‘BOL a HAFIRIONIY va hada ROBBINS MUSIC CORPORATION‘Music students can be divided into three groups; 1. “Eye-minded", 2. “Ear-minded", 3. "“Motor- minded". Group 1 receives its greatest impression from the printed page. Spoken words make a lesser impression. Group 2 responds best fo vocal explanations and instrumental sounds. Dia- grams are ineffective unless supplemented by audible illustration. Persons in Group 3 do not read- ily respond to visible or audible demonstration but begin to understand as soon as they handle the guitar and attempt to play. All students will generally fall into one of these groups, hence my ““THREE-WAY APPROACH”. Explain each new idea according to the student's group-classification, then round out his under- standing by use of the other two means of approach. The material in this book is tried and tested by private lessons given to students during the past twelve years. Music study is almost 50% physical and 50% mental. Do not allow these two sides to become un- balanced. Some pupils play lessons well but do not understand the mental problem. Others grasp the mental side but cannot perform what they know. Retard the well-developed side and concen- trate on the other until they balance. Instruction in the writing of music is extremely valuable. Insist on the pupil doing the writing exer- cises as illustrated in this book. Make the point that writing music is the fastest, most thorough method of learning. Have pupils keep all written exercises in one music-writing book. Repeat each study until thoroughly understood. This book can be used as a general guide and need not be followed page by page. Almost any student can play the first chord explanations with the three-note forms while the left-hand fingers are still undeveloped. Later, discard these chords for fuller forms. To avoid monotony cover the Major chord to the end of the Ud forms then skip fo page 55 and study the Dominant 7th U4 set; then skip to page 76 and study the Minor U3, UM3 and U4 routines. After developing vari- ety in chord study cover the M4 sets of Major, 7th and Minor. With some pupils U5, L5 and 6S chords can then be studied, if fingers are strong enough. Otherwise the Dim. 7th and Aug. 5th chords can be learned before proceeding further. Suggestions from teachers will be welcome. DAVE BERENDi EDDIE LANG’S _ FINGERBOARD | _ HARMONY FOR GUITAR ira IN COLLABORATION WITH DAVE BEREND Comright 1936 ROBBINS MUSIC CORPORATION 1340 BROADWAY © NEW YORK 36, N.Y. A.A TACT RoR ARUNTable of Contents CHART OF THE GUITAR FINGERBOARD ‘The “THREE-WAY APPROACH” . . . Note Spelling - é a ‘The “LADDER OF TONES” | Intervals “PRESS-RELAX” method for chord shifts “U3”Major chord forms. 2 1 ss “UM3” Major chord forms . “U4” Major chord forms... “M4” Major chord form. 5... Five-String Major chord forms... ‘Six-String Major chord forms. . 5. - Chart of all fve- and six-tring Major chords The Dominant 7th Chord... 5 + + "U4" Dom. 7th chord forms... Tothe Teacher... 2 ee we CycleMovements. © 2 2 1 + ee “M4” Dom. 7th chord forms... Chord Relation—Dominant to Tonic . Correct Base Notes. . Five-String Dom. 7th chords » Six-Sering Dom. 7th chords Minor chords—Construction « “U3” Minor chord forms . ‘“UM3” Minor chord forms . “U4” Minor chord forms... + “M4” Minor chord forms. . Five- and Six String Minor chord forms » Diminished 7th Chords—Construction . . “U4” Dim. 7th chords... : “STANDARD DIMINISHED” and “M4” Dim. 7th choeds. | ‘Augmented 5th Chords—Construction . . . — SUPPLEMENT-(100 to 103)—Correct answers for page 13. | answers for pages 12, 18and21. . . ALPHABETIC SCALE CHART”—Maj., Ming 8 Dom. 7th chart Correct answers for pages 23, 24,57 and76. 6. + + + 1 |Correct answers for pages 25, 27, 57, 58and76 . . . «$ cS £ CHART OF GUITAR ns al « fi Hal He tit ea tl A 2 S aT alll AUT It 4) RE qi it , x! e « is q iM ry te AER Cr ARM tts oh AER. Lag ay | 7 re R ali | 5 1. tte PINE TNE? NEP m E> 5&FINGERBOARD HARMONY FOR THE PLECTRUM GUITAR This book is not intended for beginners. It is designed as preparation for the study of “EDDIE LANG'S ADVANCED GUITAR METHOD” The study of this volume may be taken up early in the guitar students career, after the elementary principles of sight-reading, time-division, and right- and left-hand tech- nique have been mastered. For players of other instruments (especially melody instruments) who wish to study the guitar as a second instrument, this is the ideal book to use right from the start, in con- junction with any good beginners method. In this book is featured the original “THREE-WAY APPROACH" the study of music. This unique method has been used in private lessons only, for the past twelve years, with thousands of pupils. It is presented in print here for the first time by DAVE BEREND. ‘These teaching principles provide music students with a new viewpoint. As each sub- ject is treated, emphasis is placed on“WHY,” and reasons are given instead of the usual dry facts, A course of this kind tends to make “musicians” instead of mere “players? By “FINGERBOARD HARMONY” is meant the study of the construction of the chor-s, and their location (in all their different forms) on the guitar fingerboard. Many chord forms never before published are included. The most valuable feature of this method is the explanation and illustration of correct chord relations with their proper‘resolutions” on the fingerboard, In this volume the basic chords: -Major, Minor, Dominant 7ths, Diminished and Aug - mented, will be treated. THE“THREE-WAY APPROACH” Each musical subject will be treated in these three different ways. “Ist WAY”---as musical notes on the staff. »——>: COLPS? c major “2nd WAY” --- as diagrams on the guitar fingerboard.» OST we trie “3rd WAY”---as letters in the musical alphabet. (C-2-G = @ Major TRIAD) The“ist WAY” will be studied by writing music. These original music writing exer- cises are of great help for sight-reading and will develop the ability to read « group of notes, at a glance, as a chord; jst as in English we group letters at sight, to form a word. The “2nd WAY” covers the physical problem of arranging the fingers of the left hand on the fingerboard in the proper patterns to form chords; and still more important,the location and relation of these chords to each other. The“3rd WAY” alphabetic, is the mental connection between notes on a page and notes on the instrument. We use letters to refer to both. Anything true about the musical al- phabet, is equally true about the notes on a sheet of music or their location and relation on the guitar fingerboard . “A” to “B” is a whole tone:- it means“2nd space” to“3rd line” on the staff,or a distance of two frets om the fingerboard.5 A musical idea is more readily understood, and more easily assimilated, when ex- plained for the first time as letters of the alphabet, than as certain dots on the staff transferred to certain spots on the fingerboard. It is also possible to chart relations of alphabetic letters (and musical symbols) in designs and patterns that show the struc- ture of chords much more clearly, at a glance, than musical notes or fingerboard diagrams. Since this “3rd WAY” is usually the most neglected part of musical training,we will deal with it first, NOTE SPELLING Our first study to reduce musical ideas to alphabetic form will be“Note Spelling” This is an interesting way to become familiar with the handling of the alphabetic names of notes on the staff, somewhat like a cross-word puzzle. HOW DO WE NAME NOTES ON THE STAFF? ‘We use the first 7 letters of the English alphabet. A-B-C-D-E-F-G, and then, A-B- G-etc.,all over again; an“endless chain” of letters. It is necessary to be able to think freely in this alphabetic frame work, down, as well as up; also in various intervals (skips). We will, therefore, take a simple study which will be good practice in writing notes even for those who play well. We will build words; using these first 7 letters on- ly, and reproduce them on the staff by means of notes. > Sth ine —______y Here we have the“STAFF” SA line ———_— eae 5 lines and 4 spaces. eae P dat (ine ___28t space I have found that the easiest way to become familiar with the notes is to work from certain “reference points’We will adopt as our first reference points, the 4 spaces. They are named- (from ~ the bottom up) F-A-C-E, Next:-RELATION- consider the second space “A” and the third 45354 space “C’) and think of the line between as “B” by relation; (that is, I want to establish the fact that if we forget the name of any note EG BDF on the staff, we can establish it by deduction) Now then,the line between the spaces named “C”and“E” must be“D” The line above the top space must be“F” The names of the lines are E-G-B-D-F, We extend beyond the staff by means of “leger’lines. To begin with,the space above the staff is called“G" The note on the first leger line above (a line placed at the same distance as the separation of the staff lines) is called “A” The next (2nd) space above is“B’) The 2nd line above is“C” Thus:~ 3, 2 ges 2 &3 28 Sy 3 3 BE FE Going below-(you have to “think” down now) the first line below is“C’ the second space “Band the second line “A’ Notes above or below the staff have their own, individual, leger lines.8 Combining all these ideas, we have a succession of notes from low “A”, 2 lines below the staff, to“C’"2 lines above the staff. notes abore notes on the sta oles below y¥ G@ A B OO cp E ” B coc Dp E FG A Thesreference pointe” F-A-O-® are shown larger, Now for the actual exercises in“Note-Spelling”” Select a word, for instance, “ACE” Write this word, as 4 notes, in 2 different ways on the staff. AC E ACE Each time a different “A’-a different “C’- and a different “E” is to be used, as above, Below we have 2 lists of words, using the 7 letters of our Musica! Alphabet. LIST 1. DESIGNED FOR VARIETY ACE-BAD-FED-BAG-AGED-BADE-CAFE-DACE-BEG-CAB-DEAF-CAGE-BEAD FACE GAD-FAG-EDGE-DAB-FADE-GAB-DEAD-AGE-FAD-BED-CAD-ADAGE-DEFADE-DEFACE- FACADE-GABBED-GAGGED -DEFACED-CABBAGE. LIST 2. DESIGNED FOR PRACTICE IN WRITING OCTAVES ADA-BAA-FACADE-EBB-BAB-ABBE-BABE-GABBED-CABBAGE-ACCEDE-DECADE- ADD-GADDED-FADED-BEE-FEE-GEE-BEEF-DEED-CEDE-GAFF-EGG-GAG-GAGE-BAG- GAGA- BAGGED. When using the list above, place the second of each doubled letter an octave higher or lower. Fill at feast one page of manuscript paper each day for aweck. Try to make as many different note patterns as possible. Dont write the notes for a word in a certain pattern, aad then repeat an octave higher for a second pattern. *ee foot note) Good practice also, is the opposite of“Note-Spelling? that is,the naming of notes alrea- dy printed. Take a piece of music that you dont mind marking up, and write alongside each note, its alphabetic name, (disregarding for the time being, the sharps and flats.) THE“LADDER OF TONES” Here we have the“C” Scale. it begins with“C” and ends with“C” avery familiar idea, but for our new view-point,we ask WHY? ________Trite, it has 8 notes. But, WHY 8? Why not 7,0r 9,or 11,0r some other number? The answer is obvious—con- sider the following: | What do we use to name the notes?_ Letters of the alphabet. HOW HANY? We use A-B-C-D-E-F-G; 7 letters; then we repeat indefinitely. & The proper way to write the stems on the quarter notes ih asfole above CMLeT OBNTER saryuy center lowws:-"Ris in the center of the staff and ite stem can go up or down slo center, (up on the right; down on the leftzoounter clock-wiee.) Notee above the center, vtens down, on the left; notes below the centre,stems up, onthe “stems doin alema up os right, Stems about am octave tn length are the usual sise, onieft” ‘ondowm stems ap7 That is why the 8th one is the same as the Ist. If we start on“F/’the 8th is“FY’ and if we start on “BY the 8th is“BYetc. This,then, is a systematic repetition idea, much like arithmetic. In arithmetic we have 10-20-30-40,etc. In each"to”we have from‘t'to'9’ then 10"again. For instance, in.arithmetic, instead of thinking “up 9} we could think‘down 1? that is, below 30,we have twenty-nine, and below 60,we have fifty-nine. Below each“10” we have a“9"” In music, instead of thinking “up 7” we could think “down 1”) For instance, later,we will build a D7th chord; meaning that from the“root” of the chord (which is“D”),we would count “up 7" to the 7th; D-E-F-G-A-B-C. “Cis the 7th. Now, what is ‘down 1” from“D’? -Ans‘C” So, instead of thinking“up 7,’ we could think “down 17” It would be very convenient to be able to consider our note relations as a species of a~ rithmetic. There is also similarity (between arithmetic numbers and the lines and spaces) in the idea of “odd” and“even”. Consider the spaces as“even"and the lines as “odd” It would be just like arithmetic if our sequences were the same. Think of simple se quences of 3, as in arithmetic;- for instance, “1-2-3” That is the same sort of sequence as “4-5-6” or “2-3-4” or “7-8-9” On the staff, we could have “line-space-line” or “space -line -space”comparable to‘vdd- even-odd” or “even -odd-~even” ‘We could,therefore,think on the staff like arithmetic, except for the next consideration. Notes on the staff (successive lines and spaces) look the same distance apart.Let us next decide if they sound the same distance apart, We will test with the C scale, the natural scale. Find any“C”on the fingerboard, Play“C”and then“D’? How far is that? Two frets. Therefore, a whole tone.(4¥see foot note) eam We also have a whole tone from “D'to“E” two frets. oe Next, play “E%to“F” You will notice that it is only one fret, a“4- tone” A. On this point we have our main difference between a series of notes ee on the staff and arithmetic numbers. “E?to“F” looks like the same dis- tance as “C’to“D” or “D"to“E? either when “line-to-space” or“space-to-line} |e A . whereas it sounds (and must be played) as a“t-tone” instead of a “whole one tone tone” distance. Ty fone If you will examine a piano keyboard, you will find that there is no black —E— key between “E” and “F”or between “B” and “C” because they are“$-tone”’ one tone distances. The black keys on the piano keyboard are at the “whole tone” Dp steps, and divide each “whole tone” into two “$-tones”” one tone Ia the illustration at the left, we have all the “natural” notes. Notice that the distances from “E” to“F” and “B”-to“C”are shown as exactly half the size of all the others. The purpose of this graphic chart is to make the naturai notes look as far apart as they sound, instead of appearing the same distance apart, as they do on the staff. 1H Don't aay “note” instead of “tone”! We can have a whole noteo), a half noteld) « quarter note), ex caghth noted), or groupe of eighth noteu (Ed JA) ete ition on the pleff motes piteh, s.e.,higher or lower.The di ate., depending upon the variation in piteh A note - ta a time eatue; which by th po detween twornoter” can be @ whole'tone”, a “f shown by their Locations on the staffWHAT OTHER KINDS OF NOTES HAVE WE? Sharps and Flats — SHARPS A SHARP=4-TONE HIGHER. It does not mean that we actually ever “raise” a note. F_ Ft Here we have“F” and “F#” If we see“F”; we place a finger on a certain fret. If we see“FR” we place a finger on a different fret. There is no relation be- tween“F”and“F#” In fact, they are “deadly enemies” musically.(Try sounding‘F” and “Fy” together.) To express it differently, Fis as different from“F"as“X” is from“Y”. Why do we place them on the same line? To enable us to portray a greater number of sounds on the staff. (5 lines and 4 spaces.) If for instance, we were to call the first space“F)’ the next line above“F¥", and the second“ and the line above,“G#'etc.,we would be able to write music on the staff without sharps or flats; but instead of using 5 lines and 4 spaces, we would need 8 lines and 7 spaces, and the eye would not be able to grasp the musical ideas as readily. (BR-C) It is possible to place a sharp on any line or space. We will con - sider all the sharps, “C#” is half-way between“C”and“D” “Df” is half-way between“D”and“E’ FE How about “Ef”? Yes, we have an“Ef” It may sound the same as“F” but it is written differ- ently and is used on different occasions than“F” There are situations in music and harmony where it cannot be replaced by“F} just as we cannot always replace “K” with“C”’because they sometimes sound the same in English. On the Diagram to the right, we have all the sharps added to our first diagram of natural notes alone» ———____» Loe FLATS © A FLAT=4-TONE LOWER (Ch=By} —B—{(B#-C) Just the opposite of a sharp—must be played af tone lower. Bb + At ‘We can place a“flat”on any line or space. Abis half-way down —— toG,etc. In the diagram at the left you will find all the flats, Abt... | Gy added to the two previous illustrations. t>—_+—_ Notice particularly that“Cb""B”and‘F>"E", just as in the GH 1 Fy sharps,“Ef’="F"and“BR’="C" (Use the idea of “equals” just like (¢-F) arithmetic.) (Fb=E) On the left is the complete “LADDER OF TONES” a | pp <—_____+ , = ou Here we have all the notes that can be used in music;octaves’ not considered. In each“octave” we have exactly the same re- Db -C# lations. ~E- LADDER OF TONES Everything is here with the possible exception of the “dou- ble-sharps” and the “doabie-flats”A DOUBLE SHARP= A WHOLE TONE HIGHER How is it written? We have -g Fe _ a special symbol (x)\Fx =“G") =s A DOUBLE FLAT= A WHOLE TONE LOWER ‘We do not have a special sym- bol, we use two flats.Gbb=“F”) Gbb F Many students question the need for “double sharps”and “double flats” There are cases where they must be used for speed in reading or to show the harmonic relation or sequence correctly; to make the musical idea clearer, easier to understand and interpret. To omit the use of “double sharps”and ‘double flats” in the consideration of musical notation would be like teaching the English alphabet and making the statement that “since the letters “x""Qrand"Z” are not used as often as the others, they need not be learned” * (see foot note) ENHARMONICS In the“LADDER OF TONES’; page &C}”is $-tone above C”) and"Db”is$-tone ted line shows that “C#”and“Db” come to the same spot.“C#”is called the“ENH AR MO) A simple definition of “ENHARMONIC” ENHARMONIC =“LOOKS DIFFERENT, BUT SOUNDS THE SAME” Instead of saying -“What note is it that looks different from“F}” but sounds the same?” ‘We say:- Give the enharmonic of “F¥”- Answer “Gb” How many sharps can we have?-Answer. Seven. WHY?- Because we use seven letters of the alphabet to name the notes, For the same reason we can have seven flats. For the first study of enharmonies: BE ABLE TO GIVE THE ENHARMONIC OF ANY SHARP OR FLAT’- MENTALLY. (“3rd WAY.) Think of the seven letters in alphabetic succession as sharps (Af,Bg,C#,to Gf.)and give the equivalent flats. Each sharp equals a flat except E¥ and Bf. Think of the seven letters as flats and mentally decide on the sharps (Ab, Bb,toGb) that sound the same. Each flat equals asharp, except Chand Fb. For our study to develop facility with“Enharmonics” on the staff, (Ist WAY) we will do “Note Spelling” again. This time we use a double staff as below. (Fig. 1) For the first half of this study, write out the words in notes, and place sharps on each note. Write each equivalent, the enharmonic, immediately below. Use blank manuscript paper, and fill at Jeast a page, double staffed, for the sharp study; (and as much more as your teacher finds necessary.) D"A dot- of Db? Be sure to place the enharmonies in the same register, not an octave higher or lower. Example with the words “ACE” and“BAD” ace) BAD) words sharps Fig. 1. Buhar. use of double-sharp and double. fiat 3 : 2 a feels es Bad Good Bad Good ‘Bad Good Had Goud10 For the sécond half of this study, do the opposite:- write the notes on upper staff in flats, and the enharmonies, in musical notation below. (See Fig. 2) ce wan) words slate Fig. 2. Euhar- monies (Use both tists of words on page 6) ‘ For the “2nd WAY” of the“3-WAY APPROACH” (Enharmonics on the guitar finger- board) study as follows. Place a finger on any natural note (for instance “‘A”) Slide down one fret (making it“Ab") and think of the enharmonic (Gf). Do the opposite, place a finger on a natural note (for instance“D’), Slide up one fret (to Df) and think of the enharmonic (Eb). Try this on a dozen different notes each day for a few weeks and you will develop the ability to sense the equivalents of any § or}on the fingerboard. " INTERVALS We have now covered every situation in musical notation of one note at atime. The next study will consist of “INTERVALS”—Two notes at a time,or xather,a distance from one note to another, INTERVALS ARE NAMED BY THE NUMBER OF LETTERS INCLUDED. An“INTERVAL’ then, will have a numerical aame-a same like a number. Typical are, Unison, sce foot note) 2nd,3rd, 4th, 5th, 6th,7th,octave,(for 8th), 9th, 11th,13th,etc. Any two adjoining letters enclose a"2nd7-that is “A-to-BT°C-to-D” “Fto-GD-to-E’ etc. The distance may be a wholetone, or a -tone (or if'a ahikcp,or flt,or natural is used, it may be 1f tones.) In other words, the actual distamee may vary, but if only two successive letters are employed, we call it a"2nd” If the distance includes three letters, it is a“3rd, ie. A-B-C,“A-toC”is a 3rd; D- E-F;“D-to-F'is a 3rd. What is a 3rd above"E”?-AnswerG? What is a 3rd above"G”? - Answer “B” It is also necessary to develop facility at counting in the alphabet in descending order. What is a 3rd below‘F”? F-E-D, “D” is a 3rd below“F? What is a 3rd belowD”? D- ©-B, “B”is a 3rd below“D? ‘What is a 4th above “A’?-A-B-C-D. “D”is a 4th above “A”. What is a 4th above “D” ?- Answer “G”, (Practice more 4ths.) What is a Sth above “A”? A-B-C-D-E. “EB” is a Sth a bove “A”, What is a Sth above"E"’? Answer “BY What is a 5th aboveG”? (Practice with all 5ths) * Unicon. Tuoo different instruments playing the same noi note on two different strings sounded simultaneously (on « Guitar, Violu (COUNT ON THE FINGERS TO MAKE SURE YOU INCLUDE THE 1st LETTER) A Sth above“C” brings us to“G” What is the distance from“C” to“G#”? We have no more letters, it is therefore also a 5th. What is the distance from“C”to"Gb"? Again a 5th. (eter) (ithe) eter) Gt The difference is that “C’—to—G” is called a G PERFECT 5th. —~ > ——== EF GAB & Sharps, Slats, or naturals not in the SIGNATURE.Since the first note is“D”, the last note (the 8th) is“D’-Why?—because we use 7 letters of the alphabet to name the notes—we go to“G”— then start with “A”again, Now:— WHAT KEY ARE WE IN? —No! Not the key of“D". With no sharps or flats, we are still in the key of“C’} but, our melody is not like the“C” scale. If we consider the“C” scale “contour” like the smooth slope of 4 hill— this melodie line ig.3) would have two sharp dips, thus. » ———___> However—since the first note of this melody, "D" (Fig.3)is a whole tone above“C’— we can imitate the “C”” scale melody, starting on “D"; by making each note,(number by num - ber) a whole tone higher. RG A &B Cc D (raised) (raised) D £E The two“number ones”“C” and“D” are a whole tone apart, At the twos —we have“D” to“E”— also a whole tone, but at the third notes,“E”and“F’; the distance is only a tone. We therefore, have to raise the“F”to“F#” “F”to"G”—"G"to“A” and “A” to“B” at 4,5, and 6,are correct, but at the 7th step (because“B”and“C” are only abtose apart), we have to raise the“C”to“C#!”The 8th step is, of course, the same as the first. Fig.5 Two sharps —“Ff”and“Cf”are needed. They are placed at the beginning of each staff to save“sharping” each“F” and“C” in the scale or composi- tion. This is called the SIGNATURE. ‘tag ey of De Now what have we done? We have“Transposed”: We have raised thé'C’scale,bodily, a whole tone higher. We have exactly the same relations between the notes/transposed’; a whole tone higher. ‘We can, then, find all our scales, or keys, by TRANSPOSITION. This is our first viewpoint. It is practical? No. —Wouldstt it be awkward to transpose 44 tones up —or 5$tones down? Let's consider a second viewpoint. Have we some pattern, some formula, some rule that we can use? Yes—the following:— A MAJOR DIATONIC *#(sce footnote) SCALE= HALF TONES FROM 3 TO 4 AND 7 TO 8; AND WHOLE TONES AT EACH REMAINING STEP. — a Le having two kinds of “tones” that ia, two kinds of Distances (two) Ponse (to ae DIATONT Sztonee and whole tones. We have two scales that have one kind of tone. Phe chromatic scale (all tones) and the whole tone seale(all ) Phe pentatonie-five note scale- te incomplete to modern nificance of the Diatonse Beate is that st has atonality”a definite starting (and more strongly jie scale can st op anywhere-using any number of notes én succession. whole ton The reat astopping point The chr wyrohere and Sor the“‘whole tone” scales. (of which there are only 2.) Try st. The same holds tr Test the Diatonso Beale. If you will play the 0 Soale for only 7 notes stopping on“B't és called the“lead- ing tone”); you will feel a definite urge to'Siniah” by going on (one more 'ytonc)to"C? Pry various successions of notes in theC” scale-up or down and you will not be satisfied or“come to rest” unless you finish onO” 2°08") and you will find that yourear” will demand "D” Play in theD” scale, using two sharps (PH aa the final note. “Diatonse” ha a free mizture of hyton aionioracale differs from the Major Beale-by 2). By a"Diatonie paseage?we do not mean ding to some definite scale pattern. (Phe minor'Di- Mand"? to 82)16 From the“LADDER OF TONES” we know that $-tones occur at“E”to“F” and “B’to'C” In the key of “C(to right) we find that as a pattern of numbers, the {-tones are from 3 to 4 and 7 to 8. Instead of transposing we can build scales by following this pattern.Starting with any note, write eight notes on the staff in succession (line-space-line-space etc.)No steps are to be omitted or repeated. Similarly, the names, no matter what sharps or flats are used, must proceed in regular alphabetic order, without omission or repetition. ‘We will now build the“D” Scale following the above rule. (Bottom of page 15.) “D’to“E” (1 to 2),4 whole tone, is correct;, —~ w: leave it unchanged, At 2to3 (“E” to"E”) " 12 s%4 5 6 he we find a $-tone. Since we need a whole tone from 2 to3 we must raise the“F”to“F§”.(We Dp: GuerAe Bench cannot lower the“E”to"E}” because that would ® (chy alter our whole tone from“D”to“E”). ‘We then have“F}” to“G” for our“3 to 4” step. This is correct.“G”to“A” and “A” to“B” are al- so correct (whole tones) from‘4 to 5” and“5 to 6”; but at"6 te 7” (B"to'C”) we again find a $tone. We therefore, have to raise the“O”to“Cf” This also forms the $-tone (C}}to D) that we need for our“7 to 8” distance. ‘The two sharps needed ("Ff"and“C§” are placed at the beginning of the linejs above) ind form the “SIGNATURE” ‘We can now find all our Keys (and scales) by the rule abowe. It is better than by trans- Position; but is it the best way?_For ‘the following reasoes ts not. Suppose we were to build all the scales and carefully memorize them. Wouldnt we find it difficult to keep them in mind by sheer memory alone? ‘The third viewpoint will obviate the necessity of memorizing Scales and Key signa - tures. We will learn to know the relations of the keys to each other, somewhat like a mul- tiplication table in arithmetic. We will study first the sharp-key relations, then the flat-key relations, and finally, the relation of the sharp keys to the flat keys as a complete system. ‘This will be the basis for a later understanding of harmonic (chord) progression. THE SHARP KEYS-IN NUMERICAL SEQUENCE, WITH RELATION TO EACH OTHER, GO “UP 5” : That is, starting with the key of“C” (no sharps) we go"UP 5” to the Key of“One Sharp; then “UP 5? to the Key of “Two Sharps”; ete. How many sharps can we have? Answer: Seven; because we use seven letters to name the notés. In counting“UP 5” we include the first and last, we domt add five. We are measuring the INTERVAL of a°5th”. . Starting with“C” we have C-D-E-F-G; the key of “G"has one sharp. Then: G-A-B-C-D; the key of“D"has two sharps. The correct succession them is as follows:— necefe) pe SHARP KEYS -[UP5 wp (Bat (38 a (Sse (Jet (Set tacmes of teys C B FH17 ‘The key of “6 Sharps” is “Fy” not“F"Naturab (explained later) The key of°7 Sharps” (C#) can be explained for the present, as follows:- Cis 24-tone above'C”. Therefore, a C¥ scale must be a 4-tone above the'C Natural”scale (or a C# chord a4-tone above a C chord), Imagine the C scale with every note sharped; the whole scale raised bodily a4-tone. We would need 7 sharps (the 8th note is the same as the first.) THE ORDER OF SHARPS —Next-what are these“sharps?” Do they have a certain “r- der;” that can always be depended on? If so, what is that“order}’ and how do we arrive at it? Test on the instrument, (‘2nd WAY”). Apply the Rule:—}-tones from 3 to 4, 7 to 8and the rest whole tones. VAstring) IVD string) Here we have a pattern for aC” Major Scaleon the guitar fingerboard; starting with the third fret on the “A” V String. It holds true for any Major Scale entirely on the four lowest strings (E-VI, A-V, D-IV, and G-III) because they are tuned the same distance apart, i.e. Fingersi—1 8 4 (4 38 4 Grd fret Py perfect fourths-2¢ tones. Start with the first finger =| os at any fret on one of the three lowest strings. The se- © Gol quence of fingering is 1-1-8-4 on two adjoining strings. < Fingerboard fa D Sound the first note“1”, slide up the first finger two frets for “2” the third and fourth fingers fall on” to pattern of Major Scale on 4 lowest strings “s"(4-tone). Without moving the hand place the first (cise correct for tst and 2nd strings but ) finger on the next string above and repeat the sequence ‘"0! on 2nd and 3rd. 4-4-3-4 for the“s}’"6)"7" and“s” of that scale. THE KEY OF G (one sharp). Now try the same pattern starting with’G” You will find that we have to use “F#” to make the 4- tone from“7”to“s”. The }-tone at“s to 4” occurs from “B to C’(automatically correct). This proves that one sharp is needed for the key of “G"; “Fy’and no other", THE KEY OF D (two sharps), Start on D, either at the Sth fret on the “A” string (upper diagram); or with the open“D” string (lower dia- gram); and play a major scale using the standard finger- th fret ing and shift, (See illustration at right) 3 ———____-» ‘You will see that the F#must be retained, and Cf ( the 2nd sharp) must be used for the 7th note of the scale. F# (tst sharp) to C# (2nd sharp) is again an“UP 5” relation. That is, the “sharps”gd‘UP 5” just as the sharp keys do. THE KEY OF A (three sharps). To find the third sharp, count “UP 5” from C# (C-D- E-F-G); G#is the third sharp. Since the earlier sharps are always retained, THE KEY OF A will contain Ff, Cfand G¥. Test the A scale on the fingerboard, us- ing the standard fingering. Start with the open‘A” string, or at the 5th fret on the“E”(VIth) string. Check with the Fingerboard Chart on page 3,and you will find that the third note is C#, the 6th note is FH and the 7th note is Gf.18 Find the remaining sharps by counting“UP 5” (always include the first letter.) Be- low we have the seven sharps in their proper order added to the succession of sharp keys. (Count“UP 5” and verify the order for yourself.) In the three lines below, the top line gives the number of sharps; the center line, the names of the keys, the bottom line, the order of sharps. SHARP KEYS~UP5 mogffe) 1 24 3H 48 5# 6 = 7H (uamesogheys) C G D A §E BFR CH (order of sharps) »—> FE CH Gh «ODE «OAR OER BY Each higher numbered sharp key contains the sharps of all the keys with fewer sharps. “PY” is the first sharp and is in all sharp keys. “Cf” is the second sharp and is contained in all sharp keys having two or more sharps, eto. Sharp key signatures always have the sharps in the same or der: This is the Pattern. If we have three sharps we use the first FOuDhES three; If we have five sharps, the first five ete. »»——_____> Memorise According to our third viewpoint the best way to master the sharp keys is as follows. Memorize the order of sharps - and this rule. SHARP-KEY NAME= A4-TONE ABOVE THE LAST SHARP. For example, in the key of two sharps the last sharp is“Cf’ a4-tone above is“D’?_the name of the key. In the key of four sharps the last sharp is Df (F#-C#-G#-D#) a4- tone above is“E2 name of the key. In the key of six sharps the last sharp is“E#’? What is a f-tone above? —F¥. That is why the name is“F§?not F Natural. Furthermore Ff is the first sharp and must appear in each sharp key. Construct and write out the sharp keys. Lay out the succession on blank music paper in alphabetical order viz.-D-E-F¥-~G—A-B-Cf, (one scale to a line.) Observe the fol - lowing instructions carefully in the order given. @. Start on the keynote (E Scale at E, A Scale at A etc. @. Write eight notes (to the octave) @.Place numbers above (1to8.) ®. Place alphabetic names below. (letters only) @. Follow the rule (4-tones from 3to 4 and from 7 to 8,etc.) ©. Place signature in fromt (Do this last-so that the sharps will be at each note, as well as in the signature.) Be sure to change the names (below)of the notes, when you place sharps on the staff. (See pagesot for correct sharp scales to compare with your own copy.) Summing up -To build a major seale:—Start on any note-write 8 notes in succession on the lines and spaces-vary the notes, without changing letters, so that there is a $ tone from“3 to 4” also“7 to 8” and the rest whole tones. Whatever sharps (or flats) are needed, become the “SIGNATURE” of that scale. You will notice that the upper four notes of the @ seate (D-E-F¥- dentical with the Lower set Of four notes of the'D” Scale. A group 1 from the Greek (tetre-#). In the old Greek modes, tetra chords were used in various ways raiegorm {9 (tar) da) ECR) df} 1 cB) rd. The wae of two tetracords (with a whole. in alphabetic succexsion, is known as the major tetra: remaining ix our present sys- tone between them) as our present Major Beale tem, By the use of different letracords other scales (modes) are formed, cension — the upper tetracord (5-6-7-8) of ench scale is the igher seale. Taking the sharp keys in numerical a sume as the Lower tetracord (1-2-8-4) of the next19 SCALE CONSTRUCTION - THE FLAT KEYS. The flat keys in numerical sequence with relation to each other, move,“DOWN 5,” just the opposite of the sharp keys. Starting with the key of “C”,which has no flats (as well as no sharps), count “DOWN 5” in the alphabet; (C-B-A-G-F). “F” is the key of one flat. Next, count DOWN 5 from“F” (F-E-D-C-B); but the name of the key of two flats is “B-Flat” not“B natural.” ‘What is wrong with our method of counting?—It is not exact enough.The distances called “UP 5”and“DOWN 5” must be understood to mean the “perfect 5th”; a distance of 34 tones. (see page 11). In other words, the order of sharp keys (and the sharps) is an ascending order of perfect 5ths —# tones or seven “4-tones”, and five letters). The order of flat keys (and flats) is just the opposite. — Measure the distance from“C” (no sharps) to “G”(one sharp) in half-tones on the‘LADDER OF TONES” (see page 8) as follows:- from the lower “C; count up to“G”—including each dotted line (C{-D-D}-E-F-F¥-G) ~seven half tones. Now try“G”(one sharp) to “D” (two sharps). You will find five 4-steps to the upper “C”; then count from the lower“C’; to“D’; two more 4-tones; a total of seven. - “o Next try “B” (five sharps) to “F#” (six sharps). Starting up from“B” we Orrat have one $-tone to the upper“C”; then starting at the lower“C” you must in- |) E a) clude six more $-tones to reach “F#” oD Why cant we call it“Gi"? Because that would include six letters. It | @C would be a “sixth” and not a“fifth”, (see Fig.1.) Ba Using the LADDER OF TONES again, count DOWN for the flat keys. Start- ing at the upper“C’’ we find seven 4-tones to “F? the key one flat. For the key of two flats:- starting with “FY we have five 4-tones down to lower“C’; then from the upper “C” down to“BY” we find the other two $-tones needed. Why cart we call it “A¥”, its enharmonic? Because that would again include six letters (F-E-D-C-B-A).(see Fig.1.) We willnext consider this musical idea—a*perfect 5th”with the“3-WAY APPROACH” (see page 4). ‘When we used the“LADDER OF TONES” above, that was the“3rd WAY” (alphabetic). ON ONE STRING —For the “2nd WAY,’ consult the fingerboard chart on page 3. Count the frets from “C~to“G”on the “A” (Vth string), “C” is on the third fret and“G”is on the tenth fret. Now try“G"to“D’; “G" third fret on the“E”strings (I or VI) to“D’-on the tenth fret. In this calculation dont include the first fret. We want a total of seven “half-tone” distances. ACROSS THE FINGERBOARD — Instead of measuring our distances by merely climb- ing up the same string, we can think in terms of the fingerboard and the relations from “string -to-string”’ This relationis constant. If the open strings are tuned a certain distance (interval) apart, that same relation holds true across the fingerboard at any fret. 1@ we] 2 F . #5 An idea we will use later is that the six strings can be thought of $laD as three“sets” of four. The“Upper 4” (in ascending order)—D-G- ,] 1©......¥5 @« B-E-; the “Middle 4”—A-D-G-B—and the“Lower 4”—E-A-D-G. 3|2B Jf Be The “Lower 4” are tuned in perfect fourths (24 tones)A perfect fourth %}9 A 3) A2 1@o..4 ©: is the inversion (briefly -the opposite) of a perfect fifth, that is,“Up 4”="Down 5”, and vice versa.(See Fig.2.) Between the 2ndand3rd strings the distance is less, a major 3rd (2 tones)andbetweenthe ist and2ndstrings we 3 | jg Fig. 2 again have a perfect 4th. | 6: “C” to“G” (C-D-E-F-G) is a fifth going up and a fourth (C-B-A-G) going down: or vice ver sa.“G” to“C” is a fourt going up (G-A-B-C) and a fifth (G-F-E-D-C) going down. (Fig.2)20 We can therefore calculate the key relations right on the fingerboard. Looking at the fingerboard chart (page 3) we can find the sharp key sequence, (C-G-D-A-E-B-Ff-C}).by moving across, toward the lower strings, on any fret. At the fifth fret, we find: C-G-D-A. (on the lower four strings); the open strings are: G-D-A-E the seoond fret shows; A-E- B-F¥; the ninth fret shows: E-B-F¥-Cf, all these go down in fourths —the same as going up in fifths. (See Fig. 2, page 19.) Moving in the opposite direction (from low to high) we can“think”the flat key sequence on the fingerboard. At the eighth fret we have “C”(no flats) on the VIth String — then“F” (one flat) Vth String — Then “Bb” (two flats) on the IVth string — and the key of three flats, “EY, appears on the IIrd string. (Note the use of Roman numbers: I, If, Il, IV, SHARP KEYS-<——>UP 4=DOWN 5 (0° 469) interval of “major 3rd” (two tones) instead of a VIV IVI WM testringeoVI Vo Wom Ht 1 “perfect fourth” (24 tones). Therefore, our se- Tia feet ot, quence is one fret higher for the Ist andIind 7117" QSee ape OOD strings. feed t mrt SEDO mnt OD —— These segments of the fingerboard (see fail chart page 3) will illustrate the idea:- Eventually: the “2nd WAY” thinking of music in terms of the instrument—“FINGERBOARD HARMONY” can be developed to a point of great usefulness. For instance, any chord with the “Grand Barre” (across the six strings) has its root on the Vth string and its fifth on the ‘Vith string. (See 6S major I or 6 S 7th or 6S minor) ‘We will now consider a‘perfect fifth’the “Ist WAY”, as music on the printed page — per- fect fifths on the staff. Here we have the distance from (the interval)“C”to"F? it can mean“UP 5”or“DOWN 5} five successive letters of the alphabet, or more correctly, five “Staff Degrees”(five lines and spaces in succession). If you will remember, we called the spaces“even’and the lines “odd? as compared to arithmetic. If the“F"(space) is thought of as an even number-say “2” — the “C” in comparison is“6” The rule is:—TO GO‘UP 5” 0R “DOWN 5” SKIP A SPACE. If we place the “F’on a line and go“DOWN 5”to"Bb"(two flats) we find 522 the rule for the lines similar:— TO GO “UP 5” OR“DOWN 5” SKIP A LINE. (two odd numbers). > order of b keys order afb keys 4 >, 23 ‘We can now plan the complete flat key sequence on the staff alone(‘st WAY”) The “Srd WAY (alphabet) and the “2nd WAY” (Fingerboard) will coincide. PERPRO? FIFTHS The order of flats travels—— in similar sequence to the flat keys—“DOWN 5” (in the sharp keys,the sharps went“UP 5Y as the keys did.)To find the first flat we will build 1 @) 2 @) 3 ) 4 G2) 5 @) 6 @) 2) 8 the key off”, First alphabetically:— F \§8/@ GS/A \w/Bb GS/C GS/D ES/E le) F Only one letter (or note) has to be changed. The“B”at the fourth step must be lowered to“Bb” to make a $-tone from 3-to-4.“E”-to “F” at the 7-to-8 spot.is normally a$tone. All the rest are whole tones, including the “Bh’-to“C” GetrigsVI VOW I 1) We can find the order of flats across the sixthand seventh frets, 5th fret for the first six flats. ous ©. “te We need one more flat and we can think of it still another way. rape @) “C"toSF”is “DOWN 5’: What is“DOWN 5” from“C flat?”Answer — > Siflat “F flat? Just as in arithmetic if “4—to-6”is a certain distance: “4$- order of flate to-64” is the same distance, except that in music we have the convenient symboltthe flat, which means‘ -less” just as the sharp can be compared to the regular fraction of “!’Un arithmetic) and mean “L-more”? The order of flats as used in all signatures is B-E-A-D-G-C-F (re- member the word “BEAD” for the first 4), Note that 'it is just the oppo- BEADGCF site of the order of sharps. tts <_< sharps ‘We will next build a typical flat key on the staff; the key of “EF” We will assume that we do not know how many flats are needed and follow the same method for building a Major Dia- tonic Scale that we used for the sharp keys (see page 18). (@).Start on the keynote. @) Write eight notes. @)Names below. @) Numbers above. (§) Rule:-Half Tones from 3-to-4 and 7-to-8 etc. © Signature. According to @-@ ®-@ - we have:- 1 a Eb OF ce A B c D = @ From Eb-to-F, 1-to-2, is a whole tone. From F-to-G, 2-to-3,is also a whole tone, both correct. From G-to-A at 3-to-4,we also have a whole tone. This is incorrect. To make the needed 4-tone at 3-to-4, we can raise the“@”to"G#”or lower the “A”to“Ab” Raising the“G”to“G¥”would make the distance from 2-to-3 (F-to-G#) one and one-half tones. We must, therefore, lower the‘‘A” to““Ab”” At 4-to-5, we now have Ab-td-B, a distance of 1}-tones. This is too large. Since we cannot change the “Ab”we must lower the“B”to"BW” Ab-to-Bb for our whole step from 4-to-5, and Bb-to-C (5-to-6) are correct. At 6-to-7, we have C-to-D, a whole tone (correct): at 7-t0-8, D-to-E,a whole tone is too large, and we must lower the eighth note EnEto'Be to provide the correct 7-to-8 distance (a 4-tone), This completes our scale. We now ©) place the signature in front, in the order of flats, Bb, Eb, Ab. Below is the scale correctly completed. _—_— F Eb e Ab Bb c D FINISH THE BALANCE OF THE FLAT KEYS IN THE FOLLOWING ORDER: F,G?,Ab,Bb, Cb,Db. Use blank manuscript paper. After you finish, compare your work with the correct copy on page sot. FLAT-KEY NAME=THE “NEXT-TO-THE-LAST” FLAT. In the key of Ab we have four flats - BhEb-Ab-D)-the“nextto the last” flat(Ab) is the name of the key - Test all the others. THE “CYCLE OF FIFTHS” ‘We have now finished the construction of all major scales, HOW MANY KEYS HAVE WE? — Answer—7 sharp keys, 7 flat keys, and only one key containing no sharps and no flats (the key of “C”) a total of 15 keys. HOW MANY KEYS DO WE NEED?-~ Is our total of 15 keys correct? Is the number too large, or too small? How can we decide?22 On page 15 we considered the problem of a singer who could not sing low enough for the “c”scale and constructed the“Dscale by transposition. Let us consider the problem of scales of different pitches as applied to all singers-Soprano- Alto -Tenor -Baritone-Bass etc. Re- fer to the “Ladder Of Tones” (page 8) and count from the lower“C” including each dotted line up to, but not including, the upper“C”” ‘We need as many keys as there are spots to place them on: no more, or we would be re- peating the same sounds, an octave higher:- no less, or we would have an incomplete set. The total is 12. (3rd WAY) On the guitar, sound the note at the octave fret on any one of the six strings.Next, slide down, playing each fret, and count the number of sounds possible till you reach (but do not include) the open string 2nd WAY), Again the total is 12, the full chromatic scale. ‘We have, then, 15 keys, and only 12 places to put them. There are three “over”. Necessa- rily, these three must be equivalent to,(or more correctly, the enharmonics of)three of the others. Below we have the sharp keys and the flat keys, for comparison. UP 5} > (nf) 1 2% 3% 48 5H ee 7H SHARP KEYS Cc G D A E B, FR [DOWN 5} ———> (nob) 1b 2b 3b 4b Bb ip FLAT KEYS c F Bo Eb Ab @) [eb Note that Db (5b) is enharmonic with Cf (7#) -(2 circles)-Gb(6b) is enharmonic with Ff 64) —(2 squares) - Cb (7b) is enharmonic with B—(5#) (2 diamonds). To repeat, there are only twelve different sounds in an octave. The chromatic scale has twelve different notes. Any musical idea can be raised by 4 tones for twelve successive steps, the thirteenth is an octave higher. We can have twelve major chords, twelve minor chords etc. The reason why the twelfth fret on the guitar is an octave above the open string is now obvious. On page 21 we have seen that the order of sharps F-C-G-D-A-E-B is just the opposite to the order of flats, This relation is best explained by means of a circle. Below we have circles divided into twelve parts so that twelve keys can be shown. Start- ing at the top with Cno sharps and no flats) we will proceed to distribute the sharp keys in a clockwise direction. They are related “Up 5: (see circle at left Fig: 1.) ‘The opposite direction “Down 5” allows us to insert all the flat keys, as in the circle at the right above. (Fig. 2.)23 Here we have the complete cycle of fifths. The three en- harmonies overlap at the bottom. The Cycle of Fifths. This “CYCLE OF FIFTHS” has much more important significance than merely the illus- tration of the relation between the order of sharps and the order of flats (keys). We will dis - cuss this more fully after the construction of the Dominant 7th chords. (page 64). THE“ALPHABETIC SCALE CHART” We will next combine all our scales into one chart; not by notes or by fingerboard rela- tions, but by letters of the alphabet. (3rd WAY.) We will then be able to make certain com- parisons, and draw certain conclusions that cannot be so clearly arrived at in any other manner. Below is 4 skeleton chart. Notice that the first column at the left shows the keys traveling upward by 4-tones, except that we are retaining our three enharmonics.(Cfor Dp, yor Gb, B or Ch). Only the keys of“C’,“D; and"Eb”are filled in. Complete the chart for all keys, and then refer to the correct copy on page 102. Be sure to place the number “2’s? “38?"4’sMete. in their proper columns. 1_ (Tone) Q (ins) GUen) A Chine) 5 Cieue) G one) Z_ (oie) If sey ot Cc D E F G A B C_|inog nok each seven § ‘ot_Db : fives Z| D E FE & mn B Ci TD [two =| Bb F G ‘Ab Bs C D Eb || tnreed gE fourt =z F oneb a Fe six “Gb sixh & oneg Ab fourb A r three} Bb twob t B Tived ooh iE sevenb Tonic Super-tonie| Mediant Sub-Dominant |Dominant | Sub-Mediant|Leading-tone! Octave ‘When finished, you will have a completed square, From ‘What is the reason for using this chart? If we find a certain type of chord in any scale,we can find it in an exactly similar manner in every other scale. ‘We will now proceed to build our first type of chord.24 MAJOR CHORDS A_MAJOR CHORD IS FORMED BY TAKING 1-3-5 OF THAT SCALE. *(see footnote) It is possible to build a chart of Major chords, by taking all the"l-3—5” parts of the scales in the Alphabetic Scale Chart. Below we have a skeleton chart showing the“C”"D? and “Eb” major chords, Complete this chart from your “Alphabetic Scale Chart’by filling in each missing 3 and 5 in the incomplete chords and then compare with the completed copy on page 102, Major Chord Chart (from Alphabetic Scale Chart) ‘A |B Fil @ Ds | [= |e | F [Fe [o> iF Fifth Pro ‘Third G {A} | A | Bb | B | Cb | Root or Tien 5G 3) E 1c Ce Major chord = 1,3,&5 or major scale It is important to memorize the major chords because all other chords can be learned by comparison. For the minor:- we lower the“3rd}} for the Dominant 7th chor we add a fourth for the augmented:- we raise the 5th,etc. note above The first thing to learn about the. chord construction idea is that the alphabetic relation is always constant, for every type of chord. Any“C” chord will have some kind of C-E-G in its structure. Any “A’chord will have A C-¥. For example; A-C#-E is the major form, A-C-E is minor, A-C#—E# is augmented, A— C-Ebis diminished, A-C#-E and G is a Dominant 7th,etc. The best way to memorize the major chords is as follows:- FIRST:- Learn the 7 ‘natural” chords-the ones built on the original alphabetic letters A— B—C-D-E-F-G. They form 3 groups. Three chords |G|C|D| @Three'chords |A|B|E| @one chora|F# containing |E/A|B with a sharp | FRIG#C# with two |D¥ natural notes |C|F |G in the centre |D|E |A sharps |B SECOND:- Don't memorize the others. Form them mentally by a half-tone transposition. For instance; if aC” chord is C—E—G, then a“C}” chord is “CH—E#—G#"(all one half-tone up); a“Ch’chord is“Ch-Eb—Gb” (all one half-tone down). In Group 2:-if a“D”chord is D-F}- ~A,then a“D}"chord is “Db—F—Ab’ and a“Df” chord would be“D#-Fx—A}(The third must be an“F”), After memorizing the seven chords above practice forming eight more to make the total of 15 major chords. Another way to check up on the notes in a major chord (or any chord) is by an exact know. ledge of the distances between the component parts. Taking the C major chord as a model we can decide what the distances must be. In a“C”chord"C"is the “Root’,“E” is the 8 Fira * “Third” and“G”is the“Fifth? From C-to-E is two tones (C-to-D, one tone; and D-to-E one tone). From E-to-G is titones (E-to-F,4 tone; and F- 3rd E Liss to-G one tone), In any major chord this structure always exists; Root-to- Roos Third, two tones; and Third -to-Fifth, 1# tones. of a major scale, but ‘ie a “Major Third” itis callet A'MAJOR CHORD” not only because we ean build it on the'Tonte” (feb nob also because the larger interval is below. In a'GMehord (C-B—G)t (2 tones) the upper intervat B-to-G"te amalter, a'Minor Third25 Practice building a major chord on any note (natural, sharp,or flat) in this manner. Write the alphabetic structure first, The “letters”are related as 1--3--5. For example, with'G}? first 7 write Gb-B-D, The distance from“root to third” $tone Down “Gb-to-B” is (Gb-to-G,$-tone; G-to-A, whole- Cie oe tone; and A-to-B, whole-tone) a total of 24 tones. —Db D Eb E F F4<— or—_+G@ ¢ Ab A Bb B~«— or——+Cb When finished, compare with copy on page 103, for correction. INVERSION “C-E-G” is a C chord. Suppose we had a military band of 60 men. In suchaband, each player (except the drum section) plays (blows) one note at a time. Imagine that this band is playing a march, and somewhere in the composition, it comes to a spot at which the“harmo- ny” calls for a “O"chord.26 What can we do with our sixty men? We can divide the chord so that twenty play“C” twen- ty play“E” and twenty play “G’; Some high, some low, and some in between. Fig. sg Piceoto We could have this situation: -- High “E” played by a piccolo “C” (in the center) played by a trumpet - and the low “G” played by a tuba. (Fig. 1.) cP Pube per: Can these notes be played as a chord on any instrument? No! The notes are too far apart, Even on the piano with two hands, it is impractical. SECOND: Where does this chord come from? If you would say: “From the“C”’scale as 1-3-5, then, why is number 3 on top and why is number 1 more than an octave below that, and number 5 more than an oc- tave lower still? The answer is that there is no way of telling. We simply have an acciden- tal combination of notes that occur in the“C” chord. Fig.2. However, if we see the chord at the left, we can tell at a glance that it is a Triad 1-3-5 from the scale of“C” The point is, that this triad is the origi - nal chord, All other forms of the“C” chord can be derived from this form, Ev- en the accidental combination above, at Fig.1. Let us see how:- Raise the“'C” one octave—lower the"G” one octave — raise the Fig. 3 “E” two octaves. (See diagram at the right.) The original Triad, 7 then, is a“close” chord that is, the notes are so close together that no other notes of the chord can be inserted. The other chord is an “open” or expanded chord (of which more later.) As shown in Fig. 3, close we can insert two more sets of C-E-G” between the notes. vepanded Is the Triad the only form of “close” chord possible? No! We can have what are known as “Inversions” To invert, in English, means to “turn upside down”; to “put the bottom on top This is close to its meaning in music (there are other technical considerations omitted as not ne- cessary for our studies here). TO INVERT=RAISE LOWEST NOTE ONE OCTAVE. Here we have the“C”raised an octave, the bottom placed on top (two remaining notes retained) the result is E-G-C. This is also aC” chord, also a“close” chord; but no longer a Triad, not three lines or three spac es; but a mixture of lines and spaces. (If raised one degree, it would be two spaces and aline F-A-D). Fig. 4. Instead of dealing with two ideas,-lines and spaces,-we can think of a numerical rela- tion which applies to both, The“C” Triad is a 1-3-5 relation on lines and also(an octave higher) on spaces. The next chord is always a 1-3-Grelation whether as above,"line-line-space” or an octave higher as “space -space-line. This is a frequently -mentioned chord form a“six - three” chord, “E-F-G” (1-2-3) “A-B-C” (4-5-6) the first inversion of a Triad. Fig. 5. PShordetchord Triad = We will now invert again. Raising the “E”one octave: : et Za. Fea Zoe (erie have G-C-E. This is also aC” chord, a “close”chord but it is not a Triad; neither is it a“six-three”chord, It is known as 2“six-four” chord, “G-A-B-C” (1-2-3-4) “D-E” (5-6) the second inversion of a Triad. This is our limit. If we invest again, (see Fig. 5.) we arrive at the Triad once more, an octave higher, etc.a7 What is the“Root” of the first chord? (Ans.“C”). What is the “Root” of the second chord? No! not“B” “E” is the third of the chord. “C’'is still the“root”. If“E” were the“root” the chord would be“E-Gf-B” At the third chord, the lowest note is the fifth (G).“C” is the root whether we find it on the top, bottom, or center; “E”is always the third; and“G” the fifth. PRACTICE FIND- ING THE ROOT, THIRD, AND FIFTH OF ALL MAJOR CHORDS. NEXT:- INVERT ALL THE MAJOR CHORDS. Fill in on the chart below, the three forms of each major chord. Then consult the com- plete charton page 103,for correction. Be sure to have the correct signature, and the cor- rect names after the notes (like example with the D major set) Major Triads and InversionsMAJOR CHORDS ON THE FINGERBOARD On the preceding pages we have considered the major chord alphabetically (rd WAY) and in musical notation (1st WAY). We will next consider it on the fingerboard (2nd WAY) Since we have a six-string instrument, a major chord can be played in many differ- ent ways. The three-note chord is complete; but any of the notes can be“doubled” (an octave or two away) when necessary or desirable. ‘We will systematically work out all the possible use forms on the fingerboard as follows: On the upper three strings—E (I) B(II) and G (III); herearter called On the next three strings—B (II) G(IID and DAV) called “Ui 3”(upper middle 3). On the upper four strings—E (I) B(II) G (IID) and D (IV); called “74” On the middle four strings—B (II) G (HD) D (IV) and A (V); called “a4”? On the upper five strings—E (I) B(II) G (IM) D (IV)and A (V); called “U5” On the lower five strings—B (II) G (IID D (IV) A(V) and E (VI); called “Z5” And lastly, on all six strings; called “6. For our first set “3”; there are three “forms” on the fingerboard. Think of them with reference to the top note. The first one has the “root” above; the second has the“third”above; the third, has the“fifth”above, They will be referred to as‘“U/8/) “U3I’) and “U3ILI.” F ert Dp 25 Bb ust va vsut Hy) ge "EY Se fy SE ef re ast The lines across show the frets; the lines up and down, show the six strings. “R” is for root; “2” for “8rd”; and “5” for “5th” (placed above each diagram). The numbers below are for the left hand fingers. Euch one of these forms is movable (up or down the fingerboard) and each one there - fore can represent twelve different major chords chromatically (disregarding octaves. To each of these forms can be added an “irregular form” at the lowest point (in pitch) on the fingerboard. This form has a different “fingering” because, while the pattern is the same, it is possible to include one or more open strings. Practice the chords below by playing four times on each fret (Fox Trot Time) ascending, and then descending. Think of the name of the chord from its“root” as it is played. ERS + Bor(CiorC Cfor(D) D EB usr tf HE, F For) G es AB BarGhor fe ee ‘simile F Ffor/(G)\ G@ Ab A Bb a A: em Chor D) DE E 40x (( ay usill Rg or/ Ch aia 132 mite BL Bor(Gy © Ctor(Ds . D B E F Evor/ @, G 4 o nt oat simile Since you are moving fret-by-fret each succeeding chord is a {tone higher (or lower). Follow the “Ladder of Tones” mentally as you play. ‘Tor? = abbreviation of “irregular” (chord with open stming)29 “PRESS-RELAX” METHOD FOR CHORD SHIFTS The following “Press-Relax” routine is important. Play a chord and press the fingers of the left hand just before striking the strings. As soon as the chord is sounded; relax strings. Press each time you play a chord. Relax between chords. (Staceatto effects for chords or single notes are also produced in this manner.) ‘You will find that shifting is made easy because the fingers will not be pressing against the fingerboard when you move the hand. Be sure, however, that the fingers do not leave the strings and that the“shape” of the left hand remains exactly the same as you go up(or down), Dont leave the thumb behind. Dont raise the fingers or change their relation to each other, After facility is acquired in playing and locating these three forms the next subject to study is; | MAJOR CHORD INVERSIONS ON THE FINGERBOARD _ Since we know the distances between the elements of the major chord, “Fie We can use this knowledge to locate the three different forms of the same 5th G chord. One added distance must be considered. We know that “Root -to - Gfiones Third” is two tones,and that“Third-to- Fifth” is one and one half tones. We 3rd E must also measure from the “fifth” up to the“root”) For example, with the C bet Skip 4 frets) (C#)-D-Eb-and E. (see exercise g vet below.) : eH Ds bet (b 4 (Skip 3 frets) 1 (ef) “Octave oe = ——t =] $ joau Wail US U3l UBillgva b, D Db 4 Ht b Cir, G3 Usill UB! b. b, By starting with the U3/// at its lowest pitch, we have the last succession-U3///-U3/-U31I. NUT. A Maj U3 MAJOR INVERSIONS ee 3s § Group 3. tt Qi 3 cue a0 ag The diagram at the left shows (Skip 4 frets) 3 ; bat the three inversions of the BbMajor ge 11919 war chord on the fingerboard. O ‘The succession is U3//-U31-U3LI. A (Skip 3 frets) one 7 . at This set is practical for Adrregu- & = 4 Susu lar) Bb,B,C and Db, : Bb bet (Skip 2 frets) ¢ 08 wy "Obagi walt (AHL Ged (Gctave B 3 U3t UBM URE Wau Db 4, by31 Our next major chord exercise is the playing and naming of three different forms with the same upper note. Play the following on each fret. Note that the top note is identical for all the three chords in each set, a“common tone” Common tone Common tone Note:The common tones can on first fret Repeat 3times ; on 2nd fret be enharmonic. (F Db Bb \F (cs D G f ; oe Usr Osi vst Uar Cate 7s ee cai ical eres Go up by half tones for one octave, then descend same way. Next: the same exercise: the three major U3 Forms, with the note on the B (second string) as the “common tone” Common tone Common tone on ard fret ondth fret Gye D G oy ct Eb Ab O31 Ost O83 or O38l U3iat Us G3! etc. Practice as above. Go up chromatically to limit of fingerboard and then descend. Lastly, the same study with the note on the G ([IIrd)string as the “common tone’? Eb @ Bb Eb O38 o3r Cait 3H oat war want air ete. ‘We will now study a series of major chords going up the fingerboard. This relation is cyclic (see page 64) The root of each chord becomes the‘fifth’of the next chord. The common tone ap. pears successively, on the I, IInd,and Ird strings. see dotted lines. Three separate exercises. Clirr) F Bb Eb Ab Dbic#) W3it O8r usm “oat oar U3ul hire) Bich) E A D. G oar sit Osi o3r Ost oan pe (ch) F#(Gb) ED E F Faor(@i G A A i Bor ag U4 5R3 5 simile 239) + (OSE PRESS - RELAX ROUTINE - see page 29) 2841 Bor (ch) C Cfor(D}) D Eb E F FforG)) G pAb A Er b ne Ms 1 U4 ete, The irregular forms and diagrams are shown at the beginning of each line. Practice by playing each chord four times travelling up the fingerboard for one octave and then descending to the first irregular chord. Follow the Ladder of tones mentally to name the chords as you play them, STARTING WITH THE LOWEST FORM OF 47. N : TSP? E Major U4 MAJOR INVERSIONS eT v4 rin. 2 oat 2100 SP CTs Group 1 (Skip 3 frets) The diagram at the left shows the three 4 it (on first (2) string) inversions of the F major chord on the x = v4 fingerboard -compare with the complete f ry i chart on page 3. This set can be played 1 (Skip 2 frets) for the major chords of E,F,F¥or Gb, & and Ab. The succession is‘74/"'U4H” = ea “U4UL? (see next page) oy 4 4 = > ns a war ‘v4ir U4(add U4 V1, s0e page 48) 89 E v Lirr. aw a iq Tirr, it Fyor(Gb) NUT STARTING WITH THE LOWEST FORM OF 47 so [4 U4 MAJOR INVERSIONS FREES ciee.var 3E 20 |b osi Group 2. sot (Skip 2 frets) ‘The diagram at the left shows the three in- versions of the Dbmajor chord on the fingerboard. ‘This set can be played forthe major chords of C,Cfor Db, D, Eband E. (see below) The succession is'V4i2"U41I"U4 1" | 1910 Db bat 36 oa 4a uaa ar @ v4 4@ (Skip 4 frets)40 yfPARTING WITH THE LOWEST FORM OF v4.17 Aire, U4 MAJOR INVERSIONS Tee Ade; HE U4 Group 3. 1280 ab46 The diagram at the left shows the three (Skip 4 frets) inversions of the Bb major chord on the b fingerboard. oi var This set can be played for the major chords + of A, Bb,B or Cb and C. 4 (Skip 3 frets) The succession isV42U4I"U4H1? r Lt ey \ 1 20 |tuan a a $-— “octave | A war oT a tgs CALL irr. Bb 1 a Z ML ivr. at r 4 Z ut B Our next studies will be the 3 sets with“common tones” With the same note on the E (Ist) string we have the following. (common tone is also on the D (IVth) string.) FE Dp By i fines FE FE gD gB... vai a a7 U ooo mile coals 4 v4 T (The dotted lines show the common tones) Go up by half-tones to limit of fingerboard and then descend. This next set is the /4 major chords with the“common tone”on the B (IInd) string. G Bb D Repeat & Ab cb Eb Ab Past ~ 7 Tete. on vir v4 van 7 "a T 7 cach ret Fnate (The dotted lines show the common tones) STUDY AS ABOVE. This last set has the common tones on the G (IIIrd) string. Gb E a U4l cach! Study as above. Repeat 3 times.at ‘The next series are in Cyclic relation — the root of each becomes the fifth of the next. Notice that the common tone changes from measure to measure in regular succession. Db(Ch F(ab) By) E A _D aT Fic) BIC) E D ce WT a IT v7 7 WT In the 3 descending exercises below, the fifth of each chord becomes the root of the next. Keep track of the common tones as indicated by the dotted lines. A E Bich) = FRG) Mt tT a 7a IT t at Ck (Db) par Eb Bb F Cirr. 7g Bb it 7 va 774 7 WT F c @ D Airr. Eirr.42 This miscellaneous set is avery valuable study. Dotted lines indicate common tones. Airr, Db F D re B U4it van v4 van 4s wat Zi U4ilt v4 vain v4 var o4ar v4 vant 4 4 oar B Eb G E Ab c oan oar usin 4a v4 van ADDITIONAL Y4 MAJOR FORMS There are three more U4-major chords that are practical. We will call them 74- IV, U4-¥, and U4-VI. U4-1V and U4 -V are variations of U4-11....see below. In 04-1 the note on the E-Ist string is changed from « third to a fifth. In U4-/ the note on the D ang UAV IVth string is changed froma third RE Rg t0aroct.U4-P/ is avariation of U4. The top note is changed from a fifth to a root. The diagram on the left shows all six forms with ‘their relations to each other on the 1248 fingerboard. Below we have all six o4aVr forms in musical notation. a tba h aie) : 292880 $ var vam VAY VHS v4 eee eee ‘octave le Guitar Fingerboard43 Below we have these three forms in the familiar chromatic routine. You will find the V1 form very easy to play. The /V and V forms are hard to reach, especially for small hands. To develop stretch or reach in general (for any chord form) start the study in descending form, that is, play the chord at the higher frets,which are oloser to each other. AS you practice, move lower so that the fingers are forced to stretch further apart -gradually - as you descend on the fingerboard. R Lee ah The three forms below are just as important as the first ACHETH Reg.torm — set (V4.1, Ht, II) and must be studied thoroughly. coh zord | 8124 Cir, Ctor(Db) D Eb E F FhorGb) G Ab A Bb Bor (Cb) bax b, by b yi 4 uaVv R5R3 simile I Practice in the usual chromatic routine; 4 beats on each Reg.form H i Top Ree. chord, go up one octave and then descend. cree CS Dir, Ep EF ForG@) G Ab A Bb Bor (Ch) & Gtor (ps : HE u4vr 5RI5 irr, Reg. form (USE PRESS-RELAX ROUTINE POR SHIFTING—SEE PAGE 29) Gir, AD A Bb Bor) ¢ ee D EE E F fierig The V/ form of the 74-major is useful in endings on the first set of U4 inversions, see page39. The succession is U4-/, U4-7,U4-I, U4 -VI. E Major F Carine, lar Wii Za v a MW Ww FOUR-STRING MAJOR CHORDS ON THE “MIDDLE-FOUR” STRINGS 44-major chords are exactly like the UJ set with the top note“doubled” one octave lower. Calculate the forms on the D (IVth)string.(# see below.) * * 6 * 5R35 F uSutES Db 35R3 Ab Gaede. SE an, BEE Mls BE TéRoot on is ird on stein, a42t Detring ** ty Detring aia Dotring 7 *Think of any note on the D(IVth) string as a whole tone above the note on the same fret of the E (Ist) string, alphabetically. (It is actually a 7th lower, of course.)aa As usual, we will first study these chords in chromatic sequence. Practice same as U8, UMS, and V4 chrom. M4-I s410 Birr. F Ftor(G}) G Ab = AtoBb BoxCh) C ChorxD) D |Eb E + eart a simile M4-1I 5, R3GR Cirr. Clor(D}) D Eb EB F FhorG) G@ Ab A ze Bor(ch) A B Bor(Ch) C ChorD) D Eb E F Ffor(Gb) OUR NEXT STUDY IS THE #4 MAJOR BY INVERSION. NUT. Birr. 35R3 + aire a M4 MAJOR INVERSIONS EF Mar ae 4 Group 1. a +s 3940 ae 2810 (Skip 4 frets) The diagram at the left shows the three inversions of the F major chord in the MALE MA-T, MS-Il, M4-III succession. This succession is practical for E, (Skip 3 frets) F,Fhor Gb, and G major. a F | M4 LIT 12 at. 3S maT MA MALT a 7g a Tir,45 M4 MAJOR INVERSIONS © Major FTE ae M4Iirr.tet ra Group 2. sith ‘The diagram at the left shows the three (Skip 3 frets) inversions of the Db major chord in the U4-H, U4-Il, U4T succession. MALI This succession is practical for C, Ctor Db, D and Eb major. MAT Db > > octave MAW IT Z c ty 2 frets) 8 U4IL irr. uM r Mt Dbtc#y Mir. MA MAJOR INVERSIONS G Major MALIT Group 3. Malti, EE 2000 2 The diagram at the left shows the three MAT inversions of the Ab major chord in the M4-II, M4-1,M4-1T succession, ler 2 frets) (skip 4 frets) This succession can be used for the G, Ab, A and Bb major chords. Ab M4 octave | | ¢ mane Ff a MAIL irr, rl Z UL irr, Ab Wt Z a y a A46 Our next studies will be the three “M4”sets with “common tones? With the same note on the B(ID string we have the following. (Common tone is also on the A (V)string.) c Ab F c Db A @ Db Hirr, Mm Z irr. a at Z HL each fret. The dotted lines show the common tones. Go up by half tones to limit of the fingerboard and then descend. This next set is the“#4” major chords with the“common tones” on the G (IID) string. Db E Ab Db B F A D | i | a a a Ht 2S, Pret. The dotted lines show the common tones. Study as above. This last set has the common tones on the D (IV)string. A Cir, Birr. A Bb ce F Bb ; : "4 ete. on T Mt Wt a Z HY each feet. Study as above. Repeat three times. my 4 The next series are in Cyclic relation, the root of each becomes the fifth of the next, Notice that the common tone changes from measure to measure in regular succession. E A D & Cc F iaT In the three descending exercises below, the fifth of each chord becomes the root of the next. Keep track of the common tones as indicated by the dotted lines, Mth fret Lt Eb yp F c G D war a aE t 74 7 12th poet CHB) >| 2 3. Wt at 7 7 a 7 This miscellaneous set is a very valuable study. (ay MAA Doc) F D FRG Bb Mr a 7 a t iu48 There is one more possible “M4” major chord, we will call it M4-/V. With M4-1V Major the upper fingering it is the upper four notes of “£5 ///" (see page49:With R5R3 the lower fingering it is a good preparation for“6S/1/” It can be substi- FF] tuted for “w4 177” in inversion sequences where the third of the chord is not wanted as a low note (explained later). Practice chromatically with both fingerings, in the usual routine. ore (Substitute this chord for M4 III in the inversion groups M4-1V on pages 44 and 45) oiza US EB E F__ Ffor(Gb) G Ab Za i254 Aire, Bb Bor(Cb) C Cfor(Db) D M4 wv jo bw Our next study will be FIVE-STRING CHORDS. There are two kinds, “U5”- upper five,and “Z5”- lower five. CHORDS ON THE “UPPER FIVE” STRINGS. 5R35R F R35R3 Db Roroe’ Bb 5R5Rg Eb USI U6 IT usm 1 sf oa oe I i B4a2at 2341 11342 astat “USI” is a combination of “V4/” and “M41’! This chord is the upper part of 657" but is sometimes used as above, without the six-string barré.“/5//” is a combination of U4” and “M411. This chord is better as a“U5S”form. “U5 HIT” is a combination of “U4 1/1” and “M4117”, It is not entirely practical as a“V5”form. Since the Barré must be formed just as for“6S U1” not much is gained by learning to“bar” the upper five strings only."U5/V"'s a dis- tinct form, the upper four notes are“/4" with the lower two notes of V5/"included.( See chart Page Sl). Practice “U51""U5 10" U5 I11”"and"U5 V” chromatically, as illustrated below. Follow the routines previously described with U3, U4 and M4 chords. usr man ts ete} C Chor(D!) DEP + 100 3444 ic. =F FlorG@) G Ab 3@2010) ¥ Cirr,50 RB5RZ eee) + L5IV Note: The lowest three notes are a TRIAD. S3000 Gir. AY A Bb Bor) C Corb) D Eb E F bee 15 Ww i WE WILL NEXT CONSIDER THE SIX - STRING MAJOR CHORDS. rorasr © grasRn3 Dp _ mK) rae) ro? xg 6sI $ : osu t : esr red feaert $f Stn to riasas batt “6S1" and “6S I” require the use of the “Grand Barré” (Barring the Ist finger over the six Strings).“6S//” is not a good chord (since the third in the bass is rarely used). It is included to make the set complete. It is best however to omit the note on the lowest string and play it as “U5//." It is useful only for a passing chord or for grounding in the arpeg- gios. (See Eddie Lang’s Advanced Book Vol.1). Our first study, as usual, will be chromatic. Practice as before. RERBSR As an aid in sight reading, note that just below the top note is a TRIAD combination. HoH esr ve 028100 134 Bor(Ch) C Cfor (Ds) D Bb fi bay af For (Gb) @ A BD Ab b b, SR35R3 TD + Note that the TRIAD appears just above the lowest note in 6S 1. ro 6SIT . HtH ° (Ch) os2010 xaaret FtorG) G Ab A Bb Bor( 1, De q oe) Ae ) NM ( Mn q This chord can be played with the Barré,only by players with large hands. “For players with small hands use the Thumb for the lowest note, or it est may be omitted; since it is the'3rd” of the chord. Cfor(D)) D Eb E F xX) Lit ootza0 112341 Bord) C Alin Bb, Fhor(G) G Ab faves i > 4; : : In OSI the three upper notes forma TRIAD. This chord is the most difficult of the major 65 chords. Practice first on the higher frets and travel down, An irregular form of D major io poreiste — FEPTT] apper five Based on thie position of the hand. eee eile USIP irr. = sCHART SHOWING ALL THE U5, L5 and 6S CHORDS, . with relation to each other, on the FINGER BOARD. Barré Barré (optional) ROR SOR FR Fo RS 4 1916 (or 96% ei fa Re 6SI 24 6st TTY oe + Burré apes Finger Boat | sp gen 7 TPiooy 191 2. J. -f- 3 : a 1] tO }rnira 7 Rone H 5 ue a Ad wie, [a ONT er¢a¢s a Tt SR5nss sath fret 11 1@ Lge Octave 6s This note is played with ath finger for (Ciesese 6 SIL - with the Ast finger for 6 SI. INVERSIONS WITH THE SIX-STRING CHORDS NUT VERSIO. rey, ry 6S MAJOR IN} INS : He 2 681 Group 1. oRst00 2 : (Skip 3 frets) ‘The diagram at the left shows the three inversions of the F major chord. This succession is possible for E,F, Fhor Gb, eee and @ major. (Skip 2 frets) The succession is‘6S72"6SI""'6SU1? 6S11— (Dotted line) »s—____- This note in both 681 and 68/11 E 1 at a Cowest note Fe ad ti te ry irr. irr Z a at a 7 continued next page.52 The Bass note on the 61 is shown in parentheses(¢ meaning “ad liby'to either play or omit; as you choose. FyGh tO ga w e 6S MAJOR INVERSIONS on t ier, Group 2. os2010 6S (Skip 2frets) The diagram at the left shows the OSU three inversions of the Db major chord. This succession is possible for C,C¥ or Db,D and Eb. This succession is“6S1'"6 SH1"6S7. (Skip 4 frets) yes in both’ 6S and 6ST. 6.8 MAJOR INVERSIONS Tay os aE 3 ft fosun Group 3. 004230 (Skip d frets) The diagram at the left shows the three inversions of the Bb major chord. ¢ This succession is possible for A,Bh, bse B or CbMajor, (see next page) (Skip 3 frets) ‘The succession is“6S12"6S/2 "681" “ 6S ‘>_> (octave)53 A 6S Tire. f un Z ML irr. aps Our next study will be the three“6S" major chords with the notes on the E(I),BD, and G (IID strings as common tones. ist with common tones on the“E” strings, Fe Dorr Boast OFT Fer Dia BUT wT is te. on each fret ‘6ST «OSHIT 6s1 Dotted lines show the common tones. Go up by § tones to limit of fingerboard then descend. When the common tone is on the E (I) string it is also on the E(VD string,two oc- taves lower. Common tone on the B string, \ G Bb D G Ab c EB Ab a MW a Z L MW a 7 eto. omeach fret Practice as above, nen . Common tone on the G string. \ B G Bb Eb E G B p ) ) (fa) 7 7 tu % “7 a Ba e Sean tret The next series are in cyclic relation - the root of each becomes the fifth of the next. Notice that the common tone changes from measure to measure in regular succession. (Shown by dotted lines). Dbick) FRG) ¢ Bich) E A zl Wa continued next page.54 Birr. Airr. 1 Du Gr cur Er Ghar 27 te Cirr FL Bout Ep Abr Ch FAGH) 7 Bch) 7 4 In the three descending exercises below, the fifth of each chord becomes the root of the next. Keep track of 0 common tones as indicated by v gre sotto’ lines, G BUCh)/ (Gb) fb Fr Cire. 27 Chip 27 1 big) 7 CBT D tb, pee yBrr Dy Aire 17 Eirr.s Dbich 7 Dat AL EW Bihar FRGHT This miscellaneous set is a very valuable study. Mr Db i Dir wo Biwi tf . 7 cont next pageFa Al Dvir Bh Dum Chu 7 Eb Ga Chas Ab cr EW Boy C# Db) 7 FRG) LT Bich) 7 Eb J Gur Es Ab II Cu | THE DOMINANT 7TH CHORD ‘We have now fully covered the commonest three-note chord, the Major Triad. We will study next the most used four-note (Seventh) chord. THE DOMINANT 7th IS BUILT ON THE FIFTH STEP OF A SCALE BY TAKING 1-3-5-7. This chord has a“double-barreled” name. Each part of the name has a special meaning. “Dominant” means the Fifth note (or step, or degree) of a scale.“Seventh”means a FOUR-NOTE CHORD. Since all“original”chords (not inverted or expanded)are built on odd numbers, the four note sequence is 1-3-5-7. Calling it a‘“7th”chord means that 1,3,and 5 are included. Another way to describe it, is: Dominant 7th means: “thé kind of chord found by building a succession of four notes (in thirds) on the fifth step of any major scale?” Since the major scale consists of a mixture of $-tones and whole-tones, it is obvious that chords constructed on the various steps of the scale will differ. The chord built on the Fifth step (Dominant) is the only one of its kind. The 7th chords, (four-note chords) found on the first and fourth steps are alike (Major 7ths); the 7th chords on the second. third, and sixth steps are alike, (Minor 7ths).These will be illustrated in a later volume. Fi O} ) st F G7th chord, Dominant 7th of the = : Key of C Here we have a two octave C scale. Starting on the fifth step, the structure of 1:3 5-7 gives us G-B-D-F as above. This chord is usually called a G7th chord. The correct name is G-“Dominant 7th’(of the key of C). Just as we say a“C chord” meaning a C-Major chord, and if we mean a dif- ferent type we specify “minor’ ‘diminished’ or“augmented”; for the three-note chords (Triads; we say “G7th” meaning a “Dominant-7th” form, and if we wish to identify a different four- note construction we say“Minor 7th”,‘Major 7th’ or “Diminished 7th”etc.56 Practice finding the Dominant 7th of any key, mentally. WHAT IS THE DOMIN - ANT 7th OF THE KEY OF G? (Count five in the Alphabet and apply the signature). ANS-D7th. Be sure to say “7th” meaning the four note chord. If you answer“D” you are(perhaps without intention) implying a three-note chord. WHAT IS THE DOMINANT-7th OF THE KEY OF F? - ANS: WHAT IS THE DOMINANT-7th OF THE KEY OF D? - AN WHAT IS THE DOMINANT-7th OF THE KEY OF Ab? — ANS :— Eb7th. Now a series of questions to make this chord as clear in the mind of the student as possible. (As used by the editor - David Berend- in private lessons). Try to answer each question mentally before looking at the answer. WHY IS IT THAT THE G7th CHORD CANNOT COME FROM THE‘G”SCALE? Ans: Be- vause the G Scale has an F¥ and this chord G-B-D-F has an F natural. WHY IS IT IMPOSSIBLE FOR THE G7thT0 COME FROM ANY OTHER SHARP KEY? Ans: Sharp keys must have“sharps”? The sharps have a certain order. Since the first sharp is Ff and we have an Fhin the G7th chord the entire order of the sharps is excluded. WHY CANNOT THE G7th CHORD COME FROM ANY FLAT KEY? Ans:-In the order of flats the first is Bb. In the G7th chord we have By. Therefore the entire order of flats is excluded, Since the G7th chord, then, cannot come from any“{” key or any“tkey, it is found. only in the key of C. That is why itis said to “Dominate” the key; why the note it is built on is called the Dominant (there are also other reasons for this name, too technical to be nec- essary here.) Note: Major keys only are considered at this time. ‘The G7th chord is more truly representative of the key of C than the C chord itself. The C major triad can come from three keys:~the key of C as a Tonic chord (oz the first note of the scale); the key of G as a Subdominant chord (on the fourth note of the scale); and from the key of Fas a Dominant (Triad) chord.(See Alphabetic Scale Chart Page 102.) Our next study will be the construction of all the Dominant 7th chords Alphabetic - ally.(3rd WAY). WHERE DID WE FIND THE MAJOR CHORDS? ANS:~From the alphabetic scale chart. HOW? Ans:~ By numbers. We took 1-3-5 from all the scales. A different set of numbers will give us the Dominant 7th structure. If a certain set of numbers determines 2 chord in one scale; this set of numbers will give the same type of chord in each other scale. We will find all the Dominant 7ths, then, from the scale chart; by numbers. WHAT NUMBERS ARE THE NOTES G-B-D-F IN THE C SCALE? Ans:— 5-7-2: (or from Fig.1, Page 55; 5,7,9,11). Take 5,7.2,4 from any scate to find the notes of its Domi ant 7th chord. WHAT I8 ‘THE DOMINANT 7th OF THE KEY OF DP Ansi—"A Ti", A ,CLE,G. (5,7,2,4). WHAT IS THE DOMINANT 7th OF THE KEY OF F? ANS:~C7th. (C-E-G- Bb). Now then,5-7-2-4 seems a bit awkward, going back and forth. Suppose we try to find the Dominant 7th -from a key of the same“name’’ that is;“G7th” from a“G”scale; “‘A7th” from an‘#! seale,etc. Starting with number“1” of both the Scale and the chord our pattern is 1-3-5-7 . Referring to the G scale (Alphabetic Scale Chart) we find that 1-3-5-7 is G-B-D and Ff}; but we want G-B-D and F, for a G7th chord. If the Ff were lowered a half tone, our chord would be correct. We can use,then,as our pattern:-1-3-5-and 7b. C 7th, A 7th. ytone lower Using the symbol ofb’to mean $-tone lower; if the note isa sharp if) we Fig 1, fa dowerst a $-tone by making it a“natural” \y), if it ts a natural) we make ita 4 4 Slat (b) and if it is already a flat (b) we have to make it a double flat a (bb). See Fig. 1.3——_————_> bat bb87 ‘We can now form a chart of the Dominant 7ths just as we did of the major chords(see page 24); by extracting the pattern of 1-3-5-and 7b from all the 15 scales, The Ist, 3rd and 5th notes of the C scale are C,E,and G the 7th note is Bhi—lower it to Bb, From the D scale 1,3,and 5 are:—D,F¥,and A; number 7 is“C}’—lower it to Ck. From the Ebscale as 435 we have Eb,G,Bb; number 7 is“D”it must be lowered to Dbto follow the 1-3-5- and 7b pattern. (see below). Fill in the rest of the chart below and then see Pagel02for correction. si =F Seventh rome eB [ofp L Ly ent mle Alp Fifth Third imo E File { _ 1 | c [caps] fs |e [Le [re [as] @ [lao] 4 [pe] a [op | R00 ‘or! To round out our study of the Dominaat 7th Alphabetically (3rd WAY) we will study the structure of this chord in stil! another manner. Bb— 7th You will notice in the C7th chord at the left that the lower three notes, the root, third, and fifth, are the notes of a C-major triad. ar - Sth i} — ara. We can consider the Dominant 7th as a major triad with an added note, a This note is at the distance of what is known as a“minor 7th’from the root, & AC —Root “C” (ase footnote.) : Since we were not to study intervals in a formal manner we do not need to know off. hand what a“minor 7th” (interval) means. We can simply measure the distance from“C” to “Bb” by passing thru our chain of alphabetic letters. You will find that it is tend-tones. Since the total number of $-tones in an octave is 12 (see page 22)we can consider this distance (minor 7th) as two -tones (a whole-tone) less than an octave. Therefore, another method of constructing the Dominant -7th chords is to take any ma- jor chord and add (as a fourth note) the aote one whale -tone below the octave (or root- alphabetically). For instance:—an“F-chord” is F-A-C. A whole tone below F is Eb. Adding this note to the triad, we have F-A-C-Eb, Be careful to use the “Bs”. Df will not do because it would be a"64" not a “7”. To consider the Dominant 7th, 2nd WAY, (musical notation); we will write the chords in chromatic sequence as we did with the major chords. This time, no signature, use“ac- cidentals” (#s,b’s,or l’s not in the signature). Place the actual sharps or flats needed ateach note, also the correct names after the notes, Fill im chart below, then see page 103. C7th CH7th Db7 th D7th Eb7th = E7th F7th ot Fi7th Gh7th_ G7th Ab7th Azth Both B7th = Goth Bh Bb Bb & Any “Oto any ‘Bs the interval of a°7th'! “C” to ‘BH is 4 lejor — [winor — osm. ‘Major 7th;"C” to'Bb?a Minor 7¢h0"to'BIM" a Diminished 7th. 7th 7th 7th »*————> c c c58 INVERSIONS OF THE DOMINANT 7th CHORD (ist WAY) ‘We will now study the Dominant 7th and its inversions; first,as notes on the staff, (1st WAY); then as diagrams, chord-forms, on the guitar fingerboard (2nd WAY). Most students find difficulty in writing these chords on the staff. Dave Berend’s original method of explanation will help you as it has helped thousands of pupils in the last twelve years, Follow the numbered steps carefully as explained below. $0 tt tz 18 4 6 BT nog ? ( a rd thew 1, is the C7th in original form. At'2,the lowest note,C, is raised one octave. At 3 the ica tote remaining is carried over. At 4, the stem is placed,“up, on the right because most of the chord is below the center of the staff,) #see footnote. This sequence is important; dorit try to guess at the location of the four notes as a group. At 5,we have “G’ and “Bb which must be added to 4, to make the complete C7th. 6 shows the“G” added. Next consider the follow - ing. C,(7) must fill that space. Bb,8)is on the line, from half of the“C”space to half of the “A space. If we try to write (or print) these two notes superimposed (9) it would be difficult to “read"as music, It is therefore necessary to place the Bb,on the other side of the stemas atiOjwhich shows the complete first inversion, Alt inversions of a “close” Dominant~7th chord have this “hunchback” appearance. ‘Atif, the lowest note is again raised. At 12, the lowest note remaining (G) is carried over. This time the stem is,“down, on the left? (because most of the chord is above the center of the staff.) The two remaining notes, Bband C, (13) must be inserted. If the Cis placed on the stem (14) the Bbis on the opposite side. If the Bbis placed on the stem (15) then the “C” is placed on the opposite side; either is correct. This is the second inversion (14 or 15). At 16, we have the third (last) inversion, and at 17, the criginal chord one octave higher. We therefore have four forms of the Dominant -7th to study, because the chord contains four notes; just as with the major triads we had three forms, for the three notes in that chord. Fill in the inversions of the Dominant 7th chords, in the chart below, then compare with complete copy on Page103. C7th and D7th are shown in complete form as models. [Note:- no signatures, use“accidentals”(W's or bs) as needed for each actual note, so named; also place the correct names (alphabetically) after each note.] gamesne Bee nice ca7th 4 ae D7th Ev7th 4 4 hgh ise 1 —_ SS way, because they are exactly in the center of the staff. 3 f(H cee footnote) DOMINANT 7ths AND INVERSIONS ON THE FINGERBOARD (2nd WAY) Contrary to common opinion, all “piano chords” that is, close chords, cannot be played on the guitar in the Spanish tuning, Except for a few “irregular” forms, including open strings, none of the Dominant 7th forms can be placed on the fingerboard without expansion, Another original method of the Ed- itor’s (Dave Berend) explains here for the first time how to convert the forms of the Dominant 7ths to diagrams on the fingerboard. E7th Lh 7asR All complete forms of the Dominant 7th must use at least four strings. We will therefore study the Dominant 7ths as U4) UB,U5;"L5;and“6S” It is possible to have three string (three-note) forms, but the 3rd and 7th must be included. Dominant 7th chords can be placed on the guitar fingerboard by a partial “Expansion”? One of the notes must be raised or lowered one octave, These forms can be arrived at in two ways. LRAISE THE NOTE, SECOND FROM THE BOTTOM, ONE OCTAVE. 2.LOWER THE NOTE, SECOND FROM THE TOP, ONE OCTAVE. The first rule is better for the “W4-7ths” see Fig.l; the second for the “M4 -7ths.” # Theoretically, these Dominant 71h chords are not the correct Dominants of the 15 Major Scales prev - iously studied, Ch7th Dominant of Key of Fb) should be omitted, and O#7th (Dominant of thekey of Of) should be included. Iam purposely following the same sequence as the maior chords for convenience in compa Berend60 To conform with our chord diagram system we wil! call the chord with the Root on top the “Z form” (7th), the Third above will identify the “// form’) Fifth above “//7 form? and Seventh above ‘ZV form” (as below). yar Fith Boze Bais a7R5 Cith sro7 Anh rete rete pats rine od 185 Our first studies will be the chromatic successions. EMth ir. 95k Dithir. R579 alee T Po Husrnr Practice as\( 4 Pe] uaz o100 t2t. directed oz13a 1324 with Major Dir. Eb? E77 F7 E7irr, F7 F#7 Gb7 G7 chords 1. ete.to D 7th gva ete.toE 7th gua thie. 3 7RS Gtthic, Raz T ] Et FREE ware . bavataw Tr0s 3std oot Fete Bairro cy7 Db? D7 Githirr. ay7) "AT pir a. 2 Jete.to B7th gua ete.to G7th gua Practice by playing four beats on each chord. Go up one octave and then descend. For future use, bear in mind that the distances between notes (intervals) of the Domin- ant 7th chord are; -Root to 3rd, two tones (four frets)—3rd to 5th,14 tones (three frets)—5th to 7th, {t tones (three frets)—and, when inverted, 7th to Root, one tone,(two frets). NUT 4@ |1@1@ 124 | 47th INVERSIONS i) E7thu4 rier. # a Skip 3 frets)" Group f. o100 £ 4 The diagram at the left shows the four 7 inversions of the U4-7ths for F 7th. Baar eo This succession is possible for E7,F7, a (side P47, (G57). athe ee The succession is"U4-7eh 1"'U4-7A IP? Gkip 2 frets) “O4Fa [v4 F7th bee yf 7th JV61 (# These studies can also be practiced playing partial successions. The complete set is /-//- M-1V-it-it | 1. Play 1-11 1 J;then /-/-11-i7 4 /. These two studies can be practised for larger chromatic successions than the full set. Apply this idea to all chromatic sets of inversions,i.e.starting with different forms as lowest chord; also other types of chords. U4-7th INVERSIONS At D7th irr, 4 u4 lowest form CLT @Te van ’ 89 13@ )iscin 2 trets) The diagram at the left shows the i ft) | og four inversions of the U4-7ths for Eb7th. $2 7th IT The succession is Y4-7th 1, 11,1¥, 1. aly. Practice this succession for D7, Eb?, bez $ (Skip 2 frets) 19 1916 U4 and E7 as below. ze jay pet . (Skip 1 fret) $11 fis } U4 a Pht D7 e Bota Mirr, Ve I WT Mit Marr, Eb7th by P by by oe a 7 T AW Tar P27 = E7 T Vv T wv T Practice also as described above.(#) cet emer = ut &4-7th INVERSIONS U4 7th I Group 3. 1208 ‘ ‘ 4 ‘The diagram at the left shows the et tik (Skip 2 frets) four inversions of the U47ths for C7th. 4} A The succession is U47th 11,1, 1, I1. + (Skip 1 fret) Practice this succession for B7th af 1¢ 9} v4 (Coz) C7, Db7 (C¥7), D7th. > War 4 2 : \(Skip 3 frets) al us = $21 0 HA e— > antoue. $81 9 Brth 4 j : 2. if; 2 : i UT ar. T v rr C7 ¥ 462 NUT U4-7th INVERSIONS ca = 1 O16 Group 4. ] var” SE {jt ry Grou Ho ty (Skip 1 frets) The diagram at the left shows the sp otras four inversions of the U47shs for Ab7th. ‘ (Skip 3 frets) The succession is U47¢A 1V,,11, HI. Bie #| 0477 Practice for G7, Ab7, A7, and Bb7th, bee $31 Oc i9 2 trots) as below. ft Ab7th 4 2 U4 7th WT , s. > woMr "a at Bb7 a if o7a Mt c/a I wv TO THE TEACHER Due to the practical limitation in the size of this book I could not include as many ex- crcises or reviews with mixed types of chords as are really necessary. They will be avail- able in the next book of this series “MODERN CHORD PROGRESSION "Inthe meantime, for practical study, the teacher can select some easy orchestrations simple keys and few chord changes) for the pupil to play by means of the chord names only. For instance, have the stud- ent play with 74 chords only, then again with M4 chords, and lastly with mixtures of 4-5 and 6-string chords. The teacher can make all the chord exercises more interesting by sug- gesting and illustrating rhythmic variations. Many teachers hesitate to use the idea of playing from chord names and diagrams because they regard it as a new, modern conception which is largely a makeshift to obviate learning to read music. As a matter of fact it is perhaps the oldest form of guitar notation. It dates back to the wandering Troubadors and Minstrels of the Middle Ages. It was then known as ENTABLATURE. Music notation was in its infancy and this was the only means they had of transcribing the chords used on their guitars for accompaniment to their singing - Much of their music cannot be reproduced from these diagrams hecause the tuning of their guitars and Lutes is unknown, since it antedated the tempered scale and other modern con ceptions. Since the notes on the staff do not follow the placing of the fingers on the gui- tar fingerboard as logically as for the right hand of the piano or harp thigh note-high fin- ger) the diagram idea is the best means of transferring the chords from the printed page to the instrument. Dave Berend63 Our next studies are based on keeping the common tone successively on the E(Ist string} the B (IInd string), the G ([lrd string) and the D (IVth string). The first Set is always the low est on the fingerboard, and contains one or two irregular chords (with an open string). The second set is universal and can be played at each fret. Practice each exercise by ascend - ing chromatically for an octave, then descending to the first set again. Use four beats on each chord (as shown) then practice with three beats, then two beats, then one beat.Repeat at least once on each fret hefore shifting. Common tones on E (Ist) string, Fyz7 Dit Bir. 7 gua G7e Any Eby : 2. C7 etc. Same on each higher fret Common tones on Bind string. 7 Ker Deru ag FIT .. Dire C7 Eber 2 ete. Common tones on G (Hird}string. ‘Same on each higher fret Bree ayy Tp Tie dd crm paw R77 Ebr? a i: ete, Common tones on D(IVth) string... eee eeey eee bith F7ths = Ebrthy BMthire 7 a7 py BD, EDU ut 6 " Same on each higher fret Our next study is “Equivalent 7ths” which have two common tones (explained later). Also practice straight thru without repeats. Dw E77 AbTiy B7H Eb? FATT Al t ‘ 4 : ‘gli, we CHa Err GIT Ab7e Bry Daur Fv Gu EVM Bb7/ bz cHar whiss. This exercise contains the four forms of the / /V7ths for each Dominant 7th chord. Dotted lines at beginning and end of each group show the 2 common tones for repeats.Cycle Movements Dominant 7th chords may proceed in regular progression according to the sequence, counter-clockwise, of the CYCLE OF FIFTHS (page 23). Explanation of this relation will be made later (page69). At this point itis necessary to memorize the CYCLE. The sequence is the same as the order of flats, Memorize starting 218? BE-AD-G-C-F then in flats ~Bb-Bb-Ab-Dr-Gh-Cb-Fb.. However, when we reach Dpit is enharmonic with 4; the next, Gb equals F4; then, Cbequals B (the starting point) and Fbequals E; so that, at Cbywe have re- turned to our starting point. The best way to show this sequence is, of course, by means of a circle, since the succession of chords may start,or stop, at any point. Below is a lineal diagram. (ch-FD (mBtarting point) .B-E-A-D-@-C-F (Ch F) B) E) 4° Bb - ED - Ab- Db-Gb-Cb- Fb Although the longest succession usually found in a cyclic harmonic sequence is six chords, we will study the complete set of twelve chords, The best relation is descending,asin the musical exercise below, (ist WAY). For our mental study (3rd WAY-alphabetic) BE ABLE TO ANSWER THESE TWO QUESTIONS FOR ANY NOTE. 1, WHAT LEADS T0“?” (any 7th chord}? — ANS. the one before it in the CYCLE; or, count“UP5"; or, it's Dominant (see page 55). 2,WHAT DOES “2” (any 7th chord) LEAD TO? — ANS. The next chord in the CYCLB; or count“DOWN 5” (or“UP 4"). With the succession of letters memorized, there are two irregular spots to watch ; Fto Bpand F}to B. That is, all other relations are similiar — b's go to b's, #S to $s; and 4% to 45 (as Chto Fb-Cf to F#-C to F) but at these two spots the“h":name leads to the'Hname #(F'to Bb),and the'f’name leads to th¢’yname. % (F¥toBi). The 2nd WAY studies will be shown from time to time with various musical exercises. For instance, in the studies below the 74-17 7th form leads best to the U4-// 7th form and vice-versa. The 4-1 7th form leads to the U4-Z// 7th form and vice-versa. Ty nl A + a CYCLIC SUCCESSIONS OF 4-7th ZY and V4-7th 17 DESCENDING. NOIH:-The op notte descend ehromatitally end are alternately the Srdor 7dhef the carajeorvits“eoie hetdtae? ifr 0p ted pce Tth ae Gree an & HGP bes Gill beter yet pini be? wiv ypy Asti bes tvrir or PATH 4. 8tbfret, Ong ttheit (on a eB7 peg ET Qo ATI y |, D7Mirr. ieeggrn sis 2 By 2. o ATI 46711 bes C7F FU ATLL 4 EDT Dur 2 Bb CYCLIC SUCCESSIONS OF Y#-7th 11 and Y4-7th J DESCENDING. mf T P14] sft $p The time it a the Bottom notes that descend chromatically, alternate Srds and 7the.t tf ae eats tet * St art gi Dr si G7 ei C7r 4 NTL bes Bo7l bes EDT wy AbTL a TR aed Pi tet t T T d Gn (oi BOS es P77 4 purm be BHT bs AVI “ardete. Sth nd 7th Db or CHTMT FET BUiilirn | EV/irr. ip 2 Z torn aed gr DTT has Grd £2, FBT a e7a7 gy AMI ay DIME i oH Ay giz iOur next study is 4 DOMINANT 7THS; Dominant 7th Chords on the “Middle Four” Strings®? Il-IlI-IV-and V (B-G-D-A). The modern Tendency to omit the upper E String (ist) makes the study of this set very important. As explained with the “U4” set they cannot be reached or fingered as the original “close chords” A partial expansion must take place. To find the exact notes possible, take any “close” Dominant 7th chord position and lower the second note from the top, one octave (the other three notes remain unchanged.) Girth MetArt Mit wv 4 2 Below we have these four “Expansions” of the Dominant 7th as they appear onthe finger- board with the usual chromatic studies. (Ab72 2RS eae A7th ete. 7) 5 FoTthin-E7th F7th etc. + Ms p+ soupone M4 £0.60 a CSc ppt TEF et PIF cotavethen 7th [8 $ lave + Pag dence EES deta i Cithim Db7th D7th ete. O57 735. me (Bb7. R573 A i FACCGE = cir czz7 cao ineeeRE. eo deveenad IV Crete z The forms are qumbered according toa slightly differont system than used with the major chords. In this case it is impossible to keep the lower threv notes of the U4 chord as the upper three notes of the a4 chord. The forms are numbered however, so that in each case the name (or ro0t) of the chord will be the same, also two of the notes will be identical, those on the IInd (B) and IVth (D) Strings. See Diagrams Below. RELATIVE POSITIONS OF 74 AND 474-7THS Relative positions 7 Lowest possible pair of forms on the fingerboard) faire) tae eceesees a (inna fe Grea is ) ut) Abr b4z Mar Ma U4T 7th Ir ° trd Free 739 5 R ath we ook cue mate : fF zt x are identical Dotted tines show ri # <(esano soon?! Poti a (Lowest, forms Eb?th irr. M41 - Eb7th U41/,) E7 v4ir MALT 4 Tysstrret R57 9 U47th g * (Lowest forms © 7th M4//Tirr.- C7th U4.) De7th v4 MELT et 37 RS ua it ih vamrm rete ne I cue (Lowest forms A7th M4/Vérr.-A7th U41V.) R573 (Nut) BT U4iy = M4IV aa ereee! : ah = ao HES Eh ear om ore 4 tel Ln Center Diagrams “shows notes in U4 Chord only; “H” shows notes common to both chorde; “e” shows motes én ME Chord onty.66 (NUT) te 7 MA-7th INVERSIONS ¢ gre ai Group 1. A oe > MA-TthT oe L$T#I “rr Se 36 [36 nea og) The diagram at the left shows the t four inversions of the A4-7ths for Ab7th, 2954 ee ‘The succession is a4 7th 1//,1,1V. 4¢ |hskip 1 fret) 1@ Possible for G7, Ab7, A7, &Bb7. EP [pe T Tse) ard-2e0 ar 7 $e (skip 3 frets) AbTth 47) MAT) MAI iW IV ag H4-7h LY octave St_1 4 C7th at Tirr, [M4 gM Il asa WV, I 7 ® Abrth’ (7 H beg iit + ee Auth 7 M4-7th INVERSIONS bith ple Group 2. went MA-7th HT u irr. 7 (skip 1 fret) a The diagram at the left shows the MA-7h IT four inversions of the #4-7ths for E7. 4 " a te? \skip 3 frets) The succession is M4 7th I/,1L,1V,1. = A M4-7th IV Possible for Eb7, E7,F7, & F#7. . 304940 skip 2 frets) oo 1 MA-Tth T WA MAM, M4 WV ps1 u4T x= > > 12th fret---! o¢ [ad] ‘Octave ERith wd tire, |HOME | pM WV bes MAL wv a Hire. WV 4 v Z wiper(NUT) MA-7th INVERSIONS aay cnn 7 Group 2. er A r skip 3 frets: ee (skip 3 frets) The diagram at the left shows the = MA-Tth IV four inversions of the 44-7ths for Db7th. (skip 2 frets) The succession is M4-7th IM,1V,L,11. = M4-7th I Possible for C7,D>7,D7 & Eb7. A (skip 2 frets) Badge C7th MA-Tth [1 >> ME itive, |MAIV git beswdit og I we Mirr, Ht fe a v ben bel wv Mt L Daher wv Ep7th Mn wv. oun Mb-7th INVERSIONS AeA , Group 4. eT SMa rvire. STARTER a4-z0a ce o208 (skip 2 frets) The diagram at the left shows the MA-Tth I four inversions of the d/4-7ths for Bb7th. skip 2 frets) The succession is M4-7th /KL11,111. Possible for A7, Bb7, B7 & C7. a M4-7th I ae pkip | fret) Birth wav adr U4 H bw gach I a 3 faecal 3 e i 7 4 Afth wh Wirr. | MAT M4 IT Mbit 9 L Wire. Beith aH besa Brth a68 Our next Studies with the 44 7ths are with common tones on each of the 4 strings the BUDString, GU1)String, D (1) String, and A (String, (With common tones on the B String) G7th E7th = D7th ~~ Bb7th Ab7th F7th = Eb7th =~ B7th | M4. MALT a Wm) wv i (Practice as directed with common tone studies for the U4 7rhs Page 63.) eth, om each fret (With common tones On the @ String) Eb7th O7th = A7th_—G7th E7th —-Db7th = Bb7th_—Ab7th WSL irr MAlllicn MA Iirn MAL irr, a a we 7 2 ete, on each fret 1 t iS (With common tones on the D String.) Db7th = Bb7th = G7th_=— F7th D7th B7th Ab7th Gb7th Main MAIV M4 Tire, | MAT Mt Vv Z a * ete, on each fret 1 7 (With common tones on the A String) B7th G7th E7th Db7th C7th Ab7th = F7th = D7th 2 é MAY MATirr, MAIL Ma ve f a Ht 4 ae ‘on each fret “EQUIVALENT” DOM. 7ths, having 2 notes in common are related as the notes of a Dim. 7th chord, page 90. Double dotted lines show identical notes or enharmonics, Dotted lines at beginning and end of each group show com- mon tones for repeats. G2 fir BT Tr BT FI Ab Bry Dama 1 2 i it = EbTm | FR7IE ATT CTw Dba OEM C7 BT .. BY Davy FV AD TIT AvIT c7r EWI G7 Grit Ba chr Eb7y AZIM ATT {Or DI EPL) G7K BUTT BI D7 F7r AI ATI CPE EDT AZ. Repeat each group four times.CHORD RELATION ba Since we have studied two types of chords, Major TRIADS and Dominant 7ths, we can now discuss the relation between these two types, (resolution). The first important rule is: THE DOMINANT 7th CHORD LEADS TO ITS TONIC TRIAD. This means that a four-note chord (7th), built on the fifth step of the scale Dominant), leads to a three-note chord (TRIAD) built on the first step of the Major scale (Tonic). Technically, resolution means the resolving (satisfying) of a“discord” In this case the “dis- cord” is the interval of a“minor 7th”: from the Root to the 7th of the Dominant 7th chord.. The 7th must move downward, a $-tone, to the 3rd of the Tonic chord to satisfy the“ear” Another im- Perative movement is the 3rd of the Dominant 7th chord to the Root of the Tonic chord, a }-tone upward. This is the movement of the “Leading-tone”(7th step of the scale) to the Octave. see footnote page 151 In the Key of C-Major, the Dominant 7th is“G7th"(G-BD-). It must move G7U4¥ Cu4it to the Tonic chord, the C Major TRIAD (C-E-G). For perfect “resolution” 7th the “F” (7th) of the G7th chord must move to the “E” (3rd) of the C-Major chord; and the“B” (3rd) of the G7th chord must move to the“C” (Root) of the C TRIAD; Always by a$-tone. Perfect resolution is not always 94 possible, because the proper Bass notes cannot be played. Considering the 3-WAY-APPROACH (page 4) as applied to this subject, the 1st-WAY (musi- cal notation) need not be studied too thoroughly. That would be more important for composers or arrangers. The 3rd-WAY (alphabetic) has been almost sufficiently considered. At this point the student should know, alphabetically, the notes in all Major TRIADS and Dominant 7ths, oth- erwise an intensive review should be made. One subject only is important: the alphabetical rela tion of chord names. The name of the chord each Dominant 7th leads to,and vice-versa, Study as follows: 1.To find the Dominant 7th of any Major chord (Key) count UPS (in the alphabet), and apply the signature; or, calculate the one before it in the Cycle of Fifths (see page 64). 2.To find the Tonic (TRIAD) that any Dominant 7th will lead to: think of the next chord in the Cycle. (B7 leads to E, E7 leads to A,etc.) or count UP4 (see page 19). The 2nd-WAY (chord diagrams on the fingerboard) is the one most needed by the Guitar student, The fingers of the feft hand must be trained not only in the individual patterns for each chord form; but also to make the changes most likely to occur. This relation (Dominant to Tonic) is very carefully explained. For other relations Iwill simply show the changes to be studied. Belowis a series of chromatic studies with all the 74 and M4 Major and Dom. 7th forms, d ‘Root opt FST A oi ? EGER EERE Ee HH & $ ooot 2040 f442 ater 0008 4824 4444 G7 Wier, C Hirr, Abviv = Dbir GiVir, ETM ALY h Sed ni bi a ote. on each fret ete. on each fret TT f T crerh corey FR feet Ht 4 1208 2100 s244 Batt 124t gota 4204 S424 B? Marr. @) Gith7 CiVirr, Ab77 Dbuv tat 4 C7m FT Sra Root ote. on each fret ete. on each fret continued next page‘ete.on each fret ete. on each fret { FER at of tH #4 ne ofts B21 1924 Sait {208 sit 29f4 sit Q, pri ar Eb? Ab @D wrwter susan E74 AM4IV 9 tape! ‘s ‘ete. on each fret ao Aaa A? FR, TH 7 $ Hed Getto) tetas tet ¢ = f208 s20% 2814 4842 208 4812 1814 4812 G7m41 CM4i AbtMar Dewar ATHEIV Di4iy— Bb7M4r EbM4i7 14 0128 2844 18 C7m4it Fads Dbewtil GoMar @ ErM4air Audi7 F7M4i1 Bot Ir = ded irr. ord Robt to i CORRECT BASS NOTES At this point an explanation of the best distribution of the component parts of a chord is necessary. Generally speaking, the Root or Fifth (or both) should be below, lower in pitch. The ‘Third (or in a 7th chord, the Third and Seventh) should be above. In other words, the best “Bass” notes are Root or Fifth. The Third and Seventh should not be used as the lowest note of a chord except in “passing” form, fast changes; or when a melodic sequence occurs in the Bass. Because the Guitar is tuned so that part of its range is in the accompaniment section of the tonal range of the modern orchestra and part of its range is in the Bass section, the following is true. All forms of the U4 chords can be used, because the regular Bass instruments supply notes lower in pitch that act as a Bass for the orchestra as a whole. With the 4/4-7ths the /-form and /1/-form are less useful, Grd or 7th below)and with the heavier chords, 5,15 and 6S'Dom-7ths; the forms having the 3rd or 7th helow should be avoided. ete. oneach fret US DOMINANT 7th CHORDS Because of limitations due to the tuning of the Guitar, the size of the frets,the shape of the human hand, and the fact that four different notes are involved; it is not possible to have a set of Dominant 7th forms as logically related as the Major forms. All possible forms U3, £5,and 68 Dom. 7th chords will be illustrated. The best forms to use will then be selected for the exercises.n Just as with the Major chords, the U5 chords are either U4 or part of the 68 forms with anote added below or AT4 chords with a note above. With a thorough knowledge of the U4-7ths and M4-7ths the following Y5-7ths canbe readily located. Study in chromatic routine as indicated below. ver -SZ35R usit7n SR 4 ug KE7T% Barré tte rite] t tf AR i Hy ee 20100 stati coats ne24 osoz0 48184 E7th F7th 7th = Eb7th Auth —_Bb7th plire ST \gottirn bE WoUrire. WSU eto.on + if to.on te.0n each fret : each feet cack fret o i 14 1-7th with (Upper part la 12-74h with (Not possibie MAIV-Tihwith (Upper part note added of 88) ote added a82.08 form) mole added of O81) Gelow. Boot on top) Getow. Grd on top) TWbove, th on top) UG IV 7h Rp? evr Peery vevi7n 2ERE7 + > +H itt oe Tett Ht f Tite tease 2040 S4tet 30001 Bitte 7th Bb7th G7th Ab7th Civ. 5 eo Vine OMT ir4 10-74h with (Upper part note added of 681V) Jelow. (71h on top) 174 1-7th with (U6 form note added only) Below. Grd below) Practice each U5 form chromatically. Start with the irregular chord,go up one octave if possible), then descend to first chord. For tst-WAY study, write each exercise chromatically, for one full octave, starting with the two chords given above. The next exercise is a cycle study with the best two U5 7ths and 1% (see also exercises on page 64) 18th foot G7th c7th F7th Bb7 Eb? Ab? eet 5 IV sus je Ww a be wv a (cha) (c8) ‘Dbz oy B? Tv Eid Hirr. O Practice also 4tone higher, and 4 tone lower and think of names of chords by Cycle sequence. Of necessary start at the third measure) U51-7th and U5111-7th can also be used as an alternating pair in Cycle sequence, Pfr A F7 Bb? al wm badl een G7 osu os OSM D7 1 OST Ab7 oY L a Gi or = FH B? E7 Az 4 Z Practice also $tone higher, and$ tone lower.72 ‘An unusual Cycle sequence can be used with alternate /5V and VSV7-7ths. Practice as a chord stud- yathen use the lowest note of each chord as a sustained melody note with the upper four notes as accomp- animent,(eze #) (cir) (an ¥7 BIT Eb? Ab? Db FH? B? betusrr ygs uv VE 7 be SPO Wr € Tard Th Nee a E7 AT D7 a c7 v Za v rae « Ehosvr . Biosy H ete. Practice also$ tone higher. L5 DOMINANT 7TH CHORDS The explanations given with the U5-7ths above are also true about the £5-7ths, Practice the chromatic studies in the usual manner. e R5737 HG 75S Q sRSY3 lc5-1 TPE asufett) BE Passe 7a (Ord tf ta Tit} “th el oso1e =1stet owots etka vores 4 E7 EF en oe Aq, Bb, aStien LST gue Sltire. | ESL Webatir \L5U oo, cach A each pret e = bivelt je i 3 i (U4 1-7th with 2 (Lower part (Variation of (Lower part (4 IV-7th with (Lower part hhoten added below of B87) 251)” ot @St1) of 68177) ‘omitted.) (Root Below) oot below) th below) L5-IV is the Basic form RSR37. R37R SRS? of Eddie Lang's ‘Deadened [/ “We Hy String’ 7ths—see “Eddie [7,4 [$4 +? Lang's Advanced Guitar ogsts xeets Method” page 8. E7,, 7, >—_—_—_ LS Vire LV oy L5-V-7th is the basis om, for the best 9th form on re the Guitar. See“MODERN (V4 -7th with 2 (E5torm onty, CHORD PROGRESSION.” | avgz1-7h with £6 formonly) gotes added'below (pth below) note added bene) Got Below) rop note omitted) Study serapatly the notations below each LB chord. Be able to substitute a 5;or 6-xiving chord £795R forthe four tiring chord mem 708RB LsvReTea be vones L5u1 7a ett) Crety) ‘These two chords are 7th £ W008 WO rarely used. As explained f2000 0 25445 age 70)the3rd and 7th cz De should not be employed as G7, AMT LV ire LVI ote, BASS NOTES (lowest notes L5V irr. LS VIL oto, *t each of the chords) except in pyre special cases. "3 d (WSIIT-Fth with (Lower part of 88V) 4 TV Major with (Lower pact of 6802) note added eloe) (Phird below) Mots adel ban) (events blow)6s DOMINANT 7TH CHORDS Practice the chromatic studies below in the usual routine. 1s below each ehord.) emorise the forms contained in each 88 Dom. 7th, see nolati oe 7 6s1 BH 450 FreeT9 HH (6 111 setese 7th 5 Te wth a + th ozo 0 TT 2 11 Barré| o20130 9141 Barre — a) s —_—— E7 681 F7 6857 E761 ¥7 6S AT 6S 11 Bb7 6S 17 inn dy irr, irri etc.on ‘ack aon aic.on fret fs it Gack 3 i ack [@5/ also Varin fret [SIN variation of SF (ao) a4 IV 1th with 2 notes below 28 7. Hard toplay bit with note abovg and wenn considered best 68am Below Wo 210) ‘th chord) Barré oe SRER37 I785RS 735R37 ah Hatt re % Gon ff * Ron ; rm HTT +t or rmasas ‘® AT6SIV Bi? OSV 7 687 Ds7 6sv G7 6sv1 Ab7 OST ire_balt = to.on ‘cach b b @e.on 7 fret hon aS cack hy bas” (as rn win fret (adorn war in fret [Difficult and rarely aed, 04 Th with (wo two notes ws wr} below with note above and below (rarely used) we vy notes below (Z5 VIN) 5 vn ‘The usual routine in numbering the 7th chord forms is, with Root above “I”, with 3rd above“II? with 5th above “III” and with 7th above “IV. In this case the regular order is changed because the form with 3rd above would also have the 3rd below (6 ). The “II” form is a variation of the “I” form. In inversion sequences it is best to use the U5// 7th, because in that form the root and 5th are, properly, below; when a chord with 3% above is needed. Since by this time my method of study for each Dom.7th chord should be fairly clear to the teacher and student; I have curtailed the illustrations and exercises withthe 5, Z5and 6§'Dom.7ths, More specifically, it is necessary to keep the present volume within a convenient size and price. Additional stud ies will be givenin“MODERN CHORD PROGRESSION” and “EDDIE LANG'S ADVANCED METHOD” also exercises and reviews: containing mixtures of four -, five-, and six- string chords. Practice the U5, Z5 and 65 Dom.7ths by substituting them for the &#-7ths in the exer- cises on the preceding pages. INVERSION GROUPS: : Turn hack to page 60 and substitute as follows: Tuversiow Inversion grup | usr | usir|oans |vsiy || Groups | uta \vsue | vam | 042 pageeo pest et v6 U6 substitutes, vs os substitutes, vst vow Martech’ | 2% legsy) PLT Vosyn || tnents” |(usv) °° losvn | M7 ‘B7h tom. arn ten z os 6sr \%, 68 U5 1 6s1 suastituts, | oe | HON lara {gery || subatiater, GS2? los ar fone | or garg with | gs zy | (65 s. (rin ivr’ |(C7Eh bs used because no good 68 form available.% * Used because it is better than 6S chord with 3&4 above. Inversion Inversion Broup & U4 | va | 047 | v4 Group 4 U4iv\ u4s \o4n loti page 61 page 62 us oe vs ‘t Us Vv vs ‘i vbr substitutes, substitutes, tart with |7P Neysyy | 51 \eygyy |) start wits’ [USED | YF Vys yy | VOM ATth irr. ATth irr. (e2) 7 68 es | 80 Vbsar oa esiv \ 681 NBs 1, rutntituces, |6S leery | or [iggy || sutasiates, [6801] | or [ess [Oster A7th try.) OSH (7th irr) Ge? 6S COMMON TONE SETS: In the study on the upper half of page 63 substitute as follows, using five-or six- string chords instead of the four-string chords SHOWN; >. vss show Do seating 1. With common tones on the E (Ist) string. (he erg Ae7 FL 7 F847 VOU ig VIIY ete. on Migher Srets AS GR) Ath fret on Bstring: 2. With common tones on the B (IInd) string. Bb7Z5H yp VSM, ete. on higher frets 3. With common tones on the G (IlIrd) string. 7M jp lire g VST py Sltire common toe A” 2nd ji prOSYZ inp S8I7 4. With common tones on the D (IVth) string. Age Witt py UBL oy YEU oq VSI (commen tone'P” Grd: fret om D'string:) igher i APS Tits ey 68% joy VSM oy BSTH 7 SI G7 SST in USI Ty BSI: frets or 6SH 7 For ist-WAY study,write out the common tone exercises above in musical notation, up to the 10th fret.75 __ EQUIVALENT DOM. 7THS:: In the study on the lower half of page 63, substitute accord- ing to the tables for the U5 and 65 Dom. 7ths. Start with the 2nd 4-bar group (Ist line). In this study the 65//-7th cannot be used instead of 657- 7th. 7 USE Sie C7ZSUL pyy 05H, py VIL ete. on higher GST i frets * Kea het % (used because we do not have a good 88 form.) Substitute in the succeeding 4-bar groupsas|| original | U41 | vasr |udim | v4 indicated on the right. Use the same chord “names” (D7— G7 etc.) and use the U5 or 6SDom. ‘7th formsuggested for the /4-7th printed. substitute | 6ST | US| 681 | 6S IV substitute | USL | USM | US| US IV 65 CYCLIC SEQUENCE. Below is the best cycle movement of the 6° Dom. 7ths,65// and 6S 11 alternating. (Y5-7ths cyclic, p. 71 and 72.) Bb7 Eb? Ab? bee Mm b, 3) Osu C7 beh 6S u cm in Db? cht or FA? B7 E? 6s arr. A? 6g 1 # Practice also} tone higher; start with C#7th 65/7 and follow the cycle sequence mentally. (687 can be substituted for 6571) INVERSION GROUPS 25 DOM. 7THS:: Turn back to page 66 and substitute as follows: Inversion Inversion Group 1. M41 | M4Ou \ mai | M4iv Group 2. MEL | MATT | M4 IV | MAT rege 8 peee 68 6 substitatee, | £51 | 250 | 2517 |p 5 ayy 150 | 2500 | 51, | 25L oh with \Z5VIN| (LS 1D | (L5VD (LEM) | (L51¥) (L5VID (see LS Dom. 7th diagrams, Page 72) = == Inversion Iroersion Group 8. M4 TT | M4aIV | M41 | Mo Group 4. M4aIV | M41 | M40 \M4i peee 87 page 87 ib T Ls “5 Lar LEV if LbI LV | Laie betitutes, substitutes, Start with (LEIS la syrpl o511)\| stare wien [2° la5vzp| zn | CSD B7th ire ier A7th irr.id MINOR CHORDS Although Minor TRIADS occur normally on the 2nd,3rd and 6th steps of the Major. scale (without alteration), the simplest way to learn the names of the notes in each Mi- nor chord is by comparison with the Major forms. Rule-T0 MAKE A MINOR CHORD == LOWER THE 3RD OF THE MAJOR A4-TONE. We will begin our study by building them alphabetically (3RD-WAY). The construc- tion is exactly like the Major TRIAD except that the“3” of the 1-3-5 alphabetic se- quence is a }-tone lower. The same name must be used, but the note must be fow- ered chromatically, ie. # toh, htob, btobb,or xto#. In a manner similar to the chart on page 24 fill in the chart below, then compare with the completed copy on page 102. (Take 1-3-5 from each Major scale in Alphabetic Scale Chart and lower the 3rd,chromatically.) —_ Db Bbb a Fifth Third Root A F DE 5 |G 35|| Eb cic 2 tone OF oF Or It is not necessary to memorize the minor chords. Think of the Major chord on the same “root” and transpose the“3rd” a $-tone lower mentally, C-E-G becomes C - Eb-G, D-F4-A, becomes D-F-A, Eb-G-Bb becomes Eb-Gb-Bb, Gb-Bb-Db becomes Gb-Bib-Db, ete. NEXT, BY CONSTRUCTION Gee page 25) Lowering the third places the smaller in- terval below, The distances are now Root-to-Third... 14 tones and Third-to Fifth... 2 tones. Practice building Minor chords as described on page 25 on any note(#,b,or 4), MINOR CHORDS IN MUSICAL NOTATION Fill in the chart below like the one on page 25, but do not use signatures, the actual #,b,or bb needed before each note, then see page 103 for correct copy. Gfinor chords are designated by a small“m” after the root-name, Dm means D minor ete.) Dm Ebm Em = EFI G [a A [eB Io place Cm Cim<—or—>Dbm Fm Fkm<—or—+Gbm ¢ Gm Abm Am Bbm Bm<— or—>Chra MR Dm Gtm INVERSION ~ read again the remarks on pages 25,26, 27. They apply to the Minor chord as well as the Major, Since the appearance of the notes on the staff is exactly the same, it is not necessary to write the inversions in musical notation (1ST-WAY). MINOR CHORDS ON THE FINGERBOARD (2ND-WAY). ‘We will first locate Minor chords on the fingerboard by comparison with the known Maj- or forms, Below are the three U3 Major forms and alongside, the corresponding Minor forms. Mmajor) (minor) major) (minor) pt Major) Taine a Bim opp dail ae SR2 09 it as Seat safe (ay ow J 2 sen : SE CErpey 8 ges #8 is Me +41 F We ee oe De alee Bbm (Theircte in the Minor chord form shows where the Srd of major was), (The Relative minor chords are shown on page 102, lowest set)CHROMATIC STUDIES 5RS R35 7 SER U3iim mo + von FLEeS FA 5 ut L ee ore 2) O00 444 280 zat vant EmUSlirr Fol3/Fim ChmUBitine Dn Dior Ebm. AmUSIN Aimor Bom etc.on etc.on = etc.on. each fret each fret each fret se Press Relax routine(See fage 2” 464 70R-MINOR CHANGES Practice on each fret, Go up by $-tones for one octave,if possible, then descend—same way. (Play in 8th notes ~ strike each chord twice) HH Cea in (adn (major) (minor) (major) (major) t inor)* jor) EUS Lirr. EmU3lirr EU8lirr = FUL Fm03/ FUSl Feuar ad a3 L etc.on * Tie leach fret Hold 1st finger on 8 strings, lift nd finger for ckgnge. Ta oo FBS EBS eH 230 210 ireet sa (major) (minor) (major) AUBIN AmUST AU3HI BoUSIMBomygi BoUSIT ___B, Bm 8B, eto.on R. i each fret Belgie sings a an tnger Lie ah ing for efange. FA rae x2 $5 cots) Ott (major) (miner) (major) ches Ofaursu Chm) Dos Dmvsy Dima) Eb Ebm Eb 3. eto.on : ft leach fret Lite znd finger guise. Gnd and Hold srd finger, revert ‘st. # 70 abbreviate:- two simlar 8th notes may be indicated by placing « heavy diagonal Line through the stem of § note:~ thus ¢ Group ne oo IX Em Ustirr| Sm 1 Sp2frets ist string i O3ma ‘skip Sfrets, 3m LT skip 4frets O\73mIg0a ‘The diagram above shows the in versions of the US Minor chord for F Minor. The Succession is U3m], ILL. Practice for Eminrr) Fm, F¥m,Qm,Glm and Am.See studies ‘with U3 Major on page 29) [ga éf Th equals a3 MINOR INVERSIONS. Cim Group2, Chm USI irr] 120 i ‘kip 3frets T8miit rf skip4fiets Ont skip 2 frets fmt The diagram above shows the inver. sions of U3 Minor chord for D Minor. The Succession is USmII,III,I. Prac tice for Cfm(irr)Dm,Ebm,Em and Fm, ‘The UST Minor form may be fingered 48-8,88,0r4,44,0n the higher frets. $i i octave. i Bb Am Group 3. Ory L [Am U3Ullirr. ° a 2@ | v3mir skip4 frets 191010| 73m 7 skip 2 frets a CSI skip 3frets ein Mga The 4 inversions of the U3 Minor chord for Bb Minor. The Succession is U3mIll, I, 11, Practice for Amir Bhm,Bm and Cm. gram above shows the For ist WAY Study, write out the exercises suggested abuve.(See pages 29 and 80 for the three patterns.)Common tone on H Ust) String (dotted lineeshow common tones.) EmU8/irr. Ov. Finggs DmU311 Bomvd ii Fmt 4. i Tete. on each higher fret, go up Common tone on B (Und) String. foe oberon the’ dicen mU3L ObmU3Iier. Dmv3i1 BmUsil Gmv3r = Dmv3it t t Sareea, Common tone on GUULird) String. AmUBilirrDmU3 11 Famv31 AmUBtItirr BomUsit EomU3 Gmu37 Bbmvgiit 3. Ae 77 E i See Minor 73 Cyclic. (ate) (Dm) Em08 lire AmUBILé Coir Bm md. Romitt = t Chm (Gm) mit bs Ans Dmit |Gmir (hm) Dim 17 Miscellaneous succession. Amiirn Chm tire Fm PtP TT ATT: Emit al Eomig Gmil Bums Chm 7 Gin Cms Emit Fmii Ami Fim Bom iy Dms Bm (Ebms/ Gmit Em/ 4 by Abm iT Omit byMINOR TO MAJOR RELATION. ..SUB-DOMINANT MINOR To Tonic. Play in 8th notes, each chord twice, Ab Abm Eb Ebm Bb Bbm F Fm C Cm G Gm D th, re ig L } 7 fom Wt Toi a it el Eh $$ $44 bit ig — so SA minor chord na on a Gh sep of e scale loads toa Wajor Ohord on the titep Dm A Am E Em B Bm Ft Fim Cf evs a a aT oe ZT a a G Gm D Dm A Am E Em B Bm FE Fim Ci sonme a TL ia iZ m Wt Ta a it 2.3 Chm CJ Ab Abm Eb Ebm Bb Bbm F Fm C¢ ie 1 of a it a 1 I Mire. B Bm Hing gH 3. Fm © Cm Gm D Dm A Am E HHT mt Ion HI Hlirr. Mire: Lire. UM MINOR CHORDS Below we have the three UM3 Major chords with the corresponding M3 Minor chords for comparison, jor) (minor) mayor) (minor) Wmajor) (minor) TS? pgs UMBIm pag MI oop UitSttm a6R MSI OMB itim yt] ae Ee Ee Fe oi ag gat Fm Bit siz Dem are as4 Am eat or (2 2 2)ete. THE THREE UM3mCHROMATIC STUDIES. Practice in usual routine. uMstm + fH} owomr ERE EER) oom ERE 200 Et ror ets ee Cm Cim Dm : Am FB ter Gitar 4 GB nin Bia OF Burien OMB HE eto.on on oad feach fret leach fret80 UM 3 MAJOR-MINOR CHANGES Practice on each fret. Go up by} tones for one octave, if possible, then descend —same way. (Play in 8th notes — strike each chord twice) (major) (minor) major) \ (major) (minor) (major) Te ; = +1 + HH + (major) (minor) (major) Evusiim Emaygr Bust Fowsr FmuwgiFousr =F} Fim FE tc.0n 1. each fret Lift tst finger. old is lager on two upper atrings. Make change by lifting 2nd finger. Tap Fra tert "Gaaon Gainer) —Gaagor) S CoMattire Cougar Cons CTS Chin Dm D = tc.0 La leaoh pret Hold 1st finger, Reverse 2nd and Bré. —_ 4 FH Tmajor) (minor) (major) \ Te tro ott AbOMBI AbmIN3 Abinas) AUMBIT AmUMSUT Afmas) Bb = Bom = Bb 8. ck pret Tift ard fiager. old 2nd and 8rd tingora change from 4th to st. (or try 222 anstead of 284 for Major chord.) UM# MINOR INVERSIONS Em, Group 1 Cm Group 2. Gtm Group 3 SF= tPlewumen, RE Le Pcmuaazin operas = 00 cha TOR an MI mT skip 2 frets aE M3 nT ai. a ia@ [5 kip 4 frets 7 2 fran HT skip 3frets Thon dnd string. =) w@2 Nem amit 3m tt ore OT cant . : a ra skip 2 frets skip3 frets skip d frets OM 3m LL jell TM 3mT skip 4 frets skip 2 frets YOM 3m Il goa skip frets fu, ‘ret octave é fret: octave ‘The diagram above shows the in- versions of the UMS Minor chord for Fim. The Succession is UMSmIJI II. Practice for Emr), Fim,F}m,Gm, Gim and Am, ‘The diagram above shows the iaver| sions of the UM3 Minor chord for CHM. nor. The Succession is UM3m II, IIL,I. Practice for Cm(irr),Cim, Dm,Ebm and Em. ‘The diagram above shows the inversions of the UM3Minor chord for A Minor. The Succession is UMSmII, I, II. Practice for Gim (irr), Am,Bbm,and Bm. The octave chords shown above need not be played. They are showon for the purpose of helping the student to locate the next type of inversion on the fingerboard. For tst WAY STUDY, write out the exercises that are suggested for practice above(see pagos 26 &29 for the $ patterns).Common tone on B ind) String. fai FretaEmUMST AmoYS Onc Emr And FretPyms Bomiil Ctmil — Fym/ i Lar. n . 4 @t0.0n each frety go Up Common tone on 6 Hrd) String. cee eee Cimu3 FmUM3 GimUM3 = Cimi Dm Fims Ami Dm aati ie ee a= Common tone on DUVEMString. AmUM3 CimdM3 EmUM3 = AmiIIT Bom Dm Fm Bom JT fire. i Ree CYCLIC STUDIES UM3m. atm (im EmiM3 AmUM3iIDmU#31 GmI Cm Fn Boms Ebmii ‘ete.on each fret; go up ‘one octave then descend. etc.om each fret. Chms = Fim Bu ot (Am) Gimy Cima Fim Bul tm) ‘AbmOWS I ir, ChmoM3iT Fimowgr Bm Ema Am Miscellaneous succession UM3m. Cmiirr, EmJirr, Abmiffirr, FmJ 9 Ami Cimit Bomiy Dmg Fims Gmi Bm Gimt Cm Ema Cami Fm Ams Bom/ Dmir Bms Ebi Gm Emit i # t F = Ami Chm Fm DmI Fimiy Ajmy GmiJ Bmi/ Ebm/a uM3 MINOR TO MAJOR RELATION... SUB-DOMINANT MINOR TO TONIC. (Play in 8th notes - - strike each chord twice.) E> Eom Bb Bm F ALL OMS: , Fm Cm & Gm D Di aanpel LM yl am ames 7 IT wit i * 4 B Bm Ft Pha Cf Am E Em yy mT bets Gn 4 in Ht B Bm Ft Fim cy Db Dbm Ad ‘Abm Eb bm Bb swenfeets IT TIt a Sf Py Dem i TT Ee Kim B Bim F 2: D Dm A A Fm © Cm G Gm 7 1 itt aE. Db Dom Ab Abm Eb Ebm irr Mm iF as lt iM m © 1 Mirr. U4 m CHORDS. (on the“upper four” Strings) Just as with the major the 74 minor chords consist of the U3m and 73m combined. Below are the three 14 Major forms with the corresponding #4 Minor chord forms. ‘eaajory Grinory (exajori ‘minory femajor) anor v4 RasRU4Im_Ra5R U4 25Re U4im_35R9 U4 sRg5U4lim_ 5R rH bell ge FEST ate Et fe H oath site Cet yy, Cer gy E844 pl, 942d CHROMATIC STUDIES U4mI, U4mIl, U4mIll. vaim = xX} Tete. vasrm PEERS FRR ete vs Fogg ete. 2000 att4 218 3310 saan Em Fm Am Bm Bm O4 Tir, U4T Fim waits Th ete, on sh fret beh etc, on etc. on leach fret leach fretPractice on each fret. Go up by$ tones for one.octave, if possible, then descend— same way. Play in 8th notes— strike each chord twice.) fee, Gaon oe yim BY jf < $F cto on a on upper 8 atrings, nlake change by lifting 2nd finger. (The next two studies are difficult and may be omitted.) +t ABR EB T $ ima L fot Sarre = eth tah major. (miner) (mason n ’ Chodtr Cimoditine CHOI ne, (Buon. Ep Ebm Eb etc.on leach fret FB + eh ea 4 : * ; H en so see hein, 747 Bm B etc.on leach fret U4 MINOR INVERSIONS Em Group 1. Cim|. Group 2. ‘Am Group3. Ff fem case BEE EGE pean oe SBE EEEEEY avanti Fm 2000 Dm 2480 Bun 2at0 THi61 7 ee 4m LT 2 fm TET bet HE ip2frets) ekip3 frets) 5 7 j $e 5 — . 4 7 (skip 4 frets) ip 3 frets) sb ef ee = 104m 1 4 A a ‘ 26 | 74m ir s skip 4 frets} To )kip 2 frets) 101610) 20 74m IT 4m I — | |s@ th ‘octave Diagram form of U4Mi- Diagram form of U4 Mi- Diagram form of U4 Mi- nor inversions for Fm. nor inversions for Bbm. nor inversions for Dm. Succession is U4mI, 1,111. | Succession is U4mII, III,I. Succession is U4m/i,1,II. Practice for EmGrr), Fm, Practice for Am(irr.),Bbm, Practice for C#m(rr)Dm,Dfm, Fim,Gm,Am. Bm, Cm and Cim. Em. (See U4 Major, pagea®. (See U4 Major, paxesa. (See U4 Major, page40). For ist WAY Study, write out the exercises to practice.Common to: yn Hist) String (and DUVWString) EmJU4lirr. C041 irr AmUBT EmU4 irr. arr. FmU4s DmU4/! BomU4iir FmU4I Common tone ox BUInd) String. ChmU4iirr AfmU4i FimU41 Chu Sitar. fa Common tone on @UlIrd) String. AmU4iTirr PemU4! DmU4T Am 4Iifirr. ete.on each fret BomU4iGmU4I Ebmys1 Boyt beg! ua U4m Minor Cyclic. EmU4firn Amo4MireDmv4ir GmU4l = Cm U4 = Emit Bems Romi ete.on each fret (atm) (ptm) bgt... 4. ( Ge, Ctms mit = BmiT hee Am Dmiy Gull Cms (Bom) Bomo4uy Dim 047 Gimo4r U4m Miscellaneous set. AmUlirr, Cimifirr. Emi Dm Fimf Atma Gms Bm bmi74 MAJOR - MINOR RELATION. ...SUB-DOMINANT MINOR TQ TONIC 85 (Play in 8th notes—strike each chord twice.) GGmD Dm A E 5 in it £ ae AP iit a ¥ Bn T} ae or 10¢A gre 4 Db Dbm Ab Ab a a ut T ve Em Bb Bbm F Fm Geen am Ab Abm Eb Ltr proms HL 2 Dm A iW 7 Abm E> 'B Bm Fi seasremondl yd! ft ly 3. Fm C Ci mn A Am E a mM a ¢ & 2 a iMirr. Mire. Tirr. CN ADDITIONAL 74 MINOR FORMS The three chords shown below can be studied in almost all the combinations and relations shown with the U3m, UM3m and U4m chords on the preceding pages. Only the chromatic se- quetices are given. However, a good set of studies for the ambitious student is to write out the U4iVm U41Vm, 04Vm, and U4VImchords as in- R353 ______ (NUT) version sets, common tone sets and cy- 19101 clic sets and attempt to play them. They U4 Im are omitted here for lack of space. } _tthfret U4 Vim to U4 1m, U4 Hm, and'U4 1] m on the fingerboard, 04 im m R5 Showing relation of U4 im, U4vm, and ¢ Fin, U4Vin UAV In, 35R5 etc. on ach fret ete. on leach fretbd FOUR-STRING MINOR CHORDS ON THE “MIDDLE-FOUR” STRINGS. 4t4-minor chords are exactly like the U3m set with the top note“doubled” one octave lower. Just like the U3 major set the names are decided by the note on the DdVth)string. As usual the “root”determines the” form, the“3rd” the7/”form, and the“Sth”- the'Z/"form. Below are shown The M4ms,M4mUand the M41 compared with the #4 major forms. major) Gntnory Komajor} Toainor) agony inory MEL sitg5 M4im sits5 MAH Ro5R Alm po gp HAM! gt pg MAtilim girs $ = He f +H saat t "Roots" of De OMe Dm “ieee sort 4 + seds" on D String sts" on D String MATIC STUDIES 44 fm, M4 Lm, M4 ILIm. . 5h3s RS5R 35R3 ee, fT aa M4 TT c Bre) Ma eaon) M4 eee] ee Im (Be P85! Tim F P88) itm (SLT ort Cae! 28 stot t ¢ sero 4eet imi | Fmt Fiml CmMsy Omid Dmiy LL TortAben) Aros Boral ier etc.on i efc.on pre UH | etc.0n ‘cach ae fret ‘each Sret 2 i fret Only one good major-minor set is possible with the 44m chords. The movement from and to s/4/ major) to M4/m is illustrated below. The major-minor sets with M4//m and M4 lfm may be tried by exceptional players but they are too difficult for general use, and not absolutely necessary. “aajor]_—sinor) —twalory aie Tao + ep EI + i (majo tated majo ttre ito gery) leer EMA Lire EmMB Lire Ecmayy FAL EmwtT Bom) FA Fim Ff eon rz 8 sre ‘M4 MINOR INVERSIONS Group 1. Group 2. Group 3. FERRY emaatinn S Gm M4 I irr z= Gm Ma Ii E300 3 or tt — Cim Am Ti : Am I | ri E MAm HT 5G1P | V ckip 4 frets) 4 skip 3frets) ‘on 2ndstring (skip 2 frets) Te ip HAm IT aE Am T imu | # ab 91 TD stipatrew “IE si 3 trets TH skip frets) 10 | etm LIT Le athm 1 i 20 1S tS dm IT 12h fee 2th feet Diagram form of M4 minor in- versions for Fm Succession Mami, 11, II Practice for Em (irr,), Fm, Fim, Gm. (See M4 Major page 49. For ist-WAY study, write out-the Diagram form of M¢ minor in- versions for fm. Succession M4mi, II, 1. Practice for Cm (rr), Cfm, Dm, Dim. (See M4 Major page 45). ‘suggested practice routines. Diagram form of M4 minor in- versions for Am. Succession M4mlIIL, I, II Practice for Gm (irr.), Am,Bbm, Bo, Cm. (See M4 Major page 45).Common tone on BTud) shrivg---atea on AUR atring. Fn, Am MAL Mai Fim, Bbn Clim Fim we MTT AT MAD HZ? \Go'up one octave and thef descend.” * each ve see cup one octave ad the aencend.” AEN IGe Fr D Fit Am Di Mit MAL wai MAL "diy ALE é i : i f econ omni DU rip Geom em acrid nein, athe Ja Amn F: bm Wan ~ ebi gor, ALLE Pa tar a, a a ‘ete. on Go up one octave and them descend. cench fret M4m Cyclic studies. Em Gm Cm Fm, Hl Am Dm MAT irr. MATT iT Miscetianeous succession 4m chords. Cm Em Abm Fm m, mm Bom i ivr, Lire." Ht irr. | I ja an yar a Z m im Ebm H88 44 MINOR TO MAJOR RELATION....SUB DOMINANT MINOR TO TONIC. Many students will find this exercise difficult. Do not stop with this study until mastered. It is better to go ahead with the exercises etc. which follow and keep prac- ticing this exercise until the left hand fingers develop the control needed. D. B. (Play in 8th notes - -- two downstrokes to each chord.) itthjet ‘E>Ebm Bho Bom F Fm C Cm G Gm D Dm A pea aerate ape gra i vit Tn ao Mm 7. 1. Am E Em B Bn Hy Fin gy Db Dbm Ab 1 an it ao it lo (enh) ‘Two other studies are possible. Write out in the same rhythm and practice after No is mastered. 2. |B, Bm, Fea |F¥,Fémsz, C7 | Ct, Chm, GtZz | Absenh,Abm 7, Ebu7 | Eb,Ebmi,Bbs |[BhBbm/F/7| a |. Fni,Ci7|C,Cmu,G7|G,Gms,D 77 |D,Dmi7,A 77 | A, Am 17, E Firr. | E rire. |] 3.|G,Gm1,D1|D,Dmy, A |A, Am//, Es | E, Em /1/, BY |B, Bn, FEZ |F¥, Fess, Ch77| [Dbzz7tenb).Domzz, Ab7|Ab, Abm/, Eb 11 | Eb, Ebm 11, Bb 111 |Bb, Bom 117, F7|F, Fm, C7 irefOur irr || ADDITIONAL 44 MINOR CHORDS There are three more M4m chords. The remarks on page 85 apply to this set of chords as well as the additional 4m chords. SHOWING RELATION OF 74 17m, 440m, AND M4VIm;TO 41m, H411m AND 411m ON THE FINGERBOARD. (NUT) M4 T ha 1 MET yyy MA mV Mdm Mant adm Lit | ts ¢CHROMATIC ROUTINES #4m/V,M4mV, M4m V1. 89 M4miIv 535R M4m V RER3 Mam VI 35RS oe ¢ ott t Ts4e 100s rt Am Bb B: Abm Am ake wa? udy wih attr “BP arr, irr. etc.on etc.on ete.on ‘each each ‘each fret fret fret ° wy 1 2 Hi 4 zt Um CHORDS ...... There are three useful minor chords on the “upper-five” strings. Two or three others are possible but they are not of much use because the third is below. Since the“//” form chord cannot be used it is impossible to develop complete exercises as with the U3,UM3, U4and M4 sets. Study the chords below in the usual chromatic sequence. USIm | 5RI6R US IlIm, R5R3S ugivm _5RERa TPP? Te g8 thewr"sorm | test nemrsorm | EEE EEY + +] Fee 25000 aes ETO tr 8 1 18 4at Ooz84 t Trae Em Fm Fim Am Bbm Bm Dm Ebm Em Ubtirr. USE 1 usm USM Wt usw vst Vv 7 tr. 7 : sag ay ea" oa os pt fret 2 fre pA fre Uyper part of 687 Upper part of 6 8.277 Best substitute for a 681 form. There are only two practical 5m chords. Since these are merely the lower parts of 681m and 6S ifm and there is no useful “17” form, the L5m chords need not be studied. When a minor chord on the lower five strings is needed, simply think of the 6S chord and omit the top note. 6s MINOR CHORDS Bbm There are only two practical Pease ean i 68 minor chord forms. PAI NEX, is Practice chromatically starting with Em 65 Jirr., and Am 6SW/irr. Substitute in inversion sets on page 83. Use 65%m for 041m, U51Vm for U4ifm, and 6S itm for U4 m. Start group 1. with Em6S/; group 2.with DmJ5//; and group 3.with Am 65/// all irregular) Substitute in common tone sets on page 84 with same chords, Start ex.1 with Fim65/, Dm USI Bom6Si1; Ex.2 with Gm6S1, DmUS1¥, Bm6SHf, and Ex.3withFim65/, DmUS/¥, Am6SH1. Cyele study with 6m chords start with chords below in sets of three.(see page 84) QJEm6srire, Am6Siirr,Dm U5IV irr,JGm 651, Cm6S111, Fm U5 1Vete.to Bm USIP. Q[Dmosirire, GmbS1, Cm6s 111.\F m U5IV, Bombs7, Ebm6S 11 Jetc. to Bm 6S 17. Q@|Bbm6si11, Ebmusiv, Abm6S1,|Ctm6S111, FimU51v, Bm6S/,lete.to Fm65 7. Additional exercises with the minor chords, also chord relations to the other types of chords, will he shown in MODERN CHORD PROGRESSION.