eee ee — ee te palsy Pe at agMel Bu't : Guitar a aren By Ed McGuireated with the guitar, a3 @ periotmery teacher, tor more than thiny years. Hie ‘credits include work with many top lige Lomas ir the enterainnen! worle, recording nd TV work, enc mary years “on the road” waih~bands, Including his own, Formal studies include the New York Coneervaiory of Mogem Music, the Penn syivan'a Slate Unwvarnly, an independent sucy certificate In “Arranging end. Com positian® cram Barsee, plus private stu. les fs guitar, keyboard, and compost lion He spent mee years of prvate : sks} wilh Willem (Bly) Saver, pall winning jazz gultanst auring the 1950's. He took come classical quits’ instruction Were Aaron Shares nead of guitar suc Paswoar Gonseraiary In adlton © ai cls torma matic taming. he degree wn Pajensiegy and ie = Roaiser eel Music: Therapist win te Neti Association for BU Therapy. He nas worked i the Ponneylvar'a Mental Hasith system ‘a: twenty years, nd lor tne vast live veers has | ess dowrloveng # program o! gular studies at Moun! Aloysius cumiar Gollene in Crasuon, Pennsylvania He jecanily heading up the guitar progrom a! tne sero For many yeire now he has limited his pubic appearances to concerts nd jaz? workstwns, He has se wih) acer focusmd hie teaching on the formal endemic lavel and t> appearances al music se" from the schoo! arogram His approac to the gviter pisces emphesis en m corrsination of physicel end concentush orecerser and he uiges cugents to develop their Incivdual musicisnship, inciucing Mevboers, sigh! singing Sghl fesding. arranging. and improvisationel sie Ws musical smeresis ate varies andi he has develozec college level courses in the area of recreations music skble Jor nonmvsisians. These clesses are well afleades by schoo! leasrers anc workers trom the fied of mental health and ls allied protessions, He 1s a marber of the Natione| Therapeutic Recres: ‘ion Soelely eng noles © Maaier Therapeutic Recreation Scecialie! s repisistion trom chis cipanization. He coes @ 9'ent deal of writing in the music field end has writen mary srltical reviews for aews- Wy wording one felimw-up 10 this ext, which will be a “Harmony Worktook tor Gutar” anc whist will Fneorporaie a lwaciional approach to the concepts preseried ir this ook pepers and other mec. He is praser ‘He! ezmed his Payehoiogy Degree rom Manetiels Stele Collage, Munslioki, PA Pm ppm ia |i Fs iyEd MeGuire is an accomplished guitarist ond teacher. He is also 0 good old boy, ae they say down in the country. A-tharough @ superb soloist and accompanist, his cummard of chordal “comping” and his chardal solos are evidence of the depth of his understanding of voice leading and harmonic flow. yaricien and “His Approseh to guitar not only demensirates his own fine musicianship but his devotion and almost reverence for that moster guitarist George Wan Eps.” “This book will enhance tha gu and chord progression: I recommend it highly. jarist's yrasp of voicings. voice loading, whether a beginning or advanced player. Tommy Newtone “Ed ie t fine musician and guitarist whose yeats of playing and teaching experience make this book a must for the serious student or profesional guilariat. He examines charts og related entities rather than an isolated stack of tones ant devalops good wsaxe Ueaugh tonal cycles George ShearingPREFACE ‘A good chord method should, figuratively speaking, “Try to light # candle rather thar fill a bucket". The following pages do not represent a complete dictionary of chords. | have tried 10 approach the problem from = musica! Stendpoint, rether than @ complete series of chord possibilities from any given root tone. Diagrams are used ta speod the leaming process The ed forms are the importent factors — | strongly suggest, if you are ® beginning student, that you work through this book sided by » qualified teacher. [t will provide a most valuable supplement to = regular course of instruction. & good teacher will be able to exoand cn the material and provide you with musical examples so-you may mut the knowledge to practi. cai use. The order of presentation may be changed to enswer the needs of individual students | suggett that it be introduced as soon as the student begins scale studies, The difficult fingerings will be most frustrating If the hand is not fully developed, so these shoulc be delayed. Learning chord formations is an-easy matter. Leaming chordal cantent and understanding tonal functions requires @ great deal af study. However this epprezch will make much more sense it will make you 8 much better player. Study the following material siowly and thoroughly for best results. | sincerely hope, at you mark through the book, that | have oeen able to light a fen candles Ed McGuire in your mind, (Gcopwit 1975 by Mat Bay Pca Ail igs Reserved loseaiona Copa Primed Ie US. ee a ee | — eee ‘a Ml ee eee Se ae ee PPP ACTUAL PITCH OF THE GUITAR 1 when playing chores on the quitar is that it is actually a transposing ‘An important thing to remember an it sounds, So, actually, when you play the instrument. Music for the guitar is written an octave higher the tow E" () string written tke this ‘The note whieh i gunn's — = “Thie means inversions must be handied with care_andZopan spaces should be between low noxes— ey Se = 2 sesctuatly “wounding? -EEEEERS==— sous open mses —S = This is probably one of the best sounding chords on the guitar, when the instrument is proverly tuned.FINGERBOARD HARMONY Learning chard farmations is @ relatively easy matter, Uncierstanding the theory and structure of these forms is more complicated, This entails more work at the start. However, the results are much more fruitful. With @ theoretical understanding of the building of chords, including the functions of the tones, it becomes possible for the student to build any chord he may encounter. (regardless of the complexity of the particular chord) ‘Our system of harmony is based of intervals of thirds — tones combined with each other, three steps apart. Cherds may be defined at any combination of theee, or more, tones which ere sounded at the same time, For example, this This combination combinstion would would not be be called a chord ‘celled & chord For patter understanding, we will begin our study with a knowledge of triads, which are three note chords— ‘there ore four basic triads: they are (1) Major (2) Minor G) Augmented (4) Diminished, The tanes in the ‘viads are dean from the scale which would be indicated By the name of the triad: For example: C major-tones from C teal F mingr-tones from F G aug-tones from G scale D dim,tones from D scale t then becomes obvious that we just know. the 12 major seales as 2 pre-requisite for a swudy of triadic harrmany We will start our study by building the four basic triads using the ""C scale as our source of materi The “Root”, or the tone naming the triads wrll be (in this instance), “C”. EIST; Write out & = 5 oe vate SECOND : Use Numbers to indicate the various tanes Using this as a souree, can now begin to build our four basie triads using the following formula, @ Major iad = 1 = 3 — 5 tones from scale @® Minor tried = 1 — 3 — 5 tones from scale. @® Augmented tad = 1 — 3 — 45 tones from scale, ® Diminished iad = 1 — b3 — 45. tones from seal. ME a ee ee eT— lll ‘_ ah Now let's notere -esch of there triads! C ai. € insjor C mir Co af 2 ——— Bee ate et T T aad T T ‘The diagrams indicate where those four triaés can be played. Play then and listen to hort they sound— in time, you should be able to recognize the different triads by sound alone. (Memovize the formule Yor each ofthe four triads) ‘Now, let's build the four basis triads using the "G" scale as our souree of tones. G major G minee © sup. 6 dim cae) | OT The chordal tones will always be used in the eotrect sequence ~ for ex: never spell G sug (G — Eb} — Though DE and Eh sound the same, E> is incorrect when spelling this chord ~ a good way to ra- momber this is as follows: if the root tane fs on a ling, the other two tones will be on lines. Same anplies if the roat tom starts on a space. F enajor. —G major A minor di, =“The scale tone in each triad will remain the same — use Hl; b : or 4 signs to lower ar raise individual tones to conform with the formula. For example Db major would be Db — F — Ab, 1st, 3rd, and Sth tones from the D? scale. Therefore Ob miner would be Db ~ Fb — Ab.end not Db — E — Ab = This would be incorrect. Keep the following pri Nes in mind — Use 2°’ * 10 raise a natural tone. Use a “6 to lower a natural tone. Take away the ’b” (via 4 ) to raise a flatted tone. Use # double “b" ( bb } to lower tlatted tone. Use a double “" { +] to raise a sharped tone. ‘Take away the “f" (via } to lower asharped tone, @@8680 Examples ratural ralced lowered sharped raised lowered ‘These principles become more obvious when you bulld triads in keys with high 4's or b'sin the key sgoature, B vale Example : pial = Bmsjor would be: 8 — Dh — FE ~ B minor would be; = B — Of — FR oe ee eee Bovg. would be; = 8 — DE-— F* B dim would be; = B— D3 — FR Db seale Anather example: D> major would be Db -F ~ Ab 2 Db minorwould be: Ob — Fb — Ab i ap 8 Db aug. would be Dh F— ab i eit csi M : Bb dim. would be =; Dh — Fh — Abb Fe-read all this material and then build the four basic triads in all of the twelve keys. As you build the chords, try to play them on your guitar. Almost all of them will be aveileble within the first saven frets — if necessary, use a diagram of 1st 7 frets to make locating the tones easier. ae ee aa oe oe Se El a a es *eiiee F hee hee ken * ee ae aeee eae ee ae er ee _ DIAGRAM FIRST SEVEN FRETS Usinabs’ Remember there are only two natural half steps in our method of notation. They are berween Bandc — & and F— 4 These tones may be indicated other ways when spelling chords. o> = is Example SS Kesp this principle in ming. 1s that you_must use available tones on three consecutive Now try building the var wn ng on the (2) string ~ below aro some examples: rio strings. Thus, you eould aat Bulle Fvsjor ubmsioe Te oT 1 (Todi would represent the lowgst possibilities of triads which could also be made minor, augmented, shed. You can play other triads (lower by 4 step} in each instance indicated above — however, you could not farm the diminished zriads in these open positicrs — For example: Gaim Cain SS Now bepin to prectice the various forms of the triads — using the major chord as a starting paint isnot Try it, and see why. possible ae You would have to mave to Is not possible Oth fret & play Con(G)siring, in open pos “The diminished Wisds starting on the low © (6) be exaet) finger these using 1 — [For example: Fingering — 1 <—2-— nd A, (B) stings will imvolve quite astretch, (5 teats, to D dim ‘The other strings will conform to “position” fingering. os Cite Cin romiag [iiigcith | eee Chet) —a— ee fess, 1@ 1 Fae eB EB EEE EEE EBR EERE EE ETa ee ee ee | Up to this point, we have been building triads in root posi and the Srd and Sth tones appear about in consecutive order. : Name of chor! is the low tane, Cua Fea Gwilor Feng Cadi All ia f90t position x ‘The triads are also “elosed’” — je: the three tones are ef clase as postible to each other. Mare on | this, later ‘There are two additional positions for eaeh triad. They are: 1st inversion and 2nd inversion Example F major Root position Raat tone is the low note of the chord, F majar Ast inversion 3c tone is the low note of the chard, and inversion 5th tone is the low nate of the chord. fae that the inversions do not conform to the “ine — line — line” and "space — space eae formula, Formula for minor, augmented, and diminished will still apply. Alter the appropriate tones, regerdless ‘af their position in the tried __ Exemple tt F minor on Istiny. Ind in ni Now let's look at the inversions in relation to the guitar fingerboard Tn “open” position Rast pes, ist inv. 2nd inv, C major x Sto OE Sei Try these ~ Be 7 coretul to play ET G only what is im. [dy sicated Ras aOR akaIn'2e position foot pos. tet inw. 2nd_inw. oma fs et x xx ex x xxx T r F . s q Ca) [e { | Ras a5 8 a Rae Invertions make ehordal movements sound much more interesting, and add 2 professional touch to your playing — if handled properly — = Learn them well — In “2nd “ position Root Pos, Ast inw, 2nd _inw. A major Ras a Now take each of the 2nd position forms and wanstorm them to minor, augmented, diminished. If we use the form starting on string (4) we must move up the fingerboard for 2nd inversion. Root Pos. ‘Ist irw. 2nd inv, F major an oe eg g£' ge ef ef Te ie ge ="ee ee ee ee | ee ee eee ee To pravide » complete dictionary of all four basic triads, plus aheir respective three positions would také'a substantial volume, With the material provided here, you have enaugh “starting material!” to work them out yourself, Make a complete diagram of the guitar neck, and explore all af the possibilities which are availeble, Just being able to play each of the four basic triads, in three positions, in ail twelve keys, will provide you with 144:chordis. [there are mora — just took! | Tones in the triads may be doubled, giving you more than 2 thie note chord, However, they will still contain only thee different tones. : For example € © H | EE maior F majo The F major utilized the Ist finger barre and conforms to the harmonic overtone series. ‘The 6 major has two rds {€) Int so goss according to traditional harmony} — however, very good sound on the guitar. on in of the barre chord If we are going to move “open position’” chords, using open strings, up the fingerboard __ We have to use our first finger across all of the strings at ony given fret to replace the nut, where the strings eross on. their way to the tuning pegs. For example: moved up ¥ step becomes TEXAXAD] moved uv w'step becomes So, 18 ean move any open position chore up the fingerboard using this proces.‘Try moving same othe open position chords in this manner. Some of them will be most difficult to finger and very Imprectical. You'll discover these when you try using barre to move them. 6 String Forms, involving the BARRE (still containing only three different tones) except the two 7th forms Fm Fin ean fn Se BIT LI@ G » Oy z) t Roo Raa & ie BH | pir a 6 = = = S Root = 7 + Those are the basie barre forms. Move up the finger board and be able 10 ame, end play them — in eny position. These two forms have b7 tone added — actually four tone chords. Move about Tihs in next section, Bb maj Bb min, br bint BD i Te @ » @IT1L® 4 ® 2 4 On Oo [GQ | BRB Ra 5 sks rb o BR Eby 3 oe s Robie s + Tria EX Root ‘open position | tenths) Remember, the previous triads were in “closed position”. The tones followed each other natural succession, one after the other. When we open thé triad, it presents a cifferent picture, There are, now, ‘open spaces between the tones. (Note barre forms) Example Camajor e C mijor os =k Rect position roped” The micdle tone jumps an eetave higher — the same principle agplies to the inversions ee ee a | = 4- — eee ee Exanale 2nd inversion 2nd inversion "closed!" "open'* Minor, augmented, and diminished forms of the triad will “openup" in the same manner — just alter the a9propriate tones. ‘These forms, applied ta the fingerboard, providea much fuller sound” than the elosed position triads. Let's apply them ta the fingerboard — Here are the three positions of the G major triad — root position, 1st and 2nd inversions, G major ee r These ore the three major forms using strings (8) (83) — They | | tre available sing Gther string com 14 eters. binations. Use your diagrsm of the reckto find them. They are abundant. these three forms may, be transformed into minor and aug- 1st inversion mented by elteing appropriate tones. Forget the diminished at present, We will use a single form to represent this chord 1 2nd inversion (EE ter | x xx as | ‘Ab major (root position} = @) |Fingering for various forms will remain fairly constent_There may be some deviations later Abmin Abaug ® T Root Position ‘Abmnaj i All rest position forms using this string series will alter ia exaetly cf + the same manner, ty 1st_inversion F maj | t 3 Ro ba Ros 3 Ris emeed | mh = ——— = Now similarity between Ab) pug and C aug. a a a a Ie I a a eeee CF Ce OF CP CP OP CP OP oP oP oP OP PP PP oP SP This covers all posts in mind how it repeats iteoif every Sra! time. wee! form. [Incamy % oe es excent diminished. We wi use the fame form for all diminished, keening eT TG L| @ - Gh, G = Bb — Ad b— GH - ee fooicel ae This gives you all avatlables — remember, if we move to Sth fret we repeat the one we played on the 2nd fret_This is most important! MOTE amin Two forms cover 7ths using =x =n xx = EI SS ort Ce 2 by a a be x Bbespr 3 Ele ! $ x * ser | eon 1st Inv, a he Tet In. a + es at ale Gr ) e Ce EET T® These forme are available in abundance. Remember, the lower forms of thete open trlads will provide the best sounds —The following Etude will demonstrate 4 few of the “movement” possibilities of these open triods. 1 isn’t too hare to play — listen to the chords moving from one to the other © co F re ab bm Eby ab aby | 2 tz bo Db pb eb chm De Db? c “Try writing some of your own. The possiblities are encess_ c E € F 8 a bb es oe te fe 2nd inv. Tati Ropes tet iw, RoR Tat iw,’ pos Kind of interesting movement ieading from ¢ to Db. © Ab E 4 » ub cb oub : mid — Notice how smoathly they move — * SEVENTH CHORDS al Up to this point we have been disoussing triads, or chords contalting three different tones. If you remember, we stated that our system of harmony was primarily based on intervals of Src, If we add another 3rd on top on the triad we have a 7th chord, Note the new tone. It is the 7th tone of tha C scale, es a vo This is the major seventh, or the natural scale 7th of the particular scale. It can be found quickly by thinking back % step fram the root, to the maxt alphabetical scale degree. There are three kinds of 7h intervals used to build 7th chords. They are: major? minor? aim? ior Pth The major 7th The oS root Foot root eee tooo aaa oa RySra BP er Ser Sr ee SP SP SP ee ee oe oe ee oe ee oe We are now ready to begin edding these intervals to the basic triads we have already lesened — (if ‘you haven't, don't move ahead) There are four basic seventh chords. They are @ major 7mm @) minor 7th @) Oominent 7th, and @) Diminished Th. Through an alteration process af the other tones in the 7th chord, we will expand our vocabulary to many more than faur, 8 we proceed with our study of the sevenths. Three of these appear naturally if we harmonize the major scale, building a 7th chord on exch tone. ramps | Cmajz Dm? Em? F maj? G7 mT Bm7bs ome Mo yivelet leap ras Les e = 3 ==. Se 5 iO v vi “ Major 7th chords appear on | and IV tones: minor 7th chores appear on if, ii, & vi tones; dominant Tih chord appears on WV tone —The chord appearing on vii tone involves one of the alteration processes ve talked about, We will discuss this, 8 we move aiom The 7th scale degree should always be indicated by its eorrect alphabetical name in relation to its Root. For example, don’t do this: dint a feat Theoretically the “A4” in relation te the “C" root is the 6th tone of the scale, not the 71h Try to name the three different 7th intervals from different root tones gjor7 minor? dim? Work through all 12 tangs af the chromatic scale, using them 2s root tanes. Name the 3 kinds of 7th intervals for each root. Work with this eonexpt until you understand it perfectly. It will be most importent when we begin ‘to build seventh chords. Ge back to the material on the four basic triads and review. Make sure you know, 100%. It will pay dividends you never imagined. finished 7th thord would eopear on the 7th degree of the harmonized harmonic minor scale.The harmonized minor seale prasents many interesting harmonic combinations _ We will discuss this ‘more fully farther slong in this book. Now, let's build our four basic seventh chords, using our triads as 8 foundation and ecding our various 7th intervals. = 1~3~5~7 tadd the nstural sople 72h to the mejor triad) Q) Minor seventh 1 —b3 — 5 57 edd the lowered natural scale 7th to the mingr triad) g) Dominant seventh = 1~3—§ —b7 {add the lowered natural scale 7th to the major triad) 4) Diminished seventh = 1~ 9 — bS— bb 7 (add the doubly lowered natural scale 7th 10 the: inishes triad) Memorize the riumerical formulas. They may be applied to any given root tone, ‘These four reprasent the basic chords. It's fairly obvious that there are other possibilities For Example] The major 7th could have the 5th tone altered in either direction ‘The minor 7th could have the Sth tone eltered. Also the 7th tone, ‘Thedominant7th could have the 6th tone altered. Here are some of the possibilities: Comaj7 bs cm7bs crs ons Coin maf? = = ‘As You can see, there are many possibilities Some alterations will not sound as good 03 others, Experiment with the different alterations and combinations. Let your ear be the final judge, Some combF nations will sound like other chards, Add D root to C maj? bS and you get a beautiful 013 chord, ‘These pussibilities (and there are many) will be discussed in a later section “chards performing variety of functions."* Now let's bagin to apaly our knowtedge to the guitar finger board — We'll start with a “"G" root position which will make the four basic 7th cherds reasanably easy to finger. tOrdinarily, « 7th chords involve difficult finger stretches — with some exceptions which we'll discuss later on) Example 7 eae 8 eg G major? 4 t t ; 20 Twat ttt It atta aaa aaa aaLLev's back up to the G major 7th and see what we can do with a tonal rearrangement Goi? Let's use an open "G” tried in roat position ta begin, Gmnai? c ———— Now add the major 7th to this. a wer 7k We naw have a good sounding, practical, open position major 7th which looks like this: Gaal, Kx { This form can be transformed into the other 3 basic 71h structures, Rs73 OF x x Another very practical maj. 7th by an cctave. ing, in this position, may be obtained by raising the Sth tone of the previous Gm? This is excellent voicing for this | particular chord — good fer all Purposes. é ‘The other three transformations are possible: cr Gm ote ROTA R bop Ro bya 5 s 7 All slterations are easily available :G7+8, G7 66, Gm? bS, Gm ms atl of these further along. You may experiment with some of the discussed fully later! a oa a oeEe} ier B we Rabe Another voicing for G maj7 Gm? lake sure strings (5) anc (4) are jot included. Dauden them with | 1 @ inger 2. OI Po eee The other ties transformations are posibe: © Gan on xx xx xx aber one fret up to Ab7 requires using Ist finger on $87. i) , Theis forme are good Tor Howor { 63 accompaniment potters, Good as STL TE) 1} [apressos, = ® ba bo bbe e "ae x og SS SE SE Ss 4 Ss oo os oa oo OE Os Os Oea* q Rs br ba fe = = SSS Make sure you understend, and know, the notated examples of all these chords. Remember that learning where to put the fingers in the eary pert. Know each tone’s function in every chord you play. Here's @ good 1st inversion voicing of © mai? ‘Coal? The minor 2nd interval in the middie of this chord gives it amost unusual sound ~ good for “coin ping,"" ballad sccomp ~ etc — Not good rhythm chord. bP fF foto E DRS Transformations all pestible te Cm7 or xx is xx 2 |] @Ie E All of these chords move freely up the guitar fingerboard. Thenames of the chord roots will change with each move. You should be able to “spall” any of these formations, regardless of your position on the fingerboard. Remember, always name the chordal tones in relation to ‘the major scale suggested by the root — for example, don't spell above C7 (Of —A—C— FF}. p’DhU§ 2% gs’ gt i mmWe've looked at the majar 7th in several position: up t© this point, Now let's see what the sme chord looks like on the top four strings, maj? aj al Fal Bb mal? Eb mal? Rae? 3 All trensformations are possible. You ean iorm each of the other basic 7th chords by making the necassery alterations, which you should know by now! The Eb maj? is a chord we've already had; this time ‘we've added the Sth an top of this chard Remember, all thoie chords may move-t any fret on the finaer- boerd, new chord nome will be determined by root ‘aie fost. a We've aiso had another maj? on Ge } top four strings. Remember: RS 8? Along with our discussion of 7th chords, we now have 9 new inversion. (Remember, te triads may ‘eppeer in three positions — root position, Ist inversion, and 2nd inversion, With the ended 7th tone, we now have a new position: 3rd inversion, with the 7th tone as the lowest note in the ehord__This is a good position, but one which requires ca © major Tu Exerpt [B], these are good closed voieings for orchestral arranging Example: | Rone hog. Ft Inte 2nd te Bed Ine. “These are the theoretical inversions possible, with the 7th chord in closed position. Itbecomes obvious ‘ther{B], 15t inversion, would be a most impractical sound, The minor second between B and € notes needs another tone above fo soften this dissonance, and provide some supnort. Each of the other tanal arrange ments are good — however, impractical in most instances as @ guitar woicing. Remember, we said that “open voicing” was the most prectical way {6 translate 6 chord from “paper to the guitsr'"_There are some good sounding (but hard te finger) closed position chords available we will talk about them in e later section of this book — All four chords in about example would work well if the 7th tone were lowered — G7, Cm7, C97. 2 Se Se ee ee ee oe oe oe | Tf Ff EF FT ffPreviously, we mentioned that certain alterations can be made on the besie 7th chords. if you have heen experimenting, 28 suggested, you've probably discovered some of them by how, Remember, that _ any tone may be raised or lowered, Each change means you must now call tie chord by @ new name, Some alterations will rot produce an effective soure/__In mast cases, your ear will nate this immediate. [Discuss these with your teacher). For purposet of examale, we will make alterations an & few of the basic forms which were presented. Ta encompass all of them would make this presentation much larger than intended This is a good essigament for you to do Alter all of the chares which were presented — Do this on paper, eway from the guiter__ "Finger" them this way aiso_ Then try them on the guitar $0 you ean double eneek your fingarings — Far exampler we will use two basie forms: maj Cmaj7 = > & 7 abs [ Remember, these alterations are posible on almost avery one of the chords presented so iar.) Lev’s beyin with the G major 7th form — @ Lower Sth tone (pn tf ff Tt fT G majnbs eu i G marbs This voicing gives tanic major 7th } SS _a most interesting flavor _(e net A Ss: 2) Sj use, if chord 5th happens to be | = eoalody note of song. LTO > a} x : = & f " 1 oe ae This voicing is most unusal and u ; Fe——] strange when used in this context cy I ispossibieshough your ear should oH = “be the final judge in this case, @ Lower 51h tone of Dom 7th x x A ae Airy Yond contenrporany sao i overworked) sound, Use on domi nant 7th for wnususl flavor — {Avoid this one if 5th tone happens 10 be in melady of sons.)(W) Raise Sth tone af Dom, 7th ores T aaa rats Very goad slteration of dom. 7th. Te wants (0 resolve to G raj? or Am? + in mast tases ~ (Go not use if co) chord Sth is melody of song) Rb? gs {The 13th chord will be discussed, along with the added Gch chord, at a later point. | (3) Add major 7th to minor form tone of min?eh Good alteration of minor chord. Use with care This is “high. tension chord — (Sounds bad with G melody note; lov H Excellent, and most usable alter ation of m7 _ Wants to resolve to dom? built on Greot, (good abways, except with chord Sth (OD). in melody) = Fo ¢ kh bz ba bs GQ Raise Sth tone of minor Gie7 sus DE | ‘Gm? sus DF Good for very rare use, and then 4 SS ara :. x br bss [minor 11th chord will be discussed iater.] Liece are five additional alterations, er positions These will be discussed fully in a later section x 66 Gms x Sll_» Gm x 07 sd I j 1] ) ial Tt i pak @ em are SS) ns a) I aE | tI | ry I Peel | e ga5 a obs 5 Roby aus 8 bbs a K Seauas © These forms are presented at this point so they are available for you to use You will find these included in guitar parts af Most bane arrangaments ~ consider the additions! tones as scale tones and they are easy to analyze. Fn BLP eee ee ee oe oe oe | ee oe(© bie 7 wid adel ecaperaion KO? sus Eb x ] 7 Usually resolves as indicated ~ Very ecod additional tone to cim7 used t3 passing Tone between ta chords = R be bby ba Remember : The diminished chord may be called by any of the noter it contains Due to perfect minor 3rd construction af chord — the dim? contsing 3 minor 3rd intervals Thus, it will repeat itself every three frets. USING THE C MAJ 7 FORM Flat the Bth tone C majzbs * C maj7b5 Good “ending” chord far unusual = fins Misha’ gure plana, Or arian H 8 Chord instrument, plays FS long eae ae ae ee ae aE aE aE Ee 3) _ with you : [GD] tatso good substitute chord for 013 "Try it") ROS 7 9 @ ise the 51h tone : C majds Cmaizis This chord appears as 111 chord in harmonized hermonie minor seale— In this instance,the scale would be = ‘A minar. G3 (Good chord for special effect.) Ris 7 3 [th o.oo Eo odSLE EP Pe PP PP PP PP ee oe Pe oP SP @ Lower, Sth tone of dom 7th cs x etbs A good resolution chord through circle wf 5ths 10 some form of F chord = (Also analyze as Gb755) Resolve to F chord er A minor FE] chore in most cases, Theoretically, fe. inner Tones want $0 reas ee \ &. : EL@y Ros br os ©) Add maj7eh to minor form __ om (maj?) Cm (mai) Goad eddition to the miner tried, S———] Da not use if chord root hapoens aa. SS tobe inmetody of song — RS @ Lower Sth tone of minor 7th emrhs a “| cosths Excellent resolution through C5 to 72 next dom’. {In this ease, F7) Notice bS—— Jit is also ABQ, without root, and a e Ebmé chard GD Raise the Sth tone of minor7th aa G? EntausG x [ees et } easier ta play nHere are five sdditional alterations using the “C” form. More discussion later on high extensions. cms 13 Cnt chat a ay] © Hot i Roos Rebs Rabrum | Rabrbs Robs Some of these are hard to finger at first, but will “come along" with practice. Thay are all worth lesrn- ing, There are many good uses for thete forms, 4th tangand 11th tone are the seme note.(en octave apart) @ The ciminisned 70. or x x ar LET Good chord to use as passing tone between two other close chords — Raat can be any note in the chord, i be bbe ba Other forms of the diminished seventh chord x al x oF xx xe or x Tw] i ni fe By 16 2) a Lea . aye (ee i y L{ TT it | 4 batby bs wba bbe abb7 & ba ® 4 | 4 bo be Flemember how these repeat themselves every rd fret.— Also chord may be called by any of its member tones —. The Added 6th Chard[ to the tonic major and minor triads) The 6th tone of the scale-may be sdded to either tonie major or minor chords as another interesting, though overworked, colar tone The added 6th does not appear in our regular series of rds, until the 2nd octave —It then functions as a 13th chard — [See section on Oths — U1ths ~ 13tha). M fn se 2c 8 et weeeeeeee ec ee ee Oo= Added! to G tiad, gives us G6 chord. The close-interval, of a major 2nd, between the top two Tt notes (D ~ E) is not disturbing__ Needs no support above — It functions well. as an adc nto the minor triad | This gives a more resolved fesling to the tonie minor triad, Also sounds like a 2nd inversion dominant 8th chord built root, (2 Sth below root of m6) also sounds like a tet z inversion m795 chord built on "E'" root, (a minor Grd below root of mB}, tha 6 Much more on this valuable substitution Fazer. Good, practical forms of added 6th chord lower 3rd 1/2 step for m6 chord) Using For lid aoe = > uo ‘Third chord in this series takes some work, Root may be atided to last chord on Sth string Grd Fret. (lower 3rd % sten for mé chord) [Using “G" root See xf ix Cor cI Cet oH a) ) 1 | (B mk i Ge LI Rae © 5 a8 é : == : 386th Chords in closed position available using each series of four strings a Fé oe x ube Here's enother, smailer, G6 form. The form on the low four strings is possible, though extremely diffi- cult. The ether twa forms become easier to play. All of the difficult forms are presented for “what they're worth”, They do pr unusual guitar sounds, especially for chord melody playing Aleo avilable * 2nd inw, oa 5R in the book form Notice the exact duplication between [6 and vi m7. We will discuss this in detail farther along | Use of added Gth, with 7 and 7 ee x maj? @ rather common progression of chords 38 gc EE “Hh “Eh Tf Tf © FEE £8 Eg gE 2a" Tt 2Additional forms of the minor with added mejor 7th F wistmsi7) F a ng) % « : * ee Pc | a i | lake TI 2 i D @ ae | aya) Riley bok eng nabs be Note the relationshig: between the upper three notes of this chard (b3~5— 7— to the ougmented triad built on the raot of the relative major chard. Using this concept for substitutions provides some unusual opportunities for movement. Example | (using F+ at Sub. for Om maj7) MX xs i “4 awe sts, to Sth fret Inner string forms may be utilized also This provides movement ‘opportunities without getting ma complicated fingerings — © =____#3 SSS 9TH—11TH—13TH CHORDS ‘Three additional scale tones may be utilized to complete ‘our chord nomenclature These tones are feund through an extension of the scale by another five tones beyond the octave few chordal tones — 4 rie Z == = ose t = RERERREREPELELERLEERRL L i ie oRi «=, | pipininipin ‘These extensions are easy to remember. The Gth tone is ona whole step above the root; the 11th is the seme ag the 4th; the 13th is the same as the 6th Tf we add another Grd to our 7th chord, we have @ Sth chord =F F— The ninth itsett may oh: = —— appear in three forms, = ——— = - vaturally ‘alsed lowered It must have the seventh, in some form, for support. Added to a basic triad, it becomes @ suspension: § Let's look at various Kinds of 9th chords How thay are symbolized, and the nature of the other tones in the chord, @ co -R-3-5-b7-9 5 @ c7s9—R-3-5-b7 49 ©) c7#9-A-3-5-b7-F9 Thete ve the forms of the dominant 91h chord, Built by adding the 8th to the dominant 7th chord — ‘Two other alterations would be pessible if we alter the Sth tone in either direction. Each form above would five us 8 dominant Sth chords As follows: co cass cobs. rhs cries Cabos TAD. cH9+s crtabs = ee @ cmajg -R-3-5-7-9 @® cae —R-3-5-6-9 ‘As follows: Sths could be altered, but with care cma co. —— = & =a c = © oma -8-b3-5-b7-9 @ cmos -a-b3-$5—h7-9 G@ ome — 2 -b8- 5-6-9 5th tone alterations possible @ cm amaj7-n - $3 -5-7-8 cme enshs Cnsi9 As follows 8‘The complete 5 note Sth chora are not always possible Most suitable voicing for guitar eliminates either 5th or root tone__Very few forms of the Oth are available in closed position Lets take o look at the forms available on the guitar fingerboard — Gs with root x Toot for this formisposs- ‘The form without the oot is best bie form for altering. GOb5 or GO45 vould be easily available with 2nd form—alio = ° Complete form YF is available — 4) ¢ @ with root (EMRENE) ia ene aoeaees best for ae alterations — (See | 5 ob Rab oe The previous three 9th forms will cover most any situation at any place on the fingerboard. Almost all alterations are possible, Try some of them With higher extensions it beeomes most important to remind you of the sounding range of the guitar — don't add the Sth tane on the lower strings — unless for speciat effect 40 Ea LEEEELEELEELEELCEEE ELDominant 8th Chords Across the Board [Incomplete forms with root and no fifth] o ° Exch form will transform to minor 9, to 799, and to 7 49, Try them all with alterations — Hare's @ good, closed position dom, 9th using the top three strings open — 49. ul ooo af This is a beswtiful sounding 9th Cannot be maved, due to scute BW fingering problem. a There are many chordat possi TT iis ung Open sg vat Bos tion fingerings witich will be: dis- Sens lew cussed In section ‘ited "Open string possibilities = rt Es ‘Soma Altorations on the Dom. Sth chord cals ory The Sth tone may be raised ‘or lowered on each of these chords — Giving you six more forms G 815; G2> 5; G75 O45 G7E9+5 G74 obs Per farrasab abby ‘The 79 chord in a series, across the boercl. ‘crby xx The Sth tone may be raised or lowered on thew (16 gets a little shaky) 6 will give you forms which will resemble G3? chore Try ther. C will be Dim.7th chords except where root is included) rues 5 #8 a) s abriy ee included — covers all melodic possibilities x This can be done other ways This fingering keeps you within a short fret spen — covers'all melodic possibilities _First chord is only one with root included, [6 fret span} fis =| Theoretically, the ninth tone is possible in almost any position in the chord It ix best when it is above the root of the chord = however, even this is possible if handled carefully__ Ex: Different voieing possibilities ~ (closed positions) very good | ———] = Pat so good] [Better = root pot Isc, ad iw 3rdinw 4th iow, The Sth and the Sed tones placed next to each other is 2 good voicing consideration. Just remember that this combination needs support above — Sth or 7th — some of these are possible on the guitar FD by. “Thate theee have the same tonal set up with 8th and did edlacent, Use the Tst one with care = It becomes BY | CEY | more tunctionsl as it moves. up 7B) Me fnaertoar : _| [Some transformations are possibiel toa aby [Tevther | a!!! sae28, 8&8 « *. oo oo. 59 Good 9 here puts co Gee 8th tone to0 love 7 handle carefuily. au Gs xe ent oe ee 7 jee - Ch Gal | | LE) | | | | ana 9 » aThese are possible_ Try them There are some very good, closed position, th forms available. Most of these are hard to finger, but are possible Bb9 Eb ore Note rot above ninth in 66/9 form — good sounding due Interval construction — (use af 4ths! note similarity of maj7/9 forms to Wi om? — good tor substitution purposes Rect of “F" form available by moving 2nd finger across 10 4th string (seme fret) These ore possible, but need 2 lot of practice, If you like, just elieni- rate the root tone, and refinge the chord = you tien have ast inwersion form on the fingerboard. (Bass player can easily supply root) Remember, these are possibie. Fd ye forms in open position [1st _ using the" They would not be good rhythm chord! Fro 1e good forms for “comping” — are also good as arpeggios and very good for chord sale ‘purpeses_ Remember — Learn the tonal functions of the notes contained in each chord. Trensfermations BCL @ 1G as LEM EEL EREREUTUULECIEVTATIASTLarger forms of the Sth chord (eont'd) . 8 i em ee te Fle AF aversion. fer — Ge tettem [bay tesa, [as “fore bosl wate 10th form at te) ‘bettom three naves— LOT) @ [| @ ‘Ab maj7}9 (Adds) i) I ‘Very rich texture in these forms — Notice doubled tones in 1st two = rd form hes major 7 and 6 tone ‘along with Sth _ SSS ‘These are not goad for rhythm purposes Theyare good for sustained effects as ballad accompeni ments, and are good for intras, modulations, and endings — More large farms (using “C" root] —note the use of the thumb to meke fingering possible — emai 7/9 co) cryebs eee ee ee eer eros | \ | 4 & a 6. — 2 ee es . = = = os 45t ELULLULELLULELLIUUELAGEd [ Vive ineluded the #11 with these a C en forms because of presence of Oth “+ in chord and because of use of the Shugsbae These forte Rae al funich tke them worth the learn ing cffort__ They are excellent for special effects, good for “chor narmonice’ T] For V-l ending, this is beautitul substitution — S— | [yas rarmoni t ¥ cs Anather “Glosed-Form” — this time an altered Sth [natica howe smoothly it resolves] ebviy Dmaj7 pe Db emai ai ) Bb @) Listen to this $9 move into a tonite 6/9, Enh9 EbGI9 [ | B i) & Fi ‘These fingerings are not easy — with practice, they are possible and provide excellent sounding chordsDominant $th chords may be transformed to min® chords. Simply lower the major Grd one fret Try this on all previous Sth chords — For example ani gs ee Gee plait Note all three root pos. forms without Gnd ‘oot included Transformation to mind, via 3 =a also gives you major 7th form on root a minor 3rd shove the root Aliso Eb mai? of the domo 1st, inversion chord This cm is a good de | S vier for subst == tution purpases. = x Also Abmaj7 ee ‘st loversion ations on pre “an ‘vious 8th forms — some ‘will work — some wan't, Minor 9th forms it a good “low form, utilize - ——| ing the bottom & strings, Trans. forms to m6/9 nicely. Previous Cm9 transforms to min6/9 alsa koa 6 0 Move Srd finger across to (6) string | 0 caso if you want root in cherd — Gmoy ah Think of this in relation 10 E4| root ~ it then bacomas &bmaj7b5 (1st inversion) (good for substitu: ns)Ebmoy9 Here's one involving quite 2 streteht F — I's possible and practical A & fee—— beautiful, closed position voicing — 2) P—S—— [also works with Abes implied root — an Ab13° with the chord Sth included. ] ‘There are many possibilities, via alterations on any of the forms you know_ Remember the importance of knawing, and understanding, tonal functions —_ ‘Two good forms of minor Sth chord (Actually suspension; doesn’t include minor 7) Emo Am? In open position 1 ELEELLELLLUULLEELERELM a om ° 900 80 9 | B) | ‘The minor second interval in both ® ‘of these forms give these-chordsa + unigue sour. £m8 may be fingered | | = 24, (¢ Moving these forms up the neck involves the use of the barre and they become extremely, iffie Fm pb Practice changing back and forth, mC) I moving up the neck one fret at a time. The farther up the neck, the easier thoy will become. (Due to frots being closer together, ‘These are wall worth the effort — they are beautiful for ballsd accompaniments. ‘3811TH CHORDS “The addition of the 11th tone ta a chord gives It the feeling of sn unresolved suspension. This is most commonly indicated in the chord symbol as susd. The 11th may appear as part of a tonic chord but its best use is es an extension of the stominant, (The minor 11th is another cammon farm of usage.) | think of the interval es follows: (1) If the chard contains b? as an active tone, and perhaps Sth tone also, call it fn 11th chord (2) Ifthe choad does nat comtld thete tones, call the chord By fis name and add. suré to the symbol, 3 the seme ton Ate ules Sa ee == =f ee eee v > ° ‘Theoretically, each additional extension needs the support of the preceding extension(s). For example the Sth tone would give the 11th proper support__The 11th tone is e Srd step above the 9th and it may appear in its natural farm or raised 4 step. In this case the chord would be indicated by +11 edition to the symbol = This symbol would assume the 1 rork it closet coettiots presence of the 7th & Sth also chord Sth__ If the chord Sth is not present, call the chord $5 Se C#11 = clos. pos. with "G” omitted eall chore C3b5. + - In major form, the 11th theorsticslly replaces the 3rd tone__ In minor form, it will replace the Sth tone These wauld be the normal resolution tones, and you'll find many examples of usage which will contradict these stetements__Let your car decide. An excellent way to think of the dominant 11th is to picture a m7 chard built en the Sth tone of the dom.? = for example : 011 Build a minor 7th shord.on “A”, hor ‘the 5th tone of the D7. ‘Am? chord We would have to revoiee this for __ ‘guitar as follows, == — am? chord ‘Very easy to finger: Ordinarily, would resolve to either 9 chord or to tonfc @ chord This giver dom7th or domBth chord 8 most sophisticated flavor. Note no Ard present, with this in mind, substitute 11th chord in places where you use 7th or Sth in their dominant forms. If melody note is rd of chord, don't usa dom 1th! = 9 iUsed with toniechordas sued, the sound will be Hike plagal, or “amen”, cadence in church musie— very good effet when used this way Comt ie Good guitar voicing for F sus: Ftsus 4) FE fabea Sus 4 resolves to Grd of - [ee ie Fehora__ Here's same chord with 67 added =s— |@ Rob ae k Rob as # ‘The best usage of the natural 11th is asa part of a dominant chord, As @ four note form its best components are b7 — 9 — 11, along with the root. & good way ta remember the chordal form is to think ‘of a major triad one whole tone baek from. the given root, Example | G11 Build major triad on F, SES] one step back from root G «Git L. This is low! (use with care) — ULELUELELELETEUTExample : C11 Build major tried on Bb cu cu aoe * x D | Bb triad inverted, with © root ek br om ruby 9 These two forms will provide usable forms of the dom, 11th, available in any position_One with root on (6) string, and the other with root on () string Some minor 11th farms: Smit ET “This form contains the minor 3rd I 185) this may be substituted for @ Qe ene n br bo a ‘cull ‘This form contains the minor 3rd < 5) {Eb} — This may be used also as. Y = an Ft Kubrba s 19 3rd, the11th form may be used in either major er minor context — fromthe same Bbitor Bhi EbL lor Bbmat x at %) ib te: = == Note] 11th tone may resalve down % step to maj, rd, or down 1 step to min, 3rd — 81To find other forms, take any 4 note dom? anc replace 3rd tone with 11th Cone fret higher) 7 qoxice ee [ alio use as Am] (alse A7 tus 4) also use as Frm {also F7 sus 4) nba a ‘There are many possibilities available__The following tee forms will give many “miles” of use. Sst ‘ei Singe neither of thesa forms include rd, you could use as m1 form also _ Try them! The 11th, in its augmented form, is used more in dominant to tonic resolutions then in its natural form ‘The qualification for this chord is generally considered 10 include the natural Sth along with the +11L+11 sounds the same pitch as b5] ears cur xample ee T Note utilization of thumb to finger this chord CHE an ‘Also nate Bb + triad as upper three voices. Consider far movement possibilities, + Like most chords with added, “high, hermonic extensions, most of the voi: cumbersome — aug. | { cobs = g—h | = SS cs B) This works just as well as complete + form given above — [@ [TQ | Now] Upper four note chord (on top 4 strings) form a GP7+5__ 52 icing become unusual and neluding beth ehord Sth and +17 becomes a most impractical rule for the guitar Iingerings tehich would be avellable For general usage Vou can substitute, in most cases, 2 7P5 chord built on the the same root as the +11, [If we consider the dam 9 with 95 we end up witha “whole tone chore, Tike the CUULULLELUUEUTIUIUIEEEAIHEd.a aaa ea Ce en ee eee ed eee ee ee eee ee ee ee a The tristone (E — Bh) oppears in each chord at activ functions in relation to the particular root, either C, or Gb F color tones_ The two tones reverse their ben If we are_on our way to an F chord, both become equally valid resolutions Thinking symmetrically ng the octave exactly in half from any given dom. 7th root] we ean use this device as an effective substitute for the dominant 7th REMEMBER Any tone of the chromatic scale will werk, ar function, as a member of the dom. Tth chord — (with possible exception of major 7th interval) even this, as passing tone on a weak beat, will sometimes work Baomnle 7 — oof mo dee Bee = se Sa aos (ame questionable isd Now Let's examine our octave division in terms of the dom? substitution we mentioned. = we Ho [Addl higher extensions to the G7 chord and then analyze them in terms of the O 7 Add to G7 Function] in 9b? [Functions as Ae ai qech Ab ——__ bth ‘Sth ad Bath Tith (eb) Db es: FOOT: of th (EF) D both ‘This is 3 most interesting conegpt to develop. See section titled “whole tans chords” and ce some experimenting via the dominant 7th chord — ‘Two good forms of +11 which will handle most any siwation {root on (B) string} (raat on G string} ea Git ¢ [Notice, we left natural x Sees | Sth out in each case . [@ ae a aby ven‘Your best spprouch route, and in the interest of simplifying matters for sight eading, is to substitute 8. 7b8 chord for the +11__Just remember one thing — keep the 7b5 in root position. Exampl am? Abt Here's the easy route — and glso effective! 3 x bbs a bz s be ® 738 substituting Ab7$5, you've kept a smooth line moving and have elimineted potential leaps enc/or fingering problems on #11 chord. roots on (B) st Dm? x Dbtbs x omit Hr a | heb ds” a bsb s Re7 3 and the two five string forms, will handle any situation. [1f you have ¢ fuller +11 if desired.]! think you'll find the examples given to contittently__Exneriment! ‘The previous four string forms, time to “work out” your part you could us bbe most adequate Don't limit yourself to these few, even if they do funetion Remember, if ploying rhythm ‘an contributing to the “time Don't “bog-down", of small group, lock for prettiest, fullest sound you ean find Af you work progressions which supply fullest, possible sounds. pang-up” the rhythm section — I{ you're in 3 ‘with plano player, work out Forms are eary__ Knowing tonal functions and how to use the forms is the hard part. This becomes more important with the high extensions — experiment with substitutions on tunes that you aré 100% sure of! Use the large, dissonant forms, with care. Constant use of these forms soon causes boredom Use them selectively for contrast, surprise, etc Know what you're doing! J 54 is your responsibility, use the smallest, easiest, form possible. Concentrate Etttt = B os = as o =ad is 13TH CHORDS ‘The ‘13th chord will complete our discussion of the three harmonic extensions available above the 7th chord. It will sppeer 25 2 form of the dominant chord only The qualifying factor is the presence of the b7 in the same chord, and for best sound = absence of chord Sth — it will nox function 2s part of a minor + chord, (Tt is the seme pitch as scale tone 6, and without the b7 itis the added 6th on either major or minor chords.JOn the dominant chord the 13th sppeorsas the next Src step above the 17th tr ne iteh ———, 13th 6th c13 Theore ically, the 13th sounds best without the Sth = as it is com sidered to be a Sth substitute eg ome 5 te Note G68 Gms 4 I contain "E", 6th Ch TL] note atzence tone, G19 con- (2 5D) & Pe) ole) oe oe oe “e" along & prosence of with fat 7 “F" | yl | eh | + eieas a obs 5 » has “The 131h may be altered in one direction only, DOWN! It then becomes 613, and with 47 would be of +5 chord But ‘an exact duplication (sound should resolve differently. Cmaj7 gib13 Cmaj7/9 yp = eae 1 a i 7 Ser Otc eee ee de i This may appear of “Hair splitting’, bet | feet it of each chord. Theoretically, in resolution of tones — #&up to 3rd — b7 down ta Ird— 55 ished interval wants to continue dewnward Notice tne do is a most valid approach to examination, and use the augmented interval wants to continue in an upward direction ~ the nibie 3nd in the Gmai?-as exesultof correct‘The 1th chord, although the interval itself is a Srd above 11th in a succession of Irds to our basic ‘iad, gives the chord more of a dth construction sound__ It coul6 be more properly classified uncer Quer- tal Harmony — chords built in éths} than under Tertian Harmony {chords tilt in 3rds) Example: = x_x FH Eas Note the intervals of fourths _ wae ‘A good place to look at the 13th chord, on the guitar, is built using A, open (5) string, #8 root tone, x gad This would utilize all of the qualify. ing support extensions without Including major 3rd — Presence of Nth gives this chord = most ur resolved feeling [Use low E string as root and note m? sound ~ Em9] It would be letter to include the major 3rd, as given here This is a good, usable form and can be moved up vis refingering. Could be moved down I step aso aba T i Si We can also eliminate Sth tone and ae era add 13th to Dom 7th for enother aT TET tt most practical form, 3 14) hese R baw The Oth may then be added to this form — this time as the top/ ‘or melady note af the chord, Notice 4th construction in the] upper pert of the chords. . Both Oth and 13th may be altered. This, agpin, gets us into dividing the octave in half__In other words, the chord may function over two roots. In this case the alternate root is D. 56 rrt FRRUEUULELELTIETIETITItDobe de aba prfobs 4 Laer 33h in Ab ond got good Az mentioned before, thie is 3 most interesting concept to study and explore It will provide many. iftteresting chord lines. = R wan - bs 5 Other forms of the 13th chords. El a d hci pera we ie tia ) string — (theoretically not s= good) how ever makes rhythm play- ing much easier _ Raise Oth tone and add Gb root for excellent Gb13%9 ehord_ Be Hf you can’t finger this one — eliminate raat and use top four tones — (Let the bass player supply the root) i 5 SoeeTh ing ‘Two 13th forms without the root cs Dis * x x x { I Fare taemeseomnioeraununy 3 i ® D 5 Depend on bass player to susply 5 1608 co ig me Lesa 5 chy @ B) This form also includes chord 5th LT@ (C). This is an easy one to get, « T al 5g but does Bdt sound-44. good a6 the = = other form R sb so Sole ree Using the super structure of this Th chord we have a good four string form This Yorm alters very well__ Lees put it in 8 postion where we ean tse open A ating as the root. aoe 9) agbis. AB ye oO) ss ae) Riv [9 a3 yo : a é 4S ts Analyze these forms ‘When using 13th asa dom, 7th substitution, remember one thing De not use if melody note is chord Sth — (Remember, 13th is a Sth substitute) use with care if melody is b7, a5 this will probably be @ minor Ind-away trom 13th This is 2 good 13th voicing for arranging purposes, but is most impractical for translation ta the guitar fingerboard. The Sth is providing support for the the minor 2nd interval, You may be able to play the 3 upper woices at some places__Even these are hard to finger if you want the natural 11th in your 13th chord there are a few ways to do this_ the upper extensions {b)—9— 11-19) form a major 7th chord ene whale step lower than’ the given root IF you have & double jointed thumb you could play this one, "sax ABI3(LN) ; Shei? necomes__APIMIY Tp = sae 5 oat Rob ens ‘Much easier to play this next form: x cLMEE) Bhi? ae emer CHS) = sot nabre a Here's another form to try ¢ 1 xe Bi I AIS) = — = i) using en A string a the root — ‘The b5 oF +11 gives 13th a unique fievor ANa1l (orb) Notice top three notes are & major triad built one whole step higher than given root. A good point ta remember: a q | nbr o¢u “The upper extensions, 8 — 11 — 12and theif alteration are most beautiful additions to the dom.7:h— They are most sophisticated, and very rich sounding when uted properly. Use them sparingly and with good musical taste Stay in character with the type of music you happen to be performing, Don’t use these high structure chords for folk songs Learn to recognize the chords for falk sangs — and listen to how geod players, and arrangers, use then — 59Use of chords with @ number of alterations oF with more than one extension beyond the triad _ Arranges, a5 a rule, have litthe understending of the guitar, Hector Berloz, tn his farm on Orchestration’, said, the best way to lrern to write for the guitar 1s to learn how to play itt [Berloz was @ guitarist|__ Although this would be ideal, it is highly impractical and unrealistic _ One important iter which should be considered when writing chorcs! parts is: “‘Don‘t get too complicated unless absolute necossary” Sees tee an 5 Trustive = pis F example: Let's assure the arranger hes scored the following chord for an @ Brass, = — bs) trom, 5 sexes dance type orchestra This would require @ rather compli: r ented ehord symbol if ne wants Fisgoelt an exact duplication — ——— SS 1 would do one of several things: 1) Indicate a lower structure @ Wi ovitar was integrated pert of of chord, write out what | had 0 mind — @B) Give the guitar one bar rest A guitarist with 2 tolid) harmonic beckaround wil, in most eases, use the ch He will lower structures, esaecially Hf his respon: He will alay a chord line where chords for rhythm is “comping” he wi previous statement, cal part only as @ guide. is to maintain a steady best in the rhythm section. ering problems and movement have been greatly minimired— Good 385 are the open triads (100s! which were discussed in an earlier section I he | probably, just play the upper strictures (vis closes triads | — just tne fevorse of the If you are playing with + good bass player, laying down good, ‘You can suggest many things tarmonicelly with three or four notes _ ae sedamental lines Fme Bois. Ex: Basie Progression Bass player doing something like Yau eauld do eomething ike this — Resulting in good sound with two forms easy to play ——— 40Make sure you know basic triads 100% __ Let's look at them naw as extensions of ather chores, Take any baste .3 and assign different tonal funetions te each of the tones in the chord— Dbmajar be = Keep triads in high positions for + this to be an effective tool Yeotpen law. anda, [paste Trae “Tonal Functions] fe Possibilities 5 Peay aap nun 2! Ginanieyy ‘re_endless a ek hr 8 © [Bieter eb msc itin7-£b maj7-ci1—Ab 1358 “| think it’s obvious here that the-passibilities are endless. To be in complete command, when using rey cesnii ect ot suey evsioegar tition. Tha (orn of mieeitnion il ie yor Groep titan vet ev ulirtend Cua tea: tos ran, pasty tones baiooen ‘other chords will sive your playing ® most distinct flavor. Good musical taste and lots of creativity nee the bests logon with this davis, Here are some example’ progressions using basie viad forms, instead of compl e chords ; Gmt Abmt Ebmgj7 Fair Trt cot ats ‘Try thit with 2 bass player, if pos- sible — note smooth sound and easy fingering Last bar of above example demonstrates very good, and most effective li->V progression, Lets make an exercise from these two chords Starting on © triad, @th fret, and calling it Am? — Here is complete Am7— We will remove it will resolve to D9 el ae via one move B 1ae = ok ok | | coe meen eae = @ T T eevee) Fo m7 Bo Fm? abs Em? AD ‘Ebm? Abo Dbmaj7 = Te 3) A) Note Fm triad) Now try inverting the triad we used before. Puts substitution into @ different position, Em? — A9 will be ov! example, using G trisd at substitute for Em? _ En? xx i oe x Notice — Only one tone moves — Lt b7 of Em? ques to 3 of AO_ t qe Em? ag ah Use open "E" string and “A! string to emphasize movement Em? a” Kx K Paes Try out above ides using other positions —DIATONIC SCALE HARMONIZATION In the opening section on 7th chords there was ¢ short presentation of harmonized scales. If we “pile thirds" above each sacle tone, we some up with Pthchords : 2 major 7ths : 1 dominant 7th ;3 minor Tihs ; and 1 minor 7th with a lowered fifth Exemple Ima? im? um? 1Vmaj? V7 my WimTbS I majr ‘We can call this process “"Dlatonic Harmony'*_ Each grouping of 3rds from any given root in the scale will conform to the key signature of that particular scale We will use large Roman numerals to indicate Major_chords_ The appropriate symbol following each numeral will tell us “what kind of chord! [Exempiel m7, maj7, etc__ Any one af the chords may be altered — if so, we use the appropriate |Roman numeral to indicate this__For example; VI 7 would indicate an FF , or raised 3rd tone, in the eppropriate chord above Several harmonized scales are available on the fingerboord, They offer a systematized approach to leaening all of the available chords in any given key — also — remember that each chord may be altered through lowering or raising appropriate scale tones within the chord... Note scale degree wii__It is minor 7 65 chord _Wi sounds like & Ist inversion of VO__ —— a = > vt vii 7S vii may be used as 2 good substitute for Vand we will present this fully in a later section when we telic ‘about substitution cherds — , ‘There are other instanced like this within the seale : these will be discussed fully later__ Leam to identify chords by using the Roman numeral symbol, this makes it possible to translate any chord pragression into any key. Transposing chordal parts becomes an easy matter. For exemple if we talk about a |= vi-~ii = V pattern we chould be abla to co this progression in any of the 12 keys Harmonizations are possible using any scale__ We will dizeuss the major and minor scales in deta We will briefly touch on some other postibilities so you can experiment with them — Let's compare hermonizations on various scales © Msjor Tomi? iimt iim Vv mai? v7 vit viimibs Coma Fmaj7 G7 Am? Natural Minor] Note theRoman numeral symbols Tm iim7bs Maj tw m7 vy, mat Na ei Dats)” bmi? Bm? Gms? Abmajt by 83Note interesting |i chord = 7hS Mma iv? v7 Maj? sto? ‘Cin maj?) ‘pm7bs Ebmaj7+5 Fm? o7 Abmaj7 wer TG Welde miner] OY sscending given — descending would conform ta natural minor. emai im? mass V7 v7 im7bSvim7bS Cem(maj7} Dm? Ebmaj?*3 FT a AmTbs Bests This ie a good one for minor blues Chords may be built using other intervsl combi jons__ A common device, used by many madern composers is to use intervals of 4ths instead of thirds__Apply this concept ta the various scales and note the interesting sounds which result__ If you examine these, you'll find some very furictionat voicings — most exeellent for regular use — they may be onalyzed a number of ways and could be used in a number of ways — ® © ®) © Could be © maj7 with suspension — could be G13 with suspension — could be F maj7 with BS Could be G7 with suspension — could be Bb6/9_ Could be C6/9, 1st inv: could be GBI Beautiful GO with 19th — Also F maj? bS Could work as G7 sus — also C maj? 5 Possibilities are endiess__Opens many doors for experimentation _Be creative — “Theoretically, chords may be built using any scale as a base or involving any distance between intervals — Saran nia So se 64S" z= £3 = © torte Foe @ vee Fe =o =o as (oe = ==- - = =o li’s obvious that mast af these are impractical for guitaruse Many would be possible via inversions and would provide most unusual voicings.1 include the ides here for readers who may want to explore these possibilities _ The same principle may be applied to écales. There are many scales, other than our major & minor, which are usable. Z EX: Pentatonic scale Note 1st chord Is C6 Actually our system of rds does not provide for the added 6th to: the tonic chord — (Note absence of our TriqTone F — 8) THE HUNGARIAN SCALE Included to demonstrate interval arrangement possibilities in building different kinds of scales. There are hundreds of differant possibilities — (Far toa many to include all of tham here) — notice the interasting chords which result frem harmonizing this scale: bs inaj? Tbs Mims 983 Vis? Vig? wie? tina? ‘This offers most interesting compositional possibilities _ Notice Mow unusual 2 1 — 4 — § progression vould be fn hi bey — {is ainince: With a moior TOL WIEAHIV la 07 — OF V tba rsjor Jib vil 7 wi “sound” like a mG It is not analyzed as mG chord in the scale, due to the Ap, which is bb? ~ S chord pattern_‘Then add the key ith 2 most unusual sounding melody — Try writing @ simple melody in key af C, built on a t — signature indicated by the above scsle__ You should end up Use harmonies indicated above [Try building some other, unusual scales) 65Diatonic Seale Harmonization Key of C ® cour baw tnt Fea? xx xx * Ti ene t TI i | ska 7 BR 3 br BRA? 5B abe This harmonized © sale can be played within a 7 fret epan from the starting chord. This harmonization fan be used up-to, and including ‘key of F — starting with F maj? — ih fret. Some of the voicings can be found at other positions on the fingerboard, but would extend this fingering beyond & span of 7 frets This is the most practical fingering for this particular scale ‘With this scale, and the one on the followng page, itis possible to paly thru all 12 keysehordally = memorize — Diatonie Scala Harmonization Kay of F Fmaj7 Gm Am? xxThis harmonized F scale can be played within a 7 fret span from the starting chord__ It is possible to use this particular harmonization up to, and including, key of C — starting with C maj7 on the 8th fret ns bbs nee & s——— J so ‘Some of the seme voicings can be found at other pasitions on the fingerboard. Bbmaj7 and C7 could be played on bottom four strings at frets 6 and & Em7S and Fmaj7 can be played on inside four strings fon frets 7 and 8 {It is most practical as firigered above using a minimum fret span | Distonie Scale Harmonization Key of Bb © : thmajs 1 is harmonized 8b scale covers i 210 fret span. Would be an im i} practical fingering beyond key of [ “E" unless guitar Is cutaway — Ghords are in a good register. airs eotrls No73 z a2 = = arDiatonic Scale Harmonizations Key of Eb Fu? This harmonized Eb sesle covers en 11 fret span Would be most practical, depending on availability ‘of upper frets vie cuteway. Com interesting inversions on all chords, Diatonic Scale Harmonizations Key of F © Fmaj7 +48R brbas & brbabs: Alternate fingerings o we | | Wane 3 e Rg ria os (double chord Sth with this fingering) Diatonie Harmonization Key of C har. minor. © 1 es Ebmaj745 x atest x x x 33 x co geting on the Bbmaj7, C7, and high F maf? become awkward try. ing {© maintain consistent voicing Good way to overcome this is 20 refinger chords and use right hand fingers instead of pick — use Fight hand as follows thumb — 1—2~3 ~onstrings URC @-@-@-O "Mla classic guitar”cmimai7) TE} interesting soune_on the tonic TCE] — minor with major Tih added, so Cort Sra onal it chord — major” th with an augmented, Gen — { Scale covers A 10 fret span. Lowest starting key would be BE min, Upper possibilities would | ‘depend on neck lengt! Variations using other patterns, are possible Use previous ‘majer scale forms__ Also possible using natural and melodic minor scales Try then Write them Hermonized diatonic scales with added chromatic tones. Use of diminished chords ar parallel couplings. @) Using diminished chords on chromatic roots — sg ig ie Crag? A” Dm? DHS Em? maj? FY? G7 Ge® m7 AG? BPS Cmaj7 Basic scale "chord fingering’ the same as scale (C) in key of Bb. Diminished chords will finger natur- ally using the same string series 4 the diatonic chords —Two are marked abovelin accord with the particular string se ® Using poate eoupings — (Going into the next chord ehromatically using the same voeing) = i | bm? «Em? Ema? FA? GT Abm? AmT Afm7-5 Bm7-5 Cal - ae maj? Dbm? Dm? Basic fingering remains the same. Finger chromatic chords the same as the following diatonic chord. For example Dbm7 would finger the same #3 Om? Note use of enharmonic notation to make reading ‘easier__ Practice above two patterns using the different diatonic harmonizations given before. 70‘quickly and surely Ideal “chord melody” pr Use “pick, or right hand fingers (thumb, 1, 2, 3) — Strike simu taneauely. Hold chord down but pick as ‘arpeagio (also with fingers }. ete. © Up wwee at a time then back ta next scale degree ete. (©) Up tour st a time then beck to next scale degree — oe © Be © & © os 16th note arpeogios on each heat. Use pick or do with right hand fingers. (E) Alternate every other scale degree ete, You can probably think of other ways Enough time on these studies and you can move these around ation, 2 The diatoni harmonizations are postible in “closed position” az arpeggios They are available in most of the fingerboard positions — § pot] phmajr Ebmaj? Do in otrer keys — "Te] thsi? cot mt hea i ae 7 2 zu Or: Up ene chord, down the next hanajt (scale) 62-5 oe Anhs (ecle) Bb? Sa Gm7 Am7bS (scale) Dm (geal) Cm? (seate) Bhai? Be inother keys: “This is good with someone playing chord along with the exercise, Also good as a duet with other quiter playing 3rds__ Either above or below — This should: open up some ideas for other studies using arpeggios — nAnother interesting approach to the diatonic scale harmonization is the use of a dominant 7th chord to lead inta the diatonic chord (Through the circle of fifths) ab * t t Cmaj? Ay Daw? BT 7 Frat by GT Ey An? uf 7-5 G7 Cmaj7 Basic seale fingering remaing the same, Dominant 7th chords will utilize the same string series. Two of these chords are fingered according to the string series. Eech 7th, used here as 2 secondary dominant, is in the 2nd inversion (Sth as low nate) For further interest lower Sth tone in each secondary dominant. ‘This is 8 most interesting exercise. The secondary dominants give the diatonic ecale harmonization amést unusual flavor ‘Also try using root position for all chords ae ee aioe = omit AF Dm? BT Here's an interesting variation on one of the previous arpeggio exercises__ Note the use of accidentals ‘on the connecting seale passages to conform to the secondary daminents_ ‘cmgj7 Ay bn 0 Emt SS = a= SSS Hove 2nd guitar play chords while! you play single notes. Work aut the same type exercise using the diminished chord Cmaj7 ea Dwr me Ent Feat te, Then use the parallel couplings, Enharmonic notation a fe makes reading easier cmt oe é Se ete, nModal harmonies (all related to tonic “C“) ngs ai? Cmaj7 m7 Em? Fmyjy G7 Am OT lonian mode our major) = BT Catone Em? Fiimns Gms? Amz 2¢ < Lydian mode | wn Enns Fog? 007 AN ene _4 ¢ 2 $ be 2 é 55——]wixclysion. mode oe cnr amg RA Sn Cut Det kbmat FT Gm? Ams bie ERY = iby Dorian mode : : br cm? Ebmaj? Fm7 Gm7 Abia? uber oe “ib (biz bi Ee C7 Dm. Aeolian mode (our minor} I Gm7-5 Abmaj? ibe Bb? oe age Cm? Dbwaj? Eby m7 Phrysien mode i a7 Cnt S Cai Domai7— gkay Fm? ae ab? 7 ae ( () tbr & 9 Loerian mace | Solutions of tonic chord to V7 and return, Original in open position, with a % step strate position fingering. ier to demon= bb ‘Db b? "eo c pb aba Db a ~ pb aby pb =S= ao 3 aa : abe tbe she Moving QO reais fingering change inte: new position to compensate for the lack of available open stings, Figing for Ojtemains the se when moved due to no open strings utilized Some examples are prasented in simplest form, by using thres tones {or voices} in each chord, The dom. 7th, in each instance is ineomplete. (There is na 5th tone included The following “‘practice routine” on esch pattern. © Gr c Ab? bb abr pb ay ete. © 3 Now try the same pattern with a different melodic consideration, che er Ee orhwne, Notice lack at 3rd chord tone in Phat Ales Oa dominant 7th ~ not offensive since $7 is included _ | Let's take A four nate chord in another key — i F a F 4 Moving this one is easy since all a Tae chord tones are fingered. Notice = = “complete” dom 7th chord — Note that moving this pattern requires new fingering, since open strings are no longer available 5A series of chords, moving from one to the other, is what we call 2 “progression”. These chore pra- aressions can De analyzed in terms of tonal cycles. These cycles are measured by examining the vars root movement. The cycles which govern the majority of movements are cycles of rds, Sits, and Zths, The cycles may be positive or negative, The positive cycles are, generally speaking, more satislying to the ear_— (Probably dus to musics! conditioning through repeated hearings), and are stronger, ES Cycle of Pe ‘ths oF rds (strong) = Cycle of 4thy or 5th {strong} Tonal range edjusted merely to simplity Notation. ycte of 7th or 2nds (strong) To read the negative cycles simply read backwards Diatanic cycles wauld remain within the key: Chords built 9 these roots would conform to the key, Foreign chords to the key may still be analyzed via tonal cycles. This G to Eb would still be positive C3 — G-Bb would be negative. Practicing chords through 8 variety of tanal cycles ean begin to train your ear to hear various types of chordal movement. It is also possible to construct interesting progressions as 9 basis for original material It also provides a interesting epprovch to learning a greet many chord forms through a series of progres sions — _ The previous diatonic scale harmonizations given previously are all cycies of 7ths (C7) The scale using secondary dominant sevenths could be analyzed as C3 + CS__ Go back and look at it — C to A is acycle of a ard, A to D is a cycie af a Sth It koops going through this pattern till itcom Pletes itself at the C maj? agsin_ (Play backwards for negative cycles) A knowledge of tonal bass pattems is an invaluable aid to learning new material _ The following pages have some examples of the different tonel cycles. Spend some time learning then ‘You can gain a fund of most usable material _ tonic chords resalved through C3 (postive) or stronger ‘Cm ‘Am? Fay? f° Dm Bin7bs Gr Ore aoe i= vs 2a. Faor Em? maj? Am? Fi? maj? Am? Emi? Da? ands @) Gr Emt naj? a ae te > ao 2 2 ‘This pattern involves some difficult fingering, Do it slowly at first, Use string series and fingering exactly #8 marked Good practice in Tearning a variety of chord farms Listen to the circle of thirds — Try in other keys : Diatonie chords resolved through C5 (positive) ar stronger Slt Fmt Bt Ent Amt Det lores wi aie sa ts a: rez Ss or maj? Frnaj? Bmtbs ‘Em? Am? @) m7 <7 maj? Fait Bmtbs é Em? AmT mt or mai? at - = : er See — Ss + = = cs eS 7s = aS > as ‘his pattern provides good experiance in rapid fingering changes Finger exactly 9s marked ‘Also very good listening experience tor harmonies moving distonicelly through the circle of fifths This pattern could be played in key of B (54s), staiting one fret loner__It can be played up chramatizally, fs far as fingerboard will allow Note how well each individual vaies moves trom chord 10 chord — Try in key of “E* starting on high F major 7. Remember, the-key signature — One tat (Bb) nDiatonie chords resolved through C7 (positive! ar stronger ose 1 oe a= ce oem —— ani tbs mal? wo = = @ ima? a” dost nbs cma 77 es — 3S ‘This is an interesting progression through the scale — Note chords move dewnward while implied roots nove up seslewise— Try this one with a bast player playing roats for you Note unusual BmP7B5 form immediately betore last Cmaj?_— ‘Note smooth resolution of tones fram chord to chord Try this pattern in ou chordal movement — her keys —Listen to the Naw tey-mixing the tonal cycles — c¥ Gmaj7 Fini? Bm7bs a Cmaj7 35 ae se Example co 5 o cs This patter would be indicated 2 CS + C3*C5 Cama? Fmaj? Din Bm7bS 72 ae es 12 Another Exempla CI o os 5 Em? a9 Fmsj7 Dmt oe Com? cs a ee ‘This would be indicated C3+2C3+2CH+2C3+2C5 | mj) (Dt GT tm Bits Em? Cosi? ‘Try making up some in other keys — 6Lev’s try some different divisions of the octave as a basis for chordal, material __ Caf Ffjmajr maj7 divide octave in half] or this way for an ending divide in three ‘or this way for an ending Cay De date. aah. Seat divide in four 4 pek Bese = = aS oe is sll gee - : dude 2 | (ae Et 2a Now yau try dividing by 6, then by 12_Make the chords any colar ~ experiment there's unlimited + material available_{What are the tonal cycles?) algo as an ending Use of Whola Tone Chords on Dom. 7th First form as sub, for E7 so pedal E strng. can be used _— | aS Notice unusual tonal functions in =: this position. @ ) a Now- Using low E string #5 pedal point i ae move up two frets (A whole step, ox at 4 time And notice unusual Sa ‘There are only 6 chords, all related to the whole tonesscale— This oh ope oT series could be used as dom 7th ick ta ee a ey oe oe 1"There are only wo series, the same as whole tone sesles. The secand series would stort 1/2 higher: —» and use open "AY string as the pedal point. Same movement and theory applies — The four nate chords may be re-vaieed to include ether tones trom whole tone scale ~ seme movement applies (same theory! (orig. C765) ©] —— Te-vaicings Ox ox ox DL® 2 oa" 5) ® + Taya) good + 11 vaicing —* | T | | Foot ta this form wa se Al ofthis may be used for +11 sub. (Handle with car ~ Some additional ferns of whole tone chords — C746 Cos oo oo Sri) pe Rema ecis areca @i ) materiat with care. Though all ? | chords here sound good, they'll : i] soon “weer thin” Hf they ere verve Sn Saati pene Also any form of dom. 9th chard E ( with Sth omitted may be treated | cou! a whole tone chord 14) Analyze ag —> D7 a0 SECREECCCEeGeaae es oo a‘m' a' 2 2 2 ew eon! on eo a eo go 2! on! eo 2! 8! oe 2 2 re FMS peels if | | | ‘Thate have been arbitrarily designated at F chords Remember, they may be named using any tone of the whole-tone scale_ Analyze them in. relation to other roots (thinking of daminant chards) and resolve them to the epprepriste tonic major 7 er major © chord, F ——> abmai 6 ——> C mal A ——= D ma ipo eel Dh——— hrnal Eb ————> abs} ‘These three pages have only scratched the surface regarding the possibilities. There are many additional forms__ Remember all chenges should be made in relation to the whole-tone scale_Valcings should be made with this in mind. Forms serving several functions— Any dom, 9th chord (without the root) may slso be used as 2 “min?bS" or a "min form To remember the different functions. Use the dom. 9 as a starting point, Think of it as the root of » major triad and the other two “uses” become immediately apparent_. Remember The 8th chard is actually minus the root — {itis implied]. Fer SNe. is also Bm7>S and DmS pla Stee sea Ss major triad — G - B— D.) bibs Dmé te SaaS a oe oe sbroos x ie * Gmé erin] ae > s abr ao1 ® amibs cm | aby Deaths Fimo phe Fabs Abmé cf"i 4 4 n 5 4 # «i a a a a a a a a a a a a s Bp Anois ons | at brcsbe By | aut re = ee air q ao 3 be ‘These forms provide 11 different forms far each chard [This does not exhsust possibilities] ‘These chords are extremely practical and well worth the time spent learning 19 use them pro: iy. They provide many interesting possibilities when you work out chordal accompaniments to songs. They alsa provide excellent material for introductions, modulations, and endings. The higher voicings are excellent for jazz “comping” Following are more exémples of forms which may be called by more than one name, Understanding fof the tonal functions in these chords opens unlimiced ateas in your chordal playing. Remember! Just know ing whore to put your fingers Isn't enough... Know what the tones in the chord ave doing... Howr they're functianing in relation to 8 given roct tone. Using sll 6 strings. Use as 2 9th is bs theky due to three 3rde in chord, (Very good m7bS however}, bs Gmths Bhmé by B Ke oh o3 a oo ¢ [handle usage with care on this one] abr osu 3 aie ee Ebe bo Gmrbs noms ah 4 | 2 sb 3 oe - boseSUGGESTED STUDY FOR PREVIOUS FORMS Resolve each of the forms according to each of the three functians : 1, think of the Sth as a V chord think of m6 as iv chord and and return it to 1 (@) think of m7b5 as ji chord and return it to V, and For example x * oo x = 1 2) | ———— KON 9 or | | Kbo be ow 3 p T aI) @ 1 obo 6 R Take each of the remaining 10 forms thrdugh each resolution — like above — this will demonstrate the possibilities of unlimited usage of these forms I6 may also be used as vi m7 ye GborEnT x +[ 28s‘Thinking backwards then A minor 7th chord could also be called @ major 6th la minor Srd higher) GmTor 86 x x ‘: Although theoretically possible, the aa | Gm bs. sound of this substitution does not 4 52 Ga] stisfy the ear. Calling the chord 2) q Sa Be ond using it this wey, puts a aes the 6th tone in a register much Pa 100 low R bs Use this substitution with cautian Think back to the harmonic overtone series Two important, and heavily used, chord patterns (or progressions) based on IM7, 16, ii m7, va Using the “6” form and the “C form__ The 2nd chord in each pattern provides better “bass-roat-patiern” if analyzed as vim? [1 = vi = it~ V ] one of the most camman patterns in posular music cmt catems Amt be ro) coher Rn a x R sbrba no abr Ami(ba bz Rs) ts“Try the two previous patterns as accompaniment for the following melody. [2nd chord is vi m7} [eae form] Smal? Eemnteg) Ame BP Cmte, And bs 7 IE St OL Cd Ft. eR ee Gmaj? En? Am? DO Tcmajim? amt po 12.ce 7 ‘Gmaj? Zt 7d Zé Zee Lihd 4, Lee. Lt Cm? Ama(C) Dm? G9 Cai? Am? Dm? <9 Dieta eed eee ae Coa? Am? Dis? GO Tee het bet GT maj? BDF PE OTE CDN get ES Tel How mat popula oF standards, can you remember Which could be played using the sbove two patterns? There are men’ ANOTHER GOOD EXAMPLE OF | - vi - . oN Coui? CeCe?) Am? xx xx xx xx oto pee This ie good one. = ai Nice, "deep" sounc— er > > = hmar Ebo(Ga?) Ent ho ae 2 This_one isn't 100 rH Te CA easy thetioges must really stetch out — | This is a good exam r e ple of “closed har- mony" This is the lowest |q d Final chord is G7+5 also — Calling it 13 justifies the voice leading back to the © maj7/9 chord — = The inversions make this an interesting variation on the Ihasie form, Got familiar with these patterns in all keys Look for. other ways to play the basic pattern Give careful eonsiderstion to mulodie outline formed by top notes Of chords. Guaj7/9(or Bm?) xx Gor Bow xx ‘Amaqar Cena?) xX D769 (or FET) x_x TT t Implied base notes 7Above example of chord movement uses substitute changes for each chord — Ginaf7/9 or ho? feeb ‘st chord is called | maj7/9 and is = = stually ili m7, 2nd inw, 66 or Em? 2nd chord is called 16 and is actually vim?, root pas. ‘AmS 0 Cai? x tee Grd chord is called @ m9 and is actually 1V maj7, 2nd inv. ’ Dobe or FA pe 4th chord is calied V7rS and is = actually vii 97. << ‘These ate good substitutions to remember. They will work using othe too low... Remember, they sound an octave lower than written. forms— Auroid getting them ° Use of vim and iil m7 as substitute changes for Lmaj?. Bomaj? se $s oo 5 ae [ me | Tt +4 DTS E ©) L1G xe) | [ a. oo | 4 i tonic major {st inversion 1st inversion of Teh form of major 7 major 7/9 Analysis in relation 0 Imsj 7th ANote Gm is 5 — b3— b7? - 9 Ne root —} Dm? is complete R — $7 — $3~5...thus any form of ili m7 is excellent substutute for | ma7 ~ 1Avoid ow positions of chord when using as @ substitute.) 68enw, Root Pos. Root Pos 2nd law] beg? (69) Dhan cn F oe eek 2) = = Use of sub, | in Progression. Note excellent leading of voires from chord to chord progression using Dm7 as sub. for Bb maj? ry the same hea a x_Phe Use suspension on Dh® to. add variety to. progeetsion ribe Reselve to F8 oF 19 F7b8 on final xx dominant chord ft ] rm Exh [Tl [@ Diminished 7th may ba used for 7b9 chord 6° or C79 g 6 x o7 fh) as 1 |e) (contains no root) important Theoreticslly thé b67 in a G°7 should be spelied Fb.) This is a very practical substitution Remember that the diminished 7th may be called by any of the tones which it contains — and repeats itself, in a different tonal arrangement, every 3 frets — due to it's construction = all minor 3rd aeUsing enharmonic spelling te show. tonal similarities te Eye obo correct spelling. Then, in reality there are only 3diminished 7 chords, Then, we might acd, the same movement prineiple would also apply to tke 769 chord, minus it's root Let's examine some usages of 769 67 b9 (minus root) - Returns to F mej? through C5 resolution, Now, thinking of the Dim. 7 movement, let's think of the ather names for this form = Gb — A) dim, 7th spelling. So, theoretically, it may also be called: Eb7b9— Gb7b9 — A7H9 (all witheus roots incluceg). Let's see if it works through C5 resolution to the appropriate major 7th chord © baby Abmay? a = wba | note Fb, instead of Eb 10 indicate 59 of E#728. Works well! Goed contrary motion be. tween two outside voices. 30Gb7b9 (Ler’s call it F #79 to ease the spelling!) ih ssis ters ane et [= be o> stores wal Eb maj? * : x 1 (e Use this Fingering => 35 you move up solutions works — now think in terms of moving the 7 te enother osition and resoly- tonie-mnaj7 — also in another position. * Each of ing it to the sai che Fa a[Now move to Sth fret crs < Fomsits I cre Fm3i7? T a | 2 SB ban 5 a7 Sef ee Ema? al lett a oe PS Fon [ = | | ‘This is tough without cutaway 1 neck, (possible though). cl ee 1 | ay | Ci | “The same voieings are available at other positions on the neck, using higher string combinations. For example the rasalution at the 9th fret in the preceding series is possible in 8 lower position, ; cabs Fon XX x obs ‘Fimajt/9 ® noe Here's the one we played on the 12th fret before. = |_| rt Fai? ri os —— | a ———— a 5 s B) |) | g xyes Here's the one we played on the 3rd fret before (An octave higher) : c7b9 ‘maj? 1 fs — ‘This one would complete the pree ate ious eye. = yf ch 5 ae iD Diminished chords with added tones thin Bodin Brain ss Ff and Basic, complete With tones for T dim? chord — ign to chord, add + 105 Ly Leas supensin. | singe suwersion | fencer Tt am ee (Se a be as Spr ae a‘Same principle, only using four tones on the top four strings Eesy to finger x Bodin Lp Te eee nbn ss as A ve ibn Use is obvious. Use as passing chords where diminished chord is called for, and use for chord'melady playing A series of diminished chords with suspensions used as passing tones beiween each chord bain Enharmonic spellings used‘An interesting form which may be used as a " aw G6i9(m337) Bowl E9(sxst) oe eee rene This farm has unique possbi Adding auxiliary tone with ath finger on first string gives add- iNional possibilities be ? : = = Feet = ws, (ee eT ies for intros, endings, etc. Ke :) Especially good when used as V7 ‘Add (8) tone {or two} for An: other good" C6/9e11 sus 4 he Conaj7/94 11 = Moving Chords Vie V, Leading. Many guitarists da not have a large number of chords at their disposal and when meving from one ehord to another make tong jumps back and forth slong the fingerboard, Watch the average rock and roll , player do the | — I — V blues pattern. In key of F he'll leap from Ist t0 6th — back to Ist and to 8th fret — for the F, Bb, & € chord,.This is nat only indicative of poor musical taste, but represent great deal of “lost motion” and work — Example! én's it make more sense like Bb 2 Tat fret Gib feet F » yn {all available at the 1st fret) then taThis would be the basic premise in voice leading ~ “Hold common toes and / or go 10 nearest tone in the following chord mai? na ° Gna? x Ss ase mae x etn s BD =| pa Pe ah | é : ——= d| Good voice-leading would infer that the parts would be easily sung—No big leaps, and few awkward intervals. This is really not instrumentally importent, but does make for very smooth chordal resolutions — lit would be a most important factor in choral writing, where parts would be sung) Playing chores on the guitar sounds better if you avoid big leaps. (Unless you're after 2 special effect) move to the closest next chord, if at alll possible. Gut at omy i * ou x x by x This z By Ce) ee AE ZR 5 a Ger Te Hep iwo: comeing holding = (Actually conteins three common, tones) x x x > Not this: : Gmajt . ; fe | PY | CGE First example is good, close move. Second example has every “vaice” leaping As mentioned before if special effect is vénat you're after —O.K, If nat, go to the closest next chord — “36Chordal retolutions using iim7—»V9 — | 7 Dov? oo Genaj? x Da? G9 Cai? R br bs oo o abro Sete Wes Lei oO f fa re cat co ta tht ce 3 ae ® g Interesting inversions y ol Tel] tothe von 1 ii bs We os Bis 3 hs?or Fe Ubi? x * erie tla x [ I oiaheral onl = | cnt FD ‘ | Bbmaj? (etl | Ld Fei tra & interesting inversions L Xp) in this one also — i @ ib aj? x * ee * eal TT] — T co = Fo? Bb ebmaj7 ——}—| eo | Rae Es Tp i) v ea z Ltt) » ro etrwntan sous 3 a | 1 @ @ G Eb maj?, play root tone | t on th string, Tt fret bom? Eby Ay be be tbe Bp ee Ebm? Ab? Dri? be eS G PGS FOR © ineagny “aire | maj 7th. FC) uaden (string wit ap mper erie ay 9a iit att atta tata AtAtsatsTAIAsThe following chordal exercises are presented for three reasons : (1) to train fingers to move swiftly and (2) to develop your ear to hear chords in relatian to each other, and {3} to help you become familiar with the fingerboard in all positions, Each exercise is presented in a low position to start, When you learn the exercise, take It to the highest fingering position possible and play it'down the fingerboard towards the nut fem7bs AT any Danaj? ee es, x x a bebsbo em Ras? 10 next tone fi f— Second finger playing “D” on last best of finat War will lead into melody note of Ebm7 one fret lower than exercise given. Play through pattern again and move down to Dm? 5 ab7 AbTbe Dbmaj? Dat Like this 9°Start gp high as possible, When pattern is complete, transform 16 into 1m?, which naw becomes ii m? in relation 10 new key, © The V7 chard in both () ond @) ould be ransorned int PHO intad of V7bS Try them both ways — : Da worth saucy ® ma E 5 [baby w ba [abr o ors topFinal 16 chord would transform into m8 and chord pattem would resume. Start a3 high on the fingers ‘board as possible. Think of the nates (snd their movernent)__ © Dm? Dmabs cabs x eK x —— Note Sth tane on top of I maj? to make voive leading conform — 16 transtorms to Im7 which becomes lim? in new cycle__Start.as high as possible — © Gaim? cbr Fit (F7 sw) D I 5 Ftart over again]Makes 2 good arpeggic study Pick notes singly, while still holding down ehord__As fast and accurate as powibie, A ass gs eho ta erie pp Pie mre Lt © Nomar | \ , bbs i» Ce i = Gonaj? #. etc. etc. egain ete. — See « This is an excellent “finger stretcher" Passing chordal lines in a progression favolving iim7 65 to V7 using two string series — iP nts Aiton) Ggtbs . og Ebr(passing ate = 5 mal? aT PA Eee eee‘The second chard in ench series is @ 2rd inv. Dom. 7 chord, but til vetaing the m7 5 feeling generated by the chords on either side Good device for chord melody playing — The “ progression —dem7, minor?, tonie 6, etc, turn chords" may be any color” depending on the Chord progressions using “voice feeding’ Zi Gmay? BD Ast D1 So Gis Coal? aq maj? Bhe oe D7 Gr maj? Ou = 3 =F ‘L__ voices would “couble’, theoretically —t ‘cenaj Ems aa bo Dos G13 = 1 ‘parallel motion” a3 ae OS a ae i oO ‘Closed voicings far chard type solos is a poss ity using three parts instead of four, since the four pert closed voicings present some difficult fingering problems When you "*work out” the three note chords, use the closest tones possisle to each ether — reading dawn from the top note. For exemple: Cmsjor melody this 103In other words, inclade high extensions of the hsrmony whenever possible — 6ths, 7ths, ths, cic — gives you a much richer sound — chords Dm7 won't sound like regular guitar voicings— BaP So? Amt Dat Gt Notice that we ate leaving out important chord tones — they'll be suggested by the bass, or piano, T Tete, ete Jou are familiar with, and work out s chard solo using this deviee— Try this using the same eherdias a base) and maving up the chard via chordal tones oe £ Note use of added Gin and 9th tone Note use of 8th to maintain “‘close"* sound — [Ret insoaed Weed}! Oh, p Every chord bullt the same br G7 a p gy == ee | A most interesting, and un-quiterlike, sound__ With enough practice, you can move these around pretty fast — they're much easier than 4 note forms— Sj? Em? Ant Dy Gm? Em? qe eat m the melody note using the next two closest tones in iad harmony will not give you the sme kind of sound Remember the rule is simple. Play down tro the chord, utilizing 9ths, 7ths, Bthe, ete_Simpl 198Some interesting chord forms are possible by rmeving one of the criginal tones an octave in either direction — closed forms become open forms, and epen forms become even wirler open — For example . a oF b: (or Ban’ yg, mee nth “4 69 or Bn?) T T i | eae 1 opened + wider br an wa if (69) Se S es an Ra = 3 Se Notice the 2nd veice under the melody note was lowerad by an octave in each chord — indicated by the small arravr in each of the two series — ‘Take a closed pos. Chord and da the same thing. eat Con? cm x x Gmmaj7 * Coma? t 4 pt iz ae Thea tower BY [| Then tower and. voice ier woe (TZh5 ot origina urider me rosin tos closed position ‘st open position 2nd open position. ‘This gives you another way to expand your voeabulary of chords. Experiment with the other forms you know. Try doing this with other 4 note forms on top four strings. Use the following forms to get yourself started ee Bi? eect? gree ; 2 8 bs thr bo af be a Ble x br e ba $ e ss 105Exoanding these three forms will give you some new, interesting woicings — remember, you must eaden", or "block-out” strings not in use when you mave the otner tones. Try picking the new chords using right hand fingars— Note the unusual forms you get — Notate the results so you get a much better picture of the new chord Notice vaice leading possitil "tes inte other enords Use the new ferms till they become easy 10 get— Chords using open strings for special effects Armaj3/9 ‘At first slance, if you sew the {ollowingchord noteted, you would pis = probably think it impossible. = = Through utilization of oven (B). (@). (1) strings this very difficult voieing becomes a simple matter. MP 5g 1 i Unusual sound — CAichord 3rd) sounds before Bi {chord 9th), though positions are reversed via notation. ° Translorms to—> es Try them] a R73 05 Remember our discussion of 13th chords when we mentioned that #7 and 1th next to each other in chord was impossitie via ordinary fingerings? Try thi B13 Looks impossible, unless we use gD) & @ Brings open Like this e 8 ‘The Sth on top of the chord softens the dissonance generated by the minor 2nd interval (C — B) in B the chord 108‘ 2 2 SS oe How about this Becomes an easy using the open 7 matter strings. Consider the following melody and chord symbols. ‘This could involve some fingering probleme on the lest chords — Let's spre the same maj? form thres “held” each it using and utilizing the top sting. (8) open, Like this : Bbmajrbs Bbmajtbs Cea? Dmaj7 nr Be Cait Donai7/ fa a7 BY G ‘Unusuat sound on hy) final chore! — but rm 3) very good, effec: 5) sive device. This requires some thinking to do corre tly__ You could do via trial and error method — Just take forms you already know and include the open strings — Your ear will soon tell you what will work and what won't work — 107Example Tao 8 2 Take the Following tiajor 7th form It) ql dcr asso ap: Weer bod a Fret xX ih tine Ginclude top two open string [44 Fou mea tes Ta Fret] yest [anata [+ to! .t BS p inaitadso ware] oe yeu [Tat Ft }+ not oe = ip Amal ‘es! Sth Fret -—* Nol = 10th Fret 9th Fret }-—» Nol judge" Gth end Sth frets you could stretch @ peint— Both of these positions would sound better with b7 in the chord — you may disagree, but as I've said before — Cmayr est = ‘Danaj/9{odd6) Yes! ‘your ear is the final Try some other forms now, To utilize top three strings open, you have to finger” chords on the lower Uree strings, preferably trisds— Lets try a maior wi Ly TS ae Hf you add ) open G you get Ab maj7__ Ad ion of (2) & () could be stretching 2 paint — you would add #9 (@) and +5 (E) — This could become velid for an ending in Ab if you resolve to en Ab6 chard eo o° h) a D ieee 108 we 1S eee ee = = oe ee ee,in in af aa in an an a a This same triad would work beautifully 2% the Sth fret and Bth fret Try it at all positions Analyze the open strings in relation to the basic triad — the open G () will work at 6th fret with Bb tried__ Hor about the other tones? Experiment with this concept Now try with triad on strings) @) Bd bial Now, instead of using trial and error method — move it up on paper and see haw the top two strings analyze in relation to the basic tried Qnd and tet strings work Toa dissanant Fimai2bs oa = Dissonant, but Ze i = will work 2nd and 1st strings work Good Cluster works, 2nd and 1st strings work 2nd and Ist strings work would work if you stretch a point. Tey this ono with low "E" string moving to next chord @) Theoretically, every one would work #s part of a chord progression They are difficult to evaluate as isolated chords_. ineHere's a good li — V form using open (3 & Am st anid pia “xo 2 : moe * oo. Bie | Ly ol 1 i En |_| XB) Tere I | yy | b x} = = = 3 3 al 4 It becomes obvious that you can only do these things at certain places om the neck. If you have time to work out accompaniment patterns, inclusion of the “open siring chards' provide an interesting hangeThey, like all other devices, can be overdone and-woule soon become tiring and most ineffective. We have only scratched tne surface on the possibilities which are available. Spend some time win] Lthisidea and you'll be surprises at tne number of voicings available Practice! | Previous statements regarding chordal movement have indicated some of the standard chord oro restions which are familiar to most all players, Actually, chords ean move anywhere — from sny chord to any chord Musical experience, taste, and your ability to be creative, will be the criteria which will evaluate these progressions. Unusual chardal progressions have been around, in pop music, along ime — Examine oid standards such a: “High on a Windy Hill", “How High the Moon”, “You Stepped aut of a Dream", “All the Things You Ate”, and many others for examples of modulatory, or “Out of Key” progress ions which provide most interesting examples of unusual chordal movement Try the following criginal melody, ancl note the leck of @ real “tonol-center” It becomes more epparent thai the key could be Ab — analyze the melady in relation to the given chard symbols — natice the use of high extnsions and altered chordal tones — notice how section (@) mover dows ehromotieally through four keys. This melody is possible 4s a chord solo in this postion. Try it =. To be played Bossa Nova style ar ® ome G7 igh. m7 Ft he ee ‘ke bm eh aes bina? ele tio“6 Abm? bo Shonjt Ge ey mo cathe Current exponents of “ree-form’”, in jazz, have completely civorced themselves from chordal. lines. This is a difficult concept to understand because of our inability to make & valid judgment based! on previous “listening! experiences, |t ig also a very easy way for a peor performer to “eap-cut". Actually “anything goes’ and nothing is wrong — 40 it becomes most difficult to evaluate. There islittle we can usa to. mwasure ie against, We all have a tendency to judge things vie comparison with how things have been dune Lefore, Truly great performances will stand the test of tims, I'm not progosing that we live in the past, However, | do suggest that we offersome consideration ta the cont“butians matie by ea lier pe-farmers. Many curren guitarisys are doing most interesting things. Close listeving to these people will disclose a direct Tine, his- lorieally, to previous performers Be adaptable to change, but not just for the sake of change itself, Develop your own critical facilities through listening with an open mind and aar. There ave good players in all ties of musical activity. espech ally in the area of quitar playing. Don't limit yoursel!? Cepying someone else is tine as a lazrniing experience Your own playing should reflect you, 8a person, Remember, that like a great public seeker, you need an adequate vocabulary to express yourself, This moans complete command of the guitar i all areas; chords, scales, arpeggios, nicking, etc., otc, People will never know your great ideas if you are unaole to express them due to technical limitations, If your aim is communication remember that simplicity is usual y the De we ef auaroach.