Chord Connection

Chord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. 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Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty4 Chord Connections Introduction Chord Connections will show you how the many different types of chords are formed, how they relate to each other and how to get from one chord to the next in a smooth, logical manner, Each type of chord will be looked at in terms of; 1. Notes - What are the individual notes in the chord. 2. Quality = Is the chord major, minor, dominant, or another type. 3. Inversion - Which is the lowest note played, 4, String Set - Which strings are used to finger the chord. 5. Exercises. - Study material to help you fully understand the chord. We will start by looking at open-position and barre chord forms, some of which you probably already know: Then, we will move on to triads: theory, inversions and where to find them on all the possible sets of three strings on the guitar. Next, we'll move on to four-note voicings of 7ch, 9th, [1th and 13th chords in all their qualities. As you will soon learn, there are five qualities of 7th and 9th chords, four qualities of | Ith chords, and three qualities of 13th chords, and each of these can be played four different ways and on five different sets of strings! That's (5+ 5+ 4+ 3 [= I7] x 4 [= 68] x 5 =) 340 simple voicings! Furthermore, each chord can be played in any of 12 keys. That's (340 x 12 =) 4,080 different chordst Don’t panic! The approach in this book is quite logical and easy to follow. It will take hours of practice and study to master, but all this material is presented in a step-by-step fashion. All the chords shown are fingered on the neck, and there are plenty of exercises to help you get them under your fingers. ‘We will look at special types of chords and where to play them in all their inversions on all sets of strings. Then, its on to Harmonic Minor and Meladic Minor chords and the theory behind them. And, finally, we will study quartal harmony, where chords are stacked up in 4ths instead of in 3rds As you will see, Chord Connections is comprehensive. Studying it will be demanding and rewarding. If you go through each lesson, do all the exercises, study the theory, and get a thorough understanding of each concept you will Be able to play any chord, in any inversion, on any set of strings in any key. Know all the notes that make up each chord. Know where all che notes are located on the neck of the guitar. Know how chords relate to each other. Know all the qualities of triads, four-note chords and other more specialized chords Understand chord scales Understand quartal harmony. Now een Much more than a chord dictionary, Chord Connections is a new approach co understanding chords and harmony on the guitar. It will become an invaluable tool and a staple of your library. Robert Brown is the author of many books published by the National Guitar Workshop and Alfred, including Jazz for the Rock Guitarist, Stand Alone Tracks: Blues and Stand Alone Tracks: Funk, among others.Chord Connections 5 How to Read Chord Diagrams There are hundreds of chord diagrams to read in this book, so it is a good idea to take a moment to familiarize yourself with how they will appear. The vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets. Mute or Chord name a7 440 not pay this string Leftchand fingers ———>1_ 312 x x4 — oe | v<——Fret number e [Fes Rowan Nunenn. Review Here is a quick review of Roman numerals and their Arabic equivalents. Pei Viv VN VT Xi ke WO XM MTB XVID atv ne 16 With 2 Vivo VIN vi 8 XP ti HE XIV xiv. I XVID xvii. 17 MEH 3 VI vi IX ce XM aii IZ XW kV IS XVI xviii 18 Basic Crono Nav Aserevenons Here is a short list of abbreviations used to identify the various chord types. For a complete listing, see page 36. This list will get you started. For purposes of demonstration, this list assumes a root of °C." C samme © Major Cming.... € Minor 6 CMaj?_.... C Major 7 Csus4 nn € Suspended 4 Comin aon © Minor Csus2..... € Suspended 2 Cimin7..... € Minor 7 CMaj9..... C Major 9 CP sesnse © Dominant 7 Cadd9.... € Major add? CF vancnan € Dominant 9Chord Connections Open Position Chord Forms This lesson may be a review for you, but it is a good idea to go over all the chords that fall in open position before moving on to more difficult chords. A chord is in open position if it hhas open strings as an integral part of its make-up. nex Pasiroy O Cuonas Let's start by looking at the chords with D as the root. If you are unclear about the definitions or spellings of some of these chords, don’t worry! You can jump ahead to pages 16,32 and 33 for an explanations of the different types of chords, or just wait till we get there! Play the chords below, reading across the page from left to right. Pay attention co the sound of each one and how it is different from those before and after, Memorize all of them, Finally, devise your own exercise with these chords by playing them in random ‘orders until you can play them all perfectly and easily. As you practice moving from one chord to the next, make sure you place all your fingers down at the same time. Also, look for guide fingers. A guide finger can stay on its string during a chord change because that string and finger are common to both chords, Some- times, a guide finger plays the exact same note in both chords. Sometimes it moves up or down on its string to a new note. It is very important to look for guide fingers because they minimize the amount of physical movement needed to change chords, and the less movement your hand has to do, the better D DMaj7 06 Dadd9 xx0132 xx01 xx0203 xx0141 oon eee eo en eo 6 . i i é Dmmin Dming Dsus4 Dsus2 xx0231 xx0201} xx0134 xx0130 Te. T f eon etn foe tn feu . ' ee . Disus4 DiFs Dmin/F xx0214 Leo23x 1xo23x . E ¢ Cn er oe ee ee eeChord Connections 7 Oren Pasion A Cxoros The A is the open Sth string and it should be played along with the other notes in the chord. Notice that there are two voicings of A, AMaj7 and A7. Spend some time becom- ing familiar with the sound of each individual chord on this page. Play the chords, reading across the page from left to right. A AMaj7 AT Amin Amin7 xO1230 x02130 x02030 02310 x02010 EF Freeper ye | Peet eee ee oe) oe . AMaj7 AG Amin6 xOlL14 = xOlli3 sori x02314 Pa = SS eee eee | eeee eo . . Asus Asus? Aadd9 AMaj9 01230 xoi200 xo1314 xo1314 bal oo j eo) i . |.¢ 6 -8 Chord Connections Open Posimow € Chorus Chords with the low E on the 6th string as the root often have other open strings in their make-up—usually the high E on the Ist string, and/or the B on the 2nd string, In the minor-type chords, the G on the open 3rd string is usually included. E o2z3100 . ee Emin 023000 Esus4 23400 EMaj7 o23i4o lel. ee Emin7 023040 E7sus4 o2zo4o00 &7 23140 6 o2z3140 . Emin? o14o000 Emin9 o12043 oeChord Connections Oren Posmow C Cronos These chords often have the E on the Ist string and/or G on the 3rd string open. The root is fingered on the Sth string c € CMaj7 C7 C6 x32010 342010 342000 x32410 x423 10 er et ara —Te et e e ' e ee e ee ee e nex Pasion F Cronos ‘Some of the chords in F put your left thumb to work! This is somewhat unorthodox, but try it out, If ic doesn’t work for you, change the fingering. These fingerings will allow you to do hammer-ons and pull-offs often used in folk and country music that aren't possible with standard fingerings. FMaj7_ Fsus2 FMaj7#i 1 ra4210 T2401x 134200 enuires barometers: ° . oe ee ee Open Pasion 8 Chonas Finally, here are two chords with B as the root, fingered on the Sth string and with the ‘open B on the 2nd string. 87 Bmin? x21304 x20304Chord Connections 9 Open Pasion G Cronos You will notice that there are two voicings of the G Major chord, Learn them both. The second one is the most commonly used because it allows an easy move from G to C/G. Both the 3rd and 4th fingers remain on the same notes during the chord change. This is a common chord progression (the movement from one chord to another). The trick is to make sure that the fat part of your 3rd finger mutes (stops the sound of) the A string: it should rest against it lightly G cIG 3x0 004 ax 2014 . . ° . G G GMaj7 G7 G6 210004 3x0004 3x0002 3x0001 3xoo00 mee a eee . eu ' i . e tle + Lee e 1 e Py eqd i | Gaddo Maia oo G(no 3rd) Gsus4 3x0204 3xo102 axo201 2x0034 3x00148 e ee eChord Connections Barre Chord Forms To barre (often spelled bar) means to place one of your left-hand fingers across several strings on the same fret at once, It is possible to move most of the open-position chord forms to any other place on the neck— to another root—by using a Ist finger barre. The two most widely used barre forms are those with E as the root and those with A as the root. E-Fort Banaes If you finger an € chord with your 2nd, 3rd,and 4th fingers and then place your Ist finger across all the strings at the Sth fret, you will be playing an A chord, because the note on the Sth fret of the 6th string is an A. The form and the shape of the chord is E, but by placing the barre on the Sth fret, the root note becomes A. This works the same way for any position on the neck: where your Ist finger falls is the root of the chord. There are five important E chord forms that can be barred anywhere on the neck: E Major (E). two voicings each of Dominant 7 (E7),E Minor (Emin),and E Minor 7 (Emin?) AT Amin 13124) s3a4nit —_—— — Oo @ :ov 0 e@eov . eo . (E Form) (€7 Form) (€7 Form) (Emin Form) (Emin? Form) fl-Ftam Benes Using the same logic we used for the E forms, we can use chord forms with A as the root and barre them up the neck. The difference is that now the root is on the Sth string. So, an chord form barred on the 5th fret becomes a D chord, because the note on the Sth fret of the Sth sering is D! The five chord-types used for A-form barres are slightly different than those for E-form bares: A Major (A),A Major 7 (AMaj7},A Dominant 7(A7),A Minor (Amin) and A Minor 7 (Amin7), D DMaj7 D7 Dmin e133 ghazal eta giaaat x or reer te orem ee 6 ew 6 cee Oo ev . . ece oe oe eo (A Form) (AMaj? Fore) (A7 Form) (Amin Form) (Amin? Form)Chord Connections Basic Theory In order to become fluent with chords it is necessary to fully understand how they are constructed and how they relate to each other. This theoretical discussion will ake place a litle bit at a time, throughout the book. To begin with, we need to set the stage with a look at the basic theory which is essential to any meaningful study of music. Tre Cronane Sorte The chromatic scale is made with twelve ascending or descending half steps. A half step is the smallest distance between two notes. On the guitar, this is the distance between two adjacent frets, You can play the chromatic scale a number of different ways. One good way to practice is to start on any open string and play each fret up to the twelfth. The important ching to remember is that the note that you start on becomes the first scale degree (1), which is also called the root. All the other notes are given scale degree num- bers based on their distance from the root. For instance, in the example below, C is | (the root), so D is 2, A sharped D (Di) is #2. 1 Hh 2 #2 3 4 Fa 5 ts, 6 46 c s ew «A & oc Gd oF E E D Exnatome Eguvavents Each note in the chromatic scale has both a letter name and a scale degree number. In fact, when you are ascending from C, some of the notes have sharps # in front of them, but when you are descending from C, those same notes have flats b, That means that some notes can have two names! These are said to be enharmonic equivalents. In the C Chro- matic scale, there are five pairs of enharmonic notes: cand D or Hand 2 Di and © or 2 and 3 Fooand Gi or 4 and 5 Ge and A or % and 6 Ar and Bb or 4% and 7 The enharmonic spellings you will use depend upon the key you are in, whether the music is ascending or descending, and the intervals involved. The following sections on intervals and scales will clarify this concept. ob °Chord Connections Intervnus The distance between any two notes is called an interval, The smallest interval is the half step, which is the distance between any two adjacent frets on the guitar. The next largest interval is called the whole step. which is equal co two half steps, or a move of two frets on the guitar, In one octave (a span of 12 half steps), the following simple intervals will occur (they can all be measured in half steps) Scale Degrees _Interval Half Steps minor 2nd perfect 5th.. augmented 5th minor 6th major 6th diminished 7th ... MINOF TEA eesnnssee 10 major 7th... aH we perfect OCtaVe sinen 12 ouble flat. A double flat lowers the nate one whole-step. Tre Mavon Scmue A scale is a group of notes which follow each other in some sort of step-wise (alphabetical) order, usually using half steps and whole steps. There are many scales in existence and perhaps the most important of them for rock and jazz musicians is the major scale. Ic has a specific arrangement of half and whole steps that is always the same, no matter which note you start on. Scale Degrees. Tee BeHiee Hee Heder tme tg The intervals are always: IAS INI NLS So, the formula for a major scale in whole and half steps \/ = Whole ste Whole Whole Half Whole Whole Whole Half eect ane The half-steps are between 3 - 4,and 7 - 8. The € Major Scale SN “~ Nea VS * 1314 Chord Connections Key Siovarunes A key signature is found at the beginning of every line of music in a piece. It is a group of sharps of flats that are derived from a specific major scale. What ever notes are sharped or flatted in the key signature are sharp or flat throughout the piece. The key signature is, therefore, a device which allows us to readily and easily determine what key a particular piece of music is written in, For instance, a key signature which results in using the notes of the A Major scale would indicate the key of A Major. A piece of music in a particular key must generally confine itself to the notes in that key. Other notes, however. can and often do appear in the piece Each key signature actually applies to two keys:a major key and a minor key. The minor key for each key signature is called the relative minor and it is the key whose root is the 6th degree of the major scale, For instance, the 6th degree of a C Major scale is the note A, so the key of A Minor is the relative minor key to C Major. The key of C Major (and A Minor) has no sharps or flats in the key signature. Here are all of the sharp and flat major key signatures and their relative minor keys. MAJOR KEY MINOR KEY SHARPS, MAJOR KEY MINOR KEY FLATS Gc MNoR By Emon FE Fmaorn & omen ¢ é a Dib ora Qt | ermen Fe onan QI... Jormen [ e fd ve enor Qt ie stage Gabe «won — 4 senor ger fawet Wee wt || dacs P OT fraser ¢ 9 1», roe erajon bb raver © ds = 4 omen Gttg otrmicn Kea OE Ganon PDP | ermen : . ctmajor iyt SET armor Fick ct tale aE ch major Geo Seay 8 eeK oO ae doe vedo wexodorThe Cecue or 4x3 Chord Connections 15 Ie is important to learn co recognize each key and also to be able to explain and derive each key in order. The order for keys is called the cycle of 4ths. This is because each key follows its predecessor by the interval of a perfect 4th We start with the key of C Major. This key has no sharps or flats—easy to remember! The next key,a 4th away from Major Keys C, is F Major. The F Major scale,and therefore the key of A maine F Major.is spelled F-G-A-B’-C-D-£. Notice the B. 7 & There must be one flat in the key of a8’. The next key is gh e Be a perfect 4th away from Rand just happens tobe B This e Bea key is spelled BY-C.-D-£'-F-G-A. Notice that there + F phe alo are two flats now, B’ and E’. So, there are two flats inthe pt B BLE AL DL Gt key of B. Go up a 4th from B’ and you get E',the next key Gh P Bt eA’ Ghc in the cycle. You can see that each successive flat key adds another flat that is up a 4th from the last flat, and that the keys themselves are a 4th apart. Of course, this is also true for the minor keys, as the table on the right illustrates If we continued on this way, the next key would be C— with seven flats! In order to avoid this, we can enharmoni- Major Key Minor Key Sharps cally spell C’ and call it B. If you study the chart on page B ¢ FC GH DEAR 14, you will see that B is a sharp key and that sharp keys E c FL ch G# Dt are derived in order from C in a cycle of Sths, Each keyis = A. FA Fil Gt a perfect Sth away from the previous one, and each sharp B FACE that is added is a Sth away from the previous one. How. G E A ever, since popular music more often follows the cycle of © A none 4ths, we will continue by moving around the cycle from B. This diagram shows the entire cycle of 4chs, and the cycle of Sths,as well MAJOR KEYS 4ths ' ' Sths F D E 2g Db? G Number 3. Eb MINOR KEYS FE A 2? Number Flats F A Bb i Ai oF sharps16 Chord Connections Tonas A triad Is a three-note chord built with the Ist, 3rd and Sth scale degrees. There are four different types, or qualities, of triads: Triad type Scale Degrees Major (Maj) T 3 5 Minor (min) ' 3 5 Diminished (dim) 1 3 5 Augmented (aug) f 3 Ss Ihversions Each type of triad can be played three different ways depending on which of the three notes is on the bottom of the triad. If the root is on the bottom, the triad is in root position If the 3rd_ is on the bottom, the triad is in Ist inversion. ifthe Sth is on the bottom, the triad is in 2nd inversion. Root Position Ist Inversion 2nd Inversion C Major C Minor ot C Diminished e C Augmented‘Triad String Set #1 Chord Connections 17 The first set of triads you need to learn are the ones on the top three strings, which we call Triad String Set #1 Read across first, from left to right, then down. As you read across the page the qualities change, Each chord to the right of the major triad has one or two notes changed, which changes its quality. Listen to the incredible difference even one note makes, The gray arrows will help you identify the notes that have been changed from the major triad, As you read down each column, the triads change inversions. Get famil- jar with the sound of each of these inversions, and learn the fingerings. C Major C Minor xxx231 xxx321 Inversions RP. en io) em i tie] oe of R35 R35 xxx2il xxx Ist @ ovr | @@ovml . piper] 35R BSR Ind C Diminished xxx32/ ° +n C Augmented xxx231 ew oe R315 | ee RP © = This note been raised or lowered Root Position cone half step from its position in che major criad to create a triad of a different quality18 Chord Connections The Chord Connection The chord connection exercises in this book will Help you learn all the chords in all their inversions on ail string sets. the cycle of 4ths, and increase your knowledge of the guitar fingerboard. The first thing you have to know is the location of the three inversions of each triad. Here is a neck diagram of the three inversions of the major triad on String Set #1 Major Root Position Ist Inversion 2nd Inversion ° " e ° e . e a uw v vil x xi xv lee Sing Ies a good idea to visualize each string indi- vidvally to learn the location of the root in : meee ae aie w each inversion. You'll see that the triad is ‘outlined on each string up the neck. dee Seg ‘. ‘. " ‘ eae \ ; ‘. bi Here are the minor, diminished and Root Position Ist Inversion 2nd Inversion augmented triads on the finger. “le, e 1 ns board. Try to visualize each string bow e le individually, as you did with the major triads, v vu x xu xv iminished Root Position _Ist Inversion Ind Inversion e . ° ° e " * . e | v wu x su xv C Augmented Root Position Ist Inversion 2nd Inversion e 8 ° e un v vu xThe Exenose Chord Connections 19 The chord connection exercise, which will be used throughout this book for many chord types, works as follows: 1) Starting with a C chord in the lowest position possible. play up the fingerboard through all the inversions of the chord. 2) Find the inversion of an F chord that is nearest the last Inversion of the C chord, Beginning on that inversion of the Fchord, come back down the neck, playing through all the inversions of the chord in F, until you, have reached the lowest position possible. 3) Find the BY chord inversion nearest there, and play back up the fingerboard through all the inversions of the B” chord. 4) Find the inversion of an & chord that is nearest the last inversion of the B chord. Beginning on that inversion of the E chord, come back down the neck, playing through all che inversions of the chord in E’, until you have reached the lowest position possible, ‘you know which string has the root in each inversion, finding each inversion is simply a matter of finding the root note ‘on the appropriate string. For instance, the Ist inversion of a major triad has the root on the Ist string. So to find a Ist inversion C Major triad, you need only find a C note on the Ist string, and then play the Ist inversion triad there. Continue this way through the cycle of 4ths. When you have completed this exercise and can do it without looking at any chord diagrams, you will actually have learned not only all the inversions of the chord in every key, but also, the notes that make up each of those triads! Upinc Rect Poston Int version 2nd Inversion Here is a full fingerboard view of how the ° : ° chord connection exercise works using Major : we . the major triad and its inversions, starting in C and ending in E’. « . o x w Down in F The following section of the'book will take Iuetnwersion 2ndIiversion Root Position you through this entire process with the . ° major, minar, diminished and augmented Pues | tee ‘ | = = ~ en oe eou © ew eow on ° ao é . o¢ nas saa ask sRa 35k sas eunEi| peadh| seeiSf sueOOi uewidS sma lb) gaa =eaee, meio? gad! @ oun evn : ou ev ew . ° oe oe oe 35k nas saa has spa aos eepihy push, ARABS! e@ ex @ ox OXI 6 lcd . | | | 7% | saa ask kas 35k nas a5, Miwon Taigns Cmin Fmin Bmin Emin Amin: Dmin uxeHil gestS] amx8S! ggage) SELL! xXHEDE? dat ee2at peadt) ueeta) eet . ow Vile n en eeow ew o> . . } ‘ . 6 é ; 6 $ ROS SRI R35 SRD 35k R35 . ‘ | ask Aas 35R nhs sa 35h Meebit nemtts xee2a) geetiy agagz gaazt ee ox ex @ eon! 4 ex ex . * : . 6 ° 6 ‘7: SRB 35R 5Ra 35R R35 5R3Chord Connections 21 RP = Root Position Ist = Ist inversion 2nd = 2nd inversion Maur Taos, cowrnuen B D G xxx 221 wewta2 xxx2l ou ow eon eon 6 . 1oe | a5R Ras SaR a25R sR a5k ele evn eon 8 fi? 4 if o6 . oan ee ae 5Ra nas saa ee23t ceetse peett peetey peed! xen ° . oe oe nas saa dsr ae dsr nas Mwon Taiens, conrwuen G'min Bmin Emin Amin Dmin Gmin eon on en | epoy eon ° . | ° ° | ° 35R R35 SRD 35 R ROS 35 R Pe eeow evn e ei ° 9 SRD asa RBs : ‘ 4 é Ras SR322 Chord Connections Dvwisueo Trias Cai xxx32l ew ° ° Ras xxx213 338 xxl eeu Alucreatec Theos Caug xaxx2il 25 R x44231 ex a3 xxx32 ew RBS x23 eo 35k Faug xex23 ‘isk xxxi3l xex321 esi Ra's) Brug wend en E'dim pent een Brug wxxdal 5R3 xxx2il evn x23 on oe 35R Adin xxx 21 3 xxx 32 Aug xxx 23 Didim xxx321 wera ex eo BRSDivwsnea Trias, cowrauen Gidim Bdim og ete er on 1 . 25k a3 Chord Connections 23 need?! xxxtal evn e ex . ° ° R35 SR Alvcrewrea Tans, covrmuen Glaug Baug xxx231 xex23) on ew oe oe 358 R35 xux231 0 xxx23t ov ov oe BRO 35k ae oo manent Ddim Gdim meet 3t xex323 xxx213 aad . w ow © om ° . ° Bos Ra's 35k mxext3} xxx213) 0 xxxl3t oem ew ow eo ° 3 33k 5R'3 weed?) exxtil xex32) oxi oe enn ox ° . ° Ra's SR RIS Daug Gaug wex23! 0 wxx23! xxx231 ou om eo oe 34k 5 .R3 2458 xxx231 en ov ev eo BR R35 BR exit Ras 25k R34524 Chord Connections Diatonic Triads ‘onic triads are the triads that are directly related to a particular key. The notes used to make up each diatonic triad are taken from the major scale of the key. and che quality of each triad is the same in every key. The diatonic triads are built by stacking 3rds on each note of the major scale. These triads are che harmonies for that key. Scale degree Pe HEHE are Crete ote tH Harmony 1 i i Wovo ow ove Triad Type Maj min min Maj Maj min dim Notice that upper case Roman numerals are used for major harmonies, and that lower case Roman numerals are used for minor and diminished harmonies. C Maon Ditowe Theos Maj Dain Emin Foy) GMa Amin Bo The following fingerings show the diatonic triads in C going up the neck from the first Position to the twelfth position on String Set #1. Here is a hint to help you: from the Dmin triad on up, keep your 3rd finger on the neck at all times. This is your guide finger and will help you to move smoothly from one fingering to another. 2nd Inversion Triads oma mia Ema Fay) ta,Chord Connections F Mador Diarone Treas Notice that the diatonic triad qualities remain the same regardless of the key. Fm Gmin Amin Bla My) Dmin Edm The following fingerings show the diatonic triads in F going up the neck from the first position to the twelfth position on String Set #1 Ist Inversion Triads F — B Mazon Duron Tas Just for fun, let's take one more step through the cycle of 4ths and take a look at the diatonic triads in B' on String Set #1 Root Position Triads 25Chord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 Rs 7's R373 Rts Marg K23i4e x23i4x x2dtax x23a14% ° ia re, let * Boks x2al4x 2nd. SRUNT we Cee eo on ic xChord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 77 Four-Note String Set #4 foo fs 7 Sus — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! Foursnote 9th chords are comprised of 3,5, 7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and 3 a down to compare inversions. " Maia co Cmin9 mind's co e423 xxt3330 0 xxl3330 xxl34? xx1243 imerom SEARS . Ise : 0 oon i ee . | | | | 3795 3h79°5 mxt3td xxt312 xx24i3 xxt4t3 xxtai? co =a Tre a) aa dnd eey wey pelty t v ey | . ioe ° os Hits len tite 5937 a0 37 s9b 'soha7 hawk metiis) xx2ats 7 Te 3rd eee vn le vu + i . | |e . W359 73°59 TS 9 mo ee ett li RP XL q ex | @e@en e* ex oeee lee oe! oF . | | fated | ears 95°73 g9si7 9573 95°73 Exercise #1: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 72 - 73. Then do the same with 9, min9, min9’S’s and 9 chords. Exercise #2: Maj9 chords descending, alternating 2nd inversion and root position in the cycle of 4ths as per Exercise #2 on page 72-73. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four inversions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 74 - 75. Then do the same with 9, min9, min9’S and 9 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 76, starting on a different inversion each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|Chord Connections 103 iQuartal Harmony So far in this book, we have studied chords built on 3rds. This is called tertian harmony. Chords can also be built on other intervals. Here, we will look at chords built In 4ths— quartal harmony. We can build three- and four-note quartal voicings on the notes of a scale, This is most often done with three modes of the major scale: Dorian, Mixolydian and Lydian. Modes are scales that are formed by rearranging the notes of another scale. For instance, if you play a C Major scale starting on D and ending on D, you will have played the D Dorian mode. This approach of rearranging a scale to create a mode is often called the relative approach Domeu Mone C Major Scale ee ———D Dorian Mode Another way to create this mode is to alter its parallel major scale—in the case of D Dorian, the D Major Scale—according to a modal formuls. Using this parallel approach, we would say that D Dorian is a D Major scale with a'3 and a7, D Major Scale sea Depree|[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty[op] $14.95 in USA GUITAR Alfred’s Basic Guitar Method ('Auberge/Manus) 30 Book 1, Book only (Reisec) 44411 Bo0k 1, Book and Cassette Tape 14046 Book 1, Book and CO 306 Book 2(Reuiseo) 308 Book 3 (Revised) 310 Book BLL Book5. 312 Books 414109 Ards Basie Guitar Theory (Manus Manus) {asic Guitar Stand Alone Tracks (evn) 14089 Book and CO onty 114149 Aled's Bale Gulta ChoréDitionary Teach Yourself to Play Teach Yourself o Play Guitar (Manus/Manus) 4409 Book and Cassete Tape 44104 Book and CO 4812 Book ony 4431 Teach Yourself Guitar Theory (ison Jerry Snyder Guitar Today 344 Book 1, Book and Cassette Tape 14119 Book: Bok and CD 348 Book 1, Book ony 347 Book 2, Book and Cassette Tape 4405 Book 2 Book ony 4437 Tab Guitar Method 382 Solo Finger Picking 4470 Complete Acoustic Guitarist (Marus/Manus) ‘Complete Jazz Guitar Soloist, The (Escher 3815 00 as (Guitar Ta Pa Guitar Neck Pad Guitar “In Tab” Series 4467 Christmas for Gultar—In Tab (Gree 4469 Manon fr Gultar—In Ta (Manus) {4484 Wedaing for Guitar—In Tab (Sry) 16751. Classical for Guitar—In Tab (Soyer) Rock Series ‘Benning Rock Guitar (Howar 14199 Book and CO 44080 Book only 4439 Intermeiate Rock Guta Howard) ‘Mastering Contemporary Rock (meter 4496 Book and Cassette Tape 4425 Book only Blues Series Beginning Blues Gutar(rnburger) 8230 Book and CD 4879 Book only Intermediate Blues Guitar (Sith) 8233 Book and CD 14480 Book only Mastering Blues Guitar (Ries) 8234 Book and CO 4482 Gok only Jazz Series (Fisher Begloning Jazz Gultar 14120 Book and CD 414114 Book ony Intermedia Jazz Guitar 14123 Book and CD 14115 Book ony Mastering Jazz Guitar Chord/Molody 14126 Book and CO 14116 800k ony Mastering Jaze Guta Improveation 14129 Book and CD 14117 Book ony Guitar “Tab Licks” Series 402 a2 4401 4420 (Hal Manus) Tab Licks—Blues & Rock Tab Ucks—Country (Hayes /Hal/Manus) Tab Licks —Heany Metal Tab Licks Scales & Modes Guitar “Licks” Series (Frieaman) Blues Guitar Licks Country Guitar Licks Dynamite Guitar chs Wee) 3810 3812 3813 eoe-------5 Technique Series Speed Development (St 4484" Book and Cassette Tove 11966 Book ony 4404 Fingerstyle (Mori Slide (he) 4496 Book oy 14106 4498 Tapping (C2p.20 11965 Heavy Meta Mein) 11964 Bending (Simin) Miscellaneous Books Introducing the Pentatonic Seas abe) Book and Cassette Tape Book ony Power Pentatontis (Hale) Bock and Cassette Ts Book and Side umoug « suonrauuo> poy 2463 11969 4475 4471 Book only 44885 Mode Encyclopedia for Guitar (Fisher 14108 Alternate Tunings (Cruos) 7400 Jaz forthe Rock Guitarist row 14148 Guitar Chord & Seale Finder (Fisher 16785 Theory forthe Contemporary ‘Guitarist (Capuzz0) 16754 Chord Connections (Bon) Classical Guitar 7000 Pumping Nyon Tennant ‘Some Towns and Cities (Verde) Book and CD ery Tho Essontas of Classlel Guitar (verde) ‘HS Video ony 4490 santo 3811 Jam Guitar Uke ‘3809 Rock Guta Licks Chord Books 4432. Guitar Chord Encylopedia (Hal) 377 Gultar Chord Dittonary (Man Joe Pass 3220 Chord Solos 23819. Guitar Chords 3316. Guitar Style 3821 Jaw Duet 3318 Jae Guita pouty

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