8
6 10 6
8
9
10
9
8
6 10
8
6
9
8 8
10
9
sl.
50
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V k
V
V
V
V
V
V
V
V V
V
V g
V
V V
V g
V
V g
V
V U
12
sl.
10 8
10 8
9 7
10
7 9
10
7
10
7
10
9
sl.
8 10 8
10
M
1/2
10 8
11
M
1/4
8
10
M
1/2
10
M
1/2
8
10 8
8
10 10
68
T
A
B
I
V g
V
k
V
V
k
V
V
V
V g
V V
V g
V
V V
V g
V
V
V V
P g
z
V
V
V
V
V
V
V
V g U
11
8
11
8
11
8
8
11
8 8
11 8
10
M
1/2
10 8
10 8 10 10
8
H
8
9
10
10
10 8
10 8 8
sl.
Segment 84. Improvisation: Major-Minor Pentatonic Scales
Pentatonic Major and Minor Scales
Two scales that are closely related to one another and prevalent in jazz, rock,
country, folk, and bluegrass are the major and minor pentatonic scales. Many
guitar players have had successful careers using only these two scales.
1. As its name implies, pentatonic scales are composed of five notes (penta =
five and tonic = notes).
2. Play the pentatonic major scale in the key of C. (C-D-E-G-A).
3. The pentatonic minor scale, commonly referred to as the blues scale, is
made up of the following intervals: Root, b3
rd
, 4
th
, 5
th
, b7
th
, and players
often add the flat 5
th
to this scale.
4. To play the pentatonic minor or blues scale, start with the C pentatonic
major scale, but begin playing on the “relative minor,” which is the 6
th
note
in the scale A. Continue to play the same notes up an octave.
5. Play the pentatonic minor scale in the key of A. (A-C-D-E-G). Note that
these are the same notes we used for the C pentatonic major scale, just
starting and stopping on the A.
6. Sing these scales to internalize their sound.
7. You can also mix the major and minor pentatonic scales for great effect. For
example, try starting a phrase with the C major pentatonic and ending with
the C minor pentatonic.
8. Learn to play these scales all over the fingerboard, playing in all keys, using
all possible fingerings.
9. Play horizontally, vertically and combine both approaches.
10. Included in this chapter is a visual of a few pentatonic major and minor
scales to help you get started.

Segment 85. Improvisation: Major Pentatonic Improvisation Example
In this segment we roll the major pentatonic play-along track and I improvise over
it using what we have learned in this tonality. Throughout the video
demonstration I tell you what I am focusing on so you get a good idea of its sound
and application.

CHAPTER 21 SEGMENT 85
Improvisation: Major Pentatonic Improvisation Example
Level: Beginner
Gtr I: Untitled (E A D G B E)
12
T
A
B
I
V
V
V
V
V
V
V
V V
P
R
V
j
V
c
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
k k
8 5 3
5 3
5 2 5 5
3
H
5
5
5
sl.
3
5 3
5
5
sl.
3
5 3
5
5
sl.
3
5 3
5 5
3 5
3 5 3
9
T
A
B
I
U
8
5
T
A
B
I
V
V
V
V
V
V
V
V
P
z
V
u
V
V
V
V
V
V
V
V
V
V
V V V
V
V
k
8
10 8
9 7
10 7 10
7
H
9
10
7 9
8 10
8 12
sl.
10 8
10 8 8 8
9
8
1
T
A
B
I
4
4
V
k
V
V
V
V
V V V
V
u
V
V
V
V
V
V
V
V V
V
k
Gtr I
8
10 8
9 7
10 10 10
9
sl.
8
sl.
10 8
9 7
10 7 10 10 7

33
T
A
B
I
P
P
z
V
V
V V V
V
V
U
3
3
H
5 3
5 5 5 2
5
5
29
T
A
B
I
V V V V V V V V V
V
V
V
V
V
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V
V
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V
V
V
V
V
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V
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V
V
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V
3 3 3 3 3 3 3 3 3
3
H
5
3
5
3
5
3
3
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5
3
5
3
5
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3
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5 3
5 2
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2
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5
3
3
3
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3
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3
26
T
A
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3
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5
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5
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3
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3
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5
3
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3
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3
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5
3
5
3
5
3
3 3
3
3
22
T
A
B
I
V V
V
V V
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V
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V
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W
V
V
V
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5 5 2
5 5
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5
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3
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5
3
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3
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5
3
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3
5
17
T
A
B
I
U
V
V
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V
V
V
V
V
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V
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V
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V
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V
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V
V
V
V
3
5
3 5
3 5
sl.
3
5
sl.
3
5
sl.
3
5
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3
5
sl.
3
5
sl.
3
5
sl.
3
5
sl.
3
5 3
5 2

51
T
A
B
I
V g
V
V
V
V
c
V g
V
j
V
V
V
V g
V
j
V
V
V
V g
V
j
V
V
V
j k
8
sl.
9 0 2 5 8
sl.
9 0 2 5 8
sl.
9
5 7
5 8
sl.
9 0 2 5
47
T
A
B
I
V
V
u
V
V
V
3
W V
V
V
V
V
V
V
V
V
V
V
V
W
V
V
V
k
5 7 9 12 14
sl.
14 14 12 14 12 14 12 9 12 7 9 5 2 5 0 2 5
43
T
A
B
I
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
k
7
sl.
5 7
sl.
5 5
7 5
5
sl.
7 5
7
5
sl.
7 5
7
5
sl.
7 5
7
sl.
5
7 3 5 3
39
T
A
B
I
V
V
V
V
V
V
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V
V
V
V
V
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V
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8
8
9
10
10 12 10 8
10 8
9 7
10 7
10 7
10 8 5 3 5
3 5 7
sl.
5
7
sl.
5
7
sl.
5
7
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5
7
sl.
5
7
sl.
5
35
T
A
B
I
V
V
V
V
V
V
V
W
V
V
V
V
V
V
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V
V V
V
V
V
V
V
V
V
V
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j
8
8
9
10
10 8
9
10
8
8
9
10
10 8
9 7
10 10
8
8
9
10
10 8
9 7
10
7 9
8
8
9
10
10 8
9 9

70
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
j
V
V
V
V
V
V
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V
V
V
V
V
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j
8 5
8 5
7 5
7 5
7 5
8 5 8
sl.
8
sl.
5
8 5
7
sl.
5
7 5
7 5
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sl.
66
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V U
10
12 10 12 10
12
10 12
10 12
9 12
10 13
10 12
sl.
10
13 10
12
10
12 9 9
62
T
A
B
I
W W V
V
V
V
W V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
12
sl.
12
sl.
12
sl.
10
12 9 12 12
sl.
10 13 10
12 9 12
10 13 10
12 9
12 10
12
10
59
T
A
B
I
j
V
V
V
V
j
V
V
V
V W
10 12
10 14
sl.
0 2 5 9
sl.
9
55
T
A
B
I
V g
V
j
V
V
V
V g
V
j
V
V
V
V g
V
j
V
V
V
V
V
V
V
V
8
sl.
9
10 12
10 13
sl.
14 5 7
5 8
sl.
9
10 12
10 14
sl.
5 7
5 9
sl.

85
T
A
B
I
V g
j
V
V
c
V g
V
V
V V
c
V g
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
k k k k
11
M
1/2
11
M
1/2
8 11
M
1/2
8 11
M
1/2
8 8 11
M
1/2
8
10 8
11
M
1/2
8
10 8
11
M
1/2
8
10
8 12
sl.
12
8
9
81
T
A
B
I
V V
V
V
V V
V
V
V V
V
V
V
V
V
V
V
V
V
V
8 8 5 8
5 5 2 5
8 8
10
8 12
sl.
10 8
12 10
9 7
10
sl.
78
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
7
sl.
5
7 5
5
7 5
7
7
sl.
5
7
8
sl.
74
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
j
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
sl.
5
8 5
7
sl.
5
7 5
7 5
8 5 8
sl.
8
sl.
5
8 5
5
sl.
8 5
7
8
sl.
5
7 5
5
7 5
7

101
T
A
B
I
V
V
V
V
V
V
V U
V
V
V
k
4
3 5 8 10 12 15 15
3 5
2
97
T
A
B
I
V
V V V
V
V
V
V
V
V
V
V
V
V V V
V
V
V
V
V
V
V
j V g
V
V
V
V g
5
sl.
1 1 1
3
sl.
0
1 0 1
2 0 2 0
2
sl.
2
sl.
2
sl.
3
0
3
2
sl.
0 2
1 4
M
1/2
3 5 3
4
M
1/2
93
T
A
B
I
V
V
V
V
W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V V V
k
5
sl.
3
5 3 1
3 0
1 0
2 0
2
0
2
0
2 0
3
0
3
2
0 2 0
1 1 1 1
89
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
k k k
8
9
12
sl.
10 8
10 8
9
12
sl.
12
8
9
8
9
10
sl.
10
8
9
8
9
12
sl.
10 8
12 10
9
12
sl.
12
8 10
10
10
8
9

121
T
A
B
I
V V
V g
V V V
V
V
V
V
V
V
V
V
V V
V
V
V V
V
V V
V
V
k
5 5 8
M
1/4
5 5 5
8
sl.
5
8 5
7
sl.
5
7 5
5 5
7 5
5 5
7
5 5
7
9
sl.
117
T
A
B
I
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
15
sl.
15 15 15
10 10 10
15
sl.
15 15
10 10 10
5 5 5
1 1 1
5
sl.
5 5
10
sl.
10 10
15
sl.
15 15
10 10 10
5
113
T
A
B
I
V V V V V V V V
V V V V V V V V
V V V V V V V V
V V V V V V V
15
sl.
15 15 15 15 15 15 15 3
sl.
3 3 3 3 3 3 3 15
sl.
15 15 15 15 15 15 15 3
sl.
3 3 3 3 3 3
109
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V W
k k k k k k k k k k k k
15
sl.
12
sl.
8 5
sl.
3
5
sl.
1 13
sl.
8
sl.
5
sl.
1
sl.
5
sl.
2
sl.
5 2
3 3
105
T
A
B
I V
V
V
V
V
V
V
V
V
V
V V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
5
2 5
3 5
3 5 8 10 12 15 15 15 12 10 8 10 8 5 8 5 3 5 3
5
sl.
3
5 2 5

125
T
A
B
I
V V
V
V V
V
V V
V
V
V V
V
V V
V
V V
V
V V
k k k k j
5 5
7
5 5
7
5 5
7
9
sl.
5 5
7
5 5
7
5 5
7
9
sl.
9
CHAPTER 21 SEGMENT 86
Improvisation: Major Pentatonic Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8 5
8 5
5
8 5
7
8 5
7 5
5
7 5
7
7 5
7 5
5
7 5
7
7 5
7
sl.
8
9
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V V V W
12
sl.
10 8
10
10
sl.
8
10 8
8
sl.
10 8
9
10
sl.
8
9 7
8
9 7
10
9
sl.
7
10 7
10 10 10 10 10
5
T
A
B
I
V V
V
V
V V
V
V
V V
V
V
V
V
V
V
V
W
k k k
8 8 5 8
5 5 2 5
8 8 5 8
8 5
sl.
7 5
7
5
1
T
A
B
I
4
4
V
k
V
k
V
V
V
V
V
V
V
V V
V
V
V V
V
V
V V
V
V
V
V
V
V W
Gtr I
8 5
8 5
7 5 7 5
7
5 5
7 5
5 5
7 5
5 5
7 5
5
sl.
8 10
sl.
8 8
Segment 86. Improvisation: Major Pentatonic Play-along
In this segment we roll the major pentatonic play-along track and trade fours. I
play four bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what I am focusing on so you can follow me, if you like.


34
T
A
B
I
V
c
V
V
V
c
V
c
V
V
V
V V
c
V
V
V
V
V
V
W
k k k k k
3 12
sl.
10 3 3 12
sl.
10 12 3 3 12
sl.
10 12 7
sl.
3 5 3
29
T
A
B
I
V V
V
V
V
V
V
V V
V
c
V V
V
V
V V
V
V
V
V
V
V
V
V
V
V U
k
10 10 7 10 14
sl.
10 7 10 10 7 10 10 7 10 7 7 5 7 5 2 0 2 0
3 0 3 3
25
T
A
B
I
V V V
V V
V V
V V
V V
V V
V V
V V
V
V
V
V
V
V
V
V
V
V
V W
15
sl.
15 15 12 12 8 8 10 10 5 5 8 8 3 3 0 0 3 5 8 12
sl.
10 8
10 8
9 7 5 5
21
T
A
B
I
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V V V
V
k k k
10
sl.
9
8 10
sl.
8
9
10 10
9
sl.
10
9
8
9
10 8
9
10 7 7 7
10
sl.
17
T
A
B
I
V V
V
V
V
V
V V V
V
V
V
V
V
V
V
V V V
V
k k
10 10
9
sl.
8 10 8
8 8 8 12
sl.
10
7 9
sl.
8 10 8
8 8 8
10
sl.

50
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
j
V
V
V
V
V
V
V
V
V
V
V
V
V
j
8
5 7
5 7
5 7
5 8
5 8 10 12 12 10 8 5
8 5
7 5
7 5
7 5
8
sl.
46
T
A
B
I
V
V
V
V
V
c
V
V
V V
V
V
V
V
c
V
V
k k k k k k j k k k k k
10
7 9
8 10
8 10 12 12 10 8
10 8
9
sl.
10
sl.
42
T
A
B
I
V
V
V
V
V
V
V
V
u
V
V
V
V
c
V
V
V
c
V
V
V
V
V
V
V
V
V
V
V
V
W
k k
12
sl.
12
10
10
8
9
12
sl.
12
10
10
8
9
8
9
8 12
sl.
10 8
10 8
9 7
10
9
sl.
7
10 7 10
38
T
A
B
I
V
u
V
V
c
V
V
V
V V
V
V
c
V
V
V
V
V V
V
V
V W
k k k k k k
5
5 3 5
5
5 3 3 5 3 8 5 3
5 3 3
5 2 5 5

66
T
A
B
I
V
V
V V
V
V
k j
V
V
V V
V
V
j
V
V
V V
V
V
j
V
V
V V
V
V
k k k
8 10
8 8
10
8
5 7
5 5
7
5
8 10
8 8
10
8
5 7
5 5
7
5
62
T
A
B
I
V V
V
V
V V
V
V
V V
V
V
V V
V
V
V
k
V
V
V
V
V
V
V
V
V
V V
13 13 10 13 10 10 8 10 8 8 5 8 5 5 3 5 1 5
sl.
3 8
sl.
5 10
sl.
8 13
sl.
10 15
sl.
13 13
58
T
A
B
I
V
V
V
V
V
V
j
V
V
V
V V
V
j
V
V
V
V
V
V
V
V
V
c
V
V
V
V
V
V
j k k k k k k k k k
8
9
10
10
8
9
5
5
8
sl.
9
5
5
8
9
10
10
8
8
9
12
sl.
12
10
10
8
9
8
sl.
9
54
T
A
B
I
V V
V
V
V
V
V
V V
V
V
c
V V
V
V
V
V V
V
V
V V
V
V
k k k k k k k k
5 5
7
5
7
5
7
5 5
7 5
5 5
7
5
7
5 5
7 5
5 5
7 5
Segment 87. Improvisation: Minor Pentatonic Improvisation Example
In this segment we roll the minor play-along track and I improvise using what we
have learned in this tonality. Throughout the video I tell you what I am focusing
on so you get a good idea of its application.


CHAPTER 21 SEGMENT 87
Improvisation: Minor Pentatonic Improvisation Example
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
W
V
V
V
c
V
j
V
c
V
V
V
V
V g V f
V
V W
j
V
c
k k
10 8
9
10 13 10 13 10
12 9
13
sl.
12 10
12 12
12
9
T
A
B
I
W
V
V
V
j
W
V
V
5
8 5
5
sl.
5
8 5
sl.
5
T
A
B
I
V V
V
V
V V
V
V
V
V
V V W V V
V
V
V V
V
V
V
V
V V V
V
V g
V
7 7 5 7
5 5
7
5 7 5
7 7 7 7 7 5 7
5 5
7
5 7 5
7 7 7
5 7
5
1
T
A
B
I
4
4
V V
V
V
j
V
c
V
V
V
V
V
V V
V
V
j
V
c
V
V
V
V
V
k k k k
Gtr I
5 5
8
5
5
sl.
7 5
7
5
7
5 5
8
5
5
sl.
7 5
7
5
7

29
T
A
B
I
V
V
V
V g V f
V
V
V
V V
V
V V
V
V V g
V
V V
V
V V
V
V g V
V
V
k
5
sl.
3
5 4 3 1 3 1
2 2 0 2 2
1 3 4
M
1/2
0
4
M
1/2
4
0
4
M
1/2
4
0
4
M
1/2
4
0 5
sl.
25
T
A
B
I
V
V
V
V
V
V
V
V V V
V
V
V
V V V V
V
V V
V
V V
V
7
P
5 7
5
5
7 5 7 7 7
5 2
1 3 3
M
1/2
3 3 1 3
M
1/2
3 1 3
M
1/2
3 1
21
T
A
B
I
V V V V V V V V V V
V
V V V
V
V
V
V V
V
V
V
V
V
V g
V
V
V
V
V V f
V
7 7 7
M
1/2
7 7
M
1/2
7 7
M
1/2
7 7
M
1/2
O
7 5
7 7 7 5 7
5 7 7
M
1/2
5
7
M
1/2
5
7
M
1/2
5
8
M
1/2
5
5
8 5
8 7
P
5
17
T
A
B
I
V V
V
V
V
V
V
V V
V
V
V g V f V g V f V g V V V g V f V g V f V g V f
V
V V V V
V
c
k
10 10
12
10 13 10
12
10 10
12 10
13 12 13 12 13 13 12 13 12 13 12 13 12 10
12 12 12 12
7
M
1/2

45
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V V W
V
V
V V W
V
V
V V V
V
V
V
5 3 5 3 1
2 0
2 0
3 0 0 0
12
sl.
15 12 12 12 10
sl.
12 10 10
M
1/2
O
10 8 10 8
sl.
41
T
A
B
I
V
V
V
V
V
V
V
V U
V
V
V
V
V
V
V
V
V
V
V
k
8 10 13
sl.
10 12 10
13 10 10
12
sl.
10 8 10 8 5 8 5 3 5 3
37
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8
5 8 5 8 10
sl.
8 10 12
sl.
10 8
10 10
7 5 7
5
7
5 7 5 7
5
7
5 8 5 8 10
sl.
33
T
A
B
I
V
V
V
V g V f
V
V V W V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5 3
5 4 3 1
2 2 2
7 5 7
5
7
5 7 5 7
5
7
5 8 5 8
5

61
T
A
B
I
V V
V
V
V V
V
V
V V
V
V V V
V
V
12
sl.
12 10 12
sl.
5 5 3 5
10 10 8 10
14 14 12 14
57
T
A
B
I
V V
V
V
V V
V
V
V V
V
V V V
V
V
7
sl.
7 5 7
sl.
10 10 8 10
sl.
2 2 0 2
7
sl.
7 5 7
53
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V V V
V
c
V V
V
V
V V
V
V
k
7
5 7
5 8
5 8 10 12 15 17 17 17
sl.
5
5 5 3 5
2 2 0 2
49
T
A
B
I
V V
V
V
V
V
V
W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5
sl.
5
8
5
8 5
7 5
7
5 7
5 8
5 8 10 12 10 8 10
P
8 5 8 5
8 5
7 5

77
T
A
B
I
V V V V V V
V
V W V
V
V
V
V V
u
V
V
u
V
u
V
V
c
7
M
1/2
7
M
1/2
7
M
1/2
7
M
1/2
7
M
1/2
O
7 5
7 7 7
5
5 8
5 5
8 5 5
5
7
73
T
A
B
I
V V V V V V V
V
V
V
V V V V V V
V
V V
j
V
V
V k
10
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
10 10 10 10 10 10
8
10
8 10
M
1/4
10
M
1/4
10
M
1/2
10
M
1/2
10
M
1/4
10
M
1/4
8
10 10
sl.
7
sl.
5 7
69
T
A
B
I
V V V V V V V
V
V
V
V V V V V V V
V
V
V
10
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
10 10 10 10 10 10
8
10 8 10
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
10 10 10 10 10 10
8
10 8
65
T
A
B
I
V V
V
V
V V
V
V
j
V
V
V
V
V
V
V
V
V
V
V
V
V
V
5 5 3 5 17
sl.
17 15 17
sl.
5 8
5
\\\\\
8 5
5
\\\\\
8 5
5
\\\\\
8 5
5
\\\\\
8 5

97
T
A
B
I
P
z
U
P
z
V
P
z
V
P
z
V
P
V
P
z
V
V
u
8
H
10 8
H
10 8
H
10 8
H
10 8
H
10 8 10
8
sl.
93
T
A
B
I
V V
V
V V V
V
V V V
V
V
V
V
V V V V V V
V
V
V
V W
5 5 8 5 5 5 8 5 5 5 8 5 10
sl.
8 10 10
M
1/2
10 10 10
M
1/2
10 8
10
8
10 10
89
T
A
B
I
V V
V
V V V
V
V V V
V
V
V
V
V V V V
V
V V V
V
V V V
V
V
V
V
V V
5 5 8 5 5 5 8 5 5 5 8 5 10
sl.
8 5 5 5 5 8 5 5 5 8 5 5 5 8 5 10
sl.
8 5 5
85
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V g V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
7
5
5 8
5
8 5
5
7
5
5 8
5 8 10 11
sl.
10 8 5
8 5 8 5
7
M
1/2
O
7 5
7
5
5 8
7 5
81
T
A
B
I
V
c
V
V
u
V
u
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V V W
j
V
c k
7
5
5 5 8
5 5
8
5 8 5
8 5 8 5
7 5 7 5
7 7 7
7

112
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
W V V
V
V
c
k k k k
7
5 7
5 7
5 8
5
sl.
5
sl.
8 5
7 5
7 5 7 7 7
5 7
108
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
j k
8
M
1/2
5
5
8
M
1/2
5
5
8
M
1/2
5
5
8 5
7 5
7
5
7 5 7 7 5
5
7
sl.
5 8
5
104
T
A
B
I
U
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
k
10
5 7
5
8
M
1/2
5
8
M
1/2
5
8
M
1/2
5
8
M
1/2
5 8
M
1/4
5
8
M
1/2
5
8
M
1/2
5
8
M
1/2
5
100
T
A
B
I
V V V V V V
V V V V V V V
V V V
V V V
V V V
V V V
V
V
V
V
k
13
sl.
13 13 13 13 13
sl.
1 1 1 1 1 1 1
sl.
13 13 13
sl.
1 1 1
sl.
13 13 13
sl.
1 1 1
sl.
13 10 8 10

120
T
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B
I
V V
V
V
V
c
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
k
7
M
1/2
7 5
7 5
5
5
7 5
7
7
5
5
7 5 7
5
5
5
4
5
116
T
A
B
I
j
V
c
V
V
V
V
V
c
V
V
V
V
V
V
V
V
k k k k k k k k k k k k
5
7
5 7
5 8
5 8 12 10 8
10 8 5
Segment 88. Improvisation: Minor Pentatonic Improvisation Play-along Exercise
In this segment we roll the minor play-along track and trade fours. I play four bars
and then you play four bars. You can copy what I am doing, or play something in
response to what I play. Throughout the video demonstration I tell you what I am
focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 88
Improvisation: Minor Pentatonic Improv. Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
16
T
A
B
I
V
c V
V
V
V V g V f
V
V
V
V
V
V
V
V
V
V V g V
V
V g
V
V
V
V
V
V
V
V W
7
5
8 5
7
sl.
8
sl.
7 5 7 5 7 5
7 5 7
5 7 8
M
1/2
8
5
8
M
1/2
5 8
5
8 5
7
sl.
5
7 7
11
T
A
B
I
V
u
V
V V
V
V
V
c
V
V V
V
V
V
c
V
V
V
V
V
V
V
V V
V
V V V
k k j
5 8
5 5
8
5
sl.
2 5
2 2
5
2
5
3 5 3
5 3
5 2
3 3
5 2 2 2
6
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V V V W
5 8
5 8 5
8
5
8 5
7
5
7 5
7
5 5
7
5 7
5
sl.
8
5
8 5
7 5
7
5
7 7 7 7
sl.
1
T
A
B
I
4
4
V
u
P
z
U V
V
V
V
V
V
V
P
z
W V
V
V
P
z
V
Gtr I
9
8
H
10
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
10 8
9
8
9
8
9
8
H
10
\\\\\\\\\\
10 8
9
8 10
sl.

34
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V g V V f
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
8
M
1/2
5
5
8
M
1/2
5
5
8
M
1/2
5
5
8
M
1/4
5
8
M
1/2
8
sl.
7 5
7 5
8
M
1/2
5
5
8
M
1/2
5
5 8
M
1/4
5
8 5
7
sl.
5
7
sl.
30
T
A
B
I
V
V
V
k
V
V
V V W
k
V
V
V V
V
V
V W V
j
5
H
8
P
5 5
H
8
P
5 5 (8)
tr
||||||||||||||||||
5 (8) 8
H
10
P
8 8
H
10
P
8 10 (13)
tr
||||||||||||||||||
10 (13) 10
sl.
25
T
A
B
I
V
V
V V g V f
V
V
V g V f
V
V
V g V f
V
V V
V
V
V V
V V
V V
V V
V V
V V
V
W
10 13
10 11 10
13 10
11 10
13 10
11
P
10
13 10 10 13
10 12
sl.
12 15 15 12 12
sl.
10 10 8 8 5 5 3 5
21
T
A
B
I
V
V V V V V
V
V
V
V
V
V V V
V
V V
V
V V
V g
V V
V
V V
j
14
sl.
13 13 13 13 13
14
sl.
13 15 13 17
sl.
15 15 15
15
sl.
13 13
14
13 13
15
15
M
Full
15 13
14 14
sl.

54
T
A
B
I
V
V
V k V V
u
V
u
V
V
V
W
V
V
V V V V V V V V
V
V W
7
5 7
M
1/2
7
M
1/2
7
M
1/2
7 7
M
1/2
5
7
5
7
sl.
5 7
M
1/4
7
M
1/4
7
M
1/2
7
M
1/2
7
M
1/2
7
M
1/2
7
M
1/2
O
7 5
7 7
50
T
A
B
I
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
14
sl.
10
\\\\\\\\
10 10
14
10
\\\\\\\\\\\\\\\\\\\\\\
10 10 10 10 10 10
14
10
\\\\\\\\\\\\\\\\
10 10 10 10
14
10
\\
10 10
\\\\\\\\\\\
10 10 10 10
\\\\\\\\\\\\\\\\
10 10 10 10 10
46
T
A
B
I
V
V
V W
V
V
V V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
j
5
P
3
P
0 0 5
P
3
P
0 0 8
P
5
P
0 0 10
P
8
P
0 12
P
10
P
0 12
P
10
P
0 10
P
8
P
0 8
P
5
P
0 0
42
T
A
B
I
V
k
V
k
V
k k
V
k
V
V
V
V
V
V
V
V V V V V V
V
V V
V
V
7 5 7
10
sl.
7
10 8 10 8 5 8 10
M
1/2
10 10
M
1/2
10 10
M
1/2
10 8 5 5 17
sl.
5
sl.
38
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
j j
8
sl.
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
10
8
10 10 8
sl.
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
5
5
3
4
5
5
5
5

66
T
A
B
I
V
V
V V g
V V
V
V V
V
V V V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
7
sl.
5 7 8
M
1/2
5 5
8
M
1/2
5 5 8
sl.
10 10 10 8
sl.
10 13 13 10 13 15
sl.
13 15 17
sl.
15 13 10
12 9
12 10
12 10
12 10 8 5
62
T
A
B
I
V
k
V
k
V
V V V V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V W
17
sl.
15 12 10 10
M
1/2
10 10 8 5 8 5 3 3 5 3
5 3
5 2
5 2
5 3 0 0
58
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
8 5
8 5
5
sl.
8 5
7
8
sl.
5
7 5
5
sl.
7 5
7
7
sl.
5
7 5
5
7 5
7
7
sl.
5
7 5
8
5 7
5
sl.

Segment 89. Improvisation: Flat 9 Minor Tonality
In this lesson we cover the flat 9 scale. It has an exotic Middle Eastern flavor that
makes it a favorite for Gypsy Jazz guitarists.
1. The flat 9 scale is derived from the harmonic minor scale by starting and
ending on the 5
th
step of the scale. In the key of Cm the 5
th
note is G.
2. For this study we will use the I-V progression in Cm. That is: Cm and G7.
3. The formula for the flat 9 scale is: root, flat 9, 3, 4, 5 flat 6, and 7. In the key
of C minor the notes are: G, Ab, B, D, F, G.
4. Play the harmonic minor scale starting and ending on the 5
th
of the scale up
to the octave and back. You can also resolve by ending on the C minor
chord using the C harmonic minor scale.
5. The 5-note arpeggio used over the G7 chord in this tonal center is the G7
with the added flat 9, which is the G7b9 chord. The notes that make up the
G7b9 chord are: G, Ab, B, D, F.
6. Practice this scale using all fingerings with the goal of learning it in all 12
keys and in all zones of the fingerboard.
7. Practice it horizontally and vertically and combine both approaches as we
have done with other studies.
Segment 90. Improvisation: Flat 9 Minor Tonality Play-along Exercise
In this segment we roll the flat 9 minor play-along track and trade fours. I play
four bars and then you play four bars. We use the G7 flat 9 scale resolving with
the C minor tonalities. You can copy what I am doing, or play something in
response to what I play. Throughout the video demonstration I tell you what I am
focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 90
Improvisation: Flat 9 Minor Tonality Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V V g V V V V f V V V g V f
V
V g V f
V
V
V g V
V
u
V
V g
V U
3
H
4 4 4 4
P
3 3 3 4 3
6 4 3
5 4
6 5
5 5
4
3 3
9
T
A
B
I
V V g V V V V f V V V V g V V V V f V V V V V V V
V
V g
V W V V
V g
V
3
H
4 4 4 4
P
3 3 3 3
H
4 4 4 4
P
3 3 3 3 3 3 3 3
6 4
5 5 5 5
4
3
5
T
A
B
I
V
V W W
V
V g V f
V
V
V V V
V
V g
V U
6
3 3 3
6 4 3
5 4 5 5 5
5
6 3 3
1
T
A
B
I
4
4
U V
V
V g V f
V
V
V g V f U V V V g
V
V
V V g
Gtr I
3 3
6 4 3
5 4
6 5 5 5 5 6
4 5
3 4

33
T
A
B
I
V V g V f
V V
V V g
V
V
V
V g V f
V
V
V
V
V V
V g
V
V V
V
V U
8 9 8
10 10
8 9 12
10 13 11 10
13 12
10
12 13 13
11
13
13
M
1/2
13 11
13 13
29
T
A
B
I V V g
V
V
V
V V g V
u
V f
V
u
V
V
V g
V V
V
V V
V
V g
V W
5 6
4
3 6
3 4 4 3 8 8 3
4
5 5
4
5 5
5
6 3 3
25
T
A
B
I V V g
V
V
V
V V g V f
V
V
u
V
V g
V U
5 6
4
3 6
3 4 3
5
5 5
4
3 3
21
T
A
B
I
V V
V g V f
V
V g V f
V
V
V g V f
V
V g V f
V
V
V
V g
V
V
V
V
V V U
4 4
4 3
6 4 3
5 4
6 5 3
6 5 3 2 3 6
5
5
4
3 8 8 8
17
T
A
B
I W V V g
V
V
V V V g
V V
V V g V f W V
V g
V
V V
V g
c
V
V
V
V
5 5 6
4 5
3 3 4 6 6
3 4 3 3 3
4
5
5 5
6 3 6
5
5

49
T
A
B
I
V V g V f
V
V V
u
V
V
V
V V
V V g V V V
V V
V
V
V g V V g V f
V V
V V g V
8 9 8
10
8 8
10 7
8
10 10
8 9 9
M
1/2
9 8 10
M
1/2
10 8
10 8 7 8 7
10 10
7 8 7
45
T
A
B
I
V V g V f
V
V
V
V
V
V V g
V
V
V f V
V
V g V f V g
V
V
V g V f
V
V
V U
7 8 7
10
7
9
7 10
8 9
7 10 15 15 13 11 10 11
13 12 9 8
10 8
10 10
41
T
A
B
I
V V V g V f V V V g V f V V g
V
V
V
V
V
V
V
V
V g V f
V
V g V f
V V
V
V
V g V f
V
V g V
8 8 9 8 8 8 9 8 8 9
7 8 10 8 7 10 8 7
9 8
10 8 7
10 10
8 7
9 8
10 8 7
37
T
A
B
I
V V V g V
V V
V V
V V
V V
V g V V f V g V
V
V g
V
V V
V g
V U
8 8 9 9 12
sl.
12
10 10 15
sl.
15 13 13 11 11 10 11
M
1/4
11 8
11 8
10
M
1/2
O
10 8
10 10

61
T
A
B
I
V V g
V
V V g
V
V
V
V
V
V
V g V f
V
V g V f
V
V g
V V
V
V
V g
V
V
V g
V V V
j
3 4 6 8 9 12 9 12 15 13 12 9 8
10 8 7
10
8 10
M
1/2
10 8
10 8
10 8
11 8 8 8
sl.
57
T
A
B
I
V V g V f
V V
V
V
V g V
V
V g V f V V g V f
V V
V
V
V g V
V
V
V V V
V
V g
V V
V
V
15 16 15 13 13 15 13 11 11 13 11 10 10 11 10 8 8 10 8 6 6 8 6 3 3 3
6 4 6
M
1/2
O
6 4 6
53
T
A
B
I
V V
V g V f V V
V
V V V
V
V
V
V g V f
V
V g V f
V
V V g
V
V V g V V
V g W
7 7
9 8 8 8
8 7 7 7 10 8 7
9 8
10 8 7
10
7 8 10
8 9
M
1/2
9 8
8 8
In this segment we explore the flat 9 major tonality. We use the flat 9 scale over
the dominant chord, just as we did in the last segment, but resolve on a major
chord instead of a minor chord. When we get to the C major chord, use any of the
major tonalities to resolve the phrase. You can even resolve using a pentatonic
minor tonal center.
Segment 92. Improvisation: Flat 9 Major Tonality Play-along Exercise
In this segment we roll the major play-along track and trade fours. I play four bars
and then you play four bars. Remember, that when we get to the C major chord,
use any of the major tonalities to resolve the phrase. Use different notes of the
major chord as a target note to resolve. You can even resolve using a minor tonal
center. You can copy what I am doing or, play something in response to what I
play. Throughout the video demonstration I tell you what I am focusing on so you
can follow me, if you like.

Segment 91. Improvisation: Flat 9 Major Tonality

CHAPTER 21 SEGMENT 92
Improvisation: Flat 9 Major Tonality Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V
V
V V g V f V V V g V f
V
V g V f
V
V
V
V
V
V
V
V
V
V
V U
9
7 10
8 9 8 8 8 9 8
10 8 7
10 9
7
10
9
sl.
8 10
12
sl.
10 8
8 8
9
T
A
B
I
V V V g V f V
V
V g V f V V g V f
V
V
V
V V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V V g
8 8 9 8 8
10 8 7 7 8 7
10 9 10
7 8
sl.
9
8 10
8 12
sl.
10 8
10 8
9 7
10 7 10 7 8
5
T
A
B
I
W V
V
V g V f V
V
V V
V g V f
V
V V
c
V
V
V V U
3 3
6 4 3 3
5 4 4
6 5 3 2 2
4
5 2 2 2
1
T
A
B
I
4
4
W V
V
V g V f V
V
u
V
V g V f
V
U W
Gtr I
3 3
6 4 3 3
5 4
6 5 3 2 2

29
T
A
B
I
V V V
V
V g V f
V
V
V g V f
V
V g V f
V
V
V g V V
V
V
V
V
V
V W
W
15
sl.
15 15 13 11 10 8 7 4 3
6 4 3
5 4
6 5 5 3 2
5 3
5 3 3 15
sl. sl.
25
T
A
B
I
V V V g V f
V V
V
V
V g V f
V
V V
V g V f V V
V
V
V
V
V
V
U
15 15 16 15 13 13 15 13 11 10 8 7 7 4 3 3 3
6
3
5
5 4
5
2
21
T
A
B
I
V V V V
V
V V g
V
V g V f
V
V g V f
V
V V V
V
V
V
V
u
V
V
V
V V V W
9 8 8 8
10
8 9 12 9 8
10 8 7
10 9 9 9 10
9
8 12
sl.
8
9
10 9 9 9 9
17
T
A
B
I
V V g V V V V f V V V V g V V V V f V V V
V
V
V
V
V
V
V W V
V
V V g
8 9 9 9 9
P
8 8 8 8 9 9 9 9 8 8 8 8 12 10 8
9
9
10
7 7 7
10
8 9

45
T
A
B
I V V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V W
5 6
4
3
6
4
3 6
4
3 6
3 7 10 13 10 12 13 12 8 7
8
9
10 9 (10)
tr
||||
10
7 7
41
T
A
B
I V V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V U
5 6
4
3
6
4
3 6
4
3 6
4
3 6
4 7 8 7
8 5
5 4
5 2 2
37
T
A
B
I V V V g V
V V
V V
V
V V g
V V
u
V V g
u
V
V
V g
V
V V
V g
V U
5 5 6 6
4 4
3 3 6 8 9
7 7 10 11
M
1/4
11 8
11 8
10
M
1/2
O
10 8
10 10
33
T
A
B
I V V V g V
V V
V V
V V
V V V g V
V
V V
V
V
V
V
V
V
V
V
c
V W
5 5 6 6
4 4
3 3 6 6
3 3 4 4 7 12 12 10 8
10 8
9 7
10 7
10 10

65
T
A
B
I V V V g V f
V
V g V f V g
V
V g V f V g
V
V
V
V
V
c
V
V
c
V
V
V
V
V
V
V V V V V
k
10 10
6
10
9 6
10
6 9 6
10
6 9
7
9
7 9
10
7
10
10
7 9
10 7
10 10 10 10 10
61
T
A
B
I V V V g V f
V
V g V f V V V V g
V V
V V f V V
V
V
V
V V
V
V
V
V
V
V
10 10 11 10
9
11 10 10 10 10 11
9 9
11 10 10 10 12
10
12 10 10 12 10
10
12 10
10
sl.
57
T
A
B
I V V V g V f
V
V g V f V V V V g V f
V
V g V f V V V
V
V
V
V
V V V
V
V
V V
V
V V
10 10 11 10
9
11 10 10 10 10 11 10
9
11 10 10 10 10 12 10
10
12 10 10 10 12 10
10 10
12 10 10
53
T
A
B
I
V V
V
V
V g
u
V f V g V f
V
V g V f
V
V
V V
V
V
V
V
V
V
V
U
9 9
7
9
9 8 9 8
10 8 7
10 9 7 7 9
10
7
7 10
8 7 5
49
T
A
B
I
V V g
V
V f W V V g V V V
V
V
V V
V
V W
V
V
V
k k
8 9
10
8 8 8 9 9
M
1/2
9 8
9
10 7 7
10
7 7 10 7 10

69
T
A
B
I V V V g V f V g V f V g V f V g
V
V
V
V
V
V
V V
V
V
V
V
V
V
V V
V
V
V
W
10 10
6
10
6
10
6
10
6 9
7
9
7
9
7 9
sl.
9
8
9
sl.
7 5
7 5
7
sl.
7 5 3
5
3
Segment 93. Improvisation: Diminished Tonality
Our next scale is another exotic sounding scale that really catches a listener’s ear.
Its repeating minor intervals and the dissonance of the flatted 5
th
interval make it
mysterious and unique. The symmetry of the diminished scale and chords make it
very versatile and easy to visualize on the fret board.

1. The diminished scale is a symmetric scale that starts with a whole step
followed by a ½ step. This pattern of whole step ½ step continues until you
reach the octave. The diminished scale works well for playing over the V7
chord.
2. Diminished 7th chords are built by stacking minor thirds. In other words,
there are 1-½ steps between every note, making this chord symmetrical.
3. Use the formula above to write out all your diminished scales. You will
discover that because of the symmetry of the diminished scale and
arpeggio, there are only 3 diminished scales and 3 diminished arpeggios.
Each of them services 4 dominant chords. The diminished chord or arpeggio
that relates to the 4 dominant chords contains only the 3
rd
, 5
th
, and 7
th
note
of the dominant chord and never the root. The fourth note is the flat 9,
which is a ½ step above the implied root of the dominant chord you are
playing over.
4. Included in this chapter is a visual of the diminished chords and the
dominant chords that they service to help you get started.
5. Play the Ab diminished arpeggio horizontally, on the 3
rd
string.
6. Next play the scale, which is a series of whole steps, followed by a half step.
7. Play this arpeggio vertically as well.
8. Also included in this chapter is a visual of a diminished scale and arpeggios
to help you get started.

CHAPTER 21 SEGMENT 94
Improvisation: Diminshed Tonality Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V g
V
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V g
V
3 5 6
3 4 6 7
5 6 8 9
6 7 9 10
sl.
3 5 6
3 4 6 7
5 6 8 9
6 7 9 10
sl.
9
T
A
B
I
V
V g
V
V
V
V g
V
V
V
V g
V
V
V
V g
V
V
3 6
4
3 6
4 7 10
sl.
3 6
4
3 6
4 7 10
sl.
5
T
A
B
I
V V
V V V g V
V g V
V V
V g V
V V
V V
V V
V V V g V
V g V
V V
V g
V V
j
3 3 5 5 6 6
3 3 4 4 6 6
3 3 5 5 6 6
3 3 4 4 6 6 7 7 9 10 10
sl.
1
T
A
B
I
4
4
V
V V g
V g
V V
u
V g
V
u
V
V
V
V
V V g
V g
V V
u
V g
V
u
V
V
V
Gtr I
3 5 6
3 4 4 6
3 3 5 6
3 5 6
3 4 4 6
3 3 5 6
Segment 94. Improvisation: Diminished Tonality Play-along Exercise
In this segment we roll a diminished play-along track in the key of F and trade
fours. I play four bars and then you play four bars. You can copy what I am doing,
or play something in response to what I play. Throughout the video
demonstration I tell you what I am focusing on so you can follow me, if you like.

37
T
A
B
I
V
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
3
1
0 3
6
4
3 6
9
7
6 9
12
10
9 12
15
13
12 15
12
10
9 12
9
7
6 9
6
4
3 6
32
T
A
B
I V g
V
V
V
V
V
V
V
V g
V V
V V
V V
V V g
V
V
V
V
V
V
V
V g
V V
V V
V
V g
V U g
U
1
3
4
6
7
9
10
12
13
15
10
12
7
9
4
6
1
3
4
6
7
9
10
12
13
15
10
12
7
9
3
6
1
3
27
T
A
B
I
V
V g
V
V
V
V
V
V g
V
V g
V
V
V
V
V
V g
U
3 6 9 12 15 12 9 6 3 6 9 12 15 12 9 6 3
22
T
A
B
I
V
V g
V
V
V
V
V
V g
V
V g
V
V
V
V
V
V g
U
3 6 9 12 15 12 9 6 3 6 9 12 15 12 9 6 3
17
T
A
B
I
V
c
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V g
V
V
V
V V g V f V
j
0 1 3 4
1 2 4 5
2 3 5 6
3 4 6 7
5 6 8 9
6 7 9 10 12 13 15 16 15 15

56
T
A
B
I
V
V V g
V
W
V
V V g
V
V
V
V f V g V
V
V
V
V g V f
V
V V g
V
V
V
V
u
V f
3 5 6
4 7
3 5 6
4 7
6
3 4 3
6
7 4
6 5 3 5 6
4 7
6 9
sl.
8
52
T
A
B
I
V
V g
V g V f
V
V
V
V g
V
V g
V g V V f
V
V V g
V g
V
V g
V
V
V
V f V g
V g
V V W
7 6 4 3
6 5 3 2
4 3 1 1
5 3 5 6
3 4 6
3 5 6
3 4 6 7 7 7
46
T
A
B
I
V
c
V
V V g
V g
V
V f V g
V g
V
V g
V
V
V
V
V
V
V
V g
V
V
V
V V g
V
V
V V g
V g
V
V g
V
V
u
V
2 3 5 6
3 4
5 6
3 4 6 7 3 4 6 7
5 6
6 7
5 6 8 9 5 6 8 9
6 7 9 10 12 13
41
T
A
B
I
V
V
V
V g
V
V
V
V
V
V g
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
U
4
3
1 4
7
6
4 7
10
9
7 10
13
12
10 13 16 13
15
16
13 10
12
13
10 7
9
10
7 4
6
7 4

73
T
A
B
I
V
c
V V
V V V g V
V g V
V V
V g
V V
V
V
V V V V V
V
V
V
V g
V
V g
V g
V V
V f V g U
7 8 8 10 10 11 11
8 8 9 9 11 12 12
9 10 12 12
M
1/2
12 12 12 10 9
12 11 9 8
11 8 8 10 11
sl.
10
sl.
69
T
A
B
I
V
V g
W
V
V
W g
V
V
V V
u
V g
V
u
V
u
V
V
u
W
3 6 9
7 10 13
12 15 12 12 9 6 6 3
4 4
65
T
A
B
I V
V
V g
V g
V g
V
V
V
V
V
V
V
V g
V g
V
V
V g V f
V
V
V
V g
V
V g
V g V f
V
V W
5 3
3
6
6 4
3
6
5 3
3
6
6 4 7 6 4 3
6 5 3
6 4 3
6 5 3 5 5
60
T
A
B
I
V
V V g
V g
V
V g
V
V
V g
V
V
V
V
V
V
V
V
V
u
V
V
V
V
V g
V
V g
V g V f
V
V
V
U g
3 5 6
3 4 6 7
6
4 7 10 7
9
10
9
7 10 7 10 13 12 10 9 7 6 4 3
6 3
4
6

Segment 95. Improvisation: Diminished Over Dominant Tonality
Recall that the diminished arpeggio is made up of 4 notes, each a minor 3
rd
apart.
In this segment I show you how to use the diminished arpeggios over dominant
chords. Remember that because of its symmetry, all of the related diminished
arpeggios are a minor 3
rd
apart.
1. Start with a G7 chord with the added flat 9. (See the lesson on the flat 9
tonality for review)
2. If we omit the root, G, and play the other notes, we have the diminished
arpeggio. So, to play over a dominant chord, simply start the diminished
arpeggio ½ step higher than the dominant chord’s root.
3. Play the Ab diminished on the top 4 strings. (See notation and chord grid)
4. Flat each of the 4 notes a ½ step, one at a time. This will yield 4 dominant
chords that are related to the Ab diminished chord. The 3
rd
, 5
th
and 7
th
are
always in the diminished and applicable dominant chord.
5. Since the root is never in the diminished arpeggio, imply the tonal center
and obtain your dominant flat 9 chord and arpeggio by simply playing the
flat 9 and lowering it a ½ step.
6. Summary: 1 diminished arpeggio services 4 dominant chords.
Ab diminished services the G 7, Bb7, Db7, and E7
A diminished services the Ab7, B7, D7 and F7
Bb diminished services the A7, C7, Eb7, and Gb7 (F#7)
Segment 96. Improvisation: Diminished Over Dominant Play-along Exercise
In this segment we roll the G7 to C major play-along track and trade fours. I play
four bars and then you play four bars. We will play using the diminished scales
and arpeggios over the G7, resolving on the C major. Remember that the Ab
diminished arpeggio is closely related to the G7b9 arpeggio. You can copy what I
am doing, or play something in response to what I play. Throughout the video
demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 96
Improvisation: Diminished Over Dominant Play-along Exercise
Level: Beginner
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V g
V
V
V
V
V
V
V g
V
V
V
V
V
V
V V
V
V
V
V V
V g V f U
3 6
4
3 6
4
3 6
4
3 6
4 7 10 8 7 7
10 8
9
9 9 8 7 7
9
T
A
B
I
W V
V g
V
V
V
V
V g
V
V
V
V f
V
V
u
V
V
V
V
W V
c k
3 3 6
4
3 6
3 6
4
3 6
3 7
sl.
3
5
5 4
5 2 2
5
T
A
B
I
V
V V g V
c
V g
V
u
V
u
V g
V
u
V
V
V
V V
V
u
V V
V g V f U
3 5 6 6
3 4 4 6
3 3 5 6 8
sl.
8 5
4 4 3 2 2
1
T
A
B
I
4
4
V
V V g
V g
V
V g
V
V
V W V
V
u
V V
V
V U
Gtr I
3 5 6
3 4 6
3 6 5 5 5
5 4 4
5
2 2

30
T
A
B
I
V V V
V g V V
V V V
V V V
V V
V g V f V
V
V g
V
V g
V
V V
V g V
V V
j
1 1 1 4 4 4 7 7 7 10 10 10 13 13 16 15 15 13 11
M
1/4
8
11
M
1/4
8
10
M
1/2
10 8 8
10 10
sl.
26
T
A
B
I
V V V
V g V
V V V V
V V V V
V
V V g V
V
V g
V
V V
V g
V V V V
V
13 13 13 16 16 13 13 13 13 10 10 10 10 7 10 11
M
1/4
11 8
11 8
10
M
1/2
O
10 8
10 10 10 10 7
sl.
22
T
A
B
I
V
V
u
V
V V g
V
V
u
V
V
u
V
V g
V
V f V
V
V
V
V
V
V
V
U
9 12
sl.
10 12 13
12
10 13 10
12
13 10 12 12
12 10 8
9 7
10 7
10
17
T
A
B
I
V
c
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V g
V V g
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
0 1 3 4
1 2 4 5
2 3 5 6
3 4 6 7 8 9 10
8 10
7 8 10 12 12 10 8
10 8
9 7
10

46
T
A
B
I
V
V V g
V
V
c
V
V g
V
V
V f
V
W
W
W
V
V
V
V V
V
V
V W
k k k k k k k
3 5 6
4
3 6
4 7 10
8
9
10
8
9
10
8
9
10 10 8 7
8 8
42
T
A
B
I
V
V V g
V
V
c
V
V g
V
V V
V
V
V
V
V
V
V U
k k k k k k k
3 5 6
4
3 6
4 7 10
sl.
10 7
8
9
10 9 7 9 9
38
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V V V
V
4 1
3
4
7
sl.
4
6
7
10
sl.
7
9
10
13
sl.
10
12
13
12 10 8
10 8
9 7
10 10 10 7
sl.
34
T
A
B
I
V
V
V
V g
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V V V
V
4
3
1 4
7
6
4 7
10
9
7 10
13
12
10 13 12 10 8
10 8
9 7
10 10 10 7
sl.

63
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V g
V g
V
V
V
V
V g
V g
V
V g
V
V
V
V
V
V
V
V f
V
V V g
V
V g
V
V f
V
V
V
V
V V
V
V
V
V
V
V W
10
12
10
12
10
12
10
12
10
sl.
12
9
11
9
11
9
11
9
sl.
11
7
9
7
9
7
9
7
sl.
9
6
8
6
8
4
6
4
6
3
5
3
5
3
5 5
4
5
2 4
5
2 2
58
T
A
B
I
V g
V
c
V
V g
V g
V g
V
V
V
V
V
V
V
V
V g
V
V g
V f
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
3
5
4
6
2
3
3
4
5
6
6
7
3
5
4
6
6
8
7
8
7
8
10
12
10
12
8
10
8
10
7
8
7
8
7
8
7
8
54
T
A
B
I
V g
V
V
V
V g
u
V
V
V
V
V g
u
V
V g
V
V
V
u
V
V
V
V
V f
V
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
U
U
U
U
k k
4
3
4
3
6 7
6
7
6
9 10
9
10
9
12 13
12
13
12
15
15
14
14
8
8
7
7
8
8
7
7
8
8
7
7
3
3
2
2
3
3
2
2
3
3
2
2
3
3
2
2
50
T
A
B
I
W g
W
W
W
W
W
W
W
W
W g
W
W
V
V
V
V
V
V
V f
V
u
W
W
W
W
V
V
V
V
V
V
V U
4
3
4
3
7
6
7
6
10
9
10
9
13
12
13
12
12
12
12
10
12
12
12
10
12
12
12
10
10 8
8 8

71
T
A
B
I
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
W
k k k k
3 5 6
3 4 6
3 5 6
3 4 6 7 8 10 12 12 10 8
10 8
9 7
10
9
sl.
7
10 7
10
67
T
A
B
I
V
V V g
V g
V
V g
V
V
V
V V g
V g
V
V
V V f V
V
V
V
V
V
V
V
U
k k k k
3 5 6
3 4 6
3 5 6
3 4 6 7 6 4 3 3
5 3
5 2
5 2
5 3

Segment 97. Improvisation: Augmented Whole Tone Tonality
In this segment we explore the whole tone scale. As its name implies, it is a scale
built with whole tones between each step. The whole tone scale, like the
diminished, is symmetrical, meaning the set of intervals repeats, resulting in a
visual pattern that resembles a checkerboard on the fret board. This scale sound
has a strange, unstable quality that may remind you of the music used in a dream
scene in movies.

1. The whole tone scale is a symmetric scale built using a series of 6 whole
tones or steps.
2. There are only 12 notes in music. The whole tone scale is made up of 6
notes, each a whole step apart. Therefore, there are only 2 whole tone
scales, each services six notes.
3. Play the whole tone scale horizontally in the key of G. (G-A-B-C#-D#-F-G) on
the G-string.
4. Move up a fret and play the whole tone scale starting on the Ab and you
have the other whole tone scale. Refer to the notation and fret board visual
on the following pages for suggested variations on how to play this scale all
over the fret board.
5. The augmented arpeggio is derived from the whole tone scale. The formula
is 1-3-#5. In the key of G, the notes of the augmented arpeggio or chord are
G-B-D#.


CHAPTER 21 SEGMENT 98
Improvisation: Whole Tone Tonality Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
T
A
B
I V
V
V
V g
V
V g
V g
V
V g
V
V
V
V U
0 4 2 6 4 8 6 10 8 12 10 14 12 12
9
T
A
B
I V
V
V
V g
V g
V
W V
V
V g
V g
V
V
W
0 2 4 6 8 10 12 12 10 8 6 4 2 0
5
T
A
B
I V
V
V
V g
V g V
u
V
V
u
V
u
V
V
u
V
u
V g
V g
V
V
u
U
5 7
4 6 8 8
6 8 8 10
7 7 9 11 13 15 15
1
T
A
B
I
4
4 V
V
V
V g
V g V
u
V
V
u
V
u
V
V
u
V g
V g
V
V V U
Gtr I
5 7
4 6 8 8
6 8 8 10
7 9 11 13 15 15 15
Segment 98. Improvisation: Whole Tone Tonality Play-along Exercise
In this segment we roll the whole tone play-along track over a G7 and trade fours.
I play four bars and then you play four bars. The key tones in G are: G-B-D#. You
can copy what I am doing, or play something in response to what I play.
Remember, that the scale is built with whole tones, so if you play horizontally, its
pattern is easy to recognize. Throughout the video demonstration I tell you what I
am focusing on so you can follow me, if you like.

29
T
A
B
I
V
V
V g
V
V
V
V g
V
V
V g
V g
V
V
V
V
V
V
V g
V
V
V V
V
V g
V
k k k k k
5
P
3
4
7
P
5
6
9
P
7
8
11
P
9
10
13
P
11
12
15
P
13
14
15
P
13
14 14
13
P
11
12
25
T
A
B
I
V
V
V g
V
V
V
V g
V
V g
V
V
V
V g
V
V
V
V
V g
V
V
V
V g
V
V
U
15
16
16
15 13
14
14
13 11
12
12
11 9
10
10
9 7
8
8
7 5
6
6
5 3
21
T
A
B
I V
V
V g
V
V
V g
V
V
V
V g
V
V
V g
V
V
V
V g
V
V
V
V
V
V g
V
W
W
5
4
4
3
7
6
6
5
9
8
8
7
11
10
10
9
13
12
12
11
15
14
14
13 15
sl.
3
17
T
A
B
I
V
V g
V
V g
V
V
V g
V
V
V
V
V g
V
V
V g
V
V g
V
U
U
k k k k k k
4
4
3
6
6
5
8
8
7
10
10
9
12
12
11
14
14
13 15
16

47
T
A
B
I V
V
V g
V
V
V g
V
V
V
V g
V
V
V g
V
V
V
V g
V
V
V
V
V
V
V
V
V
V g
V
W
5
4
4
5 7
6
6
7 9
8
8
9 11
10
10
11 13
12
12
13 9
8
8
9 5
4
4
4
5
43
T
A
B
I
V
V
V g
V V
V
V g
V V
V g
V
V V
V
V
V V
V
V
V V
V
V
V V
V
V g
V
W
3
6 4 6 6 4
6
4 4
6 4 6 6 4
7
4 4
7 5 7 7 5 3 5 5
4
4
3 7
39
T
A
B
I
V
V
V
V g
V g
V
V
V
V
V g
V g
V
W V
V
V g
V g
V
V
V
V
V g
V g
V
V
W
3 5 7
4 6 8
5 7 9
6 8 10
8 8 6 4
6 4 2
5 3 1
4 2 0
3
34
T
A
B
I
V
V
V
V g
V g
V
V
V
V
V g
V g
V
V
V
V
V
V g
V
V
V g
V
V
V
V
V
V
V g
V g
V
V
V V U
3 5 7
4 6 8
5 7 9
6 8 10
8 10 12
9 11 13 11 9
12 10 8
10
8
10 8 6
9 7 5 5 5
32
T
A
B
I
V g
V g
V
V
V
V
V
V
V
V
V
V
U
11
P
9
10
9
P
7
8
7
P
5
6
5
P
3
4
3
64
T
A
B
I
V
V
V
j
V
V g
V
V g
V g
V
V
V
V
V
V
V
V g
V g
V U
k k k k k k
8 6 8 6 4 6 4 2 4 8 6 8
7 5 7 11 9 11 11
60
T
A
B
I
V
V
V g
V
V
V g
V
V
V
V g
V
V
V
V
V
V
V
V
V g
V g
V
V
V
V
U
15 13 11 13 11 9 11 9 7 9 7 5 7 5 3 5 3
6 4
6 4
7 5 3 5
55
T
A
B
I
V
V g
V
V V
V
V
V V
V
V g
V V
V
V
V
V
V g
V
V
V g
V
V
V
V g
V
V
V g
V
V
V
V U
2
1
0
1
6
5
4
5
10
9
8
9
14
13
12
13
14
13
12
12
11
10
10
9
8
8
7
6
6
5
4
5 5
51
T
A
B
I V
V
V g
V
V
V
V
V
V g
V
V
V
V g
V
V
V
V
V
V
V
V g
V
W
5
4
4
9
8
8
5
4
4
9
8
8
13
12
12
9
8
8
5
4
4
4
5
Segment 99. Improvisation: Super Locrian Tonality
In this segment we explore the super locrian tonality. I think of the super locrian
as a combination of the whole tone and the diminished scales. The super locrian is
built using the following formula from the root: ½ step, whole step, ½ step, whole
step, whole step, whole step, and whole step. The intervals are: root, flat 9, sharp
9, 3, flat 5, flat 6, flat 7. The key with all scales is the same: get the sound in your
ear so you are thinking of the tonal center, not the theory. We can also look at
this from the perspective of the Ab melodic minor ascending over the G7 chord.
We start on the G, which is the major 7
th
interval.

SEGMENT 100 CHAPTER 21
Improvisation: Super Locrian Tonality Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
T
A
B
I V V g
V g
V V
V
V V f V V g
V g
V
V
V V f V g
V g
V
V
V V
V
V
V
V
V g
V g V f W
5 6 8 9 9 8 6 5 5 6 8 9 8 6 5 6 8 9 8 9 9 8 9 8 9 8 6 5 5
9
T
A
B
I V
V g
V g V f V V V g V f V g
V g
V V f V V V g V f V g
V g
V V f V g
V
V V f V g
V g
V V f W
5
3
6 5 5 5 6 5 6
3
6 5 5 5 6 5 6
3
6 5 6
3
6 5 6
3
6 5 5
5
T
A
B
I V V g
V g
V V
u
V g
V g
u
V
u
V
V
u
V
V
u
V
V
V g
V g V
u
V
V g
c
V
c
V g V f
c
W
5 6
3 4 4 6
4 4 6
3 3
6
3
6 4
6 6 4 3 3
6 5 5
1
T
A
B
I
4
4 V V g
V g V
c
V
V g
u
V
u
V g
V
u
V
u
V V
V
V g
V g V
u
V
V g
c
V
c
V g V f
c
W
Gtr I
5 6
3 3 4 6 6
4 6 6
3 3
6 4
6 6 4 3 3
6 5 5
Segment 100. Improvisation: Super Locrian Tonality Play-along Exercise
In this segment we roll the G7 play-along track and trade fours using the super
locrian tonality. I play four bars and then you play four bars. You can copy what I
am doing, or play something in response to what I play. Throughout the video
demonstration I tell you what I am focusing on so you can follow me, if you like.

34
T
A
B
I
V V
V g
V V V
V g
V V V g
V
V g V V V
V g
V
V g
V g
V
V
V
V V f V g
V g
V V V
j
15 15 11 13 13 13 9 11 11 11 7 9 9 9 9 6 7 6 4 6 7 6 4 3 4 6 7 7 7
30
T
A
B
I
W
W
W g
W g
W
W g
W g W f
15 13 11 9 7 6 4 3
25
T
A
B
I
V
V V g
V g
W V
V g
u
V g
V
V
V V
V
V g
V g
V
V
V
V
V g
V g
V
V g
V g V f
V
U
10
8 9 11 12 12
9 11 13 11 9 9 13 11 9 11 13 15 13 11 9
12 11 9 8
10
8
21
T
A
B
I V V g
V
V g V
V g
V
V V
V
V g
V g V
V
V
V
V
V g
V g
V
V
V
V g
V V
V g
V g V f W
5 6
6 4 4
6 4
6 6
6 4
6 6 3
6 4 6 4
6 4 6
P
4 3 4 4 3
6 5 5
17
T
A
B
I
V g
V
V
V g V f V g
u
V g
V
V
V g V f
V
V g
V V
V g
V
V
V g
V
V
V
V g
V
V g
V g W f
6 7 6 4 3 4 6 7 6 4 3
6 4 6 6 4 6
3 6 3
6 4
6 4 3
6 5

55
T
A
B
I V g V f
V g
V
V
V V g V f
V g
V
V
V
V g
V
V g
V
V
V
V
V
V g
V
V g
V
V
V
V g
V
V
V g V f
V
V g
c
V f
1 0 3 0 4 0 1 0 3 0 4 0 6 0 8 0 12 0 10 0 8 0 6 0 4 0 3 4 3 1 0
3
1
P
0
50
T
A
B
I
V g
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V
V
V
V g
V
V
V
V
V
V g
V
V g V f
V
V g V
V
V g
V g
V
V g
c
V
V
V g U
6
6
6
6
6
6
6
6
6
6
3
3
3
3
3
3
3
3 6
6
6
6
6
6
3
3
3
3
6
6
3
3
3
3
6
6
4 3
6 4 4 6 4
6 4 3 4 3
6 5
46
T
A
B
I
W
W g
V
V
V
V
V
V
V
V
V g
V
u
V
V
V
V
V
V
3
V
V
V g
u
V g
V
V g
V g V V g
V
V
W
W
6
6
6
6
3
3
6
6
6
6
9
9
9
9
6
6
6
6
6
6
4
6 4 3
6 5 6
6
6
6
6
42
T
A
B
I
V V
V
V
j
V g V V g
V g V f
V
V V
V
V V V
V
V g
V
V
V g V V g
V g V f V
j
3 3
6
3 6 6 6 4 3
6
3 3
6
3 3 3
6 4 6
3 6 6 6 4 3 3
sl.
38
T
A
B
I V V V g V
V g V
V V
V g V
V g
V
j
V
c
V g
V g
V
V
V
V g
V g
V
V g
V g
V
V g
W
k
5 5 6 6 8 8 9 9 11 11 13 15
sl.
5 6 8 9 8 9 11 13 11 13 11 9 8 9
65
T
A
B
I
V V g
V g
V
V g
V g
V
V f V
V
V g
V g
V
V g
V g V f V V g
V g
V
V g
V g
V
V f V V
V
V W
3 4 6 7
4 6 8 10
sl.
10 8 6 4
7 6 4 3 3 4 6 7
4 6 8 10 10 10 8 10
M
1/2
O
10
60
T
A
B
I
V
V
V V g V f
V
u
V V g
V g
V
V
V V f
V
V
V
V
V
V g
V g
V
V V
V
V g
V g
V
V g
V g V f U
15 13 15 16 15 13 15 16 18 19 18 16 15 13 15 13 10
13 11 9 11 9 8 6 4
6 4 3
6 5 5
Segment 101. Improvisation: I-IV-V-I Progression
In this segment of the video we cover the I-IV-V-I progression in the key of C. The
goal for the following play-along using this progression is to come up with simple
melodic ideas using what you have learned throughout this course. For example:
Make use of 3-note and 4-note arpeggios
All the notes in the C major scale will work over these chords
Start the arpeggios on different tones
The pentatonic major and minor scales are always an option
Identify common tones, or notes that are in each of the chords
With this information in mind, pick one or two concepts each time you play over
the following play-along track and make simple melodic ideas with them. Make
other jam tracks in other keys and in other tempos.
Segment 102. Improvisation: I-IV-V-I Progression Play-along Exercise
In this segment we roll the I-IV-V-I progression play-along track and trade fours. I
play four bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 102
Improvisation: I-IV-V-I Progression Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
11
T
A
B
I
V
V
V
V V V V
V
V
V V
V
V V
V
c
V V V V V V
V
V
V
V
V
V V g V f
V
V
V
k
8 10
8 10
M
1/4
10
M
1/4
10
M
1/4
10 8
10
8 8
10
8 8
10
10
M
1/2
10
M
1/2
10
M
1/2
10
M
1/2
10
M
1/4
10 8
10
8
10 8
7
sl.
8 7 5
7
5
6
T
A
B
I
V
V V V
V
V V V
V
V V V
V
V V V
V
V V V
V
V V
V
V
V
V
V
V
V
V
V
k
9
sl.
8 8 8
9
sl.
8 8 8
10
sl.
10 10 10
10
sl.
10 10 10
12
sl.
12 12 12
12
sl.
12 12
8 12
sl.
10 8
10 8
9 7
10
sl.
1
T
A
B
I
4
4
V V
V
V
V V
V V
V
V
V V
V
V
V V
V
V
V
V
V
V
U
k k j k k k k k
Gtr I
10 10
9
8
10 10
10
sl.
10
8
12
12 12
12
10 8 8
10 8
9 7
10 7 10

31
T
A
B
I
V
u
V V V V
V
V V
c
j
V
c
V
c
V
V
V g
V g
V
V f V
V
V
V V
V
k k k k k k
5
3 3 3 3 5 3 3 3 5 3
6 4
6 4 5 5
7
sl.
5
5
M
1/2
5
M
1/2
3
26
T
A
B
I
V
V
V
V
V
V
V V V
V
V
V
V
V
V V
u
V
V
u
V
V
V
V
V
V
V
V
V
V
V
V
V
k
7 8 7
8
9
10
9 9 9 10
10
8 12 10 12
M
1/2
12 12 10 10 8 7 10 8 7
8
9
10 9
10 7
8
sl.
22
T
A
B
I
V V V V
V
V
V V
V V g V V
V
V g V f
V
V
V
V
V
V
V
V
k k k k
5 5 5 5
5
sl.
3
6 6
3 4 4 3
6 4 3
5 4
3
5
7
sl.
5
7
sl.
3
17
T
A
B
I
V V V
V
V
V
j
V
V V V V
V V V V V
V
V g
V V
V g
V
V
c
V g
W
k k k k
5 5 5 9 12 10 10 14 14 14 14 12 12 12 12 12 14 8
10 10 8 5 3 1
3

51
T
A
B
I
V
c
V V
V
V
V V V
V
V
V
V
c
V
V
V
V
V
V V
V
V
V
V
V
j k k k k k k
3
7
sl.
7 5
7
sl.
3 3 3
7
sl.
5
3
7
sl.
5 7 5 7 5
5
M
1/2
O
5 3 5 3
5
3
47
T
A
B
I
V
V V V V V
V V
V
V
V
V
V
V
V
V
V
V
V
u
V
V
V
V
u
V
V
u
V
V
V
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u
V
V
V
V
V
V
V
V
V
V
V
V
13
sl.
12 12 12 12 12 10 10 8
10
8
10
8
10
8 10
12
10
12
8
10
7
8
7
8
5
6
3
5
3
5
3
5
3
5
3
5
3 5 3
5
42
T
A
B
I
V V V V V V V V V V V V V
V V V V V
V
V
V
V
V
V
V
k k k k k k k k
5 5 5 5 5 5 5 5 5 5 5 5 5 7
M
1/2
7
M
1/2
7
M
1/2
7 7 5
7
5 7 5
7
5
37
T
A
B
I
V
u
V V V V
V V g V g V V V f
V V
V
V
V
V g V
V
V g
V
V g V f
V g
V
k k k k
8 10
M
1/2
10
M
1/2
10
M
1/2
O
10 8 9
M
1/2
9
M
1/2
9
M
1/2
9 8
10
M
1/2
10 8
10
M
1/2
8
8
M
1/4
8
10 8
10 9 8
11 8
sl.

71
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
c
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
c
W
W
k k k k k k k
3
5
5
3
5
5
3
5
5
3
5
5
5
6
5
5
6
5
5
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5
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5
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5
5
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5
5
6
5
7
sl.
8
7
7
8
7
7
8
7
7
8
7
7
8
7
7
8
7
8
8
9
10
10
12
sl.
12
12
12
66
T
A
B
I
V
V
V
V
V
V
u
V
V
V
V
V
V V
V g
V
V V
V g
V
V
V
V
V
V g V f
V
V
V U
k
12
sl.
10 8
10 8
12
sl.
10 8
10
8
10
8 8
11 8
10
M
1/2
O
10 8
10
8 9
10 7 6 5
7 5 3 3
61
T
A
B
I
V
V
V
V g
V
V g
V
V V V V V
V g
V
V V
V V
V
V
V
V V
V g
V U
8 10
8 11
M
1/4
8
11 8
10
M
1/2
10 10 10 10 8 10
8 8
10
M
1/2
10
8
10
M
1/2
8
10
M
1/2
O
10 8
10 10
56
T
A
B
I
V
V
V
V
V V
V V
V
V
V
V
V
u
V
V
V
V
V
V
V
V V V
V
V
V
V
V
V
V
12
sl.
10 8
10 8 8
12
sl.
12 10 8
10 8
12 12 10 8
10 8
9 7
10 10 10
7
10
9
sl.
8 10
10 8
sl.

75
T
A
B
I
V
V
V
V
V
V
V
V
V
V
c
V
V
V
V
V
V
W
W
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
W
W
k k k k
12
sl.
12
10
10
8
8
8
8
10
sl.
10
8
8
8
8
8
8
8
8
10
sl.
10
8
8
10
10
8
8
12
sl.
12
10
10
8
8
10
10
10
10
8
8
8
8 10
8
sl.
8
Segment 103. Improvisation: ii-V Progression
In this video segment we cover the common ii-V progression. The goal for the
following play-along using this progression is to come up with simple melodic
ideas using the concepts we have covered throughout this course. For example:
Tonal centers
Resolving on the V chord with the note that is closest to the last note you
played over the ii chord
The dorian scale
The blues
The harmonic minor
A combination of scales
Make use of 3-note and 4-note arpeggios and chord tones
You can also just think of playing over the V chord with the dominant
tonality
With this information in mind, pick one or two concepts each time you play over
the following play-along track and make simple melodic ideas with them. Make
other jam tracks in other keys and in other tempos.
Segment 104. Improvisation: ii-V Progression Play-along Exercise
In this segment we roll the ii-V progression Am7-D7 play-along track and trade
fours. I play four bars and then you play four bars. You can copy what I am doing,
or play something in response to what I play. Throughout the video
demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 104
Improvisation: ii-V Progression Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
14
T
A
B
I
V
V
V
V V V
V
V
V V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g V f
c
V
V
k
5 8
5 8
M
1/4
8
M
1/4
8
M
1/4
5
8
5 5
8 5
7
M
1/2
O
7 5 7 5 9
sl.
5 7
7
5 7 5
sl.
7 5
7
sl.
6 5
8 5
sl.
9
T
A
B
I
V V
j
V V
V
V g
j
V
V
V
V
V
V
V
V
V
V g
j
V g
V
V
V
V
V
k
5 5
5 5 8 7 5
5
5 8
5
8
7 5
8 7
sl.
7
sl.
5
7 5
5
7
sl.
5
T
A
B
I
V V
j
V
V
j
V V
V
V
V V
V V V
V
V g
k k k k k
7 7
5
5
7 7
5
7
5 5
5 5 5 8 7
1
T
A
B
I
4
4
W V
V
V U
V V V V
V
V
V
V g U
Gtr I
7 7
5
5 5
7 7 7 7
5
5 8 7 7

40
T
A
B
I
V
V V V
V
V V V
V
V
V
V g V
V
V
V
V
V
V
V
V g
V
V
V
V
V V
V
V
V
V
V
V
V
V
7
4 4 4
7
4 4 4 5 7
5 7
sl.
7 5 7
sl.
5
7 5
5
sl.
8 7 5 8
sl.
7 5 7
sl.
7 5
7 5 4
7 5
4
7
sl.
35
T
A
B
I
V V
V
V
V
c
V
c
j
V
c
V
c
V g
V
V
V
V
V
j
V
V
V g
V
V
V
V
k k k k k k k k
12 12
10
9
8 12 10 8 7 5
5
7 5 4 7
sl.
5 4
7 5 3
5
31
T
A
B
I
V
V
V V
u
V
V
u
V
u
V g
V
u
W
V
V
V
V V
u
V
V
u
V
u
V g
V
u
V
u
V
V
c
10
9
8 8 12 10 10 7
7 7
12
10
9
8 8 12 10 10 7
7 7
10 7
sl.
25
T
A
B
I
V
c
P
z
V V
P
V V
P
V V
P
V V
V
V
V
V V
V
V V V
V
V
V
V
V
V
V
V
7
5
H
7 7 5
H
7 7 5
H
7 7 5
H
7 7 5 7
M
1/2
5 7 7 5 7 7 7 5 7 5
7 5
5
5 7
sl.
20
T
A
B
I
V V
V V
V
V
V
V U
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
7 7
5 5
5
3 7 5 5
7
5
5
3 7 3 7 5 5 7 3
5
5 4
7 5
4
7

59
T
A
B
I
V
V
V
V V
u
V
V
u
V
V
V g V f
V g V f
V g V f
V
V
V
V
V
V W V
V
V
V
V
V
V
7
4 5 7 7
5
8
sl.
8 7 6 5
9
sl.
8 7 6 5
7 5 9
sl. sl.
5 7 7 7
P
5 7
P
5 7
P
5
7
sl.
55
T
A
B
I
V
V
V
V V
V
V
V
V g
j
V
V V
V g V
V
V
V
V V
V
V
V
V g
j
V
V g
V
V
V
V
k k
5
sl.
7 5
5 5
7
5
5
4
5
8
sl.
8 7 7 5
7 5
5 5
7
5
5
4
8
sl.
7 5
7
5
5
51
T
A
B
I
V
V V V
V
V V V
V
V V V
V
V V V
V
V V V
V
V V
V g
V
V
V
u
V
V
V
V
V
V
V
13
sl.
12 12 12
12
sl.
10 10 10
10
sl.
8 8 8
8
sl.
7 7 7
6
sl.
5 5 5
5
sl.
3 3
7
7
7
7
5
5
5
5 7 5
7
sl.
46
T
A
B
I
V
V g
V
V V
V
V g
V
V
V V
V
V
V V
V V V V V
V
V
V V
V
V V
V
V
V
V
V
V
V
5 7 8
5 5
8 7
P
5 8
sl.
7 7 5
7 5 5 7 7
M
1/4
7
M
1/2
7
M
1/2
O
7 5
7
7
M
1/2
O
7 5
7 7
5 7
5
sl.
8
sl.
5 8 5

Segment 105. Improvisation: ii-V-I Progression
In this video segment we cover the common ii-V-I progression in the key of G. This
segment is similar to the ii-V except we resolve on the G chord. The goal for the
following play-along using this progression is to come up with simple melodic
ideas using what you have learned throughout this course. For example:
Common tones
All the notes in the G major scale will work over these chords
Make use of 3-note and 4-note arpeggios and chord tones
The pentatonic major and minor scales can be used
You can also just think of playing over a V-I progression
Tonal centers
With this information in mind, pick one or two concepts each time you play over
the following play-along track and make simple melodic ideas with them. Make
other jam tracks in other keys and in other tempos.
Segment 106. Improvisation: ii-V- Progression Play-along Exercise
In this segment we roll the ii-V- progression play-along track and trade fours. I
play four bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what I am focusing on so you can follow me, if you like.


CHAPTER 21 SEGMENT 106
Improvisation: ii-V- Progression Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V
V
j V
c
V V
V g
V V
V
V V
V
V V
V g
V
V
V
V
V W
k k k k
7
4 5 7
5 5 7 8 8
5 7 7 8 10 10 14 12 10 8 7
10 10
9
T
A
B
I
V V
V V
V V
V
V V
u
V g
V
u
V
u
V
V
u
V
V
u
V V
V
V U
7 7
4 4 5 5 7
5 5 7 8 8
5 7 7 8 10 10 12
sl.
10 10
5
T
A
B
I
V V
V V
V V
V
V g
j V V
V g V
V
V
V
V
V
V
V V
V
V
V g
V
V
V
V W
7 7
5 5
5 5 8 7
7 7
7 7
5 8 7 8 7
8
7 7 4
5 4
H
5
P
4
5 7 7
1
T
A
B
I
4
4
V V
V
V
V V
V
V g W V g V
V
V V
V
u
V
V g
V U
Gtr I
7 7
5
7
5 5 8 7 7 7
sl.
7 5 3 3
4
5 4
5 5

31
T
A
B
I
V
V V g V f V g V V f
V
V g V f V
V
V g V f
V
V g
V g V f W
V V V
V
V
u
W
W
13
10 11
P
10 11 11
P
10 13 11 10 10
13 11 10
12 11
13 12 12
12 12 12 10
10
8
sl.
9
27
T
A
B
I
V
V V V W
V
V V V W
V
V V V V
V
V V
V
V
V
W
5
sl.
3 3 3 3
9
sl.
8 8 8 8 5
sl.
3 3 3 3
5
5
M
1/2
5 3 5
5
3
22
T
A
B
I
V
V
V
V
V
V
V
V V
V
V
V V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
7
5
5
3 7 3
5
7 7 3
5
7 7 3 5 7 7 5 3
5 3
4 2
5 2
5
2 5
2 4
3 5
3
5
18
T
A
B
I
V
V
u
V
V
V
V g
V
V
V
V V
V
V V g V
V
V
V
V g V f
V g V
V
V
V
V
j
7
4 5 7
5 7 8
5 7 8 8 3 5 6
M
1/2
6 3
6 3
6 5 3
M
1/2
3
5
5 3 2

49
T
A
B
I V g
c
V
V
V
V
V
V g
V
V
V
c
V
V g
V
V
u
V
V
u
V
V
V V
V
V
V g V
V
V
V
V
k k k k k k k
1 2 4 5 7 9 11 12 14 16 16 11 14 9 12 7 10 5 9 9 4 7 6 5
7
7
8 5
sl.
45
T
A
B
I
V
V
V
V V
V
V
V V
V
V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V
k
7
sl.
5 3 7
sl.
7 5 3
5
sl.
5 3 5
3 7
sl.
5 3
5
3 3
5 3
3
5 3
7
sl.
5 3
5 3
4 2
5
sl.
40
T
A
B
I
V
V
V V V
c
V g
V V
V
V V V
V
V
V g
V V
V
V
V V
V g
V
V
V V
V g
V
V
V
k
3 5
3 3 3 6 3
M
1/4
3 8 3 3 3 10
sl.
8 6 3 3
6 3
5
M
1/2
O
5 3
5 3
5
M
1/2
5 3
5
3
M
1/4
5
36
T
A
B
I
V g
V g
V
V
V
V V g
V f V g
V g
V
V
V
V V g
V f W g
V
c
V
V
V g
V
W
k
4 6 7
4 5 7
4 6 7
4 5 7 8 10 11 13 14 12 10
12
11
12
9
Segment 107. Improvisation: ii-V- Progression
In this video segment we cover the common ii-V- progression, this time resolving
on a minor chord instead of a major chord. The chords we use are Am7-D7-Gm.
The goal for the following play-along using this progression is to come up with
simple melodic ideas using what you have learned throughout this course. For
example:
Common tones
Use all the minor tonalities such as natural minor, dorian, harmonic and
pentatonic minor scales
Since we resolve on a minor chord, the flat 9 scale works well when playing
over the V chord
The super locrian
Make use of 3-note and 4-note arpeggios and chord tones
Tonal centers
With this information in mind, pick one or two concepts each time you play over
the following play-along track and make simple melodic ideas with them. Make
other jam tracks in other keys and in other tempos.
Segment 108. Improvisation: ii-V-I Progression Play-along Exercise
In this segment we roll the minor ii-V-I progression play-along track and trade
fours. I play four bars and then you play four bars. You can copy what I am doing,
or play something in response to what I play. Throughout the video
demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 108
Improvisation: ii-V-i Progression Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
13
T
A
B
I
V
V V g V f V V V g V f V V V g V f V g V f
V
V V g
V g
V
V g
V
V
3
V g V f
V
V g
c
V
V V
5
3 4 3 3 3 4
P
3 3 3 4 3 4 3
5
3 4
2 3 2
H
3
P
2
4 3
5 3 2
5 5
9
T
A
B
I
V V
V V
V V
V V
V V V V
V
V
c
W V
V g
V
V
V
V
V
V g
V
j k k
7 7
5 5
5 5 8 8
10
sl.
10 10 10
10
M
1/2
8 8
12
sl.
11 13 15
sl.
15
15 13 11
12
sl.
5
T
A
B
I
j
V
V V
V
V g
j
V
V
V g
V
V
V g
V
V
V
V
V
V
V V
V g
V
V
W
k k
7
5 5 8 7
3 8
sl.
6 3
6
6
sl.
3
6 3
3
6 3
5
M
1/2
O
5 3 5
5
3
1
T
A
B
I
4
4
V V
V
V
V V
V
V g
V
V
V V
V
V
V
V g
V
V
V U
k
Gtr I
7 7
5
7
5 5 8 7 3 6
3 3
6 3
5 3
5
5
sl.
3 3

36
T
A
B
I
V V V V V V V V V V V V V V V V V V
V V
V g
V U
3 3
7
sl.
3 3
7
sl.
7
3 3 3
7
sl.
3 3
7
sl.
7
3 3 3
5
M
1/2
O
5 3
5 5
32
T
A
B
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V g
V
V
V f
V
V
V g
V
V g
V
V
V f
V
V
7
5
5
3 7
sl.
3
5
5
7
5
5
3 7
sl.
3
5
5
5
3
3
1 5
sl.
1
3
3
5
3
3
1 5
sl.
3
3
28
T
A
B
I
V
V
V
V
V
V
V
V
V
V V V W V
V
V
V g V f
V
V V g
V
V
V
V W
7
sl.
3
5
5 4 5
5
3 7
sl.
5 5 5 5 5
sl.
1
3
3 2
5
2 3
3
1 5
sl.
3 3
22
T
A
B
I
V
c
V g
V g
V
V
V
V V g
V f V g
V g
V
V
V V g
V V g V g V f
u
V g
V
V V W
V
V g
V
V
V
V
V
V
3 4 6 7
4 5 7 8
6 7 9 10
7 8 9 10 11 11
M
1/2
10
11
12 9 9 9
12
11
12
10
11
12 9
sl.
7
18
T
A
B
I
V V g V f
V
V
c
j V V g V f
V
V V
V g
V
V
V
V
u
V g V
c
V g V f
V
V g
V
j k k k
3 4 3
5
3 3 4 3
5
3 3
2 3 2
3
5 3 3 3 2
5 4 5
sl.

44
T
A
B
I
V V g
V V g V V f V g
V g
V g
V
V
V g
V
V
V
V V V V g V f
3
V
V
V g
V
c
V
12 13
10 11 11 10 11 13
11 13
10 14 12 10
13 11 11 10
H
11
P
10
12
12
13 10 10
40
T
A
B
I
V V g V f
3
V
V V V V g V f
3
V
W V V g V f
3
V
V V g V V V
V V
V g V V f V V V
V
V V g
V
V
10
H
11
P
10
13
10 10 10
H
11
P
10
13
10 10
H
11
P
10
13
10 11 11 10 10
13 13 11 11 10 10 10 10
12
10 11 13
10
sl.

Play the root of each chord
Connect the roots with leading tones
Play just the 3
rd
of each chord
Connect them with leading tones
Play just the 5
th
of each chord
Connect them with leading tones
The pentatonic major and minor scales are always an option
With this information in mind, pick one or two concepts each time you play over
the following play-along track and make simple melodic ideas with them. Make
other jam tracks in other keys and in other tempos.
Segment 110. Improvisation: I-vi-ii-V Progression Play-along Exercise
In this segment we roll the I-vi-ii-V progression play-along track and trade fours. I
play four bars and then you play four bars. You can copy what I am doing, or play
something in response to what I play. Throughout the video demonstration I tell
you what I am focusing on so you can follow me, if you like.


Segment 109. Improvisation: I-vi-ii-V Progression
In this segment of the video we cover the I-vi-ii-V progression in the key of C. This
is a common progression that can be heard in all styles of music. The goal for the
following play-along using this progression is to come up with simple melodic
ideas using what you have learned throughout this course. For example:
All the notes in the C major scale will work over this progression
Imply other tonal centers over the V chord to build tension

CHAPTER 21 SEGMENT 110
Improvisation: I-vi-ii-V Progression Play-along Exercise
Level: Intermediate
Gtr I: Untitled (E A D G B E)
14
T
A
B
I
U
U
U
U
9
10
10
9
9
T
A
B
I
V V
V
V
V
V V
V
V
V
V V V V V
V
V
V V
V
V
V
u
k k k
10 10 9 10 9
12 12
9 10 9 12 12 12 12 12 10 9
10 10 12
9 10
5
T
A
B
I
U
U
U
U
10
12
12
10
1
T
A
B
I
4
4
U
U
U
U
Gtr I
5
7
7
5

33
T
A
B
I
j
V
V
V
V
V V
V
V
V
V
V
V V
V
V
V
V
V
V
V
V
V
V
V
V
V W
12
sl.
10 8
12 10 10
9 7
10
7 9
10 10 7
10
10 7 10
7 9
8 10
12
sl.
10 8
8 8
28
T
A
B
I
V V V
V
V
V
V V
V
V
j
V
c
V
V
V V
V
V V V V
V V
V g V
V W
k k k k k
8 8 8
9
8
9
8 8
9
8
9
8 10 8 8
9
8 8 8 8
10
M
1/2
O
10 8 8
10 10
23
T
A
B
I
V V
V
V
c
j
V V
V
V
V V
V
V
V g V
V
V g
V
V V
V g
V V
k k k
10 10
9
8
7 7
5
5
7 7
6
5 11
M
1/4
11 8
11 8
10
M
1/2
O
10 8
10 10
sl.
18
T
A
B
I
V V V V V
V
V W
V
V
V V V V V V
V
V
V V V
u
V V
V V
U
k k
9
sl.
9 9 9 9 7
10 10
7 9
H
10 10 10 10 10 10 9 7
9 9 9 10 10
7 7 9
I
1
T
A
B
I
2
T
A
B
I
3
T
A
B
I
4
T
A
B
I
5
T
A
B
I
6
T
A
B
I
1
T
A
B
I
2
T
A
B
I
3
T
A
B
I
4
T
A
B
I
5
T
A
B
I
6
T
A
B