LESSON 1 3 THE MAJOR CHORD WITH THE ROOT IN THE BASS (Bass means the 6th string) POSITION CHORD BASS NOTE Ist position F Major......... F 2nd position F#or Gb Major........ F8 or Gb 3rd position G Major... eG 4th position G# or Ab Major........ GB or Ab 5th position A Major... A 6th position A$ or Bo Major. . Ator Bb 7th position BMajor....... B 8th position C Major... aac 9th position Cé or Db Major. C# or DD 10th position D Major.......+++ D 11th position Dé or Eb Major........ D# or Ep 12th position eee The student should practice the following exercise. To aid in learning the positions, the bass note for each chord is indicated. = Eee d eee ra na > = = Scopyaht 1963 by Mal Hoy Plato, Ie. ntrnatonl Copioht Seine All Rights Reserved Printed in USA.4 LESSON 2 ‘The G Major chord contains the notes G, B and D. ‘The G Major 7 chord contains the notes G, B, D and Fi. The G7 (dominant) contains the notes G, B, D and F. The G6 chord contains the notes G, B,DandE. GMajor GBD By lowering the note played on the 4th string of the G Major 7 GBD FR Major chord, root in the bass, we can form the Major Gr GBDF 7, ‘Dominant 7 and Major 6 chords. 6 @BDE G Mayor G MAJOR 7 or «6 (Root fi Bass) (scoot th Dass) (Root fy Bass) (Root Ge Bass) y i By 5 ge Ose eee pee 3 Hae Gee] Gees 7 te Rost S Rest 2 Root Root == > a =e In all of the above chords the notes on the 2nd, 3rd and 6th strings are the same. The 1st and Sth strings are muted. Only the notes on the 4th string change to produce the Major, Major 7, Dominant 7 of Major 6 chords. The root of each of the four chords is in the bass (6th string). The Maj 7, Dom 7 and Maj 6 chords may be moved up or down the fingerboard in the same manner applied to the root in the bass Major in Lesson 1 Exercise 1 G GMaj7___GT G6 A AMaj7__AT AG = = Exercise 2 A GT___DMaj7LESSON 3 THE MAJOR CHORD WITH THE THIRD IN THE BASS POSITION CHORD BASS NOTE 1st position Déor Ep Major... ....G 2nd position EMajor........... Gor Ad 3rd position F Major... ss 5 LA 4th position F# or Gd Major, . . . Ag or Bo 5th position GMajor...... B 6th position G#or AD Major... .. Cc Tth position AMajor........... Chor Do 8th position Agor Bb Major... .... D 9th position BMajor.........~. D# or Eo 10th position CMajor...........E EXERCISE ON THE MAJOR CHORD (3rd in the bass) Observe The Bass Notes Eb E F G A cS oS The F Major chord contains the notes F, A and C, The F Major 7 chord contains the notes F, 4 LESSON 4 € and E, The F Dominant 7 chord contains the notes A, C and Eb. The F Major 6 chord contains the notes F, A, C and D. F Major FAC By lowering the note played on the 2nd string of tke F Major 7 FACE Major chord, 31d inthe bons: we can fore ine Major FT FACED 7, Dominant 7 and Major 6 chords. F6 FACD F MAJOR F MAJOR 7 F7 F6 Grd in Bass) Grd in Bass) Grd in Bass) (rd in Bass gi" Mery 1 cai i = H D 3d LODE ee a In all of the above chords the notes on the 3rd, 4th and 6th strings are the same. The lst and & strings are muted. Only the notes on the 2nd string change to produce the Major, Major ~, Dominas or Major 6 chords. The 3rd of each of the four chords is in the bass (6th string). The Maj 7, Dom 7 and Maj 6 chords may be moved up or down the fingerboard in the same manner applied to the 3rd in the bass Major in Lesson 3.6 Exercise 1 E EMaj?___E7 E6 F FMaj?___FT F6 Exercise 2 (Observe The Bass Notes) AMaj7__G6 F ET BMaj7 AG G ET G EMaj7 FT Es o F Maj? GT B E6 GMaj7___AT E F6 ro oe LESSON 5 uz. THE MAJOR CHORD WITH THE FIFTH IN THE BASS POSITION CHORD BASS NOTE MAJOR Ist position BMajor...........FRor Go x XK 2nd position CMajor..........-G 3rd position C#or Db Major... .. . . G#or AD 4th position DMajor.......- aera 5th position D#or Eb Major... . . . . Ator Bb 6th position E Major. .- vee B 7th position F Major... wee GS 8th position F# or Gb Major»... C# or DD 9th position GMajor... 2... .D 10th position Gor Ab Major... .. - . D#or Ep Lith position AMajor.... 2. LilE 12th position A¢or Bb Major... ....FEXERCISE ON THE MAJOR CHORD (5th in the bass) Observe The Bass Notes Gl D E F G A Ab G Gb LESSON 6 ‘The C Major chord contains the notes C, E and G. The C Major 7 chord contains the notes C, E, G and B, The C dominant 7 chord contains the noces C, E, Gand Bb. The C Major 6 chord contains the notes C, E, G and A. By _ lowering the note played on the 3rd string of C Major CEG the Major chord, 5th in the bass, we can form the C Major 7 CEGB Major 7, Dominant 7 and Major 6 chords. The stu- ct CEGBD dent will observe that the root of the Major 7 chord GA ca CE is omitted. This is an acceptable practice in chord voicing. MAJOR MAJOR 7 cr ce (5th in Bass} (th in Bass) (5th in Bass) (5th in Bass) x” xx x ana 2 sin Sth In all of the above chords the Sth is in the bass. Observe the muted strings. The Major 7 Domi- nant 7 and Major 6 chords may be moved up or down the fingerboard in the same manner applied to the Major chord with the 5th in the bass, Exercise 1 c CMaj?__c7 co D DMaj7_ D7 Dé E ql 4| - al = = = oO o E Maj? EL 56 EF FMaj?__F7 F6 G GMaizEb Maj? Eb? ED6 EG. Eb. o ro Di DpMai? Dp? ___Dbé bo Fe 7 as = 7 = = > Exercise 2 Observe The Bass Notes D q| dl LESSON 7 The following exercise is to be played four times. The first time all chords should be played as Majors; the second time as Major 7ths; the third time as Dominant 7ths; the fourth time as Major 6ths, EXERCISE ON CHORDS DERIVED FROM THE MAJOR (root, 3rd and Sth in the bass) Eb Ap. Db Gb B E c F. Bb oe a Eb Bb = = — col FB Bo Gb. B E GExercise 1 (Root, 3rd and Sth in the bass chords) CMaj7 cr F6 F6 F7 Bo Bo Mait AbT_DpMaj7__Dai E Maj7__E6 A AMaji7__D6 DMai7?__D7 Dt G6 GMaj7__"G Exercise 2 G G G GMaj7_GMaj7 GMaj7_G7 Gt Gt = o A A AMaj7__AMaj7 AMaijz co BMaj7 BMaj7_B7 Fe = CMaj7 CMaj7_ cz a oo DMaj7 D Maj? D7 DT > Es EMaj?_ EMaj7 ET EL FMaj7_ F Maj? FMaj7 FL APPA PP = o = = = = =10 LESSON 9 CHORD SUBSTITUTION It_is the purpose of this course to teach the student the art of embellishing written chord accom paniment and to explain the manner in which monotonous repetition of the same chord over many meas ures may be avoided. Obviously if we wish to make an accompaniment more interesting we must substitute different chords for those which appear in the music. However the substitution of one chord for another is not the solution to an uninteresting accompaniment. For example, if a G Major chord should appear in out music for 16 beats and in its place we use a G6 chord, the G6 chord will become as tiring as the origi- nal G Major chord. Fortunately more than one chord may be used in place of a given chord. If a given chord appears for consecutive measures we may choose as a substitution several of many chords to enrich the accom Paniment. As a result repetition is avoided and an interesting chord accompaniment is produced. EVERY CHORD CONTAINS A LETTER NAME AND A TYPE NAME The letter name may be any letter in the musical alphabet (ABCDEFG). The letter name my be sharped or flatted. The ‘type’ names may be Major, minor or Dominant. Examples of Major type chords are Major 6, Major 7, Major 9, Major 6 add 9. MAJOR CHORD SUBSTITUTION When a Major chord appears we may use in its place any Major type chord of the same letter (root) name. This is called a ‘Direct Substitution’. ‘Two Major type chords studied thus far are the Major 7 and Major 6 chords. Below is an exercise showing the given chords on the top lines and the substitution chords on the bottom lines, The student should thoroughly analyze the exercise and then practice the lines marked “substitution”. Ic is important that the student observe all bass notes in order to play the correct in- version of each chord. G Bb c F Given Chords GMaj7 G6 |oMajz Gs [c CMaj7 |e CMaj7]F FMaj7 |F6 FMaj7 BbMa;7 Bb6 [BiMta;7B>6 Substitutions ED Ab Do (7 Given Chords Maj? ED6 —E>Maj7 Ee |ApMaj7 Abo} AbMaj7 AD6| Db DhMaj7/DPDOVA;7Dpq Cp GbMaj7 | C>CHaj7C> Substitutions Given Chords Ipataj7 Bs JE EMaj7|EMaj7 Fe |AMaj7 A | AMaj7 As 7 |DMaj7 Do Substitutions > CC Gis OO SS SSLESSON 10 11 The student should write substitution chords for the given chords. Bass notes are to be indi- cated. When the student has completed writing the substitution chords and bass notes, he should then practice playing the ‘substitution’ lines which he has written. G c F BD Given Chords | Substitutions Given Chords Substitutions Given Chords Substitutions LESSON 11 DIRECT SUBSTITUTION FOR THE DOMINANT 7th CHORD When a dominant 7 chord appears we may substitute any dominant 7 ‘type’ chord which has the same root name as the given chord, Examples of dominant 7 type chords are : augmented 7, dominant 9, 13, dominant 7 £9, dominant 7 59, dominant 7 95, dominant 7 suspended, ete. Because all of the dominant 7 type chords are derived from the dominant 7 it will be an easy mat- ter for the student to assimilate all of the new chords. Notice in the chord below that all movement occurs on the 2nd string while the other scrings re~ main unchanged. Lx Dominant 705 Dominant 7 Augmented 7 teh Root 7| FINGERINGS DERIVED FROM THE DOMINANT 7, ROOT IN THE BASS G DOMINANT 7 65 G DOMINANT 7 G AUGMENTED 7 613 Root in Bass Root in Bass Root in Bass Root in Bass % x ¥ x x x x Fad [5 4 7 Root Root ee G3 oo s oa NOTE: The 13th chord is sometimes referred to as a dominant 7 add 6 or a dominant 9 add 6. The upper lines of the following exercise show the given chords. The lower lines contain the substitution chords. The student should first analyze the usage of the substitutions and then practice playing the lower lines. All of the substitution chords in the exercise contain the root in the bass.12 GT AT BI cz Given Chords cis.G7 fais atz Jar arbs [pis Bey [Br Bez [cH 7 |crbs cr Substitutions Sop SS SS SS OST OT OS Oe Di ET Di cr Given Chords 13 Ey [pis Der [Der D7 Substitutions Given Chords ris Fer [Fe FT Substitutions = Ss >= LESSON 12 THE DOMINANT 7th SUSPENDED The suspended chord is one in which the 3rd of the chord is raised one half step. When this oc- curs the 3rd of the chord becomes the 4th. The notes in the G Dominant 7th chord areG BDF. The notes in the dominant 7th suspended form are GC DF. The dominant suspended will usually resolve uals to a dominant 7 of the same root name. The Major suspended will usually resolve to a major of the same root name. NOTE: To improve the facility Dominant 7 of fingering the suspended chord, the 2nd string is Dominant 7 suspended omitted. To attain the best voicing when resolving the suspended to the dominant, the 2nd string is omitted on the dominant 7th. DOMINANT 7 SUSPENDED DERIVED FROM THE DOMINANT 7, ROOT IN THE BASS G Dominant 7 G Dominant 7 sus Root in Bass Root in Bass x iu Gisus 1 Root Root” > The upper lines of the exercise below show the given chords. The lower lines contain the substi- tution chords. The student should first analyze the usage of the substitutions and then practice play- ing the lower lines. All of the substitution chords below contain the root in the bass. FT Gt AT BT GT bt ET DI Given Chords ‘7susA7 [B7susB7 \C7eusC7 jDrsus D7 |E7sus £7 Substitutions i i a 4] 4) q| 4)Given Chords lorsusG7 |Frsus FT Bsus B7 Substitutions Given Chords [ais Bermr|ciscr7 Substitutions soo eo Given Chords Crsus C7 [Brees BT Az A795 [Arsus AT Substitutions Co oO + Omit 2nd string s+ Add nd string LESSON 13 SUBSTITUTION CHORDS DERIVED FROM THE DOMINANT 7th xx Dominant 7 — Dominant 7 99 Dominant 9 “Dominant 749 sth7) FINGERINGS DERIVED FROM THE DOMINANT 7th, C Dominant 7 C Dominant 799 € Dominant 9 Fifth in Bass Fifth in Bass Fifth in Bass xx x rr 3 7 Sth Sth j CT o> The upper lines of the following exercise show the given chords. substitution chords. a o 13 Fis FA G7hs [Frsus FT CHORD WITH THE Sth IN THE BASS Notice that all movement occurs on the 2nd string while the other strings remain unchanged. FIFTH IN THE BASS C Dominant 7 99 Fifth in Bass xy i 2 7 Sth ‘The lower lines, contain the “The student should first analyze the Usage of the substitutions and then practice playing the lower lines. All of the substitution chords below contain the Sth in'the bass.ct 14 Given Chords { 6 4 subsirtions( Given Chords Substitutions Given Chords Substitutions oo poo Brno > LESSON 14 Dt Di Dig D7b9 = SS ET D7to D799 F7p9 FTb9 pits Dro czgo C79 se TO CoO THE SUSPENDED CHORD DERIVED FROM THE DOMINANT 7th WITH THE Sth IN THE BASS Dominant 7 ———— Dominant 7 suspende: Sth n/ C Dominant 7 Fifth in Bass comedies € Dominant 7sus Fifth in Bass cr Ty Ctsus re| 3H ex | oe Sth THE DOMINANT 7thb5 DERIVED FROM THE DOMINANT 7ch WITH THE 5th IN THE BASS x Dominant 7 bS-— Dominant / Sth a i Sth € Dominant 7 Fifth in Bass x x CC Dominant 7 6S b5 in Bass x x EXERCISE ON DOMINANT 7th, SUSPENDED 7th and 7 b5 CHORDS. C7 CTsus__C7b5 cr ba = oS é cl ‘ Ep crbs bsth Ts Disus D7b5 D7 ET E7sus Evb5 ET > Fis To To > F7b5_F7 ET EYsus E7)5_E7 D7 Dsus D7b5_D7_C7_C7sus__C7)5_O7 7 FP AAA PAPA PPA PAA AA APPA ASAP FF oc So wo Foo sos eo wer ToLESSON 15 15 ‘THE DOMINANT 7 65 CHORD Each 7 95 chord may be played in two positions. For example, C7 65 may be played in the first position and also (with the same fingering) in the 7th position. ‘The 75 may have the root in the bass (b5 on the 2nd string) or the b5 in the bass (root on the 2nd string). Each 7 5 fingering has two names. For example D7 5 is the same as Ab7 b5. F7 pS is the same as B7 55. Inthe illustration below will be fotind all the 7 b5 chords and their alternate names. Notice that each 7 5 chord is a flacted fifth higher (or lower) than its alternate name. For example D7 5 isa flar ted fifth higher (or lower) than Ab7 b5. Ab7 5 is a flatted fifth higher (or lower) than D7 55. C7 bs C75 or Go7 bs W5 ie Hane Root Bass es EbTbS /ab7 bs Got DS EXERCISE ON THE DOMINANT 7 > 5, ROOT IN THE BASS AND b5 IN THE BASS Gi Gtbs 7 cbs F7_F7b5_BbT BoTbS EbT_Ebtbs Ab7 Ab7bs Db7_D2725 oe eo os be be be oe Gbi___Gbrbs_B7_BTb5 ET _E7b5 AT ATS D7 Dtps_G7_G7b5_C7_ C725 he io 8 CDS = S & > > F7p5 Bb? Bb7b5 Eb7__Eb7b5_Ab7 Ab7b5 Db7_Db7p5_Gb7_Gb7b5_B oo TF oo ET E75 _AT_ATb5 D7 _D7b5 G7 G75 C7 _C7b5_F7_F1b5_BoTbs Dib6G795 ad Se al o>16 LESSON 16 DOMINANT 7th SUBSTITUTION When a dominant 7th chord appears we may count up a flatted Sth from the given chord and play a dominant 7th type chord. EXAMPLES OF DOMINANT 7th SUBSTITUTION USING THE p5th HIGHER TECHNIQUE Gi cr ET BoT Given Chords Substituions o Below is a chord progression which may be seen in many songs. The student should analyze the usage of the substitutions aad then practice playing the substitution lines. The student should understand the ‘reason’ for each substitution chord, It is extremely important that all bass notes be observed. G AT Dt Given Chords { e Ge Icvlaj7 G6 GMaj7Ge | A13.AeT Substitutions ws oS SS Dv G > oO 7 4 4 4 2 ol 4] G Given Chords aby eMaj? Ge | D7 Do Dr Ab7 |GMaj7 Substitutions ss SF AL DI c Given Chords pz |p9 Drbs Aby Abia |Gwaj7 Go |6May7 Go Substitutions ee sr oT oF LESSON 17 Understand the ‘reason’ for each substitution chord below and then practice playing the substitu- tion lines in this very often used chord progression. G BT ET AT Given Chords || Gigi? 66 Bis BHT BT er [abr er Ets [AT AB At? Substitutions coe of FOS seGiven Chords Ab? ApLa Abt |OMaj7 lbp vrt9 ape aber| cata? Substitutions Given Chords| Substitutions | oo co CC F 6 & wre S G Given Chords| es snag Given Chords Abia Ab? |owaj7 Ce [B13 Substitutions oo oO = AX G Given Chords Abia Ab? | GMaj7 Guajz | G6 Substitutions oo Ss = LESSON 18 APPLYING SUBSTITUTIONS TO THE [ VI Il V PROGRESSIONS IN VARIOUS KEYS Understand and practice all substitution lines below. Observe all bass notes. G ET AT Dz G ET AT Dt Given Chords GMaj? G6 EO E7b9 | aia A7 D9 Dibo |omaj7Go E9 E7 fae AT Dis Dr Substitutions se Given Chords By Bbttaj7 Greus G7 liairBbs G9 Grbs cer cr Fo Fr Substitutions18 Given Chords IBreus B? Bb7ausBb7 |RbMaj7Ebs Co C799 | F13 F+7 Bhs Bb7 Substitutions Oo 7o oes oe Foporors bob Se c Ai DI GT c AT = dll Gi Given Chords © CMaj7 49 ATb9 | D7 Drbs Db7 Db7bs|cMas7 Ce Avsus AT [aber Ab? Gis G7 Substitutions “OO Te be oe LESSON 19 ANOTHER MAJOR FORM AND DERIVATIONS, WITH THE ROOT IN THE BASS xxx Though the student is already familiar with the Major chord, root in the bass, still another form is presented in order to add Major more color to our chord substitutions. Because this new Major Augmented form necessitates a larger lefthand ‘stretch’ than the previously Dolsinant 7 learned form, we shall differentiate between the two root in the 4 Major > bass Major forms by referring to the new chord as the “big stretch” Rot — Major Major with the root in the bass. FINGERINGS DERIVED FROM THE BIG STRETCH MAJOR CHORD, WITH THE ROOT IN THE BASS AMAJOR A AUGMENTED AMAJORG © ADOMINANT? A Major 7 A MAJOR Root in Bass Root iu Bass Root in Bass —«Roat in Bass Root tn Bass —-Root in Bass x x Xe xe x Xx x xx 3 Root 7 I 3 1 Root 1 7 Root AMA] 7 a MAJOR oe = NOTE: The augmented chord is a Major type chord and may be used as a direct substitution for the Major chord, However, the augmented 7th chord leamed previously is a Dominant type chord and may be used as a direct substitution for a Dominant 7th chord, EXERCISE ON CHORDS DERIVED FROM THE BIG STRETCH MAJOR CHORD A AG AT AMaj?__B Be B6 BL Root Root yA MAJOR, EMaj?_E E6 EMaj7E6 D_Dé DMaj7 Dé_C_C6 _CMaj7C6_B_B6 BMaj7B6 A AG AMaj7AG A AG AMaj7A6 A CC 8° G0 00 66 SoS SS OSLESSON 20 19 THE AUGMENTED CHORD ‘The C Augmented chord contains the notes CE GH(Ab ) The E Augmented chord contains the notes E G8(Ab) C The GB(A) Augmented chord contains the notes GR(Ab) CE. The student will observe that the same three notes are contained in the C Augmented, E Augment- ed and G&(Ab ) Augmented. ‘Any note in the Augmented chord may be considered the root of the chord. Therefore each Aug- mented fingering will have three possible names. When observing the chord diagrams below notice that the Augmented chord is derived by raising the 5th of the Major chord one half step. If an Augmented chord precedes ot follows a Major chord with the 3rd in the bass, and if both the Major chord and the Augmented chord both possess the same root name, then we will not finger the 2nd string of the Major chord. We do this in order to attain the best possible chord voicing. (GR) Ab Major (GR) Ab Augmented E Major E Augmented C Major C Augmented Root in Bass Third in Bass Fifth in Bass x ee x x xx xy xx r 4 7 Root 3rd Abor GiMajor Ab+or G+ Major =a ia AUGMENTED EXERCISE All root in the bass Majors below, are the ‘big stretch’ form. On all 3rd in the bass Majors below the second string is unfingered and mated . be E E+ Db Dpto Fe A At D Dt fo & 4 = = Ape C+ Gt Be E EtBy LESSON 21 MINOR PROGRESSIONS ROOT IN THE BASS. Notice in the minor chord below, that the note played on the fourth string is raised by half steps to form the minor augmented, minor 6, minot 7 and minor Major 7 chord. A minor Aminort Aminor6 A minor 7A minor (Maj 7) minor augmented minor 6 minor 7 3 minor(Major7) I 1 Root Root Root Root Root Root 7 In order to obtain the best possible voicing, it is advantageous at times to use the optional finger- ings for the Root in the bass minor 6 and minor 7 chords. OPTIONAL FINGERINGS FOR MINOR 6 AND MINOR 7 CHORDS A minor 6 A minor 7 = & Root 3 Root # MINOR CHORD EXERCISE ROOT IN THE BASS Am+ _Am6___Am7__Am(Maj7)Bm _Bm+_Bm6. = = ca = = = Cm+ __Cm6__Cm7_Cm(Maj7)_ Dm. SSS Em+ __Em6__Em7 bmf = Cm+ = o on opting. opting. opting. ‘Amé6 Bmi “Cm? _Dm(Maj7) Em__Am(Maj7) Bm _Cm6_Dm+ oe o optefing, ~~ - 3. -- 5 Bm(Maj7) Cm" Dmz__Em6__Am7_Bm6_Cm(Maji7 Dm___Em+ =LESSON 22 21 MINOR PROGRESSIONS THIRD IN THE BASS Notice in the minor chord below, that the note played on the second string is lowered by half steps to form the minor (maj7), minor 7 and minor 6 chord. E minor E minor (Maj 7) E minor 7 eS minor 6 minor 7 minor (Maj 7) minor 3rd / min 3rd min Sed min Sed min 3rd In order to obtain the best possible voicing, it is advantageous at times to use the optional finger- ing for the third in the bass minor form. OPTIONAL FINGERING FOR THE 3rd IN THE BASS MINOR CHORD. E minor min Sed MINOR CHORD EXERCISE THIRD IN THE BASS Em Em(Maj7)_Em7 Em6 Fm Fm(Maj7)_Fm7 Fm6 be Amt oe = eptting. "Bm Em(Maj7)_ Fmt opting.22 ANOTHER MINOR CHORD EXERCISE — THIRD IN THE BASS Bm(Majq7 = = = roa Bm(Maj‘7) Gm Am6__Em(Maj7)_ Fm? Am Bm6 o > Fm(Maj?)__Gm7. Bm Em6 Gm(Maj7)_Am7 Em Fmé — 75 >= eo = LESSON 23 EXERCISE ON THE MINOR 7 AND MINOR 6 CHORDS — 3rd IN THE BASS Em7_Em6___Fm7_Fm6_Gm7_Gm6_Am7_Am6 Bm7_Bm6_Cm7_Cm6 ro oe = Am7_Apm7 Bm7 _Bgm7 zsLESSON 24 MINOR PROGRESSIONS FIFTH IN THE BASS Notice in the minor chord below, that the note played on the third string is lowered by half sceps to form the minor (Maj 7), minor 7 and minor 6 chord. © minor C minor (Maj 7) C minor 7 C minor 6 D D minor 6 minor (Maj 7) Sth Sth In order to obtain the best possible voicing, it is advantageous at times to use the optional fin- getings for the fifth in che bass forms of the minor 7 and minor 6 chords. OPTIONAL FINGERINGS FOR THE 5th IN THE BASS MINOR 7 AND MINOR 6 CHORDS. € minor 7 C minor 6 b Sth EXERCISE ON THE MINOR CHORDS WITH THE FIFTH IN THE BASS Cm Cm(Maj7) _Cm7 Cmé Dm Dm(Maj7) Dm7 ___Dm6 Dm(Maj7)_Em7 Cm(Maj7) D724 ANOTHER EXERCISE ON THE MINOR CHORDS WITH THE FIFTH IN THE BASS _Gm7 Fm(Maj7)_Em6 Em(Maj7)_Gm7 = Cm(Majt) _Dm7 Dm(Mlaj7} LESSON 25 EXERCISE ON MINOR 6 CHORDS WITH THE MINOR 3:d AND Sth IN THE BASS cm6 Ebmé___Dm6 Em6___Em6 Fm6 Fm6 GméLESSON 26 a SUBSTITUTIONS When a minor chord appears in our music we may, by virtue of direct substitution play a minor augmented, minor 6, minor (Maj 7), minor 7 of any minor type chord of the same root name as the given chord. We may also make good use of minor type chords to aid us with additional substitutions for the Major and Dominant 7 chords. When a dominant 7 chord appears we may count up an interval of a fifth and substitute a minor type chord. EXAMPLE: Dt Gt ct 7 Given Chor 1 Dm Dmittsj7)Dn7 Des] Gm —GmiMaj7) [em Cm Cn C=- | IMPORTANT FINGERING INFORMATION: The chord fingerings presented are subject to change, For example, if a minor (Maj 7) chord is followed by a minor 6 chord, both with the root in the bass, ‘minor (Maj7) minor 6 x x x xy and the guitarist wishes to use the three note forms (as opposed to the optional fingerings). then this fingering x Xx i minor (Maj?) minor 6 rere 2¢t 5 is much more practical than this fingering. ‘minot (Maj7) x xx Because some chord fingerings are more comfortable when used in one progression than another. the student should exercise judgment in varying the fingerings set forth. ANOTHER EXAMPLE: Preferred Not Preferred Am E Am E Am E Am E26 IMPORTANT VOICING INFORMATION: When a chord progression contains a three note chord, all other chords in that progression should also be three note chords, unless the guitarist feels it advanta- geous t0 use a four note chord. The guitarist should exercise judgment in applying the best possible voicing for each progression. EXAMPLE Preferred Not Preferred x Cm___Cm(Maj7)_Cm?__Cm6 Cm____Cm(Maj7)_Cm? cmé e o o oo o~ EXAMPLE Preferred Not Preferred EXAME.E Preferred Not preferred XX xxx x xy27 Following are two progressions showing the original chords and the substitution chords. The student should analyze the progressions and understand the ‘reason’ for each substitution. The substi- tution lines should then be practiced until the student can play them smoothly. PROGRESSION 1 Given Chords Bm Bn+ Bmé E7 | A7 Substitutions so cD Do Se Given Chords Ic Maj7 GoGMaj7 G6 Substitutions Given Chords Substitutions Given Chords G GMaj7 E7b9 Er |A7sus A? Ab13 Ab7| GMaj7 Substitutions28 PROGRESSION 2 Gm AT Fm G7 Fm__G7 Given Chords CMaj7 Co Gm Gme | A7 A13. AtT AT |Pme eT G7 |CMaj7 co Substitutions co obo > ee es be Al__Dm7_ G7 Given Chords, CMaj7 613647] C6 Substitutions jo eee ye Doves TF FS c Fm GT Gm AT Dm? G7 Given Chords Fm Fra(Majt) 69 Grb9| CMaj7 C5 |Fm Fr{Mej7)18G7 [Gm Gm(Maj2) A13 A7 |Dm7 Substitutions| Given Chords Substitutions ° 4 DT Dm? Fm__ G7 Gm At Given Chords \c7susG7 G13G7|CMaj7 Gmé | Eb7 Substitutions es = 6S Se SHH Bosses SF WS Fm__ GT c Fm G7 Gm_A7__Dm7 G7__C Given Chords Fm 613.67 Gm A13 A7 |Dm7 Db13Db7] CMaj7 SubstitutionsLESSON 27 29 MAJOR SUBSTITUTIONS REVIEW: 1 When a Major chord appears we may substitute any Major type chord of the same root name as the given chord. This is called a direct substitution, and consists of alteration of the given chord. DOMINANT 7 SUBSTITUTIONS REVIEW: 1 When a Dominant 7 chord appears we may substitute any dominant type chord bearing the same root name as the given chord. This is called a direct substitution, and consists of alteration of the given chord 2 When a Dominant 7 chord appears we may substitute a dominant type chord which is a flatted 5th higher than the given chord. 3 When a Dominant 7 chord appears we may substitute a minor type chord which is a Sth higher than the given chord. MINOR SUBSTITUTIONS REVIEW: 1 When a minor chord appears we may substitute a minor type chord bearing the same root name as the given chord. This is called a direct substitution, and consists of alteration of the given chord. ANOTHER MAJOR SUBSTITUTION When a Major chord appears we may play a scalewise progression of chords up to the 3rd degree of the scale. The Ist degree is Major; the 2nd and 3rd degrees are minor. EXAMPLE OF SCALEWISE PROGRESSION UP TO THE 3RD DEGREE Given Chords| Am? Gm? [GMaj7 Am? |Bm7 Am? |E¥Maj7 Fm7 |Gm? Pm? Substitutions = Spe oe FS bo Oo = 4l|30 It is also acceptable to use the scalewise progression out of ascending scalewise order. EXAMPLE: Given Chords Gn? FMaj7 |oaj7 Be7 | An? GMa EbMa7 Guz [Fm7 EbMaj7 Substitutions nn oo TS If desirable the scalewise progression may be played only as high as the 2nd degree of the scale. EXAMPLE: Given Chords Gm7 | FMaj? Gm7 |¢Maj7 Am? |CMaj7 Am7 |EbMaj7 Fm? )Maj7 Fm7 Substitutions = se eo eS oe > 4ll = oO Although infrequent, the scalewise progression may be played up to the 4th degree of the scale. The 4th degree may be either Major or minor, depending upon which will better blend with the melody line. EXAMPLE: Fr G Eb Giver. Chords Fai? Gm? [AmT BbMaj7|GMaj7 Am |Bm7 Cu? |EPMaj7 Po? \Gm7 AbMaj7 Substitutions =o31 When using the scalewise Major substitution progression in descending from the 3rd degree. we may progress by half steps. EXAMPLE: Given Chords Am? AbmT Gm? lc Maj7_ Bm? Substitutions > EI Given Chords e Eb Maj? Substitutions o o When a chord is followed by another chord of the same exact type, which is one tone lower than the first chord, we may descend by half steps. We may also apply the above rule when a Major chord is followed by a Dominant 7, which is a fifth higher than the Major. EXAMPLE: Given on | In. the example above, we substituted F Major 7 for the F Major by virtue of direct substitution. We substituted A minor 7 for F Major by virtue of the scalewise progression, out of scalewise order. We substituted Ab minor 7 for F Major because of the rule above; Am7 and Gm7 are one tone apart and are both the same type of chord, and therefore we may descend by half steps. We substituted Gm” for C7 because we may count up a Sth and substitute a minor chord in place of a dominant 7 type chord. When a Major chord appears, we may count up a third and play a minor type chord. EXAMPLE: Given Chords Substitutions32 Play all substitution lines and understand the reason for each substitution. G Dr Given Chords Bm? Am? }CMaj7 AnT Substitutions o 4 TT = G Given Chords \cMaj7 Bm7 Bb Substitutions > = Dt é JG Maj? AmT Dr GMaj7_ An? Substitutions Given Chords G Maj7 cMaj7 |G7sus G7 Substitutions Given Chords 4mné | Bm Bmé Ame [Ab7 D725 |GMaj7 Ge |GMaj7 Go Substitutions | | ! | Given Chords co [Gmaj7 Ge D9 Drgo|D7b9 D7b5|GMaj7 Am7 [Bm7 G7 Substitutions s- oS SS * big stretch 4 ql dl 433 ANOTHER MINOR SUBSTITUTION: When a minor chord appears, we may count up a Sth and subst:- tute a Dominant type chord. This substitution should be used very carefully in order to avoid anv clash with the melody. , Eb cr Fm Given Chords IGm? Ab Maj7 Substitutions Given Chords EbMaj? Fm? Substitutions Given Chords Substitutions. => > G Given Chords| GMaj7 Bm7 Bbm7] Am? —-D7bo|GMaj7 Am? | Am Substitutions = G DI G__EbIb9 Fm BbT Eb Given Chords p7#> orbs {cs ebbo| Fm = BbI3 | EB Gaz | EbMaj7 Fm Substitutions be bo bo Given Chord: 13 +7 | Fm FmiMaj7|Cm+ Fme | Eb EbMaj7} EbMajz Substitutions! oe So © © © © be34 LESSON 28 MINOR FORM WITH THE ROOT, MAJOR 7, MINOR 7 AND MAJOR 6 IN THE BASS x xx minor 6 ~~ minor (Maj7)- FINGERINGS A minor A minor (Maj7) A minor 7 A ainor 6 Root in Bass Major 7 in. Bass minor 7 in Bass Major 6 in Bass x ky x ray Xxx Am (Maj?) Bm Bm (Maj7) = i ° # Bmi7 Bm6 Cm Cm (Maj) Cm7 Cmé. e a o 8 = Dm Dm (Maj7) Em (Maj?) > = Bm Bm (Maj) oo Bmi Bmé Am Am (Maj’) AmT 4| feLESSON 29 THE DIMINISHED CHORD (dim -°) IN POPULAR MUSIC THE DIMINISHED CHORD AND THE DIMINISHED 7 CHORD ARE THE SAME, ‘The C diminished chord contains the notes C ‘The Eb diminished chord contains the notes Eb The Gp diminished chord contains the notes Gp ‘The A diminished chord contains the notes A The student will observe that the same four notes are contained in the C diminished, ished, Gp diminished and A diminished. Each diminished fingering will have four possible names be the root. Gb oA AC Cc ED Eb Go dimin- Any note in the diminished chord can ‘The student will bear in mind char the diminished chord is derived by lowering by 4 step, the 3rd, Sth, and 7th of the Dominant 7 chord. DERIVING THE DIMINISHED CHORD FROM THE DOMINANT 7 CHORD Gb Diminished x bo Eb Dominant 7 3rd in Bass ceeseaa 5 € Dominant 7 Sth in Bass x x a q Sth = € Diminished = A Diminished36 DIMINISHED EXERCISE No. 1 Gt G a oo + re BoT Bb- $ ——— bo boDIMINISHED EXERCISE No. 2 ET E- Al AS FI FP FDP APP | PEP oe oo oo bo ie: Bbt Bb- st G- A+ t+ i to Att be > oo To cr c- At AS pT D- ga FDP PP BbT38 LESSON 30 YOICING SUGGESTION When a Major chord is followed by a diminished chord, and the diminished chord bears the same root name as the Major chord, it is advisable, if practical, to use the Major form with the 3rd in the baws.. [ris also suggested that only the three string forms of both the Major and diminished chords be used when appearing in this sequence. (Example 1) Tf hosver the Major chord. and diminished chord are not of the same root name, it is advisable to use the four string forms for both chords. If the Major chord is a Major type chord (other than Major) bearing the same root name as the diminished, the four string forms should be used, (Example 2) if possible. EXAMPLE: I EXAMPLE 2 Major chord followed by a diminish- Major type chord (other than Major) chord of the same root name. followed by a diminished chord of the same root name. When a Major type chord is followed by a diminished chord which is 14 step higher than the Major, it is advisable, if practical, 10 use the Major form with the root in the bass. EXAMPLE: SUBSTITUTION SUGGESTIONS: When a Major chord is followed by a diminished chord, and the diminished chord bears the same root name as the Majot chord, it is acceptable to substitute for the Major chord, a minor 7 chord which ig a 3rd higher than the Major. For the diminished chord we may substitute a minor 7 chord which is 4 step lower than the minor 7 chord which was substitured for the Major chord. EXAMPLE: G G- E E- c c- Bo Bb- Given Chords ebm? Dm? | Db mt SubstitutionsEXERCISE BASED UPON A CHORD PROGRESSION 39 Dm(Majz} Dmi EXERCISE BASED UPON A CHORD PROGRESSION. Notice how full and rich the substitution lines sound as a result of proper chord voicing and substitu- tion. G ce DT Am G Given Chords pr prbslan [Ame ane [omar | Substitutions oe oo ~e se = > a Given Chords (iaiz) Bm Ben Buz} Bm Em Em(Maj7Em7 Ems Dr Substitutions Given Chords Substitutions ov bos Di Am G Sd| = = = G Given Chords a mn Am6B-7 B7|Eim En? Ee lG6 Am7Bm}Cm7Am74p14 G6 Substitutions Soo esao LESSON 31 Dominant 13 Chord and Augmented 9 Chord (Derived From Dominant 9, Sth in Bass) x Dominant 9 — Augmented 9 Dominant 13 co ceo cb 5th in Bass Root on Sth String Sth in Bass x x ee Exercise on Dominant 9, 13 and Augmented 9 (Note: Aug 9 Bass Note is on Sth String) ce C13 cH 09 bo Dis, D4) DSSS EHO OD r 2 7 Root 5th o > = Se = so oF Fis Fig ET E9 EI3 EW G7__G9_——G13. GiB ETB EIB. EO41 ‘Augmented 9, Augmented 7 #9, Augmented 7 69 (Derived from Augmented 7, Root in The Bass) Augmented 7 b9 Root — Augmented 9 ~ Augmented 7 #9 Fe, F+7b9 F+9. Fer#9 Root in Bass Root in Bass Root in Bass Root in Bass x x 1 ; ) ih Root Root Root Root ce 8p Ge eB Exercise on Augmented 7, Augmented 7 69, Augmented 7 #9 and Augmented 9 (Root In The Bass) Fat G+7 bo42 LESSON 32 THE MAJOR 9 CHORD (With The 5th In The Bass) Se > C Major 9 5th in Bass x x ; Sth ‘The Major 9 is a Major type chord and may be used as a substitution for a Major, Major 7, Maj emsiono a0 y a stitution for a Major, Major 7, Major 6 or any EXERCISE ON THE MAJOR 9 CHORD C Majo D Majo E Maj? F Majo GMaj9 AMaj9, F Majo G Maia E Majg F Majo D Maia E Majo i. sd > = oo Majo D Majo BMaj9 Cé Majo 2 Majo FS Majo GH Majo AMaj9 Ab Majo Go Majo Eb Majo Db Majo fe = “— = G minor 9 TWO MINOR 9 FORMS C minor 9 Root in Bass Si in Bass 2, i 7 es > Root s SUBSTITUTION INFORMATION: _ An augmented 7 chord is a substitution chord for a dominant 7, An augmented 9, augmented 79 and augmented 7 #9 are substitution chords for an augmented 7. It is therefore acceptable to substitute any of the augmented 7 alterations for a dominant 7 by virtue of direct substitution. ‘The minor 9 chord is a substitution for the minor 7. As a result the minor 9 chord may be used as fa substitution chord where ever it is practical to use a minor 7 chord as a substitution. For example, if C7 appears we may substitute a G minor 7. Therefore if C7 appears we may substitute a G minor 9. Actually we are using a substitution chord for a substitution chord.EXERCISE EMPLOYING THE MINOR 9 (Wich The Root In The Bass) 43 Understand All Substitutions Gm7 ot Amt Di Bm7 EV Given Chords | Gb+7 Ghz [Amo Amt |Abla Ap+7 | Bmo Bm7 [Bm Bm Bm6 Substitutions \ bere oO Em7 AT o os bh & = oo 7 Dm? Gt Given Chords Dmg Dm? [G13 C9 Em? Emt [Em Emi Substitutions Given Chords Dp+7#9 Db+7b9] Cmo Cm? Substitutions Given Chords Abis Ab7b5 Substitutions re re EXERCISE EMPLOYING THE MINOR 9 (Sth In The Bass) Understand All Substitutions m7. EL Dmi Gi al AT Em7 Given Chords Eng Em? |Rb9 Eb7 [Fm9 m7 Substitutions Given Chorde sus C7 | Amo Amz D+ TfoDe7b9|Gm9 Gm7 Substitutions Boi Em7 AT Dm7__G7 Cm? FT Given Chords Fmd Fm? |Em9 Em7 | Als Av _|Dm9 Dm? [Db Db7b9 |Cmo Cm7 | FIs F+7, Substitutions44 LESSON 33 Play the substitution lines in the progression below and understand substitutions. Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions S foo volepe be Fe fe Spo ror Abt_Db Ab7__Db Db- Msi?) pm Ebm E bo bobo = 7 F7. Bom __Ad7 Db__Bot Frgo F7p9 [Bb Bbm7? D9 AbI3| Db Bb +Tb9 o robe > bo Abi Db AdT__Db__Do- lal Ebm Edm AbTous Ab? abo [Db Db re Fi mh. > 9 Bi 7 Dp AT DAT Ebm7{Ersus FIPS F7[BbmBbm7 Apis AbT] Db AT Fo ro c AT oD Dm_G7 Em? |D to BI BDT Tem Ebm Dp__Abt C15 BISBbIS BhHbEDm Ebm(Maj7|Em7 Ebme | Db Ab +7 a Ev Bom Apt DoLESSON 34 45 THE MINOR 7 55 CHORD DERI FROM THE MINOR 7 CHORD | ea caine ros | | Rohn bays Root in Bass | gin Pay ri E minor 7 E minor 755 minor 3rd in Bass minor 3rd in Bass x xk C minor 7 C minor 75 Sth in Bass 5th in Bass i Baar : 7 a 1 / b5th A minor 7 A winor 7 55 minor 7th in Bass minor 7th in Bass ko" y The student may quickly locate the minor 7 5 chord by fingering the minor 7 chord and then lowering the Sth by one fret. The minor 7 5 chord is a substitution for a minor 7 chord. ‘THE DOMINANT 7 #9 F Dominant 749 € Dominant 7#9 Root fe Bass 5th in Bass i rs For purposes of substitution the Dominant 7 #9 may be treated in the same manner as any Dominant type chord.G THE MAJOR 6 add 9 For purposes of substitution the Major 6 add 9 may be treated in the same manner as any Major type chord. pe chord. 4 confusion it is necessary to point out that a 6 add 9 chord is a Major type chord derived from the Major 6. However che 9 add 6 chord is a Dominant type chord derived from the 9th. The Dom inant 9 add 6 is also another name for a 13th chord. jer aeaals eee tees tes Maia fate fisearsl es ct = root BHR sn 2H = Exercise On The Dominant 7 #9 Chord and The Major 6 add 9 Chord (Root In The Bass) Gm7_C7. Am? D7 G@ BmT_E7 A Given Chords Go Gb7#9 | Fe’ Am? AbT#9 | Goo Bm BbTRS Substitutions oF wre Cmi_F7 Cm7_F7___Bb Given Chords Dm? Db7#9 | C69 1 Bb69 Substitutions So Fo = G Bm7__E7__A Am? D7 Gm? _C7__F Given Chords oe Bo BbTHO Amd AbT#9 |c69 Gmo Gh7#9 Substitutions Ce oe we Exercise On The Dominant 7 #9 and The Major 6 add 9 (5th In The Bass) Dm7_G7 Cc Em7_AT D Fm7_BoT Eo Given Chords m9 DbTH9 C69 Emo Eb7g9 | D6 9 Substitutions Given Chords Am? Ab7#S |G69 Substitutions Given Chords Emo Eb7#9 | Doo SubstitutionsLESSON 35 47 F139 09 in Bass x Note: For purposes of substitution the 1359 chord is to be treated as a dominant type chord. Note: The 1369 chord, with the b9 in the bass is fingered the same as the dominant 7#9 with the Sth in the 69 eS bass. EXERCISE ON THE 13 b9 CHORD FIs bo G13 b9 A13 b9 B13 09 13 9 be D13 bo C13 b9 B13 bo A139 G13 be Fis b9 = p13 b9 F13 bo ro Minor 9 (5th in bass) to 13 9 (69 in bass) HINT: Move only the 2nd and 3rd fingers when progressing from min 9 to 13 b9 Cm ET Dm7 Gt Em7 Given Chords Substitutions Given Chords Substitutions Given, Chords Substitutions Given Chords | Substitutions { oe48 THE AUGMENTED 11 CHORD (Also Referred To As The 9 95 Chord) G1I+ or G9b5 eae Catbor CObS x i Augmented 11 in Bass (aco 2 zl ean ‘The Augmented 11 chord is the only augmented type chord in which the augmented note IS NOT the 5th of the chord, As may be seen above, the augmented note is the 11th of the chord, The augmented 11 chord is the same as the Dominant 9 5 chord. Root SUBSTITUTION INFORMATION: The Dominant 95 may at times be used as a substitution chord for a Dominant 9 chord. (Direct Substitution) Three Ways To Use The Augmented 11 In Chord Substitution: 1 As a direct substitution for a Major chord. This should be done sparingly. This manner of substitu- tion is used to its best advantage when the augmented Ul is played as the last chord of a song ending. 2 For a Dominant 7, count up a flatted fifth and play augmented 11. 3 For a minor chord which is built upon the 4th degree of the scale of the key in which the music is being played, count up a 4th and play the augmented 11. It is also acceptable to use a 13th or 7 b5 chord for the minor built upon the 4th degree of the scale, For example, in the key of C, if an F minor appears (4th scale degree) we may substitute a Bflat aug- mented 11 (or Bp 13 of Bb755). In the key of G, if a C minor appears (4th scale degree) we may count up a 4th and substitute F augmented 11 (or F 13 or F7 b5). EXAMPLE Given Chords Cc Dbii+ {cit SubstitutionsEXERCISE BASED UPON A WELL KNOW CHORD PROGRESSION 49 (Understand All Substitutions) Given Chords Substitutions Given Chords Substitutions Given Chords Substitutions Given Chords GMajr_ G7 Substitutions = 4| oo oO AT lO 4 a ql 3 d| 4 Given Chords | Bm (Maj7] Bm7 Substitutions ~~ vo Te Dz 4 4 a Given Chords Substitutions Given Chords Disus Abit Substitutions50 LESSON 36 The 1369 Chord (5th in bass) And The Augmented 7 9 Chord (root on Sth string) (May Be Treated As A Dominant Type Chord In Substitutions) C1369 C Augmented 759 5th in Bass Root on Sth String ie it i Sth Root | EXERCISE ON THE 13)9 and THE AUGMENTED 759 ©1309 c#T9 D139 D+799 E1309 G+tb9 1309 E419 F13b9, F+1b9 D139 D+1b9 E1309 E+7b9 C1308 C+709EXERCISE BASED UPON A WELL KNOW CHORD PROGRESSION (Understand All Substitutions) Given Chords Substitutions Given Chords Substitutions Given Chords Eb Substitutions = — AbT__ D7 G E9__F9ETD9 _Am7 Given Chords Détb9 _D7bs. 39 Substitutions Given Chords Substitutions Given Chords Am] BbMaj?|Fm? Fm Bb13b9 G+7b9 Substitutions "SS = Io as oT S ro De c Given Chords gt Substitutions52 LESSON 37 SUBSTITUTIONS The dominant 7 b9 chord fingering is exactly the same as the diminished fingering. Forexample, the C7 b9 with the Sth in the bass is the same as the G diminished with the ‘G’ in the bass. Asa re- sult whenever a 759 chord appears we may count up a Sth and play a diminished chord. C79 play G diminished A759. play E diminished E79 play B diminished By the same token whenever a diminished chord appears we may count dowa a 5th and play a dom inant 759 chord. G diminished play C79 E diminished play A759 B diminished play E79 The 7 69 is an alteration of the dominant 9 chord and may be used as a direct substitution for the dominant 9. In tum the dominant 9 may at times be substituted for the 79. C759 play C9 A759 play AD E759 play E9 Therefore: When a diminished chord appears it is at times acceptable to count down a 5th and play a dominant 9. When we do this we are actually substituting for a substitution, The 7 >9 is a sub- stitution for the diminished and the dominant 9 is a substitution for the 7 >9. Below is a very common chord progression. The explanation above will clarify the usage of the Eb9 chord in substitution progression number 2. Bear in mind that G diminished, on the given chord line, is the same as Bb diminished, Db diminished and E diminished. Given Chords Substitution 1 Substitution 2 Substitution 353 Below is another very common chord progression, The preceding explanation will clarify the usage of the E9 chord in the substitution progression. Bear in mind that G¥ diminished, on the given chord line, is the same as B diminished, D diminished and F diminished, G Ge Amt DT Given Chords Am? Am7b5 D7sus_ D7b5 Substitutions vs o> Ss eS The student should analyze the substitution progressions shown in this lesson and then should attempt to apply the substitution progressions to various keys. When passing from a Major chord to a Dominant 7 chord, which is a 6th higher than the Major, we may use as a passing chord, a minor form which is one tone lower than the dominant 7. } AT G ET Given Chords cs Gm Substitutions oe be = => = o It is acceptable to play a minor 6 chord in place of a minor chord. i AT G EL Given Chords ce Substitutions = = - For an even prettier effect we may use a minor 6 form, with the 6th in the bass. Bbm6 or Gm7 95 6tb in Bass Root in Bass x x aes 6th Given Chords Substitutions54 LESSON 38 COMMON TONES The basis for all substitutions is common tones. In order for a chord substitution to be correct it should contain at least one note which is also contained in the given chord. The given chord and the substiration chord should have at least one note in common. If the given chord should contain two notes which are the same as two notes in the substitution chord then ‘we may say that the given chord and the substitution have (wo common tones. ‘The substitution chord should not be in disonance with the melody except occasionally in brief passing. AIL substitutions shown in this method stem from common tones. With time, experience and practice the student will be able to apply common tones with ease, and will acquire even greater versatility in chord substi tution, ‘Common Tone Examples On The Dominant 7 With The 5th In The Bass Dz bz Di Given Chords Substitutions $l wo be ke ‘ 5 4q ‘ 4 Common Tone Examples On The Dominant 7 With The Root In ‘The Bass (Use 3 string chords on the substitution line) G7 Given Chords Substitutions cS ro It is suggested that the student memorize the examples above and apply them to all Dominant 7 chords, using both examples based on the Sth in the bass Dominant 7 and the Root in the bass Dominant 7. The student should also practice applying the substitutions above to any popular music of his choice.a COMMON TONES USED FOR SUBSTITUTIONS ON A BLUES PROGRESSION Fr FT Given Chords Substitution: Given Chords Substitutions C7 ' CT | Given Chords FMaj7 Apis |Gi3_—Gbi3. Substinsions =e Se al C7 F Given Chords Substitutions36 LESSON 39 Applying Common Tones To Song Endings (on known melody lines) ‘Technically speaking, any substitution chord may be played for a given chord, provided that the melody note is contained within the substitution chord(s). When this occurs the melody note is the common tone which appears in both the melody and the chords), Because there is generally considerable movement (from one melody note to another) in most song melo- dies, this means of substitution is impractical except on sustained melody notes. Another factor is that not all substitutions conceived in this manner will fit the mood of the melody or provide the desired musical effect. However, for all of its disadvantages the usage of the melody as a common tone for the substitution chord is responsible for some of the prettiest substitutions ever conceived. The arranger who wishes (0 write a modern chord accompaniment may well apply the following material, ‘The guitarist should thoroughly understand all of the following substitutions and should apply them to various popular songs and jazz standards. In order to better understand this manner of substitution we will work with endings in the key of C. Since the last note of the melody line in the key of C is usually a ‘C’ note, we may use as a substitution, any chord(s) which contains the CHORDS WHICH CONTAIN THE NOTE ‘C” ROOT NAME TYPE NAME c Anything Db Major 7, Major 9, minor (Maj 7) D 7, 9, 7 $9, 709, aug 7, 795, aug 7#9, aug 7b9, aug 9, 13, any Dominant 7 alteration E> 6, min6, 6 add 9, 13, 1399, min 6 add 9 E aug, aug 7, aug 9, aug 7b9, aug 7 #9 F Anything except diminished, augmented, augmented 7 or b5 type chords Gb augmented 11, 7 95 G suspended Ab Major anything, Dominant 7 anything A minor anything Bb 9, aug 9, 9 add 6 B ba Below are examples showing the use of chords containing the ‘C’ note being used against a ‘C’ note in the melody. For best results the substitution chords should ultimately resolve to a C Major type chord when playing in a C Major key. In a minor key the resolution should be to a minor type chord, EXAMPLE 1 Melody Given Chords SubstitutionsEXAMPLE 2 Melody Given Chords Eb6__D7_DbMaj7_c6 Substitutions EXAMPLE 3 Melody Given Chords add 9 Majo add |Fm9 Bb13 Ed6 Ab13 Do C6 Substitutions od lib EXAMPLE 4 Melody Given Chords Substitutions I od lib58 EXAMPLE 5 Melody Given Chords FMaj7 AbMaj7 DbMaj7_—C Maj7 Substitutions be > In Example 5, above, we substituted F Maj7, Ab Maj 7, Db Maj 7 and C Maj 7 for the given C Major chord by virtue of the common tone ‘C’. The student will observe that it would have been equally acceptable to play F Maj 6, Ab Maj 6, Db Maj 6 and C Maj 6 in place of the Major 7 chords. However, the replacement of the Majot 7 chords by Major 6 chords would add nothing to the improvement of the measure. Bur if we were to use both the Major 7 and the Major 6 chords, our substitution would be much more interesting. To attain a still more interest. ing effect we may use in place of the Major 6 chord, the 6th note of the Major chord. See Example 6 below. EXAMPLE 6 Melody Given Chords FMaj?_ AbMaj7_ DpMaj7_, C Maj 6th Gch et Substitutions @ oe $ ¥ {If the guicarise desires, he may play substitution Example 6 descending rather than ascending. See Example 7. EXAMPLE 7 Melody Given Chords ADMaj7 | FMaj7 = DbMaj?_— C6 Gah th 6th Substitutions.‘The student should work out several endings and should then memorize them in all keys. 59 LESSON 40 ‘As mentioned in an earlier Lesson, any substitution chord may be used in place of a given chord provided that it contains at least one of the notes in the original chord and ultimately resolves to the tonic. EXAMPLE 1 Melody Given Chords Dm? DpMaj7_C Maj? Substitutions ad lib oe be EXAMPLE 2 Melody Abia. Gbis_ ces? Substitutions EXAMPLE 3 Melody Given Chords / Substitutions60 ADDITIONAL SUBSTITUTION INFORMATION: Iris acceptable © play a substitution chord which contains no common tones, provided that the substitution chord. is $4 tone above or 4 tone below a chord containing a common tone(s) and also pro~ vided that the chord resolves quickly to a common tone containing chord. EXAMPLE Melody Given Chords aso be Substitutions ‘The student should apply all of his substitution knowledge co as many different songs as possible. LESSON 41 PLAYING CHORD ACCOMPANIMENTS BY EAR In musician's slang, the playing of music by ear, whether it be melody or accompaniment, is referred to as faking. “Although with time and experience many musicians acquire the skill of faking, itis pos sible co hasten the process by becoming aware of the basic concepts of chord progression. A knowledge of ‘how’ chords progress will prove to be of great value in learning to fake. Broke Joon to its ‘simplest form, chords progress by the cycle of dths. If an ‘A’ type chord should appear, then the next chord would usually be a 4th higher, or a ‘D’ type chord. If a “C ype crotd should appear, then the next chord would usually be a 4th higher, or an ‘F" type chord. For purposes of explanation we will use the key of F Major. When the student acquires sufficient ability at faking in the key of F Major he may transpose his knowledge to all other keys. ‘Our basic progression would be the conic chord followed by a dominant 7 which is one half step below the tonic; this is followed by a scries of dominant 7 chords progressing by 4ths until the conic reappears. 1 F Ff At DI G7 oT F61 We may derive more progressions simply by omitting the 2nd chord of the progression. 2 F Aq br ar co F 3 F br cr cr F 4 F Gr cr F 5 F cr F If the guitarist wishes to find the chords to a song he will first try progression 1. If that doesn't work he will try progression 2 and so on. At times the progression will work well except that one chord will not seem correct, It is possi« ble that the disonant chord is of the proper root name but should be a minor form instead of a dominant’, The student should play the above progressions over and over until he becomes familiar with the sound of the progressions. He should then attempt applying the progressions to songs. In addition to the preceding progressions there ate others. If none of the five progressions fit to @ song there is a possibility that one of the progressions below will be the desired one. 6 FB F 7 F R70 Bb Bom FCT F 8 FFT Bb Bbm Fo pT Gt oa@soF 9 FFT Bb Bom FET Et DI G7oocT oF 10 F Fdim Bb C7 F ul F Fdim Gm? 7 F J2 F Fédim Bb oT F 13 F Fidim Gm? C7 F When applying progressions to faking, a progression may not necessarily be completed. It is quite common for a progression to stop abruptly in the middle and then commence to the middle of ancther progression. The student should analyze the chord progressions in many songs in order to understand how chords progress. He should attempt to play songs by ear. If the student is stymied by a chord he should endeavor to find out which is the correct chord so that he may apply his knowledge to other songs. With practice the student will become proficient at faking.62 LESSON 42 COMPING Comping which is also referred to as chord feeding is a manner of rhythm accompaniment playing in which the guitar player injects chords in a rhythmically ad lib style against the rhythmic beat of the For example, if this should appear, FMaj7_Gm7 Am7__Abm7?___Gm7 Gbi3 Given Chords the guitarist, instead of striking the chord once for each indicated beat may play the four bars above, something like this: EXAMPLE 1 FMaj7_ Gm? Am7 Am7___Abm7 Gm7 Ghis or like this: EXAMPLE 2 FMaj?_Gm7 AmT_Abm7 Gm7 Gp13 Ie should be noted that it is at times acceptable to anticipate the chords by playing them a frac- tion of a second before they actually appear in the given music. In Example 1, the first measure and the third measure contain chords which are played !4 beat before they appear on the ‘Given Chord’ line. Also see Example 2, second measure. Below is another example of comping as applied to a blues progression. Bb6_B- F Fo BbT Bbmé ‘The guitarist should play the blues progression over and over. Each time the progression is play- ed, it should be comped differently. Compings should never be memorized but should be applied in a completely extemporaneous manner. By listening to others comp and by practicing comping with chord substitution, the guitarist will experience no great difficulty in mastering the technique of comping in a relatively short periodoftime.63 LESSON 43 Following are additional chords which the guitarist should memorize and use. It may be argued that the following chords, and for that matter, many of the chords which were covered in the preceding pages, will rarely be seen in a guitar part. This is all very true. However the altered chords are ideal when used as substitutions, When using altered chords, the harmonic substitution possibilities are virtually limitless. All of the chords which are used in this method are chosen because they contain the best and most practical voicings possible. It should be noted that the best voicing does not necessarily require that the chord fingering contain every note of the chord. What is of importance however is that the chord ‘sound’ be established. Those who have completed this book will agree that a properly voiced three note chord can produce more drive and interest than a poorly voiced six string chord. The guitarist who correctly employs chords and substitutions will find that each chord smoothly leads into the next chord. Smooth voice leading will automatically occur as a result of using correctly voiced chords and substitutions. If all of the substitution rules are carried out to the letter but chord woicings are used which are other than those presented it is likely that good voice leading may be lacking. The dominant eleventh chord is absent in this book because this writer believes that a dominant seventh suspended will serve equally as well. This book does not contain every possible chord. This is because of the almost infinite amount of chord alterations. However, the guitarist at this point should be capable of deriving every possible chord, and voicing it to produce the very best chordal effect. By categorizing each chord as either a Major type, minor type or a Dominant type chord, there should be no difficulty in applying chord substitutions. The guitarist will find that there is much work ahead in perfecting and expanding upon all of the principles set forth in this course. In closing, 1 hope that you will have found this jazz method interesting, enlightening and a means to moving forward in the fascinating field of chord accompaniment. Ronny Lee64 3rd #5 G+o Fmé6 add 9 x / Root es = F Major sus B Major sus C Major 9 xx Root ae Cmé add 9 xx 7 Sth Eb Major add 9 xxx 7 F Maj 9 add 6 F 13 b6 or or F Maj 13 F 13 (with aug 11) — / Root 3rd C6 add 9 x Root