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Guitar Training

a collection of material for the student of jazz guitar


(intermediate – advanced)

copyright W. Kulawik 2012


Introduction

This material for practising the guitar is not meant to be a guitar book in the usual
way, but it represents a collection of material for jazz-guitarists. There are no
excessive explanations, as you will find them in hundreds of other books.

The aim was to provide material for all the topics that are essential for improving
improvisational skills and to train them along with suitable standard jazz tunes. That
is why this collection consists of two parts:

- Part I gives you the technical basis - scales, arpeggios, chords, rhythmic exercises,
articulation exercises

- Part II contains II-V-I patterns, chord voicings, chord solos, single line solos by
combining exercises with different jazz standard tunes and chord structures (like
Blues or Rhythm Changes)

This more practically-orientated approach does not cover all topics completely. But it
gives you all the musical vocabulary that helps you to develop your own style by first
imitating and practising the given phrases with the aim to integrate them into your
own musical language.

Almost every exercise can be listened to. When you find a rectangle on a page you
can play the example by clicking on it.
Videos that haven´t been includedin the folder "videos" can be watched on youtube.
Just follow the embedded links.

Wolfgang Kulawik

w_kulawik@web.de

copyright W. Kulawik 2012


Basic exercise

Exercise 1 (Chromatic up):


This is a a technical exercise that is meant to give you strength and control of your left hand:
The fingers hit the fretboard one after the other, stay on the fret until the fourth finger is on the
fourth fret.
Then the first finger moves to the next string, fingers 2 - 4 stay on the precedent string. They
move over to the next string, when the first finger has reached its position. No empty strings are
played, just frets 1,2,3, and 4.

Practise with a metronome in the slowest tempo you can imagine. When all the notes come
without buzz you can increase the tempo. Play each note 4 times, then 2 times, then once. Take
care of clear and even downstrokes. When you have reached a considerable tempo, try to pick
alternative picking (down - up - down - up....)

You must be very patient, don´t take it too quick.....


1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
usw..
1 2 3 4
1 2 3 4 5 6 7 8 9 10 11 12

Exercise 2 (Chromatic down):


This is the same exercise as exercise 1, only reverse.
You start on the highest note and then play down by removing one finger st a time. When you
move over to the next lower string, you first prepare all four fingers, then remove one afier
another.
1 2 3 4
1 2 3 4
usw..
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4

1 2 3 4 5 6 7 8 9 10 11 12
Exercise 3 (motoric skills)

This is an exercise in triplets. You play three notes on adjacent strings in a group of triplets with
alternate picking. This means you have to change direction of the pick when entering the next
string.
More exercises here: http://guitartraining.de/page5/index.html

usw..
1 2 4
1 2 4

1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Technical exercises

1. Chromatische Übung 1 (chromatic exercise 1)

Practise the following exercise slowly with a metronome. Mind the alternate picking with down- and upstrokes.
If you get problems in the first position, move the exercise upwards to the fifth position. Try to increase the tempo
(always with a metronome!!!) without losing the evenness of your down- and upstrokes.
Watch your left hand. The little finger should not be further away from the fretboard than your first finger!!!
The fingers should stay on their fret until the fourth finger hits the fourth fret.
When playing back from g# you should prepare the fingers so that they hit the fretboard at the same time.

audio

° ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U
audio 2
etc.............

& b œ nœ œ #œ #œ œ bœ nœ
œ #œ œ #œ bœ nœ œ #œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

¢⁄
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4

° œ #œ œ bœ œ #œ œ #œ #œ nœ #œ nœ bœ œ #œ nœ
&
1 2 3 4 4 3 2 1

¢⁄
1 2 3 4 4 3 2 1

° œ bœ
& œ #œ #œ nœ œ bœ
#œ nœ œ bœ #œ nœ #œ nœ

¢⁄
4 3 2 1
4 3 2 1
4 3 2 1
4 3 2 1

copyright W. Kulawik 2012


audio
2. Chromatische Übung 2 (chromatic exercise 2)
audio 2

° ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U etc............
audio 3

&
œ œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ œ bœ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ

¢⁄ 1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4

°
& bœ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œnœ œ œ œ

¢⁄
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4

° œ œ œ œ#œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ œ


&

1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4

¢⁄
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4

° #œ œ œ œnœ œ œ œ #œ œ œ œnœ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œnœ œ œ œ


&

4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1

¢⁄
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1

°
& œ œ œ œbœ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ œnœ œ œ œ œ œ œ œbœ œ œ œ

¢⁄
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1

°
& #œ œ œ œnœ œ œ œ
œ œ œ œbœ œ œ œ #œ œ œ œnœ œ œ œ #œ œ œ œnœ œ œ œ

¢⁄ 4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
copyright W. Kulawik 2012
Practising tips:

1. Practise the scales systematically and slowly up and down. Start on the root
and end on the root. Watch your articulation and even up- and down strokes
with your pick.

2. Play the scales through all given fingerings and positions.

3. Play the scales chromatically up and down the fingerboard. The fingering stays
the same but you change positions on the fretboard.

4. Start your scales on different base tones. 1. root, then third, then 5th. Always
have in mind the relation of the played note to the root of the scale, that will
improve your orientation on the fretboard.

5. Try to play all the fingerings in one position on the fretboard.

scale : Bbmaj7 Cmaj7 Ebmaj7 Fmaj7 Abmaj7


fingering No.: 1 5 4 3 2

6. Play the scales through the cycle of fifth

7. Practise scale inversions by changing the order of scale tones, for example:
thirds up and down, groups of four up and down, triads up and down. (more
details see "scale practising examples)
1 3 2 4 3 5 4 6 5 7 6 8... thirds up
9 7 8 6 7 5 6 4 5 3 4 2.. thirds down
1 2 3 4 2 3 4 5 3 4 5 6... groups of four up
8 7 6 5 7 6 5 4 6 5 4 3... groups of four down
1 3 5 2 4 6 3 5 7 4 6 8... diatonic triads up

8. Play rhythmic structures

9. Transfer the phrases into different keys.

copyright W. Kulawik 2012


SCALES

The following chapter provides a systematic overview over the scales commonly
used in jazz. Especially for guitarists it is hard not to lose orientation on the fretboard
because (unlike on the keyboard) every note can be found in more than one position
on the fretboard. This means you have to learn scales in different fingerings in
different positions.

This is a different approach than on the keyboard, but it has the advantage that
fingerings remain unchanged for all the twelve keys, and you can move them
chromatically up and down while piano fingerings differ from key to key.

You will find six positions for each scale. Up to the seventh fret (index finger on the
seventh fret) all the fingerings refer to G, the other fingerings are transposed to C, so
that you can practise them comfortably and don´t have to move to high ranges.
The scales are being played as soon as you click on the rectangles on the position
numbers.

In the chapter "patterns" you will find some phrases or patterns that are made up of
scale tones which give you ideas to use the scales in II - V - I chord progressions.

On the following two pages you will find some interesting diagrams which try to
visualize the interval structure and the ralation of the scales to their specific chords in
general.

copyright W. Kulawik 2012


Interval structure and chord function:

scale name interval structure options chordal function

m ionian 1 2 3 4 5 6 7 6 7 9 Imaj7 , I6
a
j
o
lydian 1 2 3 #4 5 6 7 b7 9 #11 IVmaj7, IVmaj7/#1l
r
Lydian augmented 1 2 3 #4 #5 6 7 Xmaj7/#11

Mixolydian 1 2 3 4 5 6 b7 9 13 V7 to I maj
d
o harmonic minor 1 b2 3 4 5 b6 b7 b9 b13 V7 to I minor
m from the fifth
i altered 1 b2 #2 3 #4 b6 b7 b9,#9,#11,bl3 V7 alt.,VII7 alt
n
a
n Mixolydian #11 1 2 3 #4 5 6 b7 9 #11 13
t
whole tone (WT) 1 2 3 #4 #5 #6 9 #11 1b13 V7/#5
7
t
h halftone-wholetone 1 b2 #2 3 #4 5 6 b7 b9, #9, #11, 13 V7 alt.

melodic minor 1 2 b3 4 5 6 7 6, 7, 9 Im6, minor-maj


m
i dorian 1 2 b3 4 5 6 b7 9 11 13 IIm7 , Xm7(Modal)
n
o
r
aeolian 1 2 b3 4 5 b6 b7 9 11 VIm7

phrygian 1 b2 b3 4 5 b6 b7 11 IIIm7

m
locrian 1 b2 b3 4 b5 b6 b7 11 b13 VIIm7/b5, IIm7/b5
i
n locrian #2 1 2 b3 4 b5 b6 b7 9, 11, b13 Xm7/b5
7
b wholetone-halftone 1 2 b3 4 b5 b6 6 b7 x07 = xdim7
5

copyright W. Kulawik 2012


Scale overview:

Scales derived from the ionian major scale:

step name chord relation

I ionian c d e f g a b c Cmaj7
II dorian d e f g a b c d Dminor7
III phrygian e f g a b c d e Eminor7
IV lydian f g a b c d e f Fmaj7
V mixolydian g a b c d e f g G7
VI aeolian a b c d e f g a Aminor7
VII locrian b c d e f g a b Bminor7 flat5

Scales derived from the melodic minor scale:

step name chord relation


I melodic minor c d Eb f g a b c Cminor6, Cminmaj
III lydian augmented Eb f g a b c d Eb Ebmaj7#11
IV mixolydian #11 f g a b c d Eb f F7#11
VI locrian #2 a b c d Eb f g a Am7b5
VII altered b c d Eb f g a b B7 alt

Scales derived from the harmonic minor scale:

step name chord relation


I harmonic minor c d Eb f g Ab b c Cminor
V harmonic minor g Ab b c d Eb f g G7b9
from the fifth

copyright W. Kulawik 2012


7KHPDMRUVFDOH LRQLDQ
The Major Scale (ionian mode) - See Practising tips here.

scale practise + backing track

1 2 4
2 4
Position
1 3 4
1
G-major 1 3 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 3 4
1 3 4
Position
1 2 4
2
1 2 4
G-major
1 2 4

1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 2 4
Position
1 3
3
G-major 1 3 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

backing track in C

1 2 4
2 4
Position
1 3 4
4
C-major 1 2 4
1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 2 4
Position
1 2 4
5
C-major 1 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Major scale chromatically up and down

Play the major scale with a metronome in even eighths up and down the fretboard. Play continuously,
don´t stop to think. There shouldn´t be any gaps. The more you practise that, the more fluent you will
become.

backing track starting in G, going up till F major

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Ç
& 4 __ÇÇÇ _ Ç Ç Ç È
Ï
ÇÇ ÇÇ ÇÇ ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈ È ÈÈ È
===================== È È È l È È È È
Ï
È È È ÈÈ ÈÈÈ ÈÈ ÏÈÈ l öÇ ÇöÇ ÇöÇ ÇÇ ÇÇ ÇÇ ÇÇ= ÇÇ l l
Çö _öÇ Ç _Ç
ö _Ç
ö È _ Ç
ö _
ö
Ç _ Ç _ Ç _
_öÇ _öÇ __ÇöÇ
bb b Ç Ç ÇÇ ÇÇ ÇÇÇ ÇÇÇ ÇÇÇ ÇÇÇ ÏÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈÈ _ÏÈÈÈÈ _ÏÈÈÈÈ _ÈÈÈÈÏ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈ ÇÇÇ ÇÇ ÇÇ Ç Ç Ç
2 41 2 41 3 4 1 3 4 2 4 1 2 4 2 1 4 2 4 3 1 4 3 1 4 2 1 4 2 1
III.

& b _ ÇÇÇ _ÇÇÇ _ÇÇöÇ ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈÈ ÈÈ ÈÈ


===================== l È È È ÈÈ ÈÈ ÈÈ ÏÈÈÈ l öÇ ÇöÇ ÇöÇ ÇÇöÇ ÇÇ ÇÇ ÇÇ=

Ç _ _ Ç _ ÇÇ l l
_Çö öÇ öÇ _öÇ _ÇöÇ
### IV.Ç Ç ÇÇ ÇÇ ÇÇ ÇÇÇ ÇÇÇ ÏÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ _ÏÈÈÈÈ _ÏÈÈÈÈ _ÈÈÈÈÏ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈ ÇÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Ç Ç
24 1 2 4 .....

ÇÇ ÇÇ ÇÇ ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈÈ ÈÈ ÈÈ È


=====================
& l È È È ÈÈ ÈÈÈ ÈÈ ÏÈÈÈ l öÇ ÇöÇ ÇöÇ ÇÇöÇ ÇÇ ÇÇÇ ÇÇ= ÇÇÇ l l
__ÇÇö _öÇ _Çö È _Çö _öÇ _
_ÇöÇ __ÇöÇ
_ÏÈ
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V.

& _ÇÇÇö_ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l È ÈÈ È È


===================== l È ÈÈ ÈÈ ÈÈ l öÇ öÇ ÇöÇ ÇöÇ _ÇÇöÇ _ÇÇöÇ = ÇÇÇ l l
_
b_öÇ
### IV.Ç ÇÇ ÇÇ ÇÇÇ Ç ÇÇ ÇÇ ÇÇÇ ÏÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ _ÏÈÈÈ _ÏÈÈÈÈ _ÈÈÈÏ ÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈ ÇÇ ÇÇ Ç Ç Ç Ç
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=====================
& ÇÇ l l
Ç
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ö È È È È Ç
ö Ç _ÇöÇn__ÇÇöÇ
_Çö _öÇ _
ÏÈ
bb b b III.Ç ÇÇ ÇÇ ÇÇÇ ÇÇ ÇÇÇ ÇÇÇ ÇÇÇöÇ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈÈÈ _ÏÈÈÈÈ _ÈÈÈ _ÈÈÈÈÏ ÏÈÈÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈ ÇÇÇ ÇÇÇ ÇÇ ÇÇ ÇÇ Ç Ç
& ÇÇÇ _ÇÇ _ÇÇÇö ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈ ÈÈ È
===================== l È ÈÈ ÈÈ ÈÈÈ ÈÈ l öÇ öÇ ÇöÇ ÇöÇ ÇÇ ÇÇ Ç= ÇÇÇ l l
_
_Çö Ç
ö _ ö
Ç _ Ç
ö _ Ç _
_öÇ#__öÇÇ
# II. Ç Ç ÇÇ ÇÇ ÇÇ ÇÇ ÇÇÇ ÏÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ _ÏÈÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈ ÇÇÇ ÇÇ ÇÇ Ç Ç Ç
Ç Ç Ç Ç Ç Ç Ç
& _ÇÇÇ _ÇÇ _ÇÇöÇ _ÇÇö ÇöÇ öÇ öÇ l ÈÈ È È È
===================== Ç
ö È
Ï È È È È È È È l È È È
È È È È
Ï
ÈÈ È ÈÈ ÈÈ l öÇ ÇöÇ ÇöÇ _ÇÇöÇ _ÇÇÇö _ÇÇ _ÇÇÇ _ÇÇ l _ =l
È È
Ï
_Çö _öÇ _öÇ _öÇ __ÇöÇ _w
Practise this exercise by playing the major scale chromatically up and down.
Play regular eights and try not to stop when changing the key.

copyright W. Kulawik 2012


Diatonic scales in Position 1
Here is an example how to practise the major scale fingerings. You start on the root of
Gmaj7 and play one octave up to the ninth of the chord, then down again. Then you
continue to play the same fingering, but start on A, so that you play the A dorian scale.
Continue the pattern until you are in Gmaj again.

ionian

Gmaj7

       
         

2
2 4 5 5 4 2
2 3 5 5 3 2
3 5 5 3


dorian Am7

         
       

2 4 2
2 4 5 5 4 2
2 3 5 5 3 2
5 5


phrygian Bm7

         
       

2 4 5 4 2
2 4 5 5 4 2
2 3 5 5 3 2


lydian Cmaj7#11

         
       
3
2 4 5 5 4 2
2 4 5 5 4 2
3 5 5 3

copyright W. Kulawik 2012


mixolydian
     
D7

            
3 5 3
2 4 5 5 4 2
2 4 5 5 4 2
5 5

aeolian

     
Em7

           
2
3 5 5 3
2 4 5 5 4 2
2 4 5 5 4 2

locrian


F#m7b5
     
           
2 3 2
3 5 5 3
2 4 5 5 4 2
4 5 5 4

ionian

Gmaj7
        
        
2 3 5 3 2
3 5 5 3
2 4 5 5 4 2
5 5

copyright W. Kulawik 2012


Gmaj scale position 1 in groups of four

Here is another example how to practise the major scale fingerings. This time you
play the Gmajor scale up and down in groups of four. You play the following interval
pattern: 1234 2345 3456 4567 and so on
Practise this through the other fingerings of the major scale as well.


           

     
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 Gmaj7

2 2 4
2 2 4 2 4 5 2 4 5 4 5 5
2 3 2 3 5 2 3 5 3 5 5
3 5 5


   
   
Gmaj7 F#m7b5 Em7 D7 Cmaj7 Bm7 Am7 Gmaj7

5 4 2 4 2 2
5 5 3 5 3 2 5 3 2 3 2 2
5 5 3 5 3 2 5 3 2 5 3

One octave higher:

           

      

Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 Gmaj7


2 2 3 2 3 5 2 3 5 2 3
3 3 5 3 5 3 5 5
2 4 5 2 4 5 4 5 5
5

   
   

Gmaj7 F#m7b5 Em7 D7 Cmaj7 Bm7 Am7 Gmaj7

3 2 2
5 3 5 3 5 3 3
5 5 4 5 4 2 5 4 2 4 2 2 2
5 5 4 5 4 5

copyright W. Kulawik 2012


Gmaj scale position 1 in a II - V progression

Here is another exercise variation. This time you play the Gmaj scale fingerings
in a II - V - progression.


          
   
Am7 D7

3 3
2 2 2 4 5 5 4 2
2 4 5 5 4 2 2 4 5 5 4 2
2 3 5 5 3 2 5 5
5 5

  
    
    
Gmaj7

2 4 5 5 4 2

2 3 5 5 3 2
3 5 5 2 3

Whole step up:

     


      
      
Bm7 E7

5 5
4 4 4 6 7 7 6 4
4 6 7 7 6 4 4 6 7 7 6 4
4 5 7 7 5 4 7 7
7 7

 
          
      
Amaj7

4 6 7 7 6 4

4 5 7 7 5 4
5 7 7 4 5

copyright W. Kulawik 2012


Gmaj scale position 1 in a II - V progression (2)

Another variation. Again you play a II-V progression with the Gmaj scale fingering 1.


 

         
Am7 D7

2 4 5 4 2
2 4 5 4 2 2 4 5 5 4
2 3 5 5 3 5 5
5 5

      
        
Gmaj7
2

5 5
2 4 5
3 5 5 3
5 4 

whole step up

  

         
Bm7 E7

4 6 7 6 4
4 6 7 6 4 4 6 7 7 6
4 5 7 7 5 7 7
7 7

       
      

Amaj7
4

7 7
4 6 7
5 7 7 5
7 6 

copyright W. Kulawik 2012


Gmaj scale position 1 sequencing ideas

Here you find even more variations on sequencing the scales. Don´t forget to transfer
these scale patterns to the other scale positions.
Try to invent your own sequences. If there are some positions where the fingering
gets uncomfortable, leave them out, as you won´t play them in your solos anyway.

1. Gmajor scale in thirds up and down:



        

    
2 1 4 2 1 4 2 1 4 3 1 4 3 1 4 3 4 1 3 4 1 3 4 1 2 4 1 2 4 3
Gmaj7
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 F#m7b5Em7 D7 Cmaj7 Bm7 Am7 Gmaj7

2 4 2
2 4 2 5 4 5 5 4 5 2 4 2
2 3 2 5 3 5 5 3 5 2 3
3 5 5 3

2. Gmajor scale in thirds up and down (Octave higher)

   
     
   
Gmaj7
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 F#m7b5Em7 D7 Cmaj7 Bm7 Am7 Gmaj7

2 3 2 5 3 7 3 5 2 3 2
3 5 3 5 5 3 5 3
4 2 5 4 5 5 4 5 2
5 5

3. Gmajor scale in groups of four and thirds mixed


  
             
          
2 4 1 2 4 1 2 4 1 2 4 13 41 2 41 34 1 3 41 34 13 4 13 4 2
Gmaj7 Bm7 D7 F#m7b5

2 2 4 5 2 4 2
2 4 2 2 4 5 4 5 2 4 5 5
2 3 5 2 3 2 3 5 5 3 5
3 5 5

copyright W. Kulawik 2012


4. Gmajor scale pattern: 12345321 - 23456432 - ......


              
         
2 4 1 2 4 1 4 2 4 1 2 4 1 2 1 4 1 3 4 1 3 4 3 1
Gmaj7 Am7 Bm7

2 2 4
2 3 5 2 2 3 5 3 2 2 3 5 5 3 2
3 5 5 3 5 5


              
         
2 4 1 3 4 1 4 2 4 1 3 4 1 3 1 4 1 3 4 1 3 4 3 1
Cmaj7 D7 Em7

2 2 4
2 4 5 2 2 4 5 4 2 2 4 5 5 4 2
3 5 5 3 5 5

  
       
3 4 1 3 4 1 4 3 4
F#m7b5 Gmaj7
2 4 5 2
4 5 5 4 5

5. Gmajor scale in arpeggios up:


Gmaj Am7 Bm7 Cmaj7

             
  
2 1 4 3 4 1 2 4 1 4 3 1 3 4 1 2
2 4
4 5 2 4 5 2
2 5 3 2 5 3
3 5


D7 Em7 F#m7b5 Gmaj

       
     
4 3 1 4 2 3 4 1 3 1 4 4 2

3 5 3
2 5 4 2 5
4 5 2 4
5

copyright W. Kulawik 2012


Diatonic fingerings of the major scale (three note per string)
On the following page you find another possibility of practising the major scale. You will
find seven fingerings that use the tonal material of the major7 scale. The difference will
become obvious in a second:

The seven positions start on different root notes, so you will play in different modes:

1. F major7 (ionian)
2. G minor7 (dorian)
3. A minor7 (phrygian)
4. Bb major7 (lydian)
5. C dominant7 (mixolydian)
6. D minor7 (aeolian)
7. E minor7/b5 (locrian)

Moreover the fingerings use three notes per string, so that there is a regular and
persistent sequence of three accents per string, which allows you to apply a regular
series of up and down strokes.

Practising tips:

1. Play the positions slowly and exactly. Mind the up and down strokes. You can use
alternate picking: down-up-down / then next string: up-down-up and so on – or:

1b. you use sweep picking: down-up-down /next string: down-up-down and so on.

2. Use a metronome and play in a fixed tempo. Take it slow but steady. Then increase
the tempo. Don´t exaggerate.

3. Practise the positions chromatically and diatonically up- and down.

4. Stay in the same position and play at least four different modes.

Example: In the F-ionian position (position 1) you can also start from the second note.
The position remains the same, but the mode has changed. You now play in
Gminor7(dorian).
If you start from the third note, you will find yourself in Aminor7 (Phrygian) and so on.

5. Play in regular eights – play in tuplets. Change the rhythmic value of the notes.

copyright W. Kulawik 2012


Diatonic major scale positions (3 notes per string)
1 3 4
1 3 4
F 1 2 4
1 2 4
ion 1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 4
1 2 4
G 1 2 4
dor 1 2 4
1 2 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 4
A 1 2 4
1 2 4
phryg 1 3
3
4
1 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 4
Bb 1 3 4
1 3 4
lyd 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 3 4
C 1 2 4
1 2 4
mixo 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 4
1 2 4
D 1 2 4
aeol 1 2 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 4
E 1 2 4
1 3 4
locr 1 3 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
copyright W. Kulawik 2012
Major pentatonic scale
The majpr pentatonic differs from the ionian scale (like every other pentatonic scale) because two intervals have been omitted from the scale.
A normal ionian scale has seven tones: 1 2 3 4 5 6 7
A pentatonic scale only has 1 2 3 5 6 - that means that the 4th and 7th are left out. You get a five-tone scale that has the character of a major
chord.
Often this pentatonic is used in rock music, and they call it "minor pentatonic" which is incorrect. When you play the G-major pentatonic over E-
minor chord (a flat 3rd below) you get the impression of a "minor" sound, but the scale originally is only an inversion of the G-major-pentatonic.
The real minor-pentatonic used in jazz is discussed in a later chapter.

2 4
2 4
Position
1 3
1
G-major 1 4
1 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 3
1 4
Position
2 1 4
G-major 2 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
2 4
Position
3 1 3
G-major 1 3
1 4
1 4
1 2 3 4 5 6 7 8 9 10 11 12

2 4
2 4
Position
4 1 4
C-major 1 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
1 4
Position
5 1 3
C-major 1 3
1 3
1 4
1 2 3 4 copyright
5 W. Kulawik
6 7
2007 8 9 10 11 12

copyright W. Kulawik 2012


Melodic minor scale
The melodic minor scale derives from classical music. It is identical to the major scale, except that the 3rd note is flattened.
major scale: 12345678
melodic minor: 1 2 b3 4 5 6 7 8
This scale sounds more modern than the major scale and you can play it over several chord functions:
G melodic minor = Gmmaj = Bbmaj7/#11 = C7/#11 = Em7b5 = F#7alt (for details see "scale overview p.9.)
backing track Gminor
backing tr. with solo

1 2 4
Position 2 4
1 1 2 4
G minor 1 3 4
1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
1 3 4
Position
2 1 3
G minor 1 3 4
1 3
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 2 4
3 1 3
G minor 1 2 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 3
Position 1 2 4
4 1 3 4
C minor 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4

Position 2 4
5 1 3 4
C minor 1 2 4
1 2 4
4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


The harmonic minor scale

The harmonic minor scale is played over minor chords. Most of the time it is used for playing over dominant7b9 chords.
leading into a tonic minor chord: example: Am7 - D7b9 - Gm7. Here you can play the harmonic minor scale
throughout the whole progression. It is mainly used in gypsy swing.

backing track in Gminor

1 2 4
Position 2 3
1 1 2 4
Gm 2 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
3 4
Position
2 1 3 4
Gm (1) 1 3 4
(2) (3 )

1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 2 4
3 1 2
Gm 1 2 4
(2) 4
(3) (4)
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4

Position 1 2 4
4 2 3
Cm 1 3 4
(1) 1 3 4
(2) ( 3)
1 2 3 4 5 6 7 8 9 10 11 12
1 4 4

Position 1 2 4
5 1 2 4
Cm 1 3
1 2 4
(3) 4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Melodic minor pentatonics
This pentatonic is a five tone scale just like the major pentatonic (p 21) with the interval structure: 1 2 3 5 6
You can play it over
Gminor7 - Gminor6 - Gminormajor
Em7b5
Bbmaj7#11
D7/9/b13
F#7alt
You can also use the scale to give colour to "harmless" chords like Gminor or Bbmaj7.

2 4
2 4
Position
1 1 2
G-m pent 1 4
1 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2
1 4
Position
3
2
1 3 4
G-m pent
1 3
1 2
1 2 3 4 5 6 7 8 9 10 11 12
1 4
2 4
Position
3 1 3
G-m pent 1 2
1 4
1 4
1 2 3 4 5 6 7 8 9 10 11 12

2 4
2 3
Position
4 1 4
C-m pent 1 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
4
Position
1 3 4
5
1 3
C-m pent
1 2
1 4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


The blues - scale
It is mainly used to improvise over a dominant7th chord. It also sounds very nice
over a major chord a minor third higher.
e.g G-blues scale over Bbmaj oder Bb !!!

1 4
1 4
Position
1 1 3 4
G7 1 3
1 2 3
1 4
1 2 3 4 5 6 7 8 9 10 11 12

1 3 4
2 4
Position
1 2 3
2
1 4
G7

1 2 3 4 5 6 7 8 9 10 11 12
1 2 3
1 4
Position
3 1 4
G7 1 3 4
4

1 2 3 4 5 6 7 8 9 10 11 12

1 4
1 3 4
Position
1 3
4
C7 1 2 3
1 4

1 2 3 4 5 6 7 8 9 10 11 12
2 4
2 3 4
Position
5 1 4
C7 1 4
1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Whole tone - half tone - scale
You use it to improvise over diminished chords
, e.g. G7dim – Bb7dim
You can move the scale every minor third .
1 2 4
1 3 4
Position
1 1 2 4
G7 dim 1 3 4
1 2 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
Position 1 3 4
2 1 2 4
G7 dim 1 3 4

1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 3 4
3 1 2 4
G7 dim 1 2 4 4
4

1 2 3 4 5 6 7 8 9 10 11 12

1 3 4
1 2 4
Position
4 1 3 4
C7 dim 1 2 4
1 3 4

1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 3 4
5 1 2 4
C7 dim 1 2 4 4
1 2 4 4
4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


The half tone - whole tone - scale
You use it mainly over altered seventh chords like
G7b9 – G7 #9 – G7 b9 b13 – etc.

1 2 4
1 3 4
Position
1 1 2 4
G7 alt 1 3 4
1 2 4
1 2 4 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
1 3 4
Position
2 1 2 4
G7 alt 1 2 4 4

1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
3 1 2 4
G7 alt 1 3 4
4

1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
1 3 4
Position
4 1 2 4
C7 alt 1 3 4
1 2 4

1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
5 1 2 4
C7 alt 1 2 4 4
1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


PENTATONICS

I. The Major – PENTATONIC

Pentatonic scales consist of five notes that are taken out of the regular 7- tone scales.
Pentatonic in the classic sense has the following structure:

C D E F G A B C ( C-major scale)
1 2 3 4 5 6 7 8

C D E G A C ( C-major Pentatonic)
1 2 3 5 6 8

A pentatonic scale consists of the scale steps 1 2 3 5 6.


fourth and seventh are omitted

Pentatonic scales can be played in four inversions:

scale degree chord relation


1 C D E G A Cmaj6 / C7 (seventh missing)
1 2 3 5 6
2 D E G A C Dsus7
1 2 4 5 b7
3 E G A C D Em7 ( phrygian – aeolian )
1 b3 4 b6 b7

4 G A C D E Gsus6 / G6/9
1 2 4 5 6
5 A C D E G Amin7 / Amin7-11
1 b3 4 5 b7

The a minor pentatonic scale A C D E G is the fourth inversion


( Modus 5 ) of the Cmajor pentatonics ! ! !

copyright W. Kulawik 2012


PENTATONICS ( II )

II. The minor pentatonic

Another pure pentatonic is the Cminor6 pentatonic.

This scale can also be played in four inversions:

scale degree chord relation:


1 C D Eb G A Cm6 – Cm7 – Cm maj7
1 2 b3 5 6
2 D Eb G A C Dm7 (b9)
1 b2 4 5 b7
3 Eb G A C D Eb maj7 #11
1 3 4 6 b7

4 G A C D Eb G9/11/b13
1 2 4 5 b6
5 A C D Eb G Am7/b5
1 b3 4 b5 b7

Regarding Bb major you can see the following scale relations:


(you can improvise over any chord with the Cm6 pentatonic)

step V VII I II IV
chord F7/9 Am7/b5 Bbmaj7 Cm6 Ebmaj7/#11

As you see, you can use the minor pentatonic over four chord types:

1. Minor7 minor 6 Pent on the same scale tone


2. Dom7 minor6 Pent a fourth below
3. Maj7/#11 Minor6 Pent a minor third below
4. M7/b5 Minor6 Pent a minor third above

copyright W. Kulawik 2012


Arpeggios

Arpeggios are broken chords whose notes are played one after the other, not
simultaneously, but they consist only of tones that belong to the underlying chord.
Just as there are six different chord types, there are six different types of arpeggios:

1. major - arpeggios 1 3 5 1 3 5
c e g c e g
2. minor - arpeggios 1 b3 5 1 b3 5
c Eb g c Eb g
3. major7th - arpeggios 1 3 5 7 1 3 5 7
c e g b c e g b
4. minor7th - arpeggios 1 b3 5 b7 1 3 5 b7
c Eb g Bb c Eb g Bb
5. dominant7 - arpeggios 1 3 5 b7 1 3 5 b7
c e g Bb c e g Bb
6. minor7/b5 - arpeggios 1 b3 b5 b7 1 b3 b5 b7
c Eb Gb Bb c Eb Gb Bb

If you want to play arpeggios with ninths , 11ths or 13ths you have to leave out notes
from the basic structure of the chord.

Practising:

1. Practise all the fingerings of the Gmaj arpeggio

2. Play the arpeggios chromatically up- and down.

3. Play different keys in one position of the fretboard e.g:

Bbmaj7 Cmaj7 Ebmaj7 Fmaj7 Abmaj7


1 5 4 3 2 (No of fingering)

4. Play two alternating fingerings through the cycle of fifths.

5. Start playing the arpeggios from the major 7th.

copyright W. Kulawik 2012


Elementary arpeggios

To get a better overview over the fretboard it is important to practise the basic chord structures (maj7 - minor7 -
dom7) from all possible positions on the guitar.
Here you find the most important arpeggios (I call them elementary arpeggios, because they only consist of the
basic intervals 1 - 3 - 5 - and 7)
Depending on the string where the root is we get four fingerings:
Type a) root on the low E string
Type b) root on the A string
Type c) root on the D string
Type d) root on the G-string
Please have in mind that each elementary arpeggio can be played in at least two fingerings. These alternative
fingerings are placed as pairs.

Minor7th

a) 1
2
4 1
3
4 1 4

b) 1
2
4 1
3
4 1 4

1 4 2
1 3
c) 3 1 4

1 4 2
2 4
d) 3 1 3

copyright W. Kulawik 2012


Dom7th

a) 1 4 2
3 1 4
4 2

1 4 2
b) 3 1 4
4 2

1 4 3
c) 2
3
1
2
4

1 4 2
3 1 4
d) 2 1

Major 7th
1
a) 2 3
3 1 4
4 2

1
1 3
b) 3 1 4
4 2

1
2 4
c) 3
4
1
2
4

1 4 3
3 1 4
d) 2 1

copyright W. Kulawik 2012


Exercises for elementary arpeggios in Minor7th:

a) b)
1 4 1
1 4 1 2 3
2 3 4 1 4
4 1 4

c) d)
1 4 2
1 4 2 2 4
1 3 3 1 3
3 1 4

copyright W. Kulawik 2012


Exercises elementary arpeggios in Dominant7th

copyright W. Kulawik 2012


Exercises for elementary arpeggios in major7th

copyright W. Kulawik 2012


copyright W. Kulawik 2012
The major arpeggio

1
2
Position
3
1
G-major 3 4
1 4
1 2
1 2 3 4 5 6 7 8 9 10 11 12

4
Position
1 4
2
1 2
G-major
1 4
1 2
1 2 3 4 5 6 7 8 9 10 11 12
1 4
1 2
Position
1
3
G-major 3
3 4
(1) (4)
1 2 3 4 5 6 7 8 9 10 11 12

1 4
3
Position
1 2
4
C-major 1 4
(1) 2
(2)
1 2 3 4 5 6 7 8 9 10 11 12
3 (4)
1 4
Position
1 1
5
C-major 2
3
(3) 4
1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Where can I play the major arpeggio?:

chord type Step Arpeggio Step

1 Gmaj7 I in Gmaj Gmaj7 I

2 Gmin7(9) II in Fmaj Bbmaj7 IV

( Gmin7 is parallel Minor in Bb-Major)

3 G7 (9/11/13) V in Cmaj Fmaj7 IV


(in F-Major only the upper structure (b7 9 11 13) is included)

4 Gm7/b5 VII in Abmaj Bbm7 II


Dbmaj7 IV

(Gm7/b5 and Bbmin7 are third related. Dbmaj7 ist Parallel major to
Bbmin7)

As you can see in the diagram you can use the major arpeggio to play over four chord
types:

- maj7
- min7(9) (maj7-Arp. a minor third higher)
- Dom7 (9/11/13) (maj7-Arp. a whole tone down)
- m7/b5 (maj7-Arp. a tritone higher)

A Gmaj7-Arpeggio can be used for the following chords:

VI I II7 bV
Emin7/9 Gmaj7 A7(9/11) Dbmin7/b5

copyright W. Kulawik 2012


The principle of drop2 harmonisation:

If you drop the 2nd note of a chord down one octave the sound changes from narrow to
open. Chords on the guitar in narrow position are difficult to finger. That is why we have
to use drop2 and drop3 voicings to keep the chords within the range of two or three frets.


  
 

 
 
  



   

  
 
 

 

The principle of drop3 harmonisation:

Basically the same as drop2, bur here you drop the third note of a chord down an
octave, so its range becomes even wider and sometimes very difficult to finger.



 
 
 
  
   
 

   
  
 
 
 

 

copyright W. Kulawik 2012


Drop2 and Drop3 voicings
and inversions

Here you find the most common drop2 and drop3 voicings in four inversions.
Some are comfortable, others are "almost impossible" to finger. But they sound
very colourful, so why don´t you give them a try.........

all chords in Gminor:

w
¡ w
drop2
w
drop3
bw
w ww bw
w w ww bw
w
& bw
w
w
w
w b w w bw
w
w
w
w b w w
w
G‹7

bw w
w
3 6 10 13

¢Ú
3 6 8 11 3 6 8 11
3 7 10 12 3 7 10 12
3 5 8 12 3 5 8 12
3 6 10 13

#w
¡ bw b#w w bw bw
w # ww w #w # ww w
&# w
w w b w w w w w
w #w
b w b w
G‹(Œ„Š7)
w w w #w
w bw
3 6 10 14

¢Ú
3 7 8 11 3 7 8 11
3 7 11 12 3 7 11 12
4 5 8 12 4 5 8 12
3 6 10 14

w w
¡ bww w
wb w w
w b ww
w w w
w b ww
&n w bw bw
w w
w bw w
G‹%
w w w w w
w bw
5 6 12 13

¢Ú
5 6 10 11 5 6 10 11
3 9 10 14 3 9 10 14
3 7 8 14 3 7 8 14
5 6 12 13

w
¡ bw bw
w ww
w bww w ww bww
& w
G‹('9)
w w
w bw w bw
w w
w bw w
w w w w
w bw
5 6 10 15

¢Ú
3 8 10 11 3 8 10 11
3 7 12 14 3 7 12 14
5 7 8 12 5 7 8 12
5 6 10 15

copyright W. Kulawik 2012


w
Gmadd11¡ bw
bw w
w w
w b ww bw b ww
w bw w
& ww
w bw
w w w w
w w
w w
w
w
w
bw w
6 8 10 15

¢Ú
3 8 11 13 3 8 11 13
5 7 12 15 5 7 12 15
5 8 10 12 5 8 10 12
6 8 10 15

w
¡ # w bw
#w
#w
ww bw
#w w #w w bw
#w
& b ww w w b#w w b ww w
G‹7(b5)
w w b w w w w
w b w #w
3 6 9 13

¢Ú
2 6 8 11 2 6 8 11
3 6 10 12 3 6 10 12
3 5 8 11 3 5 8 11
3 6 9 13

all chords dominant7:

w
¡ nw
drop2
w
drop3
w
w ww w
w w ww w
w
w w w w w w
G7
& w
w w w w
w w w
w w
w w
3 7 10 13

¢Ú
3 6 8 12 3 6 8 12
4 7 10 12 4 7 10 12
3 5 9 12 3 5 9 12
3 7 10 13

w
¡ # w w
#w
#w
ww w
#w #ww #w ww w
#w
G7(#11)
& ww
w
w
w w w
w w
w w w
w
w w #w
3 7 9 13

¢Ú
2 6 8 12 2 6 8 12
4 6 10 12 4 6 10 12
3 5 9 11 3 5 9 11
3 7 9 13

copyright W. Kulawik 2012


bw w
¡ bw w w w
drop3
ww bw ww bw
drop2
w nww w bw nww w
G7(b13) & w
w w w w
w w bw
w w
w w
3 7 11 13

¢Ú
4 6 8 12 4 6 8 12
4 9 10 12 4 9 10 12
3 5 9 13 3 5 9 13
3 7 11 13

¡ bw nw
w bw
w nb ww
w bw nb ww
w
G7(#9) & nw
w bw
w nw
w w nw
w
w bw
w
w nw
w w
w
bw nw w
6 7 10 13

¢Ú
3 6 11 12 3 6 11 12
4 7 10 15 4 7 10 15
3 8 9 12 3 8 9 12
6 7 10 13

w w
¡ nw
w w
ww ww ww
w w ww ww ww
w
G13
& w
w w w w
w w w
w w
w w
3 7 12 13

¢Ú
5 6 8 12 5 6 8 12
4 9 10 12 4 9 10 12
3 5 9 15 3 5 9 15
3 7 12 13

w
¡ ww
w w w w
G7(“4)
w w
w ww
w
w
w ww w
w ww
w
w
w
& w w w w w w
w w
3 8 10 13

¢Ú
3 6 8 13 3 6 8 13
5 7 10 12 5 7 10 12
3 5 10 12 3 5 10 12
3 8 10 13

copyright W. Kulawik 2012


all chords major7:

#w
¡ w
w
drop2 drop3

#w
w #ww w
w #w #ww w
w
& #w
w w w w w
#w
w w w
GŒ„Š7
w w w w w #w
w w
3 7 10 14

¢Ú
3 7 8 12 3 7 8 12
4 7 11 12 4 7 11 12
4 5 9 12 4 5 9 12
3 7 10 14

#w
¡ w w #w
w w w
#
& # ww
w
#
#w
w
w
#w
w #w
w #
#www ##w
w
w
#ww
w #w
# w
w
w
GŒ„Š7(#11)

w w
3 7 9 14

¢Ú
2 7 8 12 2 7 8 12
4 6 11 12 4 6 11 12
4 5 9 11 4 5 9 11
3 7 10 14

bw #w
¡ bww w
b#ww #ww bw
w
w bw b#ww #ww bw
w
w
GŒ„Š7(#5)
& #w
w w w #w
w w b
w
w #w
w w
3 7 11 14

¢Ú
4 7 8 12 4 7 8 12
4 8 11 12 4 8 11 12
4 5 9 13 4 5 9 13
3 7 11 14

w
¡ w w w ww ww
w w
w ww w w w
w ww w
G('9)
& w
w w w w
w w w w
w w w
5 7 10 15

¢Ú
3 8 10 12 3 8 10 12
4 7 12 14 4 7 12 14
5 7 9 12 5 7 9 12
5 7 10 15

copyright W. Kulawik 2012


CHORDS

The chords are divided into four subgroups . And within these groups according
to their root string into type A, B and C.

- Type A: root on low E-string


- Type B: root on A-string
- Type C: root on D-string

Each subgroup of chords has an identical interval structure . If you are looking for
the usual way of showing chords with fingering and fretpoints you won´t be happy
with these diagrams. So take your time to get comfortable with this way of
structuring chords.
It will help you to understand the fretboard much faster if you know where the
intervals in relation to a root-note are.

For example in group 1 there are only chords with the following structure:

- 1 3 7 (maj7) plus 3 or ninth on the upper string


- 1 b3 b7 (m7) plus 3 or ninth on the upper string
- 1 3 b7 (Dom7) plus 3 or ninth on the upper string

There are chord exercises for every chord type. You will find them behind the
chord diagrams.

- play Barre-chords only where they are needed


- change the position of the hand as little as possible when changing chords
- use one finger as leading finger when changing positions (very often one finger
can stay in its former position)

At the end of the chord diagrams you find a complete overview of all chords in
only one diagram. To use this chart you should already know the subtypes
otherwise it will be difficult not to lose orientation.

copyright W. Kulawik 2012


CHORD DIAGRAMS

The chord diagrams all have the same internal structure:

- Minor7th chords (m7)


- Dominant7th chords (dom7)
- Major7th chords (maj7)
- Half-diminished chords (m7b5) (not group 1 because they don´t have a fifth))
- Diminished chords (dim7) (not group 1 because they don´t have a fifth)

Instead of fretpoints and finger numbers you will only find numbers that indicate
the interval structure of the chord. So the specification of chords gets dispensable.
If you play a chord with 1, 3, b7 and 9 it is obvious that you are playing a
Dominant7th chord with added ninth.

All chords consist of a basic structure:


root(1) – third (b3, 3) – seventh (b7,7) – fifth(b5, 5)
and parts of the upper structure:
ninth (b9,9,#9), eleventh (11,#11) or thirteenth (b13, 13)

The basic structure remains unchanged while there are options in the upper voice.

CHORDS Type 1:
All chords of type 1 have the same interval structure:
root - third - seventh - top voice: doubled third or ninth or octave

If you concentrate on the first three notes, you´ll get "micro chords" with all the
necessary structural elements.

We distinguish the following basic structures:

1 3 7 = major7th
1 b3 b7 = minor 7th
1 3 b7 = dominant 7th

As chords of type 1 don´t have a fifth, you cannot play diminished or half diminished
chords.

copyright W. Kulawik 2012


Chords Type 1

The audio always starts from the chord C then goes to chord F, then to G.
Remember, the three basic notes (1, 3, and 7) do not change. The note on
top of the chord changes and determines its name. (like #9,9 or b9)

(Minor 7) version with small solo


E-String A-String D-String
(9) b3
8 (9) b3 b7
(9) b3 b7 b3
b7 b3 1
b3 1 F
1 C
G
version with small solo
Dom 7
8 b9 (9) #9 3
8 b9 (9) #9 3 b7
b9 (9) #9 3 b7 3
b7 3 1
3 1 F
1 C
G

version with small solo


major 7
(9) 3
(9) 3 6 7
(9) 3 7 3
7 3 1
3 1 F
1 C
G

copyright W. Kulawik 2012


Chords Type 2 (drop2)

Chords of type 2 all have the same interval structure:

- root (1)
- fifth (5)
- seventh (7)
- third (3)

As chords of type 2 have a fifth (which chords of type 1 don´t have) you can play all five
basic chord types:

- major7th (1, 5, 7, 3)
- minor7th (1, 5, b3, b7)
- Dominant7th (1, 5, 3, b7)
- half diminished (1, b5, b7, b3)
- diminished (1, b5, bb7, b3) (bb7 = 6th = diminished 7th)

The intervals in brackets (fourth or sixth) can be used alternatively.

copyright W. Kulawik 2012


Chords Type 2 (Drop 2)

A B C

min 7
b3 (4)
b3 (4) b7
b3 (4) (6) b7 5
(6) b7 5 1
5 1
1
Dom 7
3 (4)
3 (4) (6) b7
3 (4) (6) b7 5
(6) b7 5 1
5 1
1

major 7
3
3 (6) 7
3 (6) 7 5
(6) 7 5 1
5 1
1

m7/b5
b3 11
b3 11 b7
b3 b7 b5
b7 b5 1
b5 1
1
dim7 (diminished)
b3
b3 bb7
b3 bb7 b5
bb7 b5 1
b5 1
1

copyright W. Kulawik 2012


chord exercises 1


type 1A:        
                 
       
                 

type 1B: 





 
  
                 
upper chord substitutes:   
    
 
               
 
type 2B:        
          
       
upper chord substitutes:
 
 
       
        
    
    
type:       


 
    
  
             

  

       


  
             
  
    
  
        
 

copyright W. Kulawik 2012


chord exercises 2


 

      


          
      
type 2B    


     
  
         


      


          
      
    


     
  
           


   


 
       


     



 
         
 

      


          
      
    

   



           
 

  




     
  

copyright W. Kulawik 2012


Chords Type 3 (drop3)

These chords are derived from the drop3 system. They are 4-6 tone chords and thus are
very flexible to use.
Most of the time one string is muted.

The colour of the chords is due to the possibilty of putting two colour tones onto the
upper two strings. That means at the same a reduction of the chord basic structure
(omitting the root or fifth in favour of option tones of the upper structure)
On the other hand there are chord ambiguities due to the fact that the root is not clearly
defined.

copyright W. Kulawik 2012


chords type 3 (drop3)

type 3A:

min7

type 3B:

copyright W. Kulawik 2012


maj 7
#11 5 5 6
3 9
7 6 7
(3) 3
1 1

3C m7 Dom7
8 9 8 9 8 b9 #9
5 13 b13 13
b3 3 3
b7 b7 b7

(1) (1) (1)

11 5 #11 5 13 #11 5 b13 13


3D
9 9 #9 b9 #9
b7 b7 b7
b3 3 3
(1) (1) (1)

3E 11 5 #11 5 13
b3 9 #9
b7 b7
b3 3
(1) (1)

3F 8 9 8 9 8 b9 #9
5 13 b13 13
b3 3 3
b7 b7 b7

copyright W. Kulawik 2012


chords type 3G und type 4

The chords of type 3G are ambiguous, because tones of the lower interval
structure are left out. So they can be interpreted from different root tones.
The following chart should make it clear:

can
the tone sequence g b d f# be seen as:

1. 1 3 5 7 in Gmaj7
2. b3 5 b7 9 in Em7/9
3. b7 9 11 13 in A7/9/11

The chord can be interpreted as maj7 (intervals: 1, 3, 5, 7)


or minor7th (intervals: b3, 5, b7, 9)
or Dom7th (intervals: b7, 9, 11, 13)

That is why the use of these chords requires a fundamental knowledge


of harmonic relations.

chords type 4

Chords of type 4 are layers of thirds. They are


difficult to play on the guitar because you have to stretch your
fingers. This is the difference between the piano and the guitar.
Close voicings can easily be played on the piano with one hand
while those voicings (drop2 or drop3) can easily be played on the
guitar with one hand, but it is impossible to play them on the piano
(if you donÿt have giant hands....)

copyright W. Kulawik 2012


chords type 3G

Dom 7
b7 8
5 b13 13 11 #11 5 11 5
b9 9 9 b9 9
b7 b7 b7

1 1 1
b
5 b13 13 11 #11 5 3 11
b9 9 b9 9 b9 9
b7 b7 b7

1 1 1

chords type 4
4a 4b
b7 7 8
b7 7 8 b5 5
b5 5 b3
m7
b3 1
1

b7 8
b7 8 b5 5
#11 5 3
Dom7
3 1
1

3 7 8
7 8 #11 5 #5 6

maj7 5 #5 6 3
3 1
1

copyright W. Kulawik 2012


chord overview

A B C

Type 1
8 b9 9 b3 3
8 b9 9 b3 3 b7 7
b9 9 b3 3 b7 7 b3 3
b7 7 b3 3 1
b3 3 1
1

Type 2
b3 3 (4)
b3 3 (4) (6) b7 7
b3 3 (4) (6) b7 7 b5 5
(6) b7 7 b5 5 1
b5 5 1
1
Type 3
8 b9 9 11 b5 5 b13 13 b9 9 #9
11 b5 5 b13 13 b9 9 b3 3 b13
b3 3 b7 7 b3 3
b7 7 b7
1
1 1

Type 3b,c,d,e,f,g
8 11 #11 5 b13 13 13 b7 8
11 #11 5 b13 13 b9 9 3 11
b9 9 b7 b9 9
b7 3 5 b7
1
1 1

Type 4
b7 7 8 9
b7 7 8 9 4 b5 5 #5 6
b5 5 #5 6 b3 3
b3 3 1
1

copyright W. Kulawik 2012


Instructions for the basic chords and chord exercises:

1. basic chords

Here you will find the chords for playing a standard jazz tune which you can use in any
kind of standard. If you click on the rectangle, the underlying chord progression (mostly
a II - V - I progression) is being played.
Always practise only one progression, but don´t forget to transpose it into other keys or
positions on the fretboard. Example:

Am7 - D7/9 - Gmaj7, transpose by moving a whole step up to: Bm7 - E7/9 - Amaj7
and so forth.....

You will find the basic chords in notation and TAB plus a TAB-only version. There you
can click to listen to the audio examples.

2. chord exercises

The chord exercises are meant to practise one or two alternating chord types which you
should practise by following the chord type indicators (e.g. type 2B or type 2C...)
Please mind the notated rhythm which is of high importance to the exercises.

copyright W. Kulawik 2012


Basic chords notation and TAB

Here you find the basic chords in a II-V-I progression. You can listen to them on the next but one page.

D7 #9 D7 b9
Am7 D7/9
«
««˙« b˙«««
Gmaj7 Am7
Gmaj 7

w
44 ww w ww 2 w
ww
1
w w
w ˙
«
« ˙
«
«
l #ww l #w_
l========================
& __w ” _ l #˙«˙« «˙˙« l #w_ ”
l l lw _ ” _
w l lw _ ”
l TA l l ” l l ”
ll B ll 45 ll 4 ”” 5 ll 45 45 ll 44 ””
5 5 3 5 6 4 3
5 5 4 5 5 5
5
5 3 5 3

Ab7(#11) 4 wDm
www w ww ww ww
3
w w
Am7/11 Gmaj7 7 G7/13 Cmaj7

& _ l #w_ l #w_


l======================== ” w l w l ww ”
_w _ _ w _
_ _
l l# w lw ” l w l ”
l TA 3 55 l 34 5 l 344 ” 5 67 l 34 5 l 4 55 ”
ll B ll ll ”” 5 ll ll 3 ””
5 4 3 3

ww «««˙ Gb˙«««b Cmaj Db #


ww ww ww ww
5 Dm
«˙««˙ «˙««˙
7 G7/13 7/ 13 7/9 7/9 7/ 9 7/9
6Dm Cmaj

w
l========================
& w l __«« l _ww ” ww l # _ww l _ww ”
_
_ «
« ”
l l ˙
« ˙
« l ” l l
l TA 567 l 3 4 5 3 44 l 2 3 4 ” 3 55 l 34 5 l 2 34 ”
ll B 5 ll ll 3 ”” 5 ll 4 ll 3 ””
3 3

b7
7 b Gm
_ww b _wwGm _
w 8 b Gm
w
_
ww # _
w _ww
ww ww ww w
7 Fmaj 6 Fmaj 7 7 7

#w w
G

& l lw
l======================== ” w l #w l w ”
l l 6 l 5 ” 6 l 6 l 5 ””
ll A 5 7 ll 5 7 ll 3 5 ”” 5 7 ll 4 6 ll 3 5
6
T
””
6 5 5 6 5 5

lB l l ” l l

copyright W. Kulawik 2012


C b b
w_w
Gm7/11
_
w
_
#w _
w
_
w 10 Am b Ab #
w bw
7/ 9/ 13 F 6/9
9
ww ww ww w w w
Gm 7/ 5 7/ 11 7

l b w l ”_ l #w_ bw
l _w
l========================
& ”
l l l ” _w l # _
w l _
w ”
lT 68 l 89 l 88 ” 4 l3 l3 ”
ll AB 5 7
ll 8 9
ll 7
7
”” 5 5
ll 4 5
ll 3
3
””
5 4 3

G7 b13
b D7(#9) b
bww
11 Am7( 5)
ww w ww
Gm7
bww bww
12 Dm7( 5) Cm7
bw b
& __ww l #ww l _w
l========================” #ww l _w l _ww ”
l l l _
w ” l _w l ”
lT 4 l 6 l3 ” 6 l 4 l 4 ”
ll AB 5 5
ll 4 5
5
ll 3
3
”” 5 6
5
ll 3 4
ll 3 5
3
””
5 3 3

13 Dm7(b 5)
ww ww bw b w
_
w b w
_
w
14 Gm7(b 5)
b #www
Gdim Fm 7 7

#w #w
Ddim7 Cm7

& #ww l #ww l b _www


l======================== ” w l w l w ”
l l l ” l l ”
lT 6 l 6 l 4 ” 66 l 56 l 44 ”
ll AB 5 6
5
ll 5 6
4
ll 3 5
3
”” 5 6
ll 5 6
ll 3 5
””
bb
b _ww b _ww
b
# w w bw w
15 Gm7( 5) 7 9 13
C Fm 9
16 Adim Ddim Gdim 7 7 7

#ww b # ww w
bw w #ww #ww
l _ww
l========================
& lb w ” _#w l w l ”
l l l ” _
w l l ”
l T 66 l 24 l 13 ”4 l 6 l 56 ”
ll AB 5 6
ll 23 3
ll 11
”” 4 5
ll 5 6
4
ll 5 6
””
5

copyright W. Kulawik 2012


basic chords (TAB only)

        






 

  


 


  


  



             
 

      





 

  


 


 


 



            
 
 
        

 


 




    

  




 
             
        






 

 

 

  

 


 

 
      
 
  
   
   
  

 

 

 


 


 

  



         
   
         





 
 


 

 

  



            
    
   




 

 

 


 


 


 

 
         
  
     
   

 


 




  


 

  

 



         

copyright W. Kulawik 2012


block chords

Block chords are four-string voicings with the melody tone on top of the chord in
order to harmonize the melody. For guitarists the term block chords goes with
Wes Montgomery who transferred the original piano voicings onto the guitar.

He harmonizes with these (mostly drop2-chords) the chord tones of a melody


or uses them for comping, and of course for improvising.

In the following chapter you will find the basic block chords used for harmonizing
scale tones in major, minor and dominant7.

After that you find options to play block chords in II-V-I progressions
and in turnarounds( I - VI - II - V)

Watch four small videos (you will need an active internet connection)

video1 - video2 - video3 - video4

copyright W. Kulawik 2012


Basic - block chords in A minor

    
  
 
    
   
  
Amin7 Amin9 Amin7 Aminadd11 Amin7 Amin7
 


















      
 
 

  
 


   

        

     

Basic - block chords in D minor


 
 
        
  
    
Dmin Dmin9 Dmin7 add11 Dmin Dmin7















     
     
  
  
  
 



         

      
   
   


     




  
 

     

copyright W. Kulawik 2012


Basic - block chords in C major
  
 

 
Cmaj7 C6/9 Cmaj7add9
 
 






  
  
 
 



C6/9 Cmaj9 C6/9
 

 





   
  


   

Cmaj7add9 C6/9 Cmaj7

 






   

copyright W. Kulawik 2012


Block chords 2

II - V - I progressions in Fmaj

  
  

  


 
  


 
    
    
    
 
  




  

 

  

  
     
   
 
    
 
 






 




  


 
     
 
 
    
 
  

  

  

  
     
    
 

  




  




  


 
     
  
    
 
  




  




  


 
     


 
 

   

  

 

  


 
    
 



   
 
  

  




  


 
     

copyright W. Kulawik 2012


  

  
 
  

  


 


 
     
   
  
 
 


 

 






    
      

    
 
 


 

  


 

 



     

 


     
   


 


 

 
    

     

    

  

  

  


 
  



      
   
  
 
 


  



 



     

    


 


 
 

 

 
     
     

 

 


 

  


 
 



       

copyright W. Kulawik 2012


2 Blues in F7

B b7
bb 4 VIIIJÏÈ ÇÇjøöÇ ÏÈÈ JÏÈ ÏÈÈÈ ÏÈÈÈ Î ÈÏÈÈ b_ÈÈÈÈÏ _ÈÈÈÈÏ ÏÈÈÈ _ÈÏÈÈ _ÈÈÈ n_ÏÈÈÈ _ÈÏÈÈ JÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ úÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈ
F7
Ï F7
.
1 & 4 ÈÈ È ÈÈ
l==================== l l È È È lÈ È È È= È l
3 1 3 1 3 2 1 1 2 1 3 2 3 2 1 4 2 1 4

Bb 7 £
bb JÏÈÈ ÏÈ . úÈ È
Ï
È Ç
Ç Ç
Ç Ç Ç Ç Ç Ç IÈÏII
È ÏÈÈ ÏÈÈ ÏÈ
F D 7 7

È
Ï
È È nö
Ç Ç
bö Ç
Ç
bö Ï
È Ç
Ç
ö Ç Ç Ç
ö
j
Ç î î È
È ÈÈ È = ÈÈ l
l & È ÈÈ ÈÈ l È È ÈÈ öÇ l öÇ . #ÏJ÷ÏÈÈÈ
VII

==================== l
1 2 3 4 2 1 4 1 4 1 2 4 3

Ç Gm7
Ç Ç Ç Ç C7 Ç Ç Ç
b III ÇÇö ÇÇöÇ ÇÇ ÇÇÇ ÇÇÇ ÇÇ ÇöÇ ÇöÇ ÏÈÈ ÈÈÈÏ nÏÈÈÈ ÏÈÈ ÇÇöÇ ÇÇöÇ ÇÇ ÇÇÇ ÇÇ
F7 D7 Gm7
VIII Ï
È
C7
nÏÈÈ ÏÈÈÈ
b öÇ ÇöÇ öÇ öÇ Î Î . J
È
Ï
öÇ ÇÇ ÇÇ l ÈÈ ÈÈ ÈÈ ÈÈ =
Çö Çö l#ÏJ÷ÈÈÈ j È Ï
È
l====================
& lÈ È È È _Çö . _Çö
È l
1 1 3 1 4 1 2 4 1 4 3 1 3 1 1 4 1 2 3 1 3 2 3

b È
_
Ï Ï
È
_ n Bb 7
Ï
È
_ b Ï
È
_ _
Ï
È
È È È
bb úÈÈÈ ÏÈÈÈ ÏÈÈÈ ä JÏÈÈÈ ÏÈÈÈ ÈÈ È È È ÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈÈ w ä JÏÈÈ ÏÈÈÈ nÏÈÈ ÈÈÈÏ ÏÈÈÈ ÏÈÈÈÈ nÏÈÈÈ
VIIIF7 F7 VII

l&
==================== l £ È È l È È
£ l =l
2
3 3 3 1 3 4 3 1 3 1 3 4 1 3 4 1 2 3

B b7
bb JÏÈÈÈ ÏÈÈ JÏÈ ÏÈ . ÇÇ ÇÇÇÇ ÇÇÇöÇ öÇÇÇÇ ÇÇÇÇ ÇÇ Ç VIIÇÇ ÇÇF ÇÇ ÏÈ ÏÈ nÏDÈ ÈÏ ÏÈ Î . IXJÏÈÈÈ
V 7 7

È ÈÈ ÈÈ j
l====================
& öÇ l böÇ öÇ ÇöÇ nöj
öÇ j öÇ ÈÈ ÈÈ l ÈÈ ÈÈ ÈÈ
Ç l öÇ . j =l
4 1 2 2 2 4 1 2 1 4 1 1 2 2 3 3 4 2

b _
Ï
È
È _
È
Ï
È _È
Ï
È Ï
J
È È
_
Ï
È È
Ï
_
È C7 b _
Ï
J
È Ï
È
È È
Ï
_
È _
Ï
J
È
È ÏÈ È
Ï Ï
È .
b b È È È ä ÈÈ È È ä ÈÈ È È ä È ÈÈÈ ÈÈÈÏ ÈÈÈ ÈÈ JÏÈÈÈ ÏÈÈÈ . JÏÈÈ ÏÈÈ . JÏÈÈÈ î
Gm 7 F7 D7 Gm7 C7
VIII
l====================
& l £ l È lÈ =Ó
1 1 3 2 1 3 2 1 3 1 3 1 3 1 2 4

copyright W. Kulawik 2012


4 Bebop Blues

Chorus 1:
Bb 7 ÈÏ n ÈÏ b ÈÏ
bb 4 ÇÇ Ç ÇÇö Ç böÇÇ ÇÇö Ç ÇÇ ÇÇÇö #öÇÇÇ nöÇÇÇ ÏÈÈ ÈÈÈÏ ÏÈÈÈ b_ÏÈÈÈÈ _ÈÈ _ÈÈ _ÈÈÈ _ÏÈÈÈ ÈÈÈÏ ÈÈÈÏ ÏÈÈÈ úÈÈÈ nÏÈ bÏ£È böÇÇ
F7 F7

& 4 öÇ . Çj
öÇ j
Ç ÇöÇ jÇ l Ç . Çj
l===================== öÇ #öÇ lÈ È È È È l
£
ÈÈ ÈÈ = Çl
1 2 1 2 1 3 1 2 3 3 3 1 3 1 3 4 331 3 2 1 4

Bb 7 _
ÏÈÈ _ÈÏ
_
_ _
ÏÈÈ _ÈÏ b_ÈÈÏ
_
bb ÏÈÈÈ nÏÈ bÏÈ úÈ È
È
È _ È
È b Ï
_
È
È Ï
È È
Ï È
Ï Ï
È _
. Ç ÏÈ ÏÈÈ ÏÈÈÈ #ÏÈÈ ÈÈÈ _ÈÈÈ _ÈÈ
È È È È È
F D 7 7

È È È î È È È
È È Çj
böÇ l ÈÈÈÏ ÈÈÈ ÈÈÈ ÈÈ È È =l
l& È È È l
===================== £ l
3 2 1 4 1 2 3 3 1 3 1 1 4 2 2 1 4 1 2

__ÏÈÈÈ _ÏÈÈ _
Ï_ÈÈ _ÏÈ _ÈÏÈ _
Ï_ÈÈ _ÈÈÏ_ÈÏÈ ÏÈ CÏÈ ÏÈ
bb È ÈÈ ÈÈ È ÈÈ È È ÈÈ ÈÈ ÈÈ nÏÈÈÈ ÏÈÈ ÇÇöÇböÇÇÇÇ ÇÇÇ ÇÇÇ ÏÈ ÏÈÈ nÏÈÈÈ ÏÈÈÈÈ #ÏÈÈÈbÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ nÏÈÈÈbÏÈÈ ÏÈ ÈÏ
C 7
Gm 7 F 7 D 7 Gm 7 C 7

l&
===================== l È öÇ öÇ l ÈÈ ÈÈ ÈÈ È È È È È l ÈÈ È ÈÈ È È ÈÈ ÈÈ = ÈÈ l l
4 1 4 1 2 4 2 1 4 2 2 1 3 1 2 1 4 1 4 3 2 1 2 1 4 2 4 1 4 3 1 1 4

Bb 7 _ÏÈÈÈ _ÈÏÈ ÏÈ ÈÈÏ ÏÈ


Chorus 2:
bb ÇÇö . Ç ÇÇj Ç Ç Ç Ç Ç
Ç Ç
Ç Ï
È È
Ï
È b_ÏÈÈÈ nÏÈ ÈÈÏ
Ç Ç È È È È È
Ï
öÇ böÇÇ nöÇÇ Çö nöÇ l ÈÈÈÏ ÈÈÈ ÈÈÈ ÈÈ È È È È l ÈÈÈ ÏÈÈÈÈ ÏÈÈÈ ÏÈÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈÈÈ =
ÈÈÈ
öÇ öÇ ÇöÇ böÇj
Ç l ÇöÇ . Çj
F7 F 7

& Ç Çj
l===================== l
1 2 1 2 1 3 1 2 3 3 3 1 1 4 3 2 1 1 1 4 3 1 1 4 1 4

Bb 7 Ç Ç È
Ï È
Ï
_
È b _
Ï
È ÈÈÈÏ _ÏJÈ
_
_
ÏÈ Ç È È
Ï Ï
È Ï
J
È
b ÈÈ ÈÈÏ ÏÈ bÏÈÈ nöÇ ÇÇÇ bÏÈ ÏÈÈ ÏÈÈÈ ÈÈ È È ÈÈ ÈÈ ÈÈ ÏÈ . ÇjÇ ú
È
È .. È
Ï È
Ï
È
È
Ï
È
È #Ï
È
È È
È ä ÈÈ
F D 7 7

b
l & È ÈÈ ÈÈ ÈÈ öÇ ÈÈ ÈÈ È l
===================== ÈÈ l öÇ È l ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ È =l
£
2 4 1 2 3 4 2 £1 4 3 1 4 3 1 3 2 1 4 1 4 3 2 1 4 1

ÏÈÈ _
__ÏÈÈÈ _ÏÈÈ #ÏÈ _ÈÏÈ _ÈÈÏ_ÈÈÏÏÈnÏÈ ÈÏ _ÏÈÈ __ÏÈÈ b_
_ ÏÈÈÈ _
_
_ ÈÈÈÏ_
_ ÈÏÈ _ÏÈÈ _ÈÏ ÏÈ
_ ÈÈ #ÏÈ _ÈÏÈ _
_Ï ÏÈÈ _ÏÈÈ _ÈÏÏÈ b _ÈÏ
_
È
Gm7 C7 F7 D7 Gm7

b È È
b ÈÈ ÈÈÈ ÏÈÈ ÈÈ È ÈÈ È ÈÈ ÈÈ nÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ È È È ÈÈ ÈÈÈ ÈÈ nÏÈÈ bÏÈÈÈ ÈÈÈ ÈÈ ÏÈÈ È È È ÈÈ ÈÈ ÈÈÈ nÏÈÈÈ bÏÈÈÈ bÏÈÈ
È È Ï
È
l& È È
===================== l l È È È l £ È ll
=
4 2 3 2 1 2 13 1 2 1 4 1 2 4 21 4 3 1 3 2 1 4 11 3 1 4 31 2 1 1 4

copyright W. Kulawik 2012


Chorus 3:
ÈÈÈÏ _ÈÏJÈ _ÈÏÈ ÈÏ _ÈÈÏ ÏÈ ÈÏ ÈÏ
substituting Cm7 for F7

Ï È _Ï
È
È _
_
bb ÈÈÏ ÏÈÈÈ ÈÈÈÈÏ ÈÈÈÈ ÈÈ ÈÈ ä _ÈÈ _ÈÈ _ÈÈ _ÈÈ _ÈÈ _ÈÈ ÏÈÈÈ _ÈÈÈ ÏÈÈÈ ÏÈÈÈ ÈÈÈÏ ÏÈÈÈ ÏÈÈ ÏÈÈ Î Î ä ÇÇj
_ _ _
Ç
ö
b _ÏÈÈ #ÏÈ nÏÈ ÏÈ
ÈÈ ÈÈ ÈÈ ÈÈ
l& È È È
===================== l l È È l =l
1 4 3 2 1 4 1 2 1 2 3 2 3 4 4 3 1 2 4 2 1 4

bb ÏÈÈ Ç ÇÇ ÇÇ Ï È ÏÈ
È È
Ï ä Ç
Ç Ï
È Ï È È
Ï
È Ï È È
Ï ÇÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
l===================== Ç l ÏÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÏÈÈÈ l öÇ Çö öÇ öÇÇ #öÇÇ öÇÇ Çö=
& È ÇöÇ böÇ úÇ l bÏÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈ ÈÈ ÈÈÈÏ nöj öÇÇ l
2 3 1 2 4 1 4 3 1 1 2 4 1 2 1 4 2 1 2 1 4 3 4 1 3

_
ÏÈ _ÏÈÈÈ _ÈÏ _
ÈÏ
bb ÇÇÇ öÇÇ öÇÇ ÇÇö ÏÈÈ ÏÈ Ï ÏÈÈ ÏÈ ÏÈ ÈÈÏ bÏÈÈ nÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÏÈÈÈ #ÏÈÈÈ ÈÈ ÈÈÈ _ÈÈÈ _ÈÏÈÈÈ _ÈÈÈÈÏ ÈÈÈÏ ÈÈÈÏ nÏÈÈÈ bÏÈÈ ÏÈ ÏÈ
Ç Ç Ç Ï È Ï
_ È
È Ï
È
_ _È Ï
È _
turnaround phrase

& Çö Ç ÈÈ ÈÈÈ ÈÈÈ ÈÈÈÏ l ÈÈ ÈÈ ÈÈÈ ÈÈ È


l===================== l l È ÈÈ ÈÈ = ÈÈ l l
4 1 2 4 1 2 1 4 4 1 2 4 4 21 4 4 1 4 1 2 1 1 4 2 1 3 1 1 2 1 4

_
Ï
È _
_ ÈÏÈÈ n ÈÏ b ÏÈ
ÈÈÈÏ n ÈÏ b ÏÈ b_Ï _
_
b _
Ï
È È
Ï
_ n Ï
È
_ b Ï
È
_ È
_
Ï È È ÈÈ ÈÈ ÈÈ ÈÈ _ÈÈ _ÈÈ _ÏÈÈÈ
È
_ _ _ _ È _
bb ÈÏ ÏÈÈ ÏÈÈÈ ÏÈÈÈÈ ÏÈÈÈ . JÏÈÈÈ ÏÈÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈÈÏ ÈÈÈÏ ÈÈÈÏ w
Chorus 4:

& ÈÈ ÈÈ ÈÈ È
l===================== l £ È£ È l l £ =l
1 4 2 2 4 1 3 4 3 1 3 1 3 3 1 2 1 3 4 2 1 3

_
ÈÏÈ b_
_ ÏÈÈ _
_
Ï
È
È . Ï
J
È b Ï
È
_
È È
Ï
_
È
bb È ÈÈ È È Î î _ È
È _ ÈÈ _ÏÈÈÈ _ÏÈÈÈ _ÈÈÈÏ ÈÈÏ ÈÈÈÏ ÈÈÏ úÈ ÏÈÈ ÈÈÏ ÏÈ ÏÈ ÇÇ ÇÇ ÇÇ Ç
È È È È ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ öÇ böÇÇ öÇÇ ÇÇ
l=====================
& l l l =öÇ l
1 4 2 4 2 1 4 3 2 1 1 4 2 1 3 1 2 1 4

bb ÇÇ ÇÇ äÇÇ ÇÇÇ ÇÇÇ ÇÇÇ öÇÇÇ ÏÈ ÏÈ ÈÈÏ ÏÈÈÈ nÏÈÈÈ bÏÈÈ ÈÈÏ ÈÏ ÇÇöÇ ÇÇ ÇÇÇ ÇÇ ÇÇÇ öÇÇÇ ÇÇÇ ÇÇÇ ÇÇÇ öÇÇÇ öÇÇÇ öÇÇÇ böÇÇÇÇÇÇÇöÇ ÇÇÇÇ ÇÇÇÇ
another turnaround phrase

& ÇÇö Çö j öÇ ö#öÇ öÇ l ÈÈ ÈÈ ÈÈ È È ÈÈ È ÈÈ l Çö Çö nöÇÇ böÇÇ böÇ öÇÇ l öÇ Ç


l===================== #öÇ#öÇ Ó = wÓ
3 4 4 1 34 1 2 4 1 4 1 2 1 4 3 1 4 3 2 4 1 2 1 3 4 1 12 1 4 4

copyright W. Kulawik 2012


Blues Tribute to Wes
Chorus 1: W. Kulawik 2008

             
F7/13 Bb7/9 b9 F7/13 Bb7/9 b9

                  
      
6
7
6
7
6
7  5
6
5
6
4
6
4
6 6
7
6
7
6
7   5
6
5
6
5
6  4
6

 
7 7 7 6 6 6 6 7 7 7 6 6 6 6
6 6 6 5 5 5 5 6 6 6 5 5 5 5

            
6 F7/13 D7#9

  
           
        
6
 6
 
4 
6 
4  56  56
6 6 4 
6 6 6 6 6 6
4 7 7 7 5 5 5

 
6 7 7 7 4 4 4 4
5 5 5 6 6 6 5 5 5 5 5

D7#9
     
9 Gm7 C11 F7/13 Gm7 Ab6

 
   

 
     
 
6 6 6 6 6 6
3 3 7 5 3 4
3 5 7 4 3 4
5 3 6 5 5 6
3 3

Chorus 2:

         F7/13
         
13 F7/13 Bb7/9 b9

  

     
    
         

 
6
7
6
7 7
6 8 6  5
6
 4
6
4
6 6 6 6 6
7 7 7 7  9 8 6
8 7 5
7 7 3 5 3 6 6 6 7 7 7 7 6 5 3
6 6 5 5 5 5 6 6 6 6 6 5 3

         


 F7/13   
A7/9 Bb7/9 E7/13 F7/13 D7#9
     
17 Bb7/9 b9 C7#9b13 b9 Gm7


                     
        

  
   56 
6  4
6 6 6 6 5 6 6 9 9 6 6 5 6 6 6 6 4 6
5 5 5 5 4 5 4 8 8 7 7 6 7 7 5 5 5 3


6 6 6 6 5 6 8 8 7 7 6 7 7 4 4 4 3


5 5 5 5 4 5 5 7 7 6 6 5 6 6 5 5 5 5 5
3

copyright W. Kulawik 2012


Gminor block chords..........
    C7b9b13
 C7#9b13    Ab6
  
        
m7/11
   
m7/9 Gm7/9 C7b13
       
21 F7/9
   
 
              
 
  
 
5 5 3 5 8 8 6 8 11 9 7 8 8 8 8

 
6 3 3 3 3 6 6 6 6 9 9 7 8 11 10 9

 
3 3 3 3 3 7 7 7 7 9 9 6 8 11 10 9
3 3 3 3 3 5 5 5 5 8 8 5 7


5
3

Chorus 3:


Bb7/9 F7/13
             
25 F7/13

           


       

6
4 
6
6 6 6 8 6 6 6 6 6 8
7 7 7 7 5 5 7 6 7


7 7 3 5 3 6 6 7 3 5
6 6 5 5 5 5 5 6 4 5

 
     

B7/9 Bb7/9 Bb7/b9 F#7/13
28
          
F7/13

   
                    
     
3 3


   
10
9 10 9 8 6 7 6 6 6 6 6 6 5 6 6 7 6
7 6 5 5 5 5 4 4 3 4 4 8 7

 
6 7 6 5 3 7 6 6 6 6 6 6 5 6 6 8 7
6 5 5 5 5 5 5 4 5 5 7 6
3 3

          
31 D7#9 Gm7

            
    

 
 6 7
6 8
7
6 8 6  6
5  3
6
3
6

 
3 5 3 5 3 4 3 3


4 5 5 5 5 5
3 3

           


 
34 C11 C7 F7/13 D7#9 Gm7/9 F#7#9 F7/13
    
         
  

 5  
6 6 6 5 6 6 6 6 10 10 10 6
3 3 3 3 7 7 5 5 10 10 9 7

    
5 5 5 5 7 7 4 4 8 8 8 7
3 3 3 3 6 6 5 10 10 9 6

copyright W. Kulawik 2012


Chorus 4:

  Bb7/9
F7/13
   
F7/13
        
F7/b13 Bb7/9
  
37
           
     
        

     
10 8
9 8 6 6 7 6 6 8 6 6 6 6
7 5 7 6 7 6 7 7 5 6 5

5  
6 5 3 3 7 7 3 5 3 6 7 6
5 6 6 4 5 5 6 5

                  D7#9
Bb7/9 F7/13

41

      
        
   
          

      56
4 
6 8 9 8 6 6 6 6 8 9 8 6
6 7 5 7 6 7

  
3 5 6 5 3 6 7 3 5 6 5 3
4 5 5 6 4 5 5

            F7/13    


Gm7
  
45 Gm7 D7#9 Ab6


                     
        
 
 6 7 6
  8 7
5 8 8 5 8 5
6 6 6 6 6 6 6
3 6 7 2 5 5 2 5 2 7 7 5 3 4

   
3 3 3 3 7 4 3 4 8 7
5 4 5 5 6 5 5 6 7 6
3 3

copyright W. Kulawik 2012


2 Blues in F Audio
backing track blues in F

   
     
F7 B¨7 F7 F7/¨9

     
3
    
   

  3

  
 

10 11 8 8 9 6 6 9 11
8 7 5 8 10
10 9 7 6 8

      
B¨7 D7#9 F7
              
     
5

  
 

3 3 3

3
 3
 3
 
 11  11  
10 10 6


11 12 11 9 11 11 12 11 9 11 11 12 11 9 8 8
8 7 10 10
10 8 6 7

      
Gm7 C7 F7 D7 Gm7 C7

9

            

   
  8 9 10 

7
8 10 10 10
  10
7
9
10 8 7

F7
          
F7 B¨7 F7/¨9

     
13

   
  


10 9 8


8 11 9 11 8 9 10 6 8 9
7 8 10 10 8 7 10 10 5 7
10 5 6
8

copyright W. Kulawik 2012


    
B¨7 F7 D7

        
17

         

   
8 6 4


8 6
7 5 7 8 10
6 5 5 5 7 6 7 9 10
8 8 8 9
8 8

Gm7   
   
F7 D7
  
21 C7 C7
  
Gm7

                      

 


10 9
7 7 10 10 9 8
10 8 7 10 8 7 8 7 8 10 12 11 10
10 10 8 7 10 13 10 11 12 12 13

copyright W. Kulawik 2012


Praxis: VOICINGS etc...

copyright W. Kulawik 2012


Take the B-Train Melody
Voicing

%w Cmaj7
Ï
___ÈÏÈÏ ..
È . Ï
È _
Ï
È
_
È
Ï
D
___ÏÏÈÈ
7(#11)

#Ï ÈÈÈ ÏÏÏÈÈ úÈúÈ


4 ww ä ÈÈÏ.È ÈÏÈ ÈÏÈÈ Ï
& 4 _ww
l======================= l ÈÈ ÏÈÈÏÈÈ ÏÈÈÈ l ÈÈ È #ÏÈÈÈÈÈ úÈÈúÈÈ l l
È È
l l l l l
lT l 12
8 l 13
8 12
l l
ll AB ll 10 77 7 ll 12 ll ll
8 10 8 9
7 12 7 7 13 9
7 10
7 9
8
1. 2.
#b Cbb
_ww _ Ï
È b Ï
È
_ÈÈÏ #_ÈÈÏ _ÈÈÈÏ __ÈÈÈ ÈÈÏ bÏÈÈ ÈÏ __ÈÈÈ __ÈÏÈÈÏ ÏÈ úÈ Fine ÇúÇÇ #úÇÇÇ Ç Ç b _ ú
È
__ÈúÈ b__ÈúúÈÈ
b
Dm 7 G 7 7
Cmaj 7 A 7 Dm 7
G C 7 9 13 7 9 13

w ÈÈ ÈÈ È È ÈÈ ÈÈ ÈÈ È ÈÏÈÈÏ ÈÏÈ ÈúÈ ú


Ç # ú
Ç bú ÈúÈÈ úÈÈú
l=======================
& w l l ÈÈ _ÈÏÈÏÈ _ÈÈúÈú Ç Ç
l ÇúÇ #úÇÇ {Ó È È ÈÈÈ =l
l l l È ÈÈ l Ó l
l T 10 l 10 11 12 8 7 6 l 78 9
12 9 8
l 10 11 Ó 99 99 l 11 9

ll B 10 ll ll 7 7 9 ll 10 11 {ÓÓ 8 8 ll
10
A
10 8 10 11

_ÏÏÈÈ _ ÏÈÏÈÈ __úÈúÈ __ÈÏÈ _ Ï


È __ÈÏÈ
_ Ï _ Ï
È _ Ï
È _ È
Ï Ï_ÏÈÈ _ÈÏÈÏ.. _ÈúÈú _ÈÏÈÏ #ÏÈÈ nÏÈÈ
Fmaj7

ÈÏÈ ÏÈÏÈ ÈúÈúÈ ÈÈÏ ÏÈÏÈ ÈÏÈÏ ÈÏÈ È


Ï
J È
Ï. È
ú Î ÈÏÈ ÏÈÏÈ b # ÏÏÈÈ
È
& ÏÈÈ È ÈÈ È È È
È
l È ÏÈÈ ÏÈÈ È
Ï
È È
È È
Ï
È È
È È
È È
È È
l=======================
È È ÈÈ l È ÈÏ.ÈÈ ÈúÈÈ l ÏÈÈÈ ÏÈÈÈ bÏÈÈÈ =l
l l l l È È l
l T 910 788 l 101212 6 7 9 10 788 l 10 1212 9 10 l 910 7 9 6 8 l
ll AB 8 10 7 ll 10 7 8 8 10 7 ll 10 8
10 ll 8 10 7 9 6 8 ll

_ È
Ï _
ú ___ÏÈÈÏ ÇÇ _Ï __ÈÏ Dm___ÈÏÈÈÏ _
Ï
È È
#ÏÈÈÏ ÈÈ ÈÈ #ÏÈÈÏ ÇöÇöÇ ÏÈÈÏ ÏÈÏÈ È È È _ ú
È _ÈúúÈ # úúÈÈ
D7 G 7 7

Ï
È
È
Ï Ï
È
È
Ï ú
È
È
ú È úÈúÈÈ
È È
& ÈÈÈÏÏ ÈÈÈ Î È
ÈÈ #öÇÇöÇ ÈÈ È È
ÏÈÈ l ÈÈ È È
È È
È ú
È
ú
È
l=======================
È l È È
Ï È
ú l
È ÈÈÈ È È ÈÈ Ó =l
l l l l D.S.Óal Fine l
l T 5 7 5 l 1112 8
l 10 12
l 10 Ó l
ll AB 5 7 ll 10 910 10 7 ll 10 10 ll 9 10 ÓÓ ll
12 10 7 10 9
11 11 9 10 10 10 10
9
10
10 10

copyright W. Kulawik 2012


Take the B-Train


   
 
 
     
 
 
 
 
 


    
     
   
 
 

         
           


      
      
  

   
 

    
   
  
 
 
       
  
    
   
  

   
      
      
 

     
  


 
 
 
 
     
     
 
 

        

 
  


    
    

   

 
 


   
 
 
 
  
  
 



 
 
 
 
 
 

     

     
   
      


     


copyright W. Kulawik 2012


Take the B-Train


                     
     
  
 
 
     
 
 
 
 
 
   
  
    
   

 
       
       


      
     
 

                   


   
 

  
    
       
 

  
 

 
   

 
     

       
    


  

                     
      

     
    
  
  
 
   
    
        

  
   
 


      
   



    
   

                           
        
  
 
       
 











      
 
  

     


 

      
 
 
  

    


  
  

  

copyright W. Kulawik 2012


Take the B-Train

 ionian  mixolyd = G ion

               
      

                   

  dorian = C ion  


   
  




                 

  
                
   
        

     



   
 
 
      
                  

 

 
     
           
                        


                
 mixolyd=G ion

        
 
                         



  
 D triad
   
C triad

  
    
   


             

    


        
  
      
  
                    

copyright W. Kulawik 2012


Take the B-Train


 
          
 

  
     
      
              

  
  
  
   
     
              

          

 
 

            

         
                       

  
 
        

   

  
                           


   
   
        



  
                        


       
    
     
        
      
                             

  
                      



 
                     

  
                    
   
                     

copyright W. Kulawik 2012


All the things
audio
arr. W. Kulawik
backing track

w h. q q q q q q h q w
9 8
9 9 8 8 8 8 6
89 10 6 6 5 8 5 5
10 8 8 8 6 6 6 6
8 6 4
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7

q h q w w h.4 q q q q q q h q
7
6 6 6 5 4 4 4 8
5 7 4 4 3 5 7 7 7 7
6 6 6 5 5 3 6 5 8 5
5 5 3 3 5 6 6 6
6
Dm7b5 G7b9 Cmaj7 Cm7 Fm7 Bb7 Ebmaj7

q q q
3

q q q q q q q q q w 3 7
3 4 3 3 5 5
5 5 5 5 5 5 5 4 4 4 7
5 5 4 4 4 4 5 5
3 2
4 5 4 4 3

Abmaj7 Am7b5 Ab7#11 Gmaj7 Gmaj7 Cmaj7

h h q q q w q q q h h
10 8 8 7 3 7 7 5
8 8 7 3 5 5 5 4
9 9 6 7 7 4 4 7 6 5
7 7 5 4 5 5 4 4

Am7/11 Am7 Gmaj7 F#m7/11 B7b9

q q q w w w h.9 q q q q q
5 4
4 2 9 9 9 8
3 4 5 4 9 89 10 6 6
4 2 8 10 8 8 8
8 6
8
E6 C7b13 Fm7 Bbm7 Eb7

q h q w h h q qq q h h
8 11 9
8 8 8 6 9 9 8 6
5 8 5 5 9 9 8 8 8 8 7 7
6 6 6 6 9 8 8 6 6
4 7 7
8
Abmaj7 Dbmaj7 Dbm9 Gb7/9 Cm7 E7#9 b9

q q q q h h w
8 13
6 9 6 13 8 9
6 6 6 6 12 10 10
6 6 8 6 11 11 10
11
6 6 11
Bbm7 Bbm9 Eb7/9/13 Eb7/9 Ab6

copyright W. Kulawik 2012


67879
   
67879
    
  
Each line is played twice with different rhythmic patterns Backing track here

69  9 !9 "#9  $9 "9


 00
0
100 11
2
321 33
3
433 55
5
54
4

(
69  9 !9 "#9  $9 "9
00 10 11 31 33 43 55 54
0 0
5th in root
2 2
5th in root
3 3
5th in root
5 4

)
69 %& 9 !9 "#9' & $9 "9
00 00 21 10 43 43 55 54
0 1 1 3 3 4 5 5
0 0
5th in root
2 2
5th in root
3 3
5th in root
5 4

69 %& 9 !9 "#9' & $9 "9


* 00
0
0
00
10
21
2
1 2
100 43
3
3
43
43
55
5
5
54
5
4

69% 6# 9 !9%& "#9' #& & $9 "9 69
' 20
0
0
20
1
1
21
2
1 3
21
2
43
3
3
3
43
2 43
43
55
5
5
54 10 21
5 2 2
4 1 1

copyright W. Kulawik 2012


copyright W. Kulawik 2012
copyright W. Kulawik 2012
copyright W. Kulawik 2012
copyright W. Kulawik 2012
copyright W. Kulawik 2012
copyright W. Kulawik 2012
Blue Boss
q.. e e q e h h h q.. e w
15 13 11 10 8 8 15 13 13
13 11 11 8 8 8 11 13 13 13
15 12 12 8 8 8 89 13 13 13
13 10 10 8 8 8 10 13 13 13
8
Cm7 Block Fm7

q.. e e q e h h h q.. e w
13 11 10 8 7 7 13 11 11
13 10 9 7 6 6 9 8 11 11 11
13 11 10 8 7 7 7 5 12 12 12
12 10 9 7 6 6 9 8 10 10 10

Dm7b5 -> G7b9 Cm7 Block

q.. e e q e h.. q q q q e e
11 6 4
11 14 13 11 9 9 7 7 6 6 6 4
11 11 11 11 5 6 5 6 5 3
11 13 10 10 6 7 6 6 6 3
5 4

Ebm7 Ab7 D Dbmaj7 Db6/9

q e e h q e e q q q h..
9 8 11 9 8 11 9 8 11 11
10 10 10 10 10 8 8 8
10 9 10 9 9 8 9 9
10 10 10 10 10
10 10 8
Dm7b5 G7#9 Dm7b5 G7#9 -> b9 Cm7 G7#9b13

Voicings: (in 2 chords per measure)


10 13 11 11 8 6 4
8 8 11 11 6 6 4 4 4
8 8 12 12 89 89 8 89 5 4 4 3
8 8 10 10 10 10 6 10 6 3 3 5
8 8 8 5 3
8
Cm7 Block Fm7 Block Dm7b5 G7#9 -> b9 Cm7

6 6 5 4 4 6 8 11 9 8 11
6 5 5 5 3 5 5 8 8 8 8
4 4 4 3 3 6 6 9 9 8 9
6 4 4 5 5 8 8 10
4 4 8
Ebm7/9 Ab7/13 -> b13 Dbmaj Db6/9 Dm7b5 -> 11 G7#9->b9 Cm7 G7b13

8 11 11 10
4 6 8 11 9 11 6 9 9 11 8
3 3 5 8 8 8 8 10 10 10 8
5 5 8 10 10 10 6 10 10 9 8
3 3 8 8

Cm7 Block Fm7 Block Dm7b5 G7#9b13 Cm7/9

6 4 8 3
4 7 6 4 6 4 6 8 6 4 4 3
6 6 6 5 5 3 8 5 5 4 4 3
4 8 4 4 6 3 6 6 6 3 3 1
6 4 5 5 3
3
Ebm7 Block Dbmaj Block Dmb5/11 Dm7b5 G7b13 Cm7/9

copyright W. Kulawik 2012


Blue and Green (as played by Kenny Burrell)

12 12 10 8 8 6 10 10
10 10 6 6 10 10 10 8 6 7
10 6 9 8 8
8 = barre chord 5 10 8 7
0 8
Bbmaj7#11 A7b13#9 Dm7/F Cm11 F7b913

. .
5 8 5 3 3 8 8 8 4
5 6 6 5 6 8
5 7 6 7 6 4 7
5 5 3 6
0 5 7
6
Bb6/9#11 A7b13#9 Dm6/9/11 E7#9b13

7 7 7 5 13 13 13 8
5 5 10 10
5 5 10 10
6 5 11 10

Ammaj9 Am9 Dmmaj Dm

original changes :

I Bbmaj7 I A7#9 I Dm7/9 I Cm7 F7 I


I Bbmaj7 I A7#9 I Dm6/9 I E7#9 I
I Am7/9 IDm7/9 I

copyright W. Kulawik 2012


Blue Bossa example solo
Chorus 1 chorus 1 - 3


backing track
Cm7 Fm7
         
            
1 2 1 3 1 2 3 1 3

   
   
 
3 4 3 3 3 4 4
5 5 5 3 5 5

 
Dm7¨5 G7¨9 Cm7

            
1 3 2 4 3 1 3



3
5 4 4
6 5 5 3 5 5


E¨m7 A¨7
          D¨maj7
  
       
     
4 1 2 4 1 4 1 2 2 1 4 1 2 4 1 4 3 1 2 1 3

4 5 7 4 4



4 7 7 6
3 6 3 4 5 5 5 3 5 5
3 4 6
6

Dm7¨5
       G7¨9 Cm7 G7#9
     
             
1 4 2 1 4 2 1 4 2 1 4 1 2 4 21 4 2 4 1 2 3 1 3 2


3 4 6 4 3


3 6 6 4 6 3 4 3
5 5 8 4 5 5
6 6 5 5
5 8 8

copyright W. Kulawik 2012


Blue Bossa Chorus 2

   
       
  
Cm7 Fm7

  
3 1 2 4 1 2 1 3 4 3 2 3 3 1 2 4 1 4 1 2 1 3


   
3 8 11 8


3 4 6 4 3 6 5 4 8 9 11 9 8
5 5 9 10 10

      
Cm7
       
Dm7¨5 G7¨9

   
1 2 1 3 1 4 1 4



11 7 10 10


8 9 8
10
8 8 9 8
10
8

  
E¨m7
    
A¨7 D¨maj7
            
   
2 1 2 4 2 1 3 1 1 2 1 4 2 4 1 4 2 1



7 6 7 9 7 6
8 6 5 6 5
8 6 8
5 8 6
6 6

      
Dm7¨5      
G7¨9 Cm7 G7#9

        
 
3
1 2 1 3 1 4 4 1 1 3 1 2
2

 
 3 

8 8


6 7 6
8
6 7 6 4 6 4
5 5
 

copyright W. Kulawik 2012


Chorus 3

 
Fm7
 
Cm7

    
 
4 1 4 4 1 2 3 1 4 1 4 4 1 2 3 1 4 1 4 4 1 2 3 1

10 6 10 10 6 10 6 10 10 6 11 8 11 11 8 11 8 11 11 8


8 8 9 9
8 7 8 7 10 8 10 8

    
G7¨9 
         
 Cm7
    
Dm7¨5

   
 
2 4 1 2 3 1 2 4 2 4 1 2 4 1 2 4 4 4 3 1 1

  
4 6 3 4 3 4 6 7 9 6 7 6 7 9 10 11 10 8


6 9 8 8

     
E¨m7    A¨7
      D¨maj7
            
  
3
1 3 1142 4 1 4 3 4 3 1 4 1 3 1 1 2 1 4 1
3

 
6 9 8 9 8 6


7 6 9 7 9 9 6
6 8 6 5 6 5 5
8 8 6 8 8

  G7¨9
     
          
Dm7¨5

   Cm7 G7#9

      
1 2 1 4 1 2 1 4 3 4 3 1 1 3 2 4 1 3 1 1 1 4


8 11 10 11 10 8 7



8 9 9 8 8 11 11
5 8 10 8 10 8 7 8 8
5 6 10 9 9
10 10

copyright W. Kulawik 2012


Blue Bossa extended Solo
W. Kulawik 2008
Ï Ï Ï Ï ú. ÏÏ ÏÏÏ
CHORUS 1
Ï Ï Ï Ï
b Ï Î ä ÏÏ ÏÏÏ
&b b Î Ï Ï Ï ú.
J
Ï Ï ä J ä J

.
octave fills ................................ Cm7

Î
8 10 11 8 8
. Î ä
8 10 8 10 11 8 8
ä 11J ä 8J
5 7 8 5 5
J
5 7 5 7 8 5 5

b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï ä Ï Ï Ï Ï
5
Ï
3 3
b ä ä ä ä ä
3
& b J
3
C blues scale (Ebmaj pentatonic)..............................................................................................
3 3 Fm7 3
.
ä 10 8 ä ä ä ä ä
J
8
8 10 10 8 10 8 10 8 8 8 10 8
10 10 8 10 10
3

b
8

&b b Ï Ï ú Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏ Ï Ï Ï Ï Ï ÏÏÏ
G7#9 Cm7
Dm7b5 C harm minor.......................................................................................................
7 7 7
10101010 9 9 9 9 6 6 6 6 5 5 5 5 5
8 8 8 8 6 8 6 5 6 5
8

b bÏ Ï Ï Ï bÏ Ï ÏbÏ Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï
11

&b b Î Î Î Ï Ï ÏbÏ Ï Ï Ï Ï Ï Ï
Ï bÏ Ï Ï Ï Ï
Ebm7 Ab7
Dbmaj7 arpeggio...
Eb dorian..............................................................................
ÎÎÎ 7696 76
8 6565 65 5 653 35
4
8 86 4634 3 36 6
6 4634

b Ï ÏÏÏÏÏÏ
ÏÏÏÏ Ï ÏÏÅÏÏ Î ä Ï Ï
14
Ï bÏ
&b b
3

Dbmaj7&#11 Dbmaj7 lyd = Abmaj7=Fm7


3
Å Î ä
4
6 8 9 8
5 6 10 8 8 8
10 10 8 6 6 5 5 10
8

copyright W. Kulawik 2012


Ï Ï bÏ Ï
b Ï bÏ Ï Ï Ï Ï Ï Ï bÏ nÏ ÏÏÏ Ï ÏÏÏ
16

b
& bJ ÅÏ
3
Dm7b5 G7#9
C blues scale........................................................................................................................

Å
J
13
10 11 10 8 10 10 8 10 11 12 10 1110 8 10 8 8
10 10 10 8

Ï Ï nÏ Ï
3

b
18

& b b Ï Ï Å Ï bÏ Ï Ï ¨ Ï Ï Î Î
Ï
Cm7 G7#9 Cmelodic minor

Å ¨ Î Î
10 11 7 10

10 8
8 9 8 6 8 6
8

Ï Ï Ï
CHORUS 2:

b ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
20

&b b
3

Cm7 Cm pent=Ebmaj pent.................................................................................................


3
ä
8
8 8
10 8 10 8 10 10 8 8 8 10
10 10 8 8 10 8 10

Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ú
b Ï Ï Ï Ï Ï ä nÏ Ï
22

&b b J
Fm7 Fm7 arpegg...... Dm7b5

ä
8 11 8

J
9 11 9 8 8 8 8 8
10 1110 8 10 8 8 9 10 10 8 1010
10 10

25
b ÏÏÏÏ Ï ÏÏÏ Ï Ï bÏ Ï
&b b Ï Ï Ï
nÏ Ï Ï. Ï Ï Ï Ï Ï ä Î Î
Ï Ï Ï
C harm minor.....................................................
G7#9 Cm7
8 9 8
10 8 7 8 7 5 4 5 7 4 5 . ä Î Î 8
7
674
5 5 3 1 0 3 0 1
3

copyright W. Kulawik 2012


b Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï bÏ Ï Ï
b Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï
28

&b b Î
Ebm7 Ab7
Eb dorian.............................................................................................................
Î
9 8 6 8 6 6
9 9 7 9 9 7 6 7 7 6 6 6
8 8 6 8 8 6 5

b
30

& b b bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏbÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï ÏbÏ Ï Ï Ï ÏbÏ Ï Ï


Ï
Dbmaj7 Db arp......................
6 6 5 5 5 5 6 5 3
8 8 6 8 8 6 4 6 6 4 3 4 4 3 4 3 3 6
6 6 4 3 4

32
b Ï Ï ÏÏÏÏÏ
&b b ú Î Ï Ï Ï nÏ Ï ÏbÏ Ï Ï Ï Ï Ï . Ïj
Ï Ï ÏÏÏ
G7alt = Ab melodic minor .............
Dm7b5 Cm7
G7#9
Î
3 6 4 3

.
3 6 6 4
J
5 4 4 3
6 6 6 5 6 5 3 3
5 8 6 5 6 375

Ï Ï Ï Ï Ï Ï ÏÏ
ÏÏ Ï
CHORUS 3:
b Ï Ï ÏÏ bÏ Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Ï
35

& b b î ä ÏJ Å
Cm7

îä Å
10 10 8 8
Å10 8
811 11 11 8 8
J
8 1010 8 8 11 10 8 810
10 10 10 810

Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b nÏ ÏÏÏÏ
38

&b b ÏÏÏ
Fm7
8 11 8
9 8 11 8 9 11 9 8 9 8 8 9 11 9 9 8
10 10 9 10 10 10 8
10 8 6 5
8 6

copyright W. Kulawik 2012


b Ï Ï nÏ. Ï Ï Ï Ï Ï Ï. nÏ ä Ï Ï Ï Ï Ï
40

& b b ú. Ï Ï J J
Dm7b5 G7alt Cm7

. .
J ä
4 3 3

. J
3 6 4
5 8 7 4 5 5 8 7
6 10
8 8

43
b Ï Ï Ï Ï Ï Ï Ï n Ï b Ï Ï Ï bÏ Ï ÏÏ Ï
b
& b Ï Ï Ï nÏ Ï Ï J Ï Ï ÏbÏ nÏ Ï
3
Ebm7

10 7 8 7 7 8 10
8 11
8 7 6
9
6
J 7
8 7 6 5
4 7 7
10 9 10 8 8 7
3

45
b Ï n Ï b Ï n Ï b Ï bÏ Ï nÏ Ï bÏ
bÏ Ï nÏ bÏ Ï
&b b bÏ
Ab7

6 7 6 5 4
7 4 5 6 4
6 5 4 3
6 4

Ï Ï b Ï nÏ Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï
bb Ï Ï Ï ÏbÏ Ï Ï Ï ÏbÏ Ï Ï Ï Ï
46

b
& Ï Ï ÏÏÏ
3

Dbmaj7
4 8 9 1011 8 9 8 6
4 6 11 9 8 9 6 8 6
5 5 6 8 6 8 5 6 5
3 6 8 6 8 5
3

b ä Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
48

&b b ú Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï . Ï Ï Ï
Dm7b5 G7alt Cm7

ä . .
6
J
6 8 6 5 6 5
8
5 3 5 3
6 5 6 5 3 5 3 3
1
3 3
3 1

copyright W. Kulawik 2012


CHORUS 4:
b
51
3
& b b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï eÏ Ï bÏ Ï Ï Ï Ï Å Ï Ï Ï
Ï
Cm7

Å
8
8 8 6 8 8 6 8 8 6 8 8 6 10 9 8 6 8 6
8 8 8 8 8 8 6 8
3

b
53
3
& b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï eÏ bÏ Ï Ï Ï Ï Å Ï Ï Ï
b Ï
Ï Fm7

Å
8
8 6 8 8 6 8 6 8 8 6 8 6 8 6 10 9 8 6 8 6
8 8 8 8 6 8
3

b Ï Ï Ï ÏbÏ Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏnÏ Ï
55

&b b Î
Ï
Dm7b5

Î 5 5 8 4
3 6 9
8 5 6 5
6 5 8 5 6 5 6 6
8 6 5 6 5 5 8 8
8

Ï Ï Ï ÏÏÏÏÏ ÏÏ
bb Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏÏÏÏ
57

& b ä
Cm7
G7alt

ä
6 8 11 8
3 6 8 11 11 8 11 8
3 5 3 3 5 10 10 8 8 10 8 10 10
6 10

59
b Ï bÏ Ï Ï. ÏÏ
& b b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï. bÏ Ï
3
Ebm7
.
.
6 9 6 9
8 6
10 8 10 8 10 10 8 8
10 10 8 8 6 9
11 11 9
3

copyright W. Kulawik 2012


Ï n Ï Ï ÏÏ Ï
Ï Ï
bb bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏbÏ Ï ÏbÏÏÏ Î Ï Ï Ï Ï
61

& b Ï ÏbÏ Ï J
Ab7 3
Dbmaj7

6
6
6
6 6 5
4
5 6
6
4 7 8 4 8 4
J6 65 Î 6585
8 8 585 46 3 6 8
3

Ï Ï Ï Ï Ï Ï ÏÏÏÏ
b Ï
64

& b b bÏ Ï Ï Ï Ï Ï. ÏJ nÏ.bÏ Ï Ï Ï ä Ï Ï Ï Ï ÏbÏnÏ


Dm7b5 G7alt Cm7
. . ä 3 2 3 4
3 6 10 6 1010 6 3 6 3

J
6 5 6 5 5 3
8 8 7 4 3 5
6 5 3 6

67
b Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï
& b b Ï bÏ Ï Ï Ï
Ab7
6 6 3
4 6 7 6 4 6 4
5 5 3
4 3
6 3

copyright W. Kulawik 2012


There will never be another me audio
backing track

   
        
Ebmaj7 Dm7b5 G7b9
 
       
3 1 1 4 2 4 1 4 4 2 1 4 3 1 2 4 3 1 2 4 2 1 4

3 6 10 6 6



3 6 4 6 8 8 11 9 8
3 7 10 7 10
5 9 6 9
8
arpeggio from 3rd diminished in thirds up

        
Cm7 Bbm7

Eb7
       
     
5

      
1 1 3 1 2 4 1 4 3 2 1 2 3 4 3 1 4 2 3 1 4 2

  
10 9 8



8 8 11 9
8 5 5 7 8 10 10 8 8
11 10 8 11 9
11 9 10

minor 9 arp down

Cm7
     
Abmaj7 Fm7b5 Bb7 Ebmaj7

    
    
     
9

   
3 1 1 4 2 4 1 4 4 2 1 4 2 3 1 2 1 3 2 4 1 4 3

8 11 11 9 7


8 11 9 11 11 9
8 10 8
10 9 8 6 5 5
6 8 8 7
= Cm7 arp up

   Bb7 
          
F7 Fm7

13

        
2 4 1 4 1 2 3 1 4 4 2 1 2 4 4 4 2 1 2 1 4


7 10 7 9



8 8 8 6 7 9 9 7 6
7 8 7 6
5 8 9
6 8

= F7/9/#11/13 half tone whole tone

copyright W. Kulawik 2012


  
Ebmaj7 Dm7b5 G7b9
                    
17

     

3 2 1 4 3 2 4 4 2 4 3 1 4 2 1 4 2 3 4 1 2 4 1 4 3 4 3 1 1 2 1 4


6 8 6
7 5 8 7 8 8 7 5 5 8 7 8 7 5 4
8 8 6 5 5 5 6 8 6 5
8 7 8 8

diatonic thirds from maj7 up Dm7b5 = Fm7 dor

Cm7 Bbm7 Eb7


         
21

                     
2 4 1 4 3 4 3 2 1 4 1 2 1 4 4 3 2 1 4 2 1 4 2 1 4 2 1 2 1 4

 


7 8 7 6 5 5 8 6 5 6 5
5 8 8 5 6 8 8 6 5
6 8 6 5 8 7 6
8 9 9

Bb7 Ebmaj7
       
Fm7b5
  
Abmaj7 Cm7
  
25

           

4 2 1 4 2 4 1 4 1 4 3 2 1 4 3 2 4 1 1

6
 


7 9 8 8 9 11 8
5 8 8 8 8
5 8 6 8 6 9
6
8
=Bmaj7 arp (b5 substitution)

           
Fm7 Bb7 Ebmaj7
29
  
Fm7

Bb7

Ebmaj7
  
C7
 
      
2 1 3 1 1 2 1 4 4 2 1 4 2 3 1 4 2 1 4 2 2 1 4 2 1

7 6


9 8 8 11 9 8 6 9
10 8 7 7 10 9 10 10 8 7
9 8 8
11 10

II - V - I - VI with b9

copyright W. Kulawik 2012


Autumn Leaves 1
Transkription vom Video:

Chorus 1:
 
Am7 D7 Gmaj7 Cmaj7

   
                     
4 1 2 4 2 1 1 4 2 2 1 4 1 3 4 2 3 1 4 3 3 1 3

     

5 3

  
4 5 7 5 4 2 4 5 4 2
7 7 5 5 4 5 5 4 4 2 4


F#m7¨5 B7¨9 Em7
    
5

                 
4 1 3 4 1 4 1 3 1 3 1 3 4 1

     5
 
2 4 5 2 2 2
5 5 2 4 4 4 5 2 2

 
Am7 D7 Gmaj7 Cmaj7
     
9

           
        
1 3 2 1 2 1 2 1 4 2 3 4 2 1 2 1 2 1 3

     4 5 
7
3

 
5 7 7 4 4
6 5 4 4 3 2
7 7 6 5 5 4

 
13 F#m7¨5 B7¨9 Em7(maj)

            
      
1 2 4 1 1 3 2 4 1 4

 1  2   
  

4 4 2 1 1

3 2 2 5 5
5 3

copyright W. Kulawik 2012


Bridge:


F#m7¨5 B7¨9 Em7

    
17

                
 
1 2 4 1 2 1 4 2 1 2 1 2 1 2 4 1 2 2 2


 2
4 5 4
4 5 7 7 5 4 5 4 2 1 2 4 1 2
2

Am7

              
21 6 D7 Gmaj7 Cmaj7

             
4 442221 4 3 1 1 3 2 1 2 3 1 3 1 3 4 343 1 4 3 1 1 4
slide.. slide..
6
5 8 7 5 3 5 3
5 4 5 5 4 5 2 4 2 4 5 4 5 4 2 5 5
7 6 7 5 4 1 2

     
F#m7¨5 B7¨9 Em7
       
25


            
 3
2 2 1 3 1 2 1 214 1 1 1 4 1 3 1 3 1 313 1 3

  3 3 5

 
3 5 5 3 3 5 5 3 5 5
4 4 4 4 2 2 3 2 2 2 4
5 2 2 5 5

F#m7¨5 B7¨9 Em7

           3
29 3

     
3
    
4 31 3 1 3 1 2 1 1 3 2 1 4 1 4 1 4 1
3


5 6 5 3 5 3
5 3 3 3 5
4 3 2 2
5 5 2 2 2
5
3
3

copyright W. Kulawik 2012


Chorus 2:
Am7 D7 Gmaj7 Cmaj7

                      
33


2 2 1 1 3 3 1 1 1 4 1 1 1 2 2 3 3 1 1 1 3 1214

5 5   2 3 3 
 
5 5 7 7 4 4 4 4 4 5 4
7 7 5 5 4 5 5 3 3 2 7

        
F#m7¨5 B7¨9 Em7

          
37

     
1 1 2 1 2 1 2 1 4 2 4 1 2 1 21 4 4 2

    

5 4


4 4 4 5 4 5 4 4
7 5 7 5 4 4 5 4 7 5 6

7

Am7 D7
                  
41 3

     
3 3 3 3
3
4 4 4 2 1 4 3 1 3 3 1 3
arpeggios in triplets (use the same finger for one triplet)

5 4 5 8 7 8 7 6 7 5 4 5
5 4 5 7 6 7 5 4 5
7 6 7

3 3 3 3 3 3 3 3

              3
Gmaj7 Cmaj7

43

          
3 3 3 3 3
3 3
3 2 1 4 1 3 2 3

2 1 2 5 4 5 3 2 3
3 2 3 5 4 5
4 3 4 5 4 5
5 4 5

3 3 3 3 3 3 3 3

copyright W. Kulawik 2012



F#m7¨5 B7¨9 Em7

45
  
                 

1 2 4 1 2 4 1 4 2 4 2 1 4 1 2 1 4 2 1

 
  2
4 5 7 4
4 5 7 7 5 5 7 5 4 4 5 1 4 2
7

Bridge:

F#m7¨5 B7¨9 Em7
              
49 3

      

2 1 1 3 2 1 1 3 2 1 1 3 1 2141 1 4 1 4 1 1
3

4
3 3 5
4
3 3 5
4
3 3 5
2 32 2  
5 2 5 2 2 2

5

 
53
  
Am7
  
3
  
D7
 
Gmaj7 Cmaj7

            
   
3 1 3 4 313 1 3 1 4 1 4 3 1 4 1 2 3 4 1 3 2 1 1 1 1 4
3

 5 
3 5 5 6 5 3 5 3
5 3
5 2 5 4 2 4 5 6 7 4

5 5 5
5 3 3 1 2

  
     3     3     E¨m7
F#m7¨5 B7¨9 Em7
   
57

     
3
2 1 3 3 3 3 1 2 1 13 1 3 1 2 1 1 3 1 2 1 3
3

12
8 10 11 12 10 10 11 10 8 10 8 8 5 7 6
9 9 7 7 7 4 8

copyright W. Kulawik 2012


                      
60 Dm7 D¨m7 F#m7¨5 B7¨9 Em7

   
2 1 3 2 1 3 1 1 4 3 1 1 1 1 1 3 4


        
7 5 3 2 3 2

6 5 5 4 5 8 4 5 5
7 6 5

Chorus 3 (beginning...)

Am7 D7 Gmaj7

65
    
3
    
     
       
3 1 1 4 3 1 3 4 2 3 2 1 4 3 1 4 1 3 4 2 4 1 4

2 5
5 8 7 5 3 3 3 5
5 7 5 4 2 5 4 2 2 4 5
7 6 7 5

Cmaj7 F#m7¨5 B7¨9 Em7


            
68
3

        

2 1 4 2 4 3 1 4 3 1 2 4 1 4 2 421 4 4 1 2
3 2
   

5 3
5 4 2 4 7 5 7 5 4 4
5 4 4 5 7 7 7 5 5

   
Am7 D7 Gmaj7 Cmaj7
    
73

    
1 1 1 4 3 1 3 1 1 3 1 1 4 2 4 1 2 4

 
5 5 5
8 7 5 5
7 7 5 7 4 4 4
7 5 7 4 5
7

77
      
                 
3

   
5 8 5 7 4 5

 7
2 3 5 5 4 7 5 7 5 4
2 4 5 4 7 7 5
5 4 5 7 9 6 7
3
fade out

copyright W. Kulawik 2012


Autumn Leaves 2
performed and transcribed by: Wolfgang Kulawik
VIDEO 1: 8 bars slowed down


D7

    
Am7

        
Cmaj7
 
Gmaj7
Chorus 1: 3 3
  
2 1 3 1 3 1 2 1 2

 7   5 

3 3


5
5 5 7

4 4 4 4 5

F#m7¨5
 
B7¨9 Em7

        
6

      
    
4 1 4 1 2 4 4 1 2 4

    
7
 7 7 
4 4
 7
4
5  7
4 5 7


7

VIDEO 2: 8 bars slowed down

 

Cmaj7

10 Am7 D7 Gmaj7
             3 
3

2 4 1 3 4 2 2 4 3 2

5 5 3
 3
 3

 2  4 5 
3 3 3
 5  4
3
5

F#m7¨5
   
            
14 B7¨9 Em7

    
   
3 4 3 4
4 1 2141 4 2 1 4 1 2 4

   
  4  7 
5 5 5 4 5 4 4

7 7 5 4 7 4 5
7 6 7
3

copyright W. Kulawik 2012


VIDEO 3: 8 bars slowed down

    
B7¨9 Em7
18 F#m7¨5
  
                   
3
1 2 4 1 2 1 4 2 1 2 1 4 3 4 1 4 2 4 1 4 3 1 431 3

4 5 7
4 5 4
7 5 4 5 4 4 7 5 7
4 7
7
 875 7

7 6 7 3

  
      
Am7 D7 Cmaj7
 
22 Gmaj7
      
3

              
4 3 1 3 1 1 4 2 1 2 4 1 2 3 4 1 31 1 2 2 1 1 2 1 1 3 214



8

7 5
7 5 4
7 5 4 5 7
4 5 6 
7 4 4
3 3
4 4
3 3
4
3 3 5 5
3 2
5

3 3

VIDEO 4: 4 bars slowed down


26 F#m7¨5
  B7¨9

3 Em7
 3
  
                   
3 3 3

1 4 1 2 2 1 2 1 4 1 4 1 4 1 2 1 3 1 1 4 2 1 1

  3  6 5
2 2
 5
2 3 4 3 2
5
2
5 2
5
2
7 5 4
7 5 4 3

3 3 3 3 3

VIDEO 5: 4 bars slowed down

       
B7¨9 Em7
     
F#m7¨5
  
30

       

5
4 4 1 1 4 3 1 3 4 1 3 4 3 2

 5
5 8 7 
7
8 5 5   
7 8 7 6

7
 7 7

copyright W. Kulawik 2012


Chorus 2:
VIDEO 6: 8 bars slowed down

      
Am7 D7

34

                 


 
1 4 1 2 3 1 3 2 1 4 1 3 4 1 2 4 2 1 1 4 2 3 2 3 1 4 4 2 4
5
8 5 6 7 5
7 6 5 4 4 5 7
5 
5 4 7  7 5 7
7 6 7 7 6 5 4
7 6


     
Gmaj7
 
Cmaj7
          
36

       
1 2 3 4 2 1 4 2 4 1 4 4 1 2 1 3 2 3 1 2 3 1 2 4 1 4



7 10
7 7 8 7 7 7 8 10
4 5 6 7 5 4 4 7 9 7 9 8 9
7 5 7

VIDEO 7: 4 bars slowed down

     B7¨9
      
F#m7¨5 Em7

             
38

 
3


1 2 1 2 1 4 3 3 4 2 1 4 1 2 3 1 2 1 2

   10  9
7 8 7 8 7
10 8 8 8 7 10 7 8 7
7 8 8

VIDEO 8: 4 bars slowed down

            
Am7 D7
      
41

   
3 2
1 4 2 4 1 2 3 1 2 4 1 2 3 1 1 3 1 3


7 10 8 10 7 8 7

 
10 8 10 7 8 5 7 5
9 7 5 7
9

copyright W. Kulawik 2012


Gmaj7 Cmaj7
 
44

              
1 2 4 1 2 4 1 2 4 1 2 4 1 3 1 2

4 5 4
7 5 7 4 5 4
7 5 7 3 5 2 3

VIDEO 9: 4 bars slowed down

 3  
    
B7¨9
    
46 F#m7¨5 Em7

    
4 3 1 1 4 3 2 1 2 1 4 2 4

 
 5 8 7

5 4


7
5 5 4
7 5
7

5
3

VIDEO 10: 4 bars slowed down


            
50 F#m7¨5 B7¨9

            
 
4 1 2 4 1 2 1 4 4 1 2 4 1 2 1 4 4 1 2 4 1 2 1 4 3 4 3 1 1 1 4 1

1 4  6 7 
4
1 2 4 2 1
 4 7
4 5 7 5 4 2
10
7 8 8 7 5
9 10 9 7 5 4 7 4

   
Em7
   
52

     
            
2 1 4 3 4 1 2 4 1 4 4 3 2 1 1 3 4 1 4 1 1 3 4 1 3 1 3 1 4 3 2 4

7 10 9 8 10
4 7 11 10 9 8 7 7 9
5 4 4 5 7 9 7 9
7 6 7 10 6 9 6 7 9 10

copyright W. Kulawik 2012


VIDEO 10: 4 bars slowed down

             

Am7 D7 Cmaj7

Gmaj7

54

     
          
3 4 3 431 3 3 1 1 1 1 4 4 1 4 2 11 4 1 4 4 1 4 3
Am7 D7

7

8 7 8 7 5
7 

7 5 5 4 4
7 7 
4 7 7 9 3 2
 
5 2 5 5

5
2
4

     Em7
VIDEO 11: 4 bars slowed down
58
 F#m7¨5
B7¨9
  
3
   3
 
        
 
2 1 3 1 3 3 3 1 2 1 1 3 1 3 1 2 1 4 1 1 3 1 3

   
12
8 10 8 10 12 10 11 10 8 10 8
4
9
 3 3
9 7
8 7
10 7 5 7
5 7

 

VIDEO 12: 4 bars slowed down

    3     3
61 B7¨9 Em7 F#m7¨5

         
1313131331313131 3 114 4 1 132 13 4 1 1 4 1

7 107
3

 5
58 7 4 3
54 24 
5
7
575
7
5775
75
75
75 
7 7

7 5 5 2 2

3. Chorus:

   
 Gmaj7    
      
  
Cmaj7
 
66 Am7 D7


2 2 3 3 1 1 4 1 2 2 3 3 1 1 4 1

7  7 
9   8 9 
7 10 7 10 7
8 8 10 8 8 8 10 8 8

copyright W. Kulawik 2012


      
           
 
B7¨9 Em7
   
F#m7¨5 3

70

  
2 2 3 1 2 3 1 2 3 2 3 2 23 1 2 3 1 3 1 4 1

 8 8 9  7 8   
7 7 10 7
8
9
8
9 
10 11 10 8
9 7 9 7 9 9 
3 

         D7
Am7
  Cmaj7
 
Gmaj7
        
74

   
  
2 4 4 1 4 1 2 4 2 1 4 2 2 1 1 1 3 2 1 1 3 21 4 1 1 4 1 4 1
8 10 12 7 10 7 8 10 8 7
10 8 8 7 4 3 3 3 5  2
5 4 3 2
5 2
2
5 5 2

B7¨9 Em7

78 F#m7¨5

                                  
 
3 3 1241 214121421214 3413 41241214 1 2 1 2 1 4

 4 547454 4  
4 4 457 75454 4 457 542 7
7 67 6 7 6 5 4
7 7

end of transcription.....

copyright W. Kulawik 2012


VOICINGS

On the following pages you find voicings (prewritten chord progressions) for different
standard tunes. From Blues over Rhythm Changes to commonly played jazz-tunes.

Blues voicings:

The blues voicings are notated in F7 and in Bb7. You can use the same voicings for
both keys, but you would get into positions that are too high on the fretboard.

The audio-examples start very straight, then get rhythmically and tonally more
complex each chorus. Only the notated chords are used, but they sometimes move
chromatically up- and down, so you get a more complex rhythmic structure by only
using a few chord shapes.

Rhythm Changes:
These voicings start in a very reduced form, but get more complex each chorus.

copyright W. Kulawik 2012


Blues-Voicings 1
1. Voicing Blues in F7
8 8 8 7 6 6
8 7 8 8 7 5
7 6 7 7 6 6
8 8 8 5
6 6
F7/9 Bb7/13 F7/9 F7/b9 Bb7 Bb7/9

6 6 10 9 8 11 10 9
7 5 10 9 8 11 10 9
7 4 8 8 7 10 8 8
6 5 10 8 10
8 10 8
F7/13 D7#9 Gm7/9 C7/b13 F7/9 D7/b13 Gm7/9 C7/b13

2. Voicing Blues in F7
8 6 8 8 9 6 8 6
8 8 9 7
8 7 8 8 7 7
7 6 7 7 6 6

F7/9 Bb7/13 F7/9 F7#9 Bb7/13 b13

8 11 8 8 8 11 10 9
8 11 10 9 8 11 10 9
8 11 10 9 8 11 10 9
7 10 8 8 7 10 9 8

F7/9 D7b9b13 Gm7/9/11 C7b13 F7/9 D7b9b13 G7/9 C7b13

3. Voicing Blues in F7 enhanced


6 6 6 6 11 9 6 6 9
7 5 4 7 10 8 5 4 8
7 6 6 7 10 8 6 6 8
6 5 5 6 9 7 5 5 7

F7/13 Bb7 Bb7/b9 F7/13 C7#9b13 Bb7/9 b9 C7b9b13

10 8 11 9 8 6 5 4
6 6 11 10 9 9 8 6 5 4
7 11 10 9 9 8 5 4 3
7 56 10 8 8 8 7 4 3 2
6 6

F7/13 Eb7/9 D7b13 Gm7/9/11 C7#9 b9 F7/9 D7#9 G7/9/13 C7#9

copyright W. Kulawik 2012


Blues-Voicings 2

comping demonstration plus solo

1. Voicing Blues in Bb7


7 6 7 7 6 6
6 5 6 6 5 5
6 6 6 6 6 6
Bb7 Eb7 Bb7 Eb7

7 4 8 8 7 10 9 8
6 3 8 7 6 9 8 7
6 3 8 8 6 9 8 7
Bb7 G7 Cm7 F7 Bb7 Db7 C7 B7

2. Voicing Blues in Bb7


8 6 6 7 6 6
7 6 5 7 6 6
6 5 6 6 5 5
6 5 6 6
6 6
Bb713 Eb7/9 Bb7/9 Bb7b13 Eb7/9 Eb7/9

6 11 8 9 7 6
5 10 8 8 8 7 10 9 8
6 9 8 7 7 6 9 8 7
5 10 8 8 8 7 6
8 6 9 8 7
Bb7/9 G7#9 Cm7 F7#9 F7b9 Bb7 Db7 C7 B7

3. Voicing Blues in Bb7


6 6 6 6 6 6
8 6 8 7 6 5
7 6 7 7 6 6
6 5 6 6 5 5
Bb7/13 Eb7/9 Bb7/13 b13 Eb7/9 b9

6 6 8 10 8 6 4 3 2
8 6 8 8 8 8 4 3 2
7 4 8 8 8 7 4 3 2
6 5 8 7 7 6 3 2 1

Bb7/13 G7#9 Cm7 F713 F7/9 Bb7/13 G7b9 C7/9 F7b9


b13 b13

copyright W. Kulawik 2012


Blues-Voicings 3 (Parker - Blues)
1. Voicing Parker-Blues in F
(8)
10 8 8 6 6 4 3 6
9 7 6 5 4 3 2 4 2 6
10 8 8 7 6 5 4 3 6
8 7 7 5 4 3 2 1
6
Fmaj7 Em7b5 A7b9 Dm7 Db7 Cm7 B7 Bbmaj7 Bbm7
=Edim =G7b5 = F7b5

(7) (6) (5) 8 11 8 8 6 6


5 4 3 3 6 9 8 7 6 5
5 4 3 3 7 9 7 8 7 6
5 4 3 3 5 8 7 7 5 5
5 4 3 3
Am7(9) Abm7(9) Gm7 Gm7/9 m7/11 C7#9 F6/9 D7b9 Gm7 C7b9
b13

2. Voicing Parker-Blues in F
8 8 6 5 4 3 2 1 5 8 6
8 6 6 5 4 3 2 1 3 6 6
7 6 6 5 4 3 2 0 5 6 6
7 5 5 3 3 1 1 0 3 6 5

F6/9 A7#9 A7b9 Dm7/9 G7b9 Cm7/9 F7b9 Bb6/9 Bbj7/9 Bbm7/9 Eb7/9
b13 b13 b13 b13

7 5 6 4 5 3 8 11 8
5 5 4 4 3 3 6 9 8 11 10 9
5 5 4 4 3 3 7 9 7 10 9 8
5 4 4 3 3 3 5 8 7 10 9 8

Am7/9 D7/9 Abm7/9 Db7/9 Gm7/9 Gm7 m7/11 C7alt F6/9 Ab6/9 G6/9 Gb6/9

3. Voicing Parker- Blues in F enhanced


8 5 8 8
8 10 10 8 6 8 6 86 6 9 8
7 9 7 7 5 10 8 8 7 7 10 10
7 10 8 8 7 9 8 7 7 8 11 11
8 7 7 5
9 8 7 6
F6/9 Fmaj7 Em7b5 Em7/b5 Dm7 Db7#11 Cm7 B7#11 Bbmaj7 Bbm7/9 Bbm6/9

7 7 6 6 5 8 11 9 8 8 8 8
8 7 7 6 6 6 9 9 8 11 10 9
9 9 8 8 7 7 9 9 7 11 10 9
10 10 9 9 8 8 8 8 7

Am7/9 Am6/9 Abm7/9 Abm6/9 Gm7/9 Gm7/11 C7alt C7b9 F6/9 D7b13 Gm7/9/11 C7b13
b13

copyright W. Kulawik 2012


Body & So
A-Teil
q.. e q
E q
E q
E q
E
6 6 5 5 4 4 6 4 6 4 11 9 8 6
6 4 6 4 6 4 6 5 4 5 9 9 6 6
6 4 5 5 3 6 8 10 6 6
4 6 4 4 3 5 10 8 6 5
6 4 8
6
Ebm7/9 Bb7b9 Ab7/13 Ab7/b9/b13 Db6/9 C7b9 Fm7 Bbm7 Bbm9 Eb7/9

3
q.. er
E. q q q h q q 1w 2
h h
o
9 6 6 1
6 7 4 7 6 6 4 6 9 1 2 2 7
6 6 6 3 3

..
8 3 5 5 6 8 6 3 4
4 8 4 8 4 4 4 6 8 4 3 3 5
6 6 6 6 4 4
4 5 6 4 5
Ebm7/9 Ebm7 Ebm7 Ebm Ab7/13 A0 Bbm7 Ebm7 Ab7/9/11 Db6 Db6 A7/9/13

B-Teil
e q e e q e e q e q q w
e q e
10 10

o
3 5 7 10 10 10 10 11 10 10 8 7 7 5
4 3 6 7 9 10 9 7 7 6 2
4 5 5 9 9 8 7 5 5 4
5 0 0 7 10 9 7 4 5
5 5
D6 A7b9 ->7/13 Em7/11 D6/9 Gm7/9 F#m7 Em7 A7 Dmaj

e q e e q e e q e e q e q q q q q q
5 5 3 12 12 7 10 10 5 8 8 5 7 3 6
3 5 6 5 10 5 8 6 3 6 5 7
5 4 5 4 12 7 9 5 5 7 4 9 8 7 7
3 3 7 3 10 5 7 7 3 5 3 8 7 6 6
5 5 5 7 6 5
8 7 6
Dm7 G7/9/13 Cmaj6 Am11 Dm7 G7 -> 13 C7 B7 Bb7 -> b13
D.C. al fine

copyright W. Kulawik 2012


Lullaby of Dirtland Melody harmonization

Audio

arr. W. Kulawik backing track

Fm7 Bbm7

P
Dm7b5 G7 C7 Fm7 Dm7b5 Eb7

44
) $ " ) '
1

' "" * ) ' $ ' & " " " ' '
) ) & $ $ " " " ' ' '
' "! ' $ & " " ! ' ' &
) & $
$ " '

Abmaj7 Fm7 Bbm7 1.

P Q) Q Q
Eb7 Db7 C7
Abmaj7
"" * ) ) ' ' ' % % $
5
"" * ' "" * ' & % # "
"! "! ) ) ' ' & % $
"! ) ' "! ' & & $ #
) ' % $
' %

F7b9
2.

Q Q Q
Abmaj7 Eb7 Ab6/9 dim chord substitution Bbm7
$ % ) *"! "" "" * *
9

% % % ( ) * "! "! * *
& ' $ ) * "! "" "" "! "!
& & $ ( ) * "! "! ) )
'
%

Eb7b9 dim chord substitution Abmaj7 F7b9 Bbm7


' ( ) * * ) ) * "! "" "" *
Q *
Q
13
& ' ( ) ) ) ( ) * "! "! * *
' ( ) * * ) ) * "! "" "" "! "!
& ' ( ) ) ' ( ) * "! "! ) )

Eb7b9 Abmaj7

Q )**
C7b9
' ( ) * * ) * ) '
17
& ' ( ) ) ) * ' &
' ( ) * * ) "! ) (
& ' ( ) ) ' ) ' & )

copyright W. Kulawik 2012


I´ve grown accustomed to your grace
arr: Wes Montgomery

! #""" " " """ " " #""" " #"" " "" " " $"
1. 2.

## #"" & $""" '""" ##"""


3 3 E 3

! #" "
##"" #""
" "
##"" #"" #%% $$%%%% ""
" " " " %% " "" "
E F/E E mM6
Am6 E D/E E FŒ„!7(#11) A(“4) A13
3 3 3

#
#
&
"$
4 4 4 5 7 5 4 4
5 6 5 5 7 5 3 0 0 3 5 7
4 5 4 5 4 4 2 5 1 4 1 4 3 6
6 7 6 7 6 4 2 3 2 5 5 5
7 2 2 3 2 0 0 0
0 0 0 0 0 0 0

! ###""" " " % "" " " " " #" """ " " %%% "" " " #"" " "
! # ""
6 3 3 3 3

$$%% # "
" #"" " % " "
3 $% #" " 3
" "
DŒ„!7 G13 F©‹7 B‹7 B7b9 E‹11 E‹7 A7(“4) A13 A7(b9)
3 3 3 3 3 3

#
#
"$
5 5 5 5
7 5 5 5 5 3 5 7 10 10 10 8 8 8 8 7 8
6 4 2 2 5 7 7 7 6 6
7 3 2 4 7 9 5 5 5 8
5 4 2 6 7 7 0 0
3 2

! #"""" " " $""" ### #"""


# "" " " '"" '#"" $ "" #" '""
$$""" & $"""'$"""# "" ##
#"" "
1.
$"
#" # $"
#"
10

! ##""
$ "" &' #"" $$ """ & ""$ " &'#'"""
#" ( ' "
3 3 3 3 3
3 3

A13
# 4)
A¨‹7(b5) D¨7(b9) F©‹11 B7(b9) E‹7 B7(b9) E‹7
3 3 3 3 3 3 3

#
#
& & 79 & &
"$
9 9 9 7 7 7 7 5 6 7 5
7 6 3 5 4 7 8 10 7 8 4 5 7 8
7 7 4 6 5 6 7 8 5 7 2 3 6
9 6 3 4 4 8 9 9 10 7 9 4 5 5
6 7 8 9 6 7 0
9

! #""" # " " $""" " ' " #""" $ " " $'""" " #"
$ $"" " " # "" "#"$" #"" " " " " " "
14 2.

! #" " #" " '" * '" $"" *


" $" " $" $"
3 3 3 3 3 3
A¨‹7(b5) D¨7(9) F©‹ B7(9) E‹7 A13 F©‹7(b13) B7[áÆ]
3 3 3 3 3 3

* *7
"$
7 9 7 9 7 6 5 7 5 7 5 4 3 5 3 5 3 2
7 6 5 4 3 7 5 7 8 7 8 5
7 7 6 5 4 6 7 5 7
6 9 4 7 2 5 8 7
0
8 7

copyright W. Kulawik 2012


play this bar when you al %

! ##"" " " " " #"" " " "" & #"" " " "" "" # %%%
arrive here for the 2nd time

%% ' #"" $""#""" "


18 3
3 3 1. 2.
"" # %
! "" $'"" & # """ #"" ""
$"
" #%% $ "# " #%
" " #" 3
" "
E‹% G‹7 F©‹7 B‹7 E‹9 A(“4) Dmaj9 A13 D6/9
3 3 3 3

& &
"$
2 2 2 5 5 5
7 7 7 3 5 2 3 7 7 7 3 3 4 5 2 3 7 7 10
6 3 2 2 7 4 4 5 6 3 4 7 6 9
5 3 2 4 5 5 2 3 4 3 4 7 5 9
7 4 2 7 0 3 4 5 0 9
0 3 2

! ##""" " " $ " "" #" " " "" ## " $"" " # " " # """ # """
#"" ## ( $ "
22
"" #"" %% """ '""" ##"""
3

! # "" " # #" #"" "" #"" $%


" " " % " " "

#
A¨‹7(b5) D¨7[áÆ] F©‹7 D‹7 AŒ„!9 F©‹7 B‹7 E9 A(“4)
) 3

"$
9 9 9 7 9 10 12 9
7 10 9 7 9 10 10 10 12 12 10 10 7 5 3 5 7
7 7 9 10 13 9 7 7 7 4 3 6
9 9 11 10 11 11 7 6 5 5 5 5
9 9 9 7 0 0 4 0
9 9 10 0 7 0
D.C. al Coda thru 2nd ending

% ! $ ""
# " " " " $ " " #"" " #"" "
3
$""
26 3

$ "" "" " "" $"


! #" " #
#" #""" # ""
# #"" #%%
%% $$%%%%
" " " "
E F/E E D E D/E E FŒ„!7(#11)
3 3
4 4

"$
4 4 4 5 7 5
5 6 5 5 7 5 3 0
4 5 4 5 4 4 2 5 1 4
6 7 6 7 6 4 2 3
7 2 2 3
0 0 0 0 0 0

+
! #""" " " #"" " " #""" " " $""
" " " " "
3
" "" " +
" ##+
#
30 3 3
"" +
! #" #"" #" " #" " +
" 3 " 3 " +
E D E F(#11) E D‹ E%
3 3 3 3 3

"$
4 4 4 2 2 2 4 4 4 7 7 7 7 7 7 10 7 12
5 3 5 6 5 10 12
4 2 4 5 4 10 11
6 4 6 7 6 7 11
11
0 0 0 0 0 0 0

copyright W. Kulawik 2012


Giant Claps
audio slow

backing track
arr. W. Kulawik

h h h q.. e w h h
14 10 7 5
14 12 12 11 5 5
13 11 11 12 10 5 5
13 10 12 12 10 5 4
10 11 10
B6/9 D7/13 Gmaj7 Bb7/13 Eb6/9 Am7/9 D7/9

h h h q.. e w h q.. e
10 6 6
10 8 8 7 8 6 6
9 7 7 8 6 8 7 5
9 6 8 8 6 6 6 5
6 7 6 8

G6/9 Bb7/13 Ebmaj7 F#7/13 B6/9 Fm7/9 Bb7 Eb6/9

w h q.. e w h q.. e
6 7 5 10 10 11 9 14
6 5 5 10 10 9 9 14
5 5 5 9 9 9 9 13
5 5 4 9 9 9 8 13

Eb6/9 Am7/9 D7/9 G6/9 C#m7 F#7 B6/9

w h q.. e w h h
14 15 13 18 18 14 14
14 13 13 18 18 12 11
13 13 13 17 17 13 12
13 13 12 17 17 11 11

Fm7/9 Bb7 Eb6/9 C#m7/11 F#7b9

copyright W. Kulawik 2012


Girl from Panama

chord arrangement (easy) backing track

¡ b
FŒ„Š7 G13 G7

& ÏÏ
ÏÏ ä j ÏÏ ÏÏ ä j nÏÏÏ ÏÏ ä
Ï j nÏÏ
Ï
ÏÏ ä
Ï j
Ï Ï Ï Ï
Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï
j j j j
1 ä 1 ä
4 ä
3 ä

¢Ú
1 1 5 5 3
2 2 2 2 4 4 4
2 2 2 2 3 3 3 3
1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3

¡ ªª
G‹7 G¨7(#11) FŒ„Š7 G¨7(#11)

&b bÏÏÏ ÏÏ ä j
Ï ÏÏÏ ÏÏÏä j ÏÏ
Ï
ÏÏ ä j ÏÏ ÏÏ î
Ï Ï Ï
Ï ÏÏ Ï #Ï Ï Ï Ï nÏ Ï Ï Ï #Ï Ï
j j j
ª
Fine

ª
3 ä 1 ä 1 ä

¢Ú
3 î
3 1 1 1 1
3 3 3 3 2 2 3
3 3 2 2 2 2 2 2
3 3 3 3 2 2 2 2 1 1 1 1 2 2

¡ b nÏÏ ÏÏ ä j nÏÏ ÏÏ ä
F©Œ„Š7 B13
bÏ bÏ
& #Ï # Ï Ï Ï #Ï # Ï Ï n Ïj n Ï #ÏÏ Ï Ï Ï ä Ïj n Ï #ÏÏ Ï Ï Ï ä Ïj
j j j j
10 ä 10 ä 8 ä 8ä

¢Ú 9 9 9
10 10 6 6
8 8 8 8 7 7 7 7
9 9
9 9 7 7 7 7 7 7 7 7 7

¡ b bnÏÏ ÏÏ j b ÏÏ ÏÏ
F©‹9 D9
Ï #ÏÏ ä j ÏÏ #ÏÏ ä j
& #Ïn Ï # Ï Ï Ï ä Ï #Ï nÏ # Ï Ï Ï ä Ïj Ï#nÏÏ Ï Ï Ï #Ï Ï Ï
nÏ Ï ÏÏ

j j j j
ä ä ä ä
¢Ú
9 9 9 9 5 7 5 7
9 9 9 9 5 5 5 5
7 7 7 7 4 4 4 4
9 9 9 5 5 5 5 10
9 9 9 9 5 5 5 5

copyright W. Kulawik 2012


¡ nÏÏ ÏÏ j ÏÏ ÏÏ ÏÏ ÏÏ j #ÏÏ ÏÏ
G‹9 E¨9

b
& Ï ÏÏ Ï Ï ä Ï
Ï Ï Ï Ï bÏ bÏ Ï Ï ä j # ä
Ï Ï bÏ Ï Ïä j
ÏÏ ÏÏ Ï
j j j j
10 ä 10 ä 8 ä 8 ä

¢ Ú
10 10 6 6
10 10 10 10 6 6 6 6
8 8 8 8 5 5 5 5
10 10 10 6 6 6 6
10 10 10 10 6 6 6 6 5

¡ b
A‹7(b5) A¨7(#11)
nbÏÏÏ ÏÏ ä
j ä #ÏÏÏ ÏÏÏ ä
= D7b5
& Ï j j
Ï Ï Ï Ï bÏ Ï Ï Ï
j j j
ä ä ä
¢Ú
4 4 3 3
5 5 5 5
5 5 4 4
5 5 5 5 4 4 4 4

¡ b
G‹7 G¨7(#11)

& j ä Ï
Ï Ï
Ï ä j
= C7b5
j ä ÏÏÏ ÏÏ ä j
nÏ Ï Ï
Ï Ï Ï Ï #Ï Ï Ï Ï
j j j j
ä 33 ä ä 13 ä
¢Ú 3
3 1
3 3
3 3 2 2
3 3 3 2 2 2 2

D.C. al fine

copyright W. Kulawik 2012


How low the moon - melody harmonization

= Barre Chord

Gmaj7 Gmaj6 Gm7 C7


$ & & ( $ & ' " $
1
$ & % $ & $ $ % ' " #
& & % ( $ & ( $
% % & $ % & #

Fmaj7 Fmaj6 Fm7 Bb7 b9 Ebmaj7 Am7b5 D7b9


$ & " $ % $ $ & $ &
6
" $ " # % $ % ' ) ) ) ) % %
# & $ & & & % ( & &
# $ # $ ' ' ' ) %
' !

1. Am7b5 D7b9 Gmaj6 Am7 D7b9


Gm7
' $ $ & $ & ( & ( )
12
' & % & & % (
( & & ( & & *
& % & & % (
!

Bm7 Bb7 Am7 (D7)


"! "! "! "! "! $ &
16
"! * ) $ & %
"" "! * & &
* ) ( %

tritone substitution
2. Gmaj7 (D7) Gmaj6
Am7 D7b9 D7/9 Bm7 Bb7=E7 Am7
( & ( ) "! "! "! "! "! $ & $
18
( & % ( "! * ) $ & % &
( & & * "" "! * & & %
& & % ( * ) ( % &

copyright W. Kulawik 2012


How high the moon: Voicings

In this voicing the emphasis is on 6/9 chords as they are very flexible to use and have neutral sound.
Moreover the G6 shape is used as G-chord but can as well be seen as Eminor7/9 (no root)
Practise this as an exercise without asking why the chords are substituted, just play.....
and try to remember the chord changes by heart as well as transferring them to other tunes.

= Barre Chord

G6/9 G6 Gm9 Gm7 F6/9 F6 Fm7 Fm7


"! ( "! ' ) & ) %
24
"! & ) ' ) $ ' %
A1: *
* &
(
)
"!
&
( (
( $
&
'
)
$
&

turnaround:
Eb6/9 Am7b5 A7dim=D7b9 Gm7 Am7b5 A7dim=D7b9 Gmaj7 Am7 Bm7 Bb7 Am7 D7b9
' ) ) ' ) ) ( ) "! "! "! "!
32
' ) ) ( ' ) ( ( ) "! * ) (
& ( ) ) ( ) ) ( * "" "! * )
& ) ( ( & ( ( & ( * ) ( (
'

=Am7 =Dm7
G6/9 G6 G9 G6 Gm7 G11 Gm9 C7/9 F6/9 Fmaj7 Fmaj9 F6 Fm9 Bb7/13 Bb7#9 Bb7b9
"! ( & $ ' ) & $ ) * (
40
"! & $ $ ' ' $ $ ) "! ) ' ) ) ( (
A2: *
* &
( %
% #
%
&
(
&
( $
$ #
$ (
(
*
"!
&
(
&
( '
)
'
(
'
(
'
(
) ( &

turnaround:
Eb6/9 Am7b5 D7#9 b9 G6/9 Gmaj7 G6/9
Bm7 Bb7 Am7 D7
' ) "! "$ "" "! $
48
' ) "" "! "# "! ) ( & & $ $
& ) "" * "" "" * ( ( & & #
& ( "! * "# ( ' & % #
"!

copyright W. Kulawik 2012


It shouldn´t happen to a cream (as played by Kenny Burrell)
(rhythm reduced)

Intro: A
3 3 3 3 5 3 5 3 5 6 6 6 6
1 1 1 3 4 8 5
2 2 2 2 4 7 3
0 0 0 2 3 5
3 = barre chord 7 0
3 3 3 3
G7sus C6/9 G9b13 Em7b5 A7b9

3 7 7 77 5
.
1 3 1 3 3 1 3 4 4 44 5 7 6 5
2 2 5 1 1 2 2 5 7 5
2 2 6 1 0 2 0 2 0 3 5 4
4
1 1 1 3 3 4
Fmaj7 maj13 Fm7 Bb7 C6 G7/9 Em7 Ab713b9

1st ending......................................................................... 2nd ending.................................................................

3 4
8 6 5 5 3 4 8 6 5 5 3
5 5 5 5 4 5 5 5 4 5 5 5 5
7 7 4 3 3 7 7 3 3 5 4
5 5 3 3
4 3 5 4
Dm11 Ab7b13 Gsus G7b9b13 Dm11 Dm9 G7/13 C Am7 Ab7
= D7
B
5 5 55 3 3 33 1 1
3 3 5 5 3 6 6 63 4 1 3 1 1
3 5 5 4 3 3 2 3 2 2 2 6 6
3 3 3 3 2 2 0 6 5
5 3 3 4 4
3 4 3 6 5
Gm7 Ab0 Gm7 C7#9/13 F9 C7sus F Bbm A7
= Eb7

7 7 7 7 5 5 5 5
5 5 7 7 5 8 8 85 6 5 6 6 3 3 3 3 3
5 7 7 6 5 5 5 6 5 1
5 5 5 5 3 5 4 3
7 5 5
5 6 5 6 4 3
Am7 Bb0 Am7 D7#9/13 Dm9 Eb7/9 Ab7#11 G7b9

repeat A thru 2nd ending


very last .........

8 8 8 6
9 8 7 6 8 8 8 6
8 7 6 5 8 7 6 5
8 7 6 5 8 7 6 4
7 6 5 4

copyright W. Kulawik 2012


Have you met Mrs Bones - Chord Melody arrangement

= barre chord
Fmaj F#7dim dim chords moved up
Gm7
subst for D7

C7(9) 13 13b9 Am7(11) Dm7 Gm7(11) C7(9)

Cm7 F7(13) Bbmaj7 Abm7 Db7 Gbmaj7

Em7 A7 Dmaj7 Abm7 Db7b9 Gbmaj7 Gm7 C7 tritone subst

Fmaj7 E7+ Eb6 D7 Gm7 Bb7/13 C7/13

Am7 D7b9/13 Gm7 C7 F6 D7#9 Gm7 C7/9/11

copyright W. Kulawik 2012


MISTERIOUS
Chord Melody Arrangement audio

backing track
arr. W. Kulawik

Ebmaj7 Bbm7 Eb7/13 Abmaj7

44
' ) ) ) ) '
Q
1

' ) $ ' & ) % )


& ( $ & ' ' ' ' ' & & )
& ) & ) ' & & ) & & & '
' $
' %

3 3

Abm7 Db7 Ebmaj7

Q Q
Cm7 Fm7 Bb7
' ' ' % ' % ' $ % '
5
% % " % ' ) *
% % $ " $ $ ) ( ) "!
% $ " & $ & "! "! "! ' ) "!
$ ) & ' )
' ) "!

3 3 3

1. Gm7 2.

P
C7 Fm7/9 Bb7 Eb6
' ' )
8

) ) ) ) ) % )
"! * ) ( ( & ) "!
) ) ' ' ' &
"! ) '
) '

3 3

Bbm7 Eb7 Abmaj7

P P
Am7
* * * * * "" "# "" * ) ) ) ) ) "! "! "! ) "!
12
* * "" "! ) ) ) "" ) )
"! "! "# "" * ) ) "! * *
) ) "" "! ) ' ( (

3 3 3

D7 Gm7b5 C7b9 Fm7/11 Bb7


"! ) "$ "! ) ' ' ' ' ' $
17
( "& ) ) ' & % $ % $
) "% ) ) ' ' & % & %
( "$ ) ( & & $ $ ' '

3 3
D.C. al 2nd ending

copyright W. Kulawik 2012


One Note Mamba
backing track

ª
¡ b ÏÏ ª Ï Ï Ï Ï j Ïj Ï ªª Ï Ï Ï nÏj
D‹7 C©7 C‹11 B7(#11)

& b ÏÏ ªª J nbÏÏ ªª J
Ï Ï w
ä# nÏÏ ä# nÏÏ Î ÏÏ ÏÏ ä #ÏÏ w
w
#Ï #Ï Ï Ï nÏ nÏ w
ª j j j ª j j
6 6 6 ä 6 ä 46 Î 6 6 6 ä

¢Ú 5
6 6 6 6 6 6
5 4 4 4 3 2 2
7 6 6 6 6 5 4 4
4 4 4 4 3 2 2

ª
¡ bb ÏÏ ª Ï Ï Ï ä nÏÏ ä nÏÏj Î
j ª j bÏ Ï
nnbÏÏÏ ªªª J
C‹11

& ÏÏ ªª J
D‹7 C©7 B7(#11)
ÏÏ ÏÏ Ï Ï Ï Ï n Ï
ä #ÏÏ úú ú
## ÏÏ ## ÏÏ ÏÏ ÏÏ
nÏ ú
ª j j j ª j j
6 6 6 ä 6 ä 6 Î 6 6 6 ä
6 6

¢Ú 5
6 6 6 6 6 6
5 4 4 4 4 3 2 2
7 6 6 6 6 5 4 4
4 4 4 4 3 2 2

Ï ª
¡ bb ÏÏ ªª J
Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ E¨%
Ï ª
ª Ï Ï Ï Ï úú
Ï ÏÏ ªª J
F‹11 E7(#11) A¨13
# Ï # nÏ n Ï Ï Ï
& nÏ ª ä Ï ä ÏÎ
nJÏ nJÏ
Ï
Ï Ï bÏ ª
ä #ÏÏ úú
# JÏ # ú
ª ª
j j j j j
ä ä 7 Î ä
Ú
6 6 6 6 6 6 6 6 6 6 6 6 6 6

¢
8 7 7 7 6 6 6 6 6
8 7 7 7 7 5 5 5
5 4 4
8 7 7 7 7 6
4 4

ª
¡ bb ÏÏ ª Ï Ï Ï ä nÏÏ ä nÏÏj Î
j b Ï
& ÏÏ ªª J
D‹7 C©7 C‹11 B7(#11)
B¨%
ÏÏ ÏÏ b ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ än nÏÏÏ ·
## ÏÏ ## ÏÏ ÏÏ ÏÏ nÏ Ï nÏ Ï b Ï
JFine
ª j j j j
6 6 6 ä 6 ä 6 Î 6 ä 6
6

¢Ú
5
6
7
4
6
4
6
4
6
6
4
6
6
6
8
8
6
8
8
6
7
8
7
8 5
5
·
5 4 4 4 4
8 8 7 7 6

¡ bb b#w núúú n úúú b w


E¨‹7 A¨13 A¨13(b9) D¨% D¨‹7 G¨13 G¨13(b9) B% C‹11 B7(#11)
w bw bú úú b#w
& w
w
w #ú ú bnw
w
w · b nwnw
w bnbúúú úú b bw
w
w b#úúú nnÏÏÏ Ï
bú ú w b w
#ú ú n w ú nÏ

¢Ú
·
6 6 5 4 4 4 3 2
7 6 6 4 5 4 4 2 7 6 6
6 5 5 3 4 3 3 1 8 8
8 4 4 3 6 2 2 1 8 7
6 4 4 2
4 4 2 2 8 7
D.C al fine

copyright W. Kulawik 2012


Pent up House
4 different voicings melody + backing track

A‹7 A¨7(#11) GŒ„Š7 A‹7 D9 GŒ„Š7


tritone subst

Ú
1 5
5
5
3
4
5
3
4
4
· 5
5
5 4
5
5
3
4
4
·
5
5 4 3 5 3

9 D‹7 G13 C‹7 F13 A‹11 A¨7(#11) G%


tritone subst

·
Ú
6 5 4 3 3 3 3
5 4 3 2 5 5 2
7 3 5 1 5 4 2
5 3
3 1 5 4 3

17 A‹7 A¨7(#9) GŒ„Š9 A‹9 D7(b9) GŒ„Š7


tritone subst
7 7 7
· ·
Ú
12 12 10 8 7 7
2 10
12
12
11
10
11
9
10
11 9
10
9
10
7
9
10

25 D‹11 D¨7(#11) C‹7 B7(#11) A‹7 D7(#9) GŒ„Š7


tritone subst tritone subst

·
Ú
8 8 8 6 5 6 7
10 10 8 8 5 5 4
10 9 8 7 5 4 5
5
10 9 8 7 5 3

33 A‹9 D9 GŒ„Š9 G6 A‹11 D9 G% G6


drop2 block chords:
7 5 5 3 10 10 10 7

Ú
3 5
5
5 4
5
5
3
4
4 2
3
4
8
7
9
7
7
9
10
9
9
5
5
7

41 D‹7 D‹11 D‹7 D‹7 C‹7 C‹11 C‹7 C‹7 A‹7 D13 G%
5 8 3 6 5 7 10

Ú
5
6
7
5
8
7
3
3
5
6
7
7
3
4
5
3
6
5
1
1
3
4
5
5
5
5
5 4
5
5
10
9
9
·
5 5 3 3

49 A‹9 A‹7 A‹11 D¨7 G% A‹9 D7 A‹7 D7 GŒ„Š9


7 5 10 10 10
·
Ú
5 5 8 9 10 12 10 8 7 10 8
4 5
5
5
5 7
9
8
10 9
9 10
12 11
10
9
10
9
10 9
11 9
10

57 D‹11 D‹7 D‹9 G7 C‹7 C‹11 C‹7 C‹7 A‹9 D7b913 G9


3 6 7 7 10
·
Ú
8 6 5 3 4 6 1 4 5 4 10
5 5 5 4 3 3 3 5 5 5 11
7 7 3 3 5 5 1 5 5 4 9
5 5 3 3

copyright W. Kulawik 2012


Gratin Doll

A e e e e e q.. q q e e e e e
o o o
5 3 5 3 5 5 3 5 7 5 7 5 7
6 6 6 6 6 6 6 6 8 8 8 8 8
5 4 5 4 5 5 4 5 7 6 7 6 7

Dm7 G7 Dm G7 Em7 A7

q.. q q q.. q q q.. q e e q q q.. e h


o o o
7 5 7 10 8 10 6 4 6 3 3
8 8 8 8 8 8 4 4 4 3 3 6 8 8
7 6 7 9 9 9 4 4 4 2 2 5 7 6
7 7 7 4 3 3 2 2 7 8 8
5 7 7

Em7 A7 Am7/11 Am7 Abm7/9 G7b13#9 C6/9 Dm Em7b5 A7b9

B e e e e ee e e e e e e ee e e
8 6 5 3 3 5 6 8 8 6 5 3 3 5 6 8 8
6 3 6 3 3 3 6 6 6 3 6 3 3 3 6 8 8
7 7 3 3 3 3 7 7 7 7 3 3 3 3 7 7 7
5 5 3 3 3 3 5 5 5 5 3 3 3 3 5 7 7

Gminor block chords down + up F6/9

e e e e ee e e e e e e ee e e
10 8 7 5 5 7 8 10 10 8 7 5 5 7 8 10
9 8 6 5 5 6 8 9 9 8 6 5 5 6 8 8
10 9 7 5 5 7 9 10 10 9 7 5 5 7 9 7
9 7 6 5 5 6 7 9 9 7 6 5 5 6 7 9
7
Aminor block chords down + up Em7 A7 Dm7 G7

Voicings: (watch rhythmic patterns!)


A q.. e h
q.. e h q.. q e e w
o
q.. e h eeee q q eeee q q
7 5 6 4 4 3 3
5 3 5 3 3 7 5 7 5 5 5 5 4 4 4 3 3
5 4 5 4 4 7 6 7 6 6 5 5 4 4 4 2 2
3 3 3 3 3 5 5 5 5 5 5 4 4 3 3 2 2
(5) (5)
(3) ( 3) (3)
Dm9 G7 Dm9 G7 Em9 A7 Em9 A7 Am9 D7/9 Abm9 Db7/9 C6/9
option: root omitted
= G7b13b9

h
12 10
q q q e
12 12
e h h
10 14
q q
12
q e e h h
14 14 12
h h h w
10 10 10 10 10 12 11 12 12 11 12 12 11 11 8
10 10 10 10 10 12 12 12 12 12 12 11 11 10 7
10 9 10 10 9 12 11 12 12 11 10 10 9 9
(12) (11) (10) 77
(10) (8)
Dm9 G7/9 Em9 Db7dim Am9 D7/13 Abm9 G7#9 C6/9
=A7b9

B h h hq.. e w w h h h q.. e w h h
5 3 8 8 8 12 7 5 10 10 10 8
3 3 6 5 8 10 12 5 5 8 9 10 10 6
3 3 7 7 7 5 5 9 10 9 7 6
3 3 5 5 7 10 5 5 7 8 9 8 5
7
Gm block C9 F6/9 Fmaj9 Am block G6/9 Em7b5 A7alt

e e e e e e e e q.. w
o
q.. e h q.. e h q.. e h q.. e h 7 5 7 10
3 3 3 3 5 5 5 5 6 4 6 4 6 3
1 0 1 0 3 2 3 2 5 8 4 4 3
2 2 2 2 4 4 4 4 5 9 4 4 2
3 3 3 3 5 5 5 5 5 7 4 3 2

Dm7/11 G7/9 Em7/11 A7/9 Am9 Am11 Abm9 Db7/9 C6/9

copyright W. Kulawik 2012


Ella by barlight
audio
backing track

búú ªª
arr. W. Kulawik

¡ bÏ w Ï Ï ÏÏ b ÏÏ b ww
ú ª
Ï
& Î Î Î bw
w b#ÏÏ ÏÏ ÏÏ b w
w Ï nw nú ª
ª
E‹7(b5) A7(b9) C‹11 B7(#11)

Î Î Î
5 6

¢Ú
11 10 10 8 6 6 6 6 6
7 6 6 6 8 8
8 8 5 5 8 7
7 7
8 7

¡ bnw nÏÏ ÏÏ ÏÏ Ï
6
w ú
& #ww #Ï Ï Ï nbbw
w
w #búúú úú
bÏ #ú ú
F9 B¨13 E¨ A¨9

¢Ú
8 8 6 6 8
8 7 7 7 3 3 5
6 6 6 6 5 4 4
8 6 3 3
6 4 4

¡ bÏ Ïª
nÏÏ ªª Ï úú úú nú
10
ÏÏ nÏÏ Ï búú #ÏÏ nÏ #
# ú b úú
& bbÏÏ Ïª
J ú b ú
Ï b ÏÏ Ï nnÏÏ nú Ï ú bú
ª j
B¨Œ„Š7 E‹7(b5) A7(b9) D‹7 B¨‹7 E¨7

¢Ú
5 8 6 6 6 8
8 7 5 3 7 6 5 5 6 6
8 7 5 3 8 8 7 7 6 8
6 5 7 7 5 5 6
8 6 5 3 6

Ï ª nÏ ú ú ªª
¡ b ÏÏÏ nnÏÏÏ ÏÏ bÏÏ ªª J
Ï
ú ÏÏ b ÏÏ b úú ª
Ϫ úª
ÏÏ # ÏÏ
14

& nÏ Ï nbÏÏ Ï búú #ÏÏ ÏÏ Ï


Ï ú
ª10 ª8
FŒ„Š7 E‹7(b5) A7(b9) Am7b5(11)
j D7(b9)

5 6 8 8 10

¢Ú
11 10 8 6 8 6 5 8 7 7
10 9 7 5 7 6 6 8 8 8
12 10 8 7 8 5 5 7 7 7
10 8 7 5 7

copyright W. Kulawik 2012


b ÏÏ ªª b ÏÏ Ï Ï b w
¡ #ÏÏ ªª
ÏÏ úú w bb ÏÏÏ ÏÏ Ï Ï
18
Ï ú Ï w
& Ï ú î #Ï nw Î Ï bbÏÏ
J
3 3

ª j
G& 3 C11 3

Î
11 11 11 11 11 10 13 11 10 8

¢Ú
î
12 12 12 12 11 11 8 11
12 12 12 12 12 12 8
11 11 11 11 10 10 8

Ϫ Ϫ úª
¡ b#ÏÏÏ ªªª nÏÏ ªª
Ï ú Ï Ï ú
#ÏÏ bnÏÏÏ ÏÏÏ bÏ
Ϫ
22
J b
Î Ï Ï #Ï J
&

ª
j ª j
ª
B¨9
A¨7(#11)

Î
10 10 10 8 6 5 8 8 8 8

¢Ú
11 7 6 4 6 11
11 8 7 5 7
10 7 5 4 7

¡ bw Ï Ï ÏÏ b ÏÏ w ÏÏ Ï Ï bÏ
26
w #
b ÏÏ ÏÏ ÏÏ
& w
w Ï #w
n w
w #ÏÏ
E‹7(b5) A7(b9) D‹7(b5) G7(b9)
5 6

¢Ú
10 10 8 6 5 6 6 6 6 4
7 6 6 6 5 4
8 8 5 5 6 6
7 7 5 5

¡ b #ÏÏ ªªª Ï ú b#ÏÏ Ï nÏ w


30

& b Ϫ J Ï w
w
Ï nÏ
bw
ª j
C‹7(b5) F7(b9) B¨Œ„Š7

¢Ú
7 7 7 7 7 6 6
8 8 7
8 7 7
8
8 6

copyright W. Kulawik 2012


When heights are low (as played by Kenny Burrell)

.
3 5
3 5 5 5 5 5 5 8 5 5 5 5 5
A 2
4
3
5
5
7
5
7
3
5
3
5
5
7
3
5
5
7
5
7
7
5
= barre chord 7
C9 Dm9 Em7 Dm9 Em7 Dm9 Em7 Am7 arp

1st ending 2nd ending


. .
3 5 2
5 55 5 5 6 5 5 1 5 3 1 1 4
5 4 5 5 6 5 2 2 2 3
3 3 6 6 5 4 3 2 3 2
5 5 3
3
Dm11 G7/13 Bb7#11 A7b13 Ab7b13b9 Gsus C6 G11 C7#9#11

.
8 5 5 5 5 5 5 8 5 5 5 5 10
8 3 5 5 6 6 8 3 4 5 5 10
B 7
7
3
3
5
5
5
5
5 5
5 5
7
7
3
3
4
4
5
5
5
5 12
10

F6/9 Gm9 Am7 F/G F6/9 Gm9 Am7 Dm arp

. . .
8 5 5 5 5 6 5 5 1 5 3 1
6 3 6 6 4 4 5 3 5 6 7
7 3 5 5 5 5 4 3 4 5 6
5 3 5 5 4 4 3 4 5 6
3
Gm11 Gm9 F/G D7b9b13 G7/13 C7sus (Fmaj)

repeat A thru 1st ending

original changes ( key of Cmajor):

I Cmaj Dm7 I Em7 Dm7 I Cmaj7 Dm7 I Em7 A7 I


I Dm7 G7 I Bb7#11 A7 I Dm7 G7 I Cmaj I
I Fmaj7 Gm7 I Am7 Gm7 I Fmaj7 Gm7 I Am7 D7 I
I Gm7 C7 I Eb7#11 D7 I Gm7 C7 I Fmaj G7 I

copyright W. Kulawik 2012


Yardbird Sweet
chord arrangement

      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7

   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8

   
D‹7 G7 E‹7 A7 D‹7 G7
5

    6 10 

5 5 3 3 5 6 8 8 8 5 6 8 8 8 8
5 5 4 7 5 4
3 3 9 8 7 6
7 6 5 4

substitution: E¨7(#11) D¨7(#11)

      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7
9

   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8

     10
D‹7 G7 CŒ„Š7 B7(#9)


13

 

3

 
5 5 3 4 5 5 8
5 5 4 5 5 8
3 3 7

  
E‹7 F©‹7(b5) B7(b9) E‹7 A7
17

  

5 6 6 5
8 8 10 10 10 7 8 7 8 10 8 7 5 8 8
7 9 11 9 8 9 7 6
9 5 7 10 10
7 7 9 9 9

 

D‹7 E‹7(b5) A7(b9) D‹7 G7
21   
  

5


6 5 6 8 8 6 8 6 5 5 6 8 8
7 7 7 7 7
2 3 5 8 2 3 5 5
5 7 5

      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7
25

   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8

   
D‹7 G7 3
29 CŒ„Š7 D‹7 G7

 


5 5
5 3
5 4 7
3 3 7 9 10 10 10
10 10

copyright W. Kulawik 2012


Satin Doll Solo Example

Dm7 G7

Dm7 G7 Em7 A7 Em7 A7

           


3

    
3
3 3

   
5


2 5 4 2 5 4 4 7 6 4 7 6
3 3 5 5 5
5 5 7 7

Dm7 3rd of Em7 3rd of


arpeggio Dom7 chord arpeggio Dom7 chord

Am7 D7 A¨m7 D¨7 C Dm7 Em7 A7


 
5

                     
 
intervals: 1 2 b3 4 5 b3 2 1 1 2 b3 4 5 b3 2 1

 

5 4
4 5 7 5 4 3 4 6 4 3
7 7 6 6 5 2 3 4 5 2
3

Am = D7 Abm = Db7
scale mixolyd. scale mixolyd.

Em7
         
Dm7 G7 Dm7 G7 Em7 A7 A7
   
9

      
 
intervals: 2 b3 5 b7 9 b3 9 8 3 3
9 11 same intervals

 
on E-minor
3 3

3 5


5 6 5 3 5 6 5 3 5 7 8 7 5 7 8 7 5 7
2 5 4 7
2 3 4 5

Dm7/9/11=Fmaj9 Em7/9/11=Gmaj9
arpeggio starting on 3rd arpeggio starting on 3rd

       
13 Am7 D7 A¨m7 D¨7 C
 
            

   
3
intervals: 5 b3 1 b7 3 8
  3

3 7 7 3


5 4 5 5
5 7 4 6 3 4 4 5 5 4
7 5 4 6 4 3 7

Am7 Abm7 Cmaj7


arp. arp. arp.
down down

copyright W. Kulawik 2012



17 Gm7 C7 F F

                
 
  
  

3
2 3 5 3 2 5 4 3 5 2 2
5 5 7
3 3
Gm chromatic approach
scale

21 Am7 D7 G

             
 



 7
4 5 7
5
5 4
7
7 6 5 7 4 4 
5 5
Am same as above


scale


                    
25 Dm7 G7 Dm7 G7 Em7 A7 Em7 A7
   
   
5 7


5 6 8 6 5 8 7 8 10 8 7 5 10
7 7 6 5 4 9 8 7 6
7 6 9 8

chromatic chromatic
thirds thirds

     
A¨m7 D¨7 C
                    
29
Am7 D7

  
3 3
intervals: 9 b3 9 b9 8 b7 5 b3
3 3

7 8 7 6 5 6 7 6 4 6 4 3 3 3 3



8 5 4 5 4 5 5
5
5 5

Am dorian G half tone


+passing notes whole tone

copyright W. Kulawik 2012


Click on No.1 or No.5
Each row is played twice. 

Klicke auf die 1 oder die 5 - jede Reihe wird 2 mal abgespielt:

    

        
    
   
              

    
     
         
                
    
    
            

                 
    
      
            
                
    
              
      
                 
    
   
    
           
                
    
                

    
                 
    
 
                    
                

      
           
 
                 

copyright W. Kulawik 2012



 



               
              




  
               
        


   
             
         



               
              



 
   
                
        



              
             



  
           
            
copyright W. Kulawik 2007

copyright W. Kulawik 2012


Patterns for comping 1

Here you will find 18 one-bar patterns for comping. You can combine them as you like, but before you
do that you should improve and train your rhythmic reading by playing along with the playback, until
all accents are in the right place.

backing track

44 ÇÇ ÇÇ . ÇÇ · ÇÇ ÇÇ . ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ ·
1
2

& úÇ öÇ j öÇ l l úÇ öÇ j
===================== öÇ l Ó{ úÇ öÇ Çö öÇ l l úÇ öÇ öÇ öÇ l =Ó{

ÇÇúÇ ÇÇöÇ ÇÇÇö ä ÇÇöÇ · ÇÇúÇ ÇÇöÇ öÇÇÇ ä ÇÇöÇ · ÇÇúÇ ÇÇöÇ . ÇÇj ÇÇúÇ ÇÇöÇ . ÇÇj
3

· · Ó{
4

=====================
& l l l Ó{ ö
Ç l l öÇ l =

ÇÇöÇ . ÇÇÇö ÇÇÇ . ÇÇj Ç Ç Ç Ç ÇÇöÇ ÇÇöÇ ÇÇöÇ . ÇÇj ÇÇöÇ ÇÇöÇ ÇÇöÇ . ÇÇj
5

· Ç . Ç ÇÇ . Çj · ·
6


=====================
& Ç
ö l l Ç
ö Ç
ö
jö Ç
ö l Ó{ Ç
ö l l öÇ l =Ó{

7
ÇÇ ÇÇ Î ÇÇ ÇÇ · 8ÇÇ ÇÇ Î . ÇÇ 9
ÇÇ ÇÇ ÇÇ ä ÇÇ · 10ÇÇ ÇÇ ÇÇ Î ä ÇÇ ·
& öÇ öÇ Çö öÇ l Ó{ öÇ öÇ
===================== öÇ l · Ó{ öÇ öÇ öÇ j
j öÇ l Ó{ öÇ Çö öÇ öÇ l =Ó{
j

ÇÇ ÇÇ ÇÇ ä ÇÇ ä ÇÇ · 12ÇÇ ÇÇ ä ÇÇ Î . ÇÇ · 13ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ · 14ÇÇ ÇÇ ÇÇ ÇÇ ä ÇÇ ·


11

& öÇ Çö öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ j
===================== öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ j
öÇ l =Ó{

ÇÇ ä Î ä ÇÇ ä ÇÇ · ÇÇ ÇÇ äÇÇ ä ÇÇ ä ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ · 18ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ·
15 16 17

& jöÇ öÇ Çö l Ó{ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ öÇ l =Ó{


=====================

copyright W. Kulawik 2012


EDU Satterns : (

backing track

B b7 F#m7
ÇÇ ÇÇ ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ
Em7 A7 Dmaj7 Em7 Fm7

& öÇ öÇ j öÇ j öÇ l öÇ j
==================== öÇ úÇ l öÇ öÇ Çö öÇ j öÇ j öÇ l öÇ j
öÇ úÇ =Ó

A7/b13 F#m7
ÇÇúÇ ÇÇöÇ . ÇÇj ÇÇöÇ . ÇÇj ÇÇöÇ ÇÇö ÇÇö . ÇÇj ÇÇúÇ ä e ä ÇÇjöÇÇÇ ÇÇö
Em7 A7/13 Dmaj7/9 Fm7

ö
Ç
====================
& l ö
Ç Ç l Ç ö
Ç l ö
Ç Ç=Ó

Bb7/13 F#m7
ÇÇ ä ÇÇ ä ÇÇ ÇÇ ÇÇ . ÇÇ ä ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ î
Em7 A7/13 Dmaj7 Em7 Fm7

ú
Ç ö
j
Ç ö
j
Ç ú
Ç
====================
& l öÇ j öÇ l j
öÇ jööÇ Ç öÇ l öÇ öÇ Çö öÇ =Ó

ÇÇúÇ ÇÇöÇ ÇÇöÇ Î ÇÇöÇ ä ÇÇ Î ÇÇ ÇÇúÇ ÇÇöÇ ÇÇöÇ Î ÇÇöÇ . ÇÇöÇ Î ÇÇ


Am7 D7/9 Gmaj7 Am7

====================
& l öÇ öÇ l
j l j öÇ=Ó

Bb7/13 Eb E Fmaj7
ÇÇ ÇÇ ÇÇ Î ÇÇ . ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Î . ÇÇ î
F7/9 E Fmaj7

& úÇ öÇ öÇ l öÇ j
====================öÇ j öÇ öÇ öÇ l úÇ öÇ öÇ öÇ l öÇ
j =Ó
Bb7/13 A7/13 F#m7
ÇÇ ÇÇ Î ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ î ÇÇ ÇÇ . ÇÇ î
Em7/9 Dmaj7 Em7 Em7

& öÇ öÇ öÇ j
j öÇ l úÇ
==================== öÇ öÇ l úÇ l öÇ j öÇ =Ó
Gb7/#9 Gb
ÇÇ ÇÇ . ÇÇ ÇÇ ä ä ÇÇ î ÇÇ ÇÇ ÇÇ ÇÇ î
Gm7/9 Fmaj7 F E F

Ç
ú Ç
ö Ç
ö
j Ç
ú e
====================
& l Ç
ö
j l Ç
ú l öÇ Çö öÇ =Ó
D7/#9
ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ Î . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ î
F7/9 Gm7 C7/9/11

& úÇ öÇ Çö öÇ l öÇ j
==================== öÇ öÇ l öÇ j
j öÇ öÇ j öÇ l öÇ j
öÇ =l

copyright W. Kulawik 2012


Bossa - Patterns :

ÇÇöÇ ä ÇÇj
ö î ÇÇÇ ÇÇ ÇÇ ÇÇ î ÇÇöÇ ä ÇÇj î ÇÇöÇ ä ÇÇj Î ÇÇÇ ÇÇ
Ç ö
====================
& l Ç
ö Ç
ö Ç
ö l ö
Ç l ö
Ç ö=öÇ l

ÇÇ ÇÇ ä ÇÇ ä ÇÇ Î ÇÇ ÇÇ ÇÇ ÇÇ . Î =l
& ú
Ç ö
Ç ö
j
Ç l ö
j
Ç
==================== ö
Ç Ç
ö Ç
ö l w l úÇ

ÇÇ . ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ .. ÇÇ
& úÇ öÇ öÇ l öÇ j
==================== öÇ öÇ j öÇ l úÇ öÇ öÇ l úÇ öÇ=l
j

ÇÇ . ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ î
ö
Ç ö
j
Ç ú
Ç l ú
Ç ö
Ç
====================
& Ç
ö öÇ l w l öÇ öÇ =l

ÇÇ . ÇÇ ÇÇ ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ î ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
& öÇ j öÇ úÇ l öÇ j
==================== öÇ öÇ öÇ Çö l öÇ j
öÇ l öÇ öÇ öÇ Çö = öÇ l

ÇÇúÇ Î ä ÇÇj Î ä ÇÇj Î ÇÇ ÇÇ ÇÇ . Î l · =l


ö
Ç
====================
& l ö
Ç öÇ öÇ l úÇ

ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ ä ÇÇ ·
.
& öÇ j öÇ úÇ l öÇ j
==================== öÇ úÇ l öÇ j öÇ öÇ j öÇ l =l

ÇÇö . ÇÇj î ÇÇ ÇÇ ÇÇ ÇÇö ÇÇ ÇÇ ÇÇö Î î


Ç ö
Ç Ç
ö
====================
& l Ç
ö ö
Ç Ç Ç
ö Ç
ö l w l Ç =l

copyright W. Kulawik 2012


PATTERNS

On the following pages you will come upon II-V-I patterns derived from the major scale.
They are based upon the six fingerings of the major scale (see p 10) and mainly use the
diatonic material of the scale.
Some passing tones and alterations are used to make them sound more interesting. It is
important to keep to the orinal fingerings and to stay in the indicated position.

The patterns always start in Aminor7. The tonal material used is always
the Gmajor scale (ionian). So you could think "why not always play the
scale up and down if the notes are the same?"

The answer is: the notes are the same, but the tonal focus is different.
In A minor the focus lies on the 2nd, 4th and 6th tone of the G major scale
whereas in D7 the focus lies on the 5th, 7th and 9th tone of the G major scale.
So it is very important to play along these chordal tones, otherwise it sounds
weird and unharmonical.

ionian

dorian mixolydian

copyright W. Kulawik 2012


G maj Scale ( 1. Position)
1 2 4
2 4
Position
1 3 4
1
1 3 4
G-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

dorian mixolydian
1 2 4 1 2 4
2 4 2 4
1 3 4 1 3 4
1 3 4 1 3 4
1 2 4 4
4
1 2 3 4 5 6 1 2 3 4 5 6

First be sure to practise the dorian and mixolydian modes in the first position
before practising the patterns.

copyright W. Kulawik 2012


G maj Scale ( 2. Position)
1 3 4
1 3 4
Position
1 2 4
2
1 2 4
G-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

dorian mixolydian

1 3 4 1 3 4
1 3 4 1 3 4
1 2 4 1 2 4
1 2 4 1 2 4
1 2 4 2 4
2 4
1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9

copyright W. Kulawik 2012


G maj Scale ( 3. Position)
1 2 4
1 2 4
Position
1 3
3
G-major 1 3 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

dorian mixolydian

1 2 4 1 2 4
1 2 4 1 2 4
1 3 1 3
1 3 4 1 3 4
1 3 4
4
6 7 8 9 10 11 12 6 7 8 9 10 11 12

copyright W. Kulawik 2012


C maj Scale ( 4. Position )
1 2 4
1 3 4
Position
1 3 4
4
1 2 4
C-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8

dorian mixolydian

1 2 4 1 2 4
2 4 2 4
1 3 4 1 3 4
1 2 4 1 2 4
4 1 2 4
2 4
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

copyright W. Kulawik 2012


C maj Scale ( 5. Position )
1 3 4
1 2 4
Position
1 2 4
5
C-major 1 4
1 3 4
4
1 2 3 4 5 6 7 8

dorian mixolydian

1 3 4 1 3 4
1 2 4 1 2 4
1 2 4 1 2 4
1 4 1 4
1 3 4

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

copyright W. Kulawik 2012


copyright W. Kulawik 2012
copyright W. Kulawik 2012
ÇÇÇ ÇÇÇ ÇÇöÇ ÇÇöÇ bÏÈÈ ÏÈÈ ÏÈ ÏÈÈ bÏÈÈ ÏÈ úÈÈ
F7
ö Ç ö Ç È È È Ï
È
È È ÈÈ ÈÈ l È
È È È bÏ
È
È È È È
È
l=========================
& l ll
§
ê

l l l ll
l A 5 7 5 7 8 7 5 7 l 10 8 10 8 8
T
l ll
lB l l ll
B7(#9)
Ï
È Ï
È Ï
È Ï
È Ï
È Ï
È
È bÏÈÈ ÏÈÈ ÈÏ ÈÏ ÏÈ ÈÈÏ bÏÈÈ Ï#Ï
ÈÈÈ ÈÈÈ nÏÈÈ ÏÈÈ ÏÈÈ ÏÈ úÈ
È
& #ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈÈ ÏÈÈÈÈ #ÏÈÈÈ ÈÈ ÈÈ ÈÈ È ÈÈ ÈÈ ÈÈÈ ÈÈ l È È È È È ÈÈ ÈÈ ÈÈ ÈÈ
È Ï È
l========================= Ï
È È È È È l ll
§

È
ê

l l l ll
l A 6 7 9 10 9 7 6 4 5 7 8 7 5 4 7 l
T 3 4 6 7 6 4 3 3
l ll
lB l l ll
5
9
b
È b È
_
Ï ÏÈÈÈ _ÏÈ È __ÏÈÈ b_ÈÏÈ _ÏÈ G7(ÈÏ 9)
_
_
#
Ï Ï
ÈÈÏ bÏÈÈÈ ÈÈÈÏ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÏÈÈ ÈÈ ÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈ ÏÈÈ bÏÈ nÏÈ bÏÈÈ nÏÈÈ bÏÈÈ ÏÈ bÏÈ bÏÈ
Dm7( 5) Cm7

& È £ È £
l========================= £ £ l £ È È ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈÈ ÈÈ l w Ó
§

£
ê

l l l Ó
lA l 7 10 9 9 7 8 9 11 12 11 9 8 l Ó
10 8
T 7 8 10 8 9 9 8 11 9 8

lB l l Ó
10
11 10

copyright W. Kulawik 2012


round Midfright as played by Wes Montgomery

This is probably the best chord solo played by Wes Montgomery. I transcribed the bridge of the
chorus, because here you can find all the typical elements of his block chord playing.

Ϫ b Ï3
audio
io

¡ b ÏÏ ªª n nÏÏ nbb ÏÏÏ nb ÏÏ


Ï
Å nÏ ª ä b Ï
b ÏÏ Ï nÏ Ï Ï Ï Ï n b ÏÏ
b b bÏ b Ï ä Ån ÏÏ nÏÏ ÏÏ ÏÏ n ÏÏ bÏ
& b b b nÏ Ï nb ÏÏ n Ï bÏÏ Ï Ï Î äÅ bÏ
R J nÏ
R R


G¨‹7 D¨7(b9) G¨‹7 D¨7(b9) G¨‹7 F‹11 B¨9
r 3
r r
9 9 7 5 4 2 5 6 6 6 6 5

¢Ú
7
9 Å 7
9 ä 6
7
5
6
3
4
2
2 äÅ 3
4
4 4
5 5
4
5
3
5 Î ä Å 56
7 7 6 4 3 2 5 6 6 6 6 4

alternating diminished chords as subst for 7b9 chord

¡ b b b Å n nÏÏ b ÏÏ
bÏ Ï
b Ï bÏ Ï bÏ
b ÏÏ nÏ
n ÏÏ nb ÏÏ
4
b ÏÏ Ï
b Ï nÏ n
n ÏÏ b ÏÏ Ï
ä Å
n ÏÏ
& b b b Ï nÏ bÏ nÏ bÏ Ï bÏ
R
G¨‹7 B7(b9) G¨‹7 B13
r
7 9 12 11 7 9 5 7 8

¢Ú
Å 6
7
7
9
11
12
10
11
6
7
7
9
5
6 8
9 ä Å 6
8
6 7 11 10 6 7 4 7 6

alternating diminished chords as subst for 7b9 chord

¡ Ï b ÏÏ b ÏÏ
5 Ï Ï Ï Ï Ï
b b ÏÏ ÏÏ b ÏÏ ÏÏ nÏÏ nÏ ÏÏ ÏÏ Ï b Ï b ÏÏ ÏÏ Ï Ï ÏÏ
b nÏ Å bn ÏÏ nÏÏ Ï
& b b Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï

F‹7 B¨7 E¨7

8 8 3 6 9 8 6

¢Ú
6
8
6
8 9
11
8
9 8
8
6
7
4
5
3
5 Å 2
4
3
5 2
3
5
6
8
9
7
8
5
6
6 6 11 10 6 6 6 6 4 5 2 5 8 7 5

dim chords again

copyright W. Kulawik 2012


¡ b b ÏÏ nÏ ª
Ï nÏ Ï bÏ Ï
ÏÏ ªª
6 bÏ b ÏÏ Ï Ï
b ÏÏ ÏÏ b ÏÏ Ï b ÏÏ
n ÏÏ ÏÏ bnÏÏ
bÏ nÏ Ï Ï bÏ
& b b b bÏ nÏ bÏ ä Ï nÏÏ

ª
A¨‹7 D¨7

7 11 6 4 13 13 12 11

¢Ú
7
8
9
11
5
6
4
4 ä 7
8 3
5
4
6 10
11
10
11
10
11
9
10
6 9 5 4 6 5 6 10 10 10 9

¡ b b ÏÏ b Ï ÏÏ Ï
ªä b ÏÏ bnÏÏ
7 Ï 3Ï
Ï bÏ Ï Ï nb ÏÏ n n ÏÏ Ïn Ï
b ÏÏ
n ÏÏ Ï ÏÏ ÏÏ Ï Ï nÏÏ Ï Ï ÏÏ Ï Ï b ÏÏ
Ï nÏ ÏÏ Å b Ï
& b b b Ï ä Ï nÏ n Ï Ï Ï Î n Ï nÏ Ï Ïb Ï Ï
R nÏ
R
G¨Œ„Š7 G¨7 B7 A¨‹7 D¨13 G‹7 C7
3
r r
äª
9 9 6 7 11 11 6 8 10 6 5 3 5

¢Ú
9
10 ä 8 5
9 6
7
8
7 7
8 8 Î 7 11 11
8 10 10
6 7
7 8
8
10
6
7
4
5
3
3 Å 5
6
8 8 5 7 7 7 6 9 9 5 7 8 5 4 3 4

II-V progression chromatically down ............................

¡ b b b Å Ï Ï bÏ Ï Ï n nÏÏ Ï ÏÏÏ bb bÏÏÏ ÏÏ nÏÏÏ nÏÏ ÏÏ bb ÏÏ nÏÏÏ


bÏ Ï bÏ nÏ Ï nÏ
9 ÏÏ bn ÏÏ b Ï Ï Ï bÏ w
n Ï n w
w
& b b nÏ Ï Ï b Ï nÏ bÏ n Ï Ï Ï n Ï b Ï w

G¨‹7 B7 F‹7 B¨7 E¨‹%

12 11 9 10 11 8 7 6 6

¢Ú
Å 11 10
12 11
9
9
9
9
7
8
6
7
7
8
8
10 11 8 8
99 6 8
8
6 7 6
7 6 5 5
6
11 10 7 7 7 6 7 8 9 6 10 6 6 5 4 4
8
II-V progression chromatically down ............................................................................................

copyright W. Kulawik 2012


Rhythm Changes Solo 1

                     
Bbmaj G7 Cm7 F7 Bbmaj G7 Cm7 F7

      

       
Bb-major-scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

   

6 6 7 8 5 6
7 8 8 7 7 7 8 5 5 8

           Cm7
  F7 
5 Fm7 Bb7 Ebmaj7 Ebm7 Dm7 G7

       


Eb-major-scale . . . . . . . . . . . . . . . . . . . . . . .Bb-Blues . . . . F7 alteriert ......................


6 9 7 9 7 6
7 8 7 5 6 7 8 9 6 8
8 6 5 5 8 8
8 6 8

       F7  
Bbmaj Cm7 F7 Cm7Bbmaj G7
 
9 G7
      
   


Bb-major-scale . . . . . . . . . . . . . . . . . . . . . . . Dm7-Arp...... G7mixo ......

Cm7/9-Arp...................

3 6 10 9


6 3 6 4 6
7 8 7 8 2 5 4 5
3
8 8 5

 
     Bb7
     
Fm7 Ebmaj7 Ebm7 Cm7 F7 Bb
        
13

 

 
F-dor (Eb-major) . . . . . . . . . . . . . . . . . . . . . . . Cm7.... .......F7/b9......... Bbmaj



11 9 8 7 7 6
10 8 7 7 8 10 8 7
10 8 8 10
11 10 8 6

                
  
17 D7 G7

         
 
D7mixo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G7mixo (D-dor) . . . . . . . . . . . . . . . . . . . . . . .
 
5 5 8 7 5


7 7 5 6 8 6 5
7 6 5 5 7 5 7 5 4 4 5 6 7 7
7 5 4

copyright W. Kulawik 2012


               
C7   F7

  
21

     
 
3


C7mixo=Gm-dor . . . . . . . . . . . . . . . . . . Cm7 (Cm-dor) . . . . . . . .. . Quarten in Terzen abwärts
 3

 
5 8 5 6 6 10 7


6 8 10 7 9 6
7 7 7 8 8 5
5 8 5 8
5 6

       
Bbmaj G7 Cm7 F7 Bbmaj G7 Cm7 F7
   
25

     

Bbmaj-scale mit chrom.......



6 5 6
7 6 7 8 7 8 5 7
5 8 7
8

           
29 Fm7 Bb7 Ebmaj7 Ebm7 Cm7 F7 Bb

       
Ebmaj-scale mit Arp . . . . . . . . . . . . . . . . . . . . . . . . Bbmaj-scale in Terzen.......


6 8
5 8 7 5
8 6 5 8
7
6
8
6
7 8 5 7 5
8

copyright W. Kulawik 2012


Rhythm Changes advanced solo
W. Kulawik 2007
F7
b Ï Ï
F7
Ï Ï Ï . Ï Ï Ï
•J Î ä J
Bb G7 Cm7 Bb G7 Cm7 3

& b Î Î bÏnÏ bÏnÏ ÏJ Ï. Ï Ï Ï Ï Ï ÏÏÏ Ï Ï


3 3 3

.
•7J
Î Î 6 6 8 6 6 Î ä
6 7 6 7 7
J 8. 5 J
7 8 7 8 8 7
8 7 8 8
5

3 3 3 3

Fm7 Bb7 Ebmaj Ebm7


.
Ï
Dm7
.
G7
Ï
& b • ÏJ• Ï Ïj bÏ Ï Ï
b ä ÏJ Ï ä ÏJ ä ÏJ. nÏ Ï Ï
5

Ï Ï Î

• J• 7
Î ä 6 ä ä
7 7 5
J
7 8
J
7
J
7 10
J
8 5 10 9 10
. . .
8 9

ä Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï
Cm7 F7 F7
b Ï Ï Ï bÏ
8 Bb G7 Cm7

& b Ï bÏ Ï Ï Ï ÏP î J 3 3
3

î ä 6 6
8P
8 7 5 6 6 8 6 8 8
8 7
9 8
11 10
J
8 8
3 3 3

b•Ï Ï Ï Ï Ï Ï nÏ Ï Ï nÏ

Fm7 Bb7
b
11 Bb G7 Cm7
bÏ Ï nÏ ÏbÏ
F7

&b ÏnÏ Ï Ï Ï Ï Î ä J bÏ Ï Ï

•9
• ä ä ä 6J
6 6 5
8 6 8 7 7 5 4
8 8 6 8 8 6 5
8 7 6 5 8

Ï ¾ Ï ¾ nÏ Ï Ï bÏ
Ebmaj F7Ebm7 Bbmaj7 Cm7
b Ï Ï
14
Ï bÏ nÏ bÏ nÏ Ï Ï Î Î
& b Ï Ï Ï Ï bÏ Ï Ï

6 ¾ 6 ¾ Î Î
7 8 7 6
5 8 7 8 6 7 6 7
5 8 6 8 8 8
6 8

copyright W. Kulawik 2012


b Ï Ï
Am7
nÏ Ï#Ï Ï ÏbÏ Ï nÏ
D7

Ï bÏ nÏ Ï Ï nÏ Ï nÏ ÏbÏ nÏ ÏbÏ#Ï Ï. Ï Ï Ï
17

&b
5
8 5 6 7 5
7 6 5 4 4 5 7
5
5 4 7
. 7 5 7
7 6 7 7 6 5 4
7 6

Ï Ï Ï Ï Ï nÏ Ï Ï
Ï #ÏnÏ ÏnÏbÏnÏ Ï Ï Ï
G7
b nÏ Ï ÏbÏnÏ Ï Ï Ï Ï Ï Ï ÏnÏ
19

& b Ï
5 8 5 6 7 5
5 6 8 8 7 6 5 5 6 8
4 4 5 6 7 5 4 4 5 7 7 6 7
7 5 7

& b •J
Ï Ï Ï bÏ Ï. Ï
• ÏJ Ï Ï #Ï nÏ nÏ Ï. Ï. Ï
Gm7 C7
b
21 3

Ï Ï Ï bÏ nÏ
Ï Ï bÏ

•J
3
.
• 3J . .
5
6 8 8
7 6 5 4 3 5 5
7 7 6 5 4 3 2 3
5 5 4
3
3

Ï Ï Ï Ïb Ï n Ï Ï ÏnÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
F7
b Ï
23

&b Ï Ï Ï Ï Ï Ï nÏ ÏbÏ Ï

3 6 3 4 5 3 3
3 4 6 6 5 4 3 3 4 6 4 3
2 3 5 5 4 5 5 4 3 2
3 5

W. Kulawik 2007
F7 Ï
Ï Ï Ï#Ï Ï Ï Ï Ï ÏDm7
ÏÏ Ï b Ï Ï Ï Ï F7 Ï Ï#Ï
&b •
b
25 Bb G7 Cm7 G7 Cm7
Ï Ï nÏ Ï ÏÏ

•7
6 6 6 7 8 8 8 11 10 10 9 8 7
10 10 8 8
12 10 9 12 10 8 7 10

copyright W. Kulawik 2012


b •Ï Ï ä 3Ï Ï Ï ÏÏÏ Ï
Fm7 Bb7 Ebmaj Ebm7 Cm7 F7 Bb

ÏÏ ÏÏ • • Ï äÏÏÏ ú
29

& b bÏ ä Ï Ï j î

• • •7
3
6
8 ä75 7
6 6 8 ä î
J
8 6 5 5 8 5 8 8
8 6 8 8 8

copyright W. Kulawik 2012


Rhythm Changes 1

On the following two pages you will find voicings for Rhythm Changes chord
progression. The voicings start very slow and easy, but get more complex
as the chorus moves along.
Please listen to the audio track and try to copy the rhythm of the demonstration
guitar track.

A-1 (simplified)

6 8 10 8 8 6 10 8 8 6
7 8 10 8 8 7 10 10 8 8
7 8 10 8 6 5 10 9 8 7
8 6
6 8 10 8 10 9 8 7
Bbmaj7 Cm7 Dm7 Cm7 Fm7/9 Ebj6/9 Dm7 Db7#11 Cm7 B7#11

A-2 6 6
6 8 8 10 10 11 8 9 8 8 8 7 6 8 6
7 7 8 9 10 10 8 8 8 7 7 6 7 8 5
7 6 8 8 10 9 8 7 6 6 8 8 7 6 5
10 8 8 7 6 6 8 5
6 7 8 9 10 8 6 6
Bbmaj7 Bdim Cm7 C#dim Dm7 G7#9 Cm7 F7#9 Fm7/9 E7#9 Ebmaj7 Ebm7 Bbmaj7 F11 Bb6/9

B
5 3 3 3 1
5 4 5 4 3 2 3 9
5 5 4 4 3 3 2 8
4 4 3 3 2 2 1 7
5 3 8
D7/9 D7/b9 G7/13 G7/b13 C7/9 b9 F7/13 F7#9

A-3 (embellished)
10 10 11 12 13 15 11 13
10 9 11 11 13 12 11 10 11 11 11 11 8 8 6
10 10 12 12 14 13 12 11 13 13 12 11 10 8 7
8 9 10 11 12 12 10 10 13 12 12 11 10 7 7
8
13 12 11 11 10 6
Bbj7 Bdim Cm7 C#dim Dm7 G7b9 Cm7 F7b9 Fm7/11 E7#11 Ebj7 Ebm7 Dm7/11 F9 Bbj7

copyright W. Kulawik 2012


Rhythm Changes 2

A-1 ...etc.... (2 chords per bar)

7 10 8 8 7 10 8 8 13 13 12 11 10 10 8 8
7 10 8 7 7 10 8 7 13 12 12 11 10 9 8 7
5 6 5 6 11 11 10 8 6
6 10 8 7 6 10 8 7 13 12 11 11 10 9 8 7
Bbj7 Dm7 Cm7 B7 Bbj7 Dm7 Cm7 B7 Fm7 E7 Ebj7 Ebm7 Dm7 Db7 Cm7 B7
=F7 =F7 =Bb7 =G7 =F7

A-2 6 6 6
3 3 4 5 86 4 9 9 9 8 7 6 8 6
2 1 3 3 58 6 4 8 7 7 6 5 8 5
3 3 5 5 8 7 3 7 10 9 8 8 7 6 5
1 2 3 4 5 6 8 7 6 6 5 8
8
Bbj7 Bdim Cm7 C#dim Dm7 G7alt Cm7 F7alt Fm7 E7 Ebj7 Ebm7 Dm7 F7/11 Bb6/9

B
7 5 10 13 10 5 3 8 8 8
5 5 8 11 10 3 3 6 7 8
5 5 9 11 10 3 3 7 8 8
5 4 7 10 9 3 2 5 6 7

Am7 D7/9 Am7/11 D7alt G7/9 Gm7 C7/9 Gm7/11 Ab7 F7/9

A-3
13 15 11 13 10 11 8 10 6 6 6 6 6 9 6
13 12 11 10 10 9 8 7 8 7 6 5 4 9 6
12 13 12 11 10 10 8 8 8 7 5 6 3 8 5
12 12 10 10 8 9 8 7 6 6 5 5 5 7 5
3
Bb6/9 G7b9 Cm7 F7b9 Bbj7 G7b9 Cm7 F7b9 Fm11 Bb7 Eb6/9 Eb7 Cm7 F7#9 Bb6/9
b13 b13 b13 b9 b13

copyright W. Kulawik 2012


from "El Hombre" - 1967
(transposed to F7)
Blues for Mickey-O Pat Martino

F7 I Bb7 F7 Bb7
         
1                  
1 1 1 1 3 1 3 3 1 3 3 1 3 3

3
F7 3 3 III
 
6 3 3 3 3 3 3

                                 
3 1 ........
3 2141
VI
Gm7 C7alt F7 D7#9 Gm7 C7alt 
 
     
9

 
3

    2 
 
3 1 3 3 2 1 4 1 1 4 1 2 1 4


F7 Bb7  F7 VIII
 
III 4
     
  

    
13

2    
3 1 4 2 4 1 3 2 1 4 3 1 1 3 1 - 1 1
IV         
Bb7 III I F7 D7#9

17

          

1 3 1 3 1 3 1 3 1 3 2 1 3 3 1
Gm7 C7alt F7 D7#9 Gm7 C7alt
              
3  
 
21

VIII
   
1 3 1 3 21 41 4
3 1

F7
 Bb7 F7
   
           
25

3    

4 3 1 1 1 3 4 3 1 3 1 3 1 3 3 4 1 4 1

           
F7

Bb7 VI
  
 3 
28

       
4
1 3 1 3 1 4 2 1 3 1 3 2 421 3 2 1 4 3 1 3 2 3 1 2

copyright W. Kulawik 2012


D7#9 Gm7 C7alt
31
     
3     
3
   
3
   
3
      
3
   
33
  
3
  
33
  
3 3



F7 D7#9 Gm7 C7alt Solo continue...............


8va...........................
                 
3

3 3 3 3 3 XIII

34

    
3

F7 mixolydian Phrase T4 - 6 5th Chorus

     
39

     
   

1 4 3 1 3 2 1 1 4 2 1 4 2 1
Bb7

40

             
       
1 2 4 1 2 3 3 1 3 4 1 2 4 2 1 1 4 1 3 4 3

copyright W. Kulawik 2012


BasiF Patterns in G major

Here are some examples for longer phrases that are always a mixture of the major scale and major arpeggio

 
II.
           
1 
             
    
2 1 2 4 1 2 4 1 3 4 3 1 4 1 3 1 3 4 3 2 1 2 1 4 2 4 1 4 2 421 4

2 3 2 2 5 3 5 3 2


3 5 3 5 5
2 4
2 4 5 4 2 2 4 4 5
2 3 5 5
3 2 3 5

    
      
        
  
2 3 1 4 3 4 3 1 4 1 4 2 1 2 1 4 3 4 1


3
4 2  
5 4 5 4 2 4 2
5 2 2 5 5
5 3 2 3

 
VII.        
    
        
2         
 
4 3 4 1 3 1 1 4 2 1 2 4 1 2 4 1 2 4 21 4 2 3 1 4 3 4 3 1 4 1 4 2

7 8 10 7 8 10 8 7


7 10 8 7 8 10 10 8
7 9 7
7 9 10 9 10 9 7
10 9 10 10 7
10 8

          
 
  
         
 
1 2 1 4 3 4 3 2 1 3 4 1 3 2 1 2 3 4 1 2 3 1 4 3 2

7 8 9 10 7


8 8 10 8
7 9 9 7 9
9 10 9 8 7 9 10
7 10
7 8

copyright W. Kulawik 2012


BasLF Patterns in C major


II.

3                 
        
     

1 2 1 4 3 4 3 1 4 1 4 2 1 2 1 4 2 4 1 4 2 1 4 3 2 3 4 2 3 4 1 3


3 3
4 5 4 2 4 4 5 4 2 4
2 5 5 2 2 5 5
2 3 5 3 2 3 2 2 5 3
5 3 5

       
          
    
4 1 2 4 1 4 3 2 1 2 1 4 1 2 3 4 1 2 4


4 5 6 7 4 
5 2 3 5 2 2 5 5 7 7
5 4 3 2 3

     IV.
V. IV.  V. V.
  
4                  
  
   
3 4 3 2 1 2 1 4 1 4 1 4 2 4 1 4 3 4 3 1 4 1 4 2 1 2 1 4 1 3 1 4

7 8 7 5


5 8 8 5
4 5 4 4 7 5 7 7 5 4 5 4
5 7 5 7 7 5
7 7 5
7 8 8

 IV. V.
                     
    
  
3 4 3 2 1 2 3 4 1 2 4 1 2 4 1 2 4 1 2 4 1 1 3 1 1 1


5 6 8 5 6 8 5 5 
4 5 6 7 4 4 5 7 5 7 5
5 5 7 5 5
7
7 8

copyright W. Kulawik 2012


DorLDQ PhraseV 1

Here you find dorian phrases for improvising over longer passages in minor (e.g. "Impressions"). The patterns
are similar to those in Pat Martino´s book "Linear Expressions"

  III.
G‹7
II. III. 
               
1                 
 
1 3 4 1 2 3 1 3 1 3 4 1 2 4 2 1 4 3 2 4 1 3 4 1 2 4 1 4 3 4 2 3

5 4


3 3 6 6 5
2 3 5 2 5 4 3 5 2 2 3 5
3 2 4 5 4 5
3 4 5 5
3 5 6

                     
         

1 4 1 3 1 2 3 4 1 4 1 4 2 3 2 1 4 3 2 4 1 2 1 2 3
V.

3 5 8 6 5


6 3 3 6 6 8 7 6 8 5 6 5
5 3 4 5 6 7 6 7

 V.      
             
  
2          

3
 
1 2 1 4 3 4 3 2 1 3 4 1 3 2 1 4 2 3 2 1 4 3 2 4 1 2 3 1 2 4 12 3

3
5 8 6 5 5 6 7


6 6 8 7 6 8 5 5 6 8
5 7 7 6 7
7 8 7 6 5 7 8
5 8
5 6

     IV.
      III.
              
  II.
      
4 1 1 4 4 1 1 4 3 4 1 2 1 4 1 2 3 1 3 2 1 4 1 3 4

8 5 4 7 4 3 5 6 5 4 3


7 6 6 3 4 5 3 6
5 4 3 2
4 5

copyright W. Kulawik 2012


This is the "trickiest" phrase...........


D‹7 VII. VI.
V. IV. V. V.
      3     3        

3            

1 3 4 1 2 3 1 3 1 3 4 1 2 4 1 1 4 1 1 4 1 1 4 3 2 4
3 3


5 6 8 5 10 7 6 9 6 5 8 7 6 8
5 4 6 7
5 6 7 7
5 7 8

       
VIII. 3
      3 VII. 3   3 V. 3  3 3

3
     

1 2 3 1 2 4 1 4 4 14 13 2 4 14 123 414123441234 1
3 3 3 3 3 3 3 3

5 8 12 8 12 8 10 7 10 7 8 5 8 5 8 5


5 5 6 8 10 8 6 8 6 8 5
6 7 10 9 7 7

How can I use these patterns?

1. over Gm7 (Phrase 3: Dm7)


2. over C7/9 (Phrase 3: G7/9)
3. over F#7alt (Phrase 3: C#7alt)
4. over Bbmaj7(#11) (Phrase 3: over Fmaj7(#11)

Explanation:
The used tonal material is a mixture of dorian and melodic minor, so you can use it over all the chords where
you would play the melodic minor scale:

root: minor7 - a fourth above: Dominant7 - minor third above: maj7(#11) - half step below: altered
Gm7 C7(9) Bbmaj F#7#9

copyright W. Kulawik 2012


$ltered phrases 1

Here are some examples for patterns using the altered scale over G7b9 (or #9)

 II.   
D‹7 G7(b9) CŒ„Š7
3 3
        
1              
4 2 1 4 4 1 2 1 4 4 1 4 3 2 1-1 4 3 1 2 4 1 4 3 2 4 3


3 3


5 6 5 4 3
2 5 4 3 4 5
3 2 5 2 3 6 5 2 3 5 2 5 5 5
5 5

     
II. D‹7 CŒ„Š7  G7(b9)
          
2               
4 1 2 4 1 2 1 4 4 1 2 4-4 2 1 4 3 1 4 1 2 421 4 2 4 3 4 1 4


3

3 7 3 5 7 5 3


5 8 6 5 3 6 5 5 3
5 7 4 5 4 2
7 5 2 3 5 6 5 5
8

 II. D‹7 G7(b9) C‹7

  
3      
            


4 4 1 2 4 1 4 1 4 1 4 3 1 3 4 1 1


2 5 3 3  
2 3 5 6 6 3 5 5
5 5 6 6 3
3


V. D‹7 G7(b9) C‹7
                 
4              
3
4 3 1 1 4 2 1 3 1 2 1 4 3 4 3 1 - 1 4 1 2 1 4 1 2 3 2 1
3


5 8 6 5 8
5 7 6 7 6 7 8 8 7 7
7 9 8 9 8 6 5 5 8
8 8 5 6

copyright W. Kulawik 2012



D‹7 G7(b9) CŒ„Š7
VII.

  
V. VI.
V.
                          3 
5  
2 4 1 2 3 1 2 4 - 4 1 3 4 1 3 4 1 - 1 2 3 4 3 1


3

6 6 7 3


6 8 5 6 5 6 8 9 8 9 6 8 9 5
7 5 4 
7


D‹7 G7(b9) CŒ„Š7
IV. III.
       
6           
4 1 2 4 2 1-1 4 - 4 2 1 4 2 1-1 4 3


5 4
4 5 7 5 4 4 3 4 3 
7 7 6 6 6 5


V. D‹7 G7(b9) C‹7
       III.
             
7     
4 2 3 1 1 2 1 3 1 2 1 4 1 2 4 1 4 2 4 1 2

3 4 6 3


8 6 5 6 5 3 6 6 4 6 3 4 4
5 7 5 4 
7

copyright W. Kulawik 2012


AlterHG PhraseV 2

These patterns show different options for playing over m7b5 - Dom7#9 progressions.

Examples 1+2 use G half tone - whole tone (equals D Whole tone - half tone)

  II.   
D‹7(b5) III. G7(b9)      C‹7  
  
   
1  
        


4 1 2 4-4 1 2 4 1 3 4 1 2 4 2 1 4 2 4 1 2 1 3

3 4 6 4 3 3


3 5 6 6 4 6 4 3
3 4 6 5 
2 3 5 6
5

 
D‹7(b5) G7(b9) C‹7


VII. III. VI.
II.   V.
           
2          


4 1 2 4-4 1 2 4 - 4 1 2 4-4 3 1 3 4 1 3 4 3


5 6 8 9 9 8 6
3 4 6 7 8 7 
2 3 5 6 10 9 10
5 10

Examples 3+4 use F dorian over Dm7b5

   V.
G7(b9) C‹7
D‹7(b5)
  
3                 
1 3 4 1 2 1 4 3 4 1 2 4 1 3 4 2 4


6 8
5 7 8 
5 6 5 5 6 8
5 7 8 8 7 8

 
D‹7(b5) C‹7 G7(b9)
V.       VI.
4                   
1 3 4 1 2 4 1 3 4 2 1 4 2 1-1 4 3 2 4 4 1 2 4


6 9 8
5 8 7 8 10 7 
5 6 5 6 10 8 10
5 7 8 8 7 8

copyright W. Kulawik 2012


Examples 5+6 use fourths and fifths upwards in minor thirds:

 
C‹7
V. D‹7(b5)
 G7(b9)       
      
5     
1 2 1 4 1 2 3 4 1 1 4 4 1 1 3 4 1

8 11 8


8 11 8 11 8 11 8
5 8 7 10 10 
5 6

 
D‹7 G7(b9) C‹7
V. VII.
      
Vi. ViII. 
    
6        
1 2 4 3 1 1 4 4 1 2 4 3 1 1 4 4 3

8 11 10


8 11 8 11
6 9 7 10 
6 9 6 9
5 8

Examples 7+8 use Abmaj7 as substitute for Dm7b5 (tritone substitution)

 
III. D‹7(b5) G7(b9) C‹7
    
7          
     
 
3 4 3 2 1 2 4 1 2 3 1 4 3 4 1 3 4 1

3 3


4 4 6 4
5 5 3  
5 6 6 5 3 5
6 6 3 3

        
III. D‹7(b5) G7(b9) C‹7
       
8       
   

4 3 2 1 4 1 2 4 1 2 4 1 2 1 1 4 3 4 2 1 3 4 2 4 1

3 6 3 4 6 3 3 6 3


4 4 6 4 4 6 4
5 4 3 5 3 5
6 6 5

copyright W. Kulawik 2012


MixolydiDQ PhraseV RYHU WZR OFtaveV

These patterns can be played over D7 or Am7....

 
D7
IV.
                   
1     
       
2 4 1 2 4 1 4 3 2 4 1 3 4 1 2 4 1 4 1 2 3 1 3 2 1 3 1 2 4


5 8 5 6 7 5
4 7 6 5 7 4 4 5 7 7 6 5 7 4
4 5 7 6 7 6 7
5 7

             
IV. D7
        
2         

3 4 1 3 4 1 3 2 1 1 4 1 2 4 1 2 1 4 1 1 4 3 1 4 3 1 3 2 1

7 5 7 5


8 7 8 5 7 5 5 8 8 7 5
7 5 7 4 5 4 5 7 6 5
7 5 4 7

                 
D7
IV.

3             
3 4 3 2 1 4 3 2 1 4 3 2 1 4 1 3 4 1 2 4 1 1 4 2 1 4

7 8 7 6 5


8 7 6 5 5
8 7 6 5 4 4 5 7 5 7 
7 6 7 7 5 4

 
D7
IV.
4                    
         
2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 421 2 1 4 2 1 4 1 1 3


5 
4 4 5 7 4 5 7 5 4 5 7
4 5 4 5 7 4 5 7 5 7 5 4 4 7
5 7 7 7 5

copyright W. Kulawik 2012


This phrase starts in Cmaj7 (which is 7/9/11/13 of D7)

 
D7
II. IV.

5                          
      
2 4 1 4 3 4 3 2 1 4 1 2 1 2 3 4 2 1 4 1 2 421 4 2 1 4 2


4 5 4 3 2 5 4 7 4 5 7 5 4
2 5 5 2 3 4 5 6 7 7 5 4
3 5 7 5 5

           
V. D7 II. IV.
V.
 
6      
       
 
1 3 2 4 1 1 3 4 1 2 4 4 1 2 1 2 2 4 1 2 4 1 2 4 2 4 3

5


7 8 5 5 8 7
7 5 7 4 4 5 7
7 5 7 4 2 4 5 7
7 5 3 5 7

   
This phrase makes use of a 7/#11 scale:
V. D7    
   
7 
        
 
3 2 1 3 1 4 3 4 1 4 1 1 2 2 1 4 3 1 1 4

7 8 4 7 5 4


   5 8 5
7 6 5 7 5 4 7 
7 5 4
7

Here the augmented scale is used:

                
D7

8       
4 1 2 4 1 2 4 1 2 1 3 1 1 2 4 1 2 3

7 4 5 7 4 4


5 7 5 5
5 7 5 5  
6 8 6
7

copyright W. Kulawik 2012


Dorian Phrases over two Octaves

These patterns can be played over D7 or Am7....

  II.
V.     II.
      
1 
      

       
  
 
1 3 5 1 2 4 1 4 1 3 4 1 2 4 1 4 3 2 1 4 1 2 1 4 3 1 1 2 4 1 1 3 4

7 6 5


5 8 8 5
4 4 5 7 5 4
2 5 6 7 7 5 4
2 2 3 5 7 5 7 3 2
4 5 4 5

 
II.

2          
  
                
4 1 2 4 1 2 1 4 4 1 2 4 1 4 3 4 3 2 1 4 1 2 1 4 4 1 2 4 1 2 4 1


4 5 4 3 2
2 2 5 5 2
2 3 5 3 2 5 2 3 5 3 2 5 2 3 5 2
5 5 5 3 5 5

 

V.
        
3  
   
         
 
1 4 3 2 1 3 4 1 2 4 1 4 3 4 1 2 1 214 2 1 4 1 1 4 1 1 4 3 2 1 1 1 4

7


5 8 8 5 5 5 8 7 5
4 4 5 7 5 4 5 4 5 5 7 5 4 
5 6 7 7 5 4 7 7 7
7
5 8

copyright W. Kulawik 2012


          II.       
V.


4                   

3 4 3 2 1 4 1 2 3 1 3 2 1 4 1 3 4 1 2 4 1 2 1 4 2 1 2 4 1 2 4

7 8 7 6 5
II.


8 5 6 7 5 5
7 6 5 4 4 5 7 5 4
7 6 7 7 5 4 5 7 4
5 7 7

     
V.
       
5      

3 1 1 4 3 2 1 1 1 214 2 1 2 4 2 4 1 2 1 2 4 1 4 2 1 3 4 4 1 3 1 3

5 7


5 8 7 5 5 7 8 5 7
5 7 5 4 5 4 4 5 4 7 5 7
7 7 5 4 5 7 4 5 7
5 7

    
V.

   
         
6       
1 3 1 4 3 2 1 1 4 1 4 2 1 2 1 4 1 2 1 4 3 4 3 2 1 4 1 1 1 4

5 7 8 7 6 5


7 5 8 7 5 5 8 8 5
7 5 7 4 5 4 4 5 5 4
7 5 4 7 7

copyright W. Kulawik 2012


Standard chord progressions:
1. Diatonic chords:

I IV VII III VI II V I

2. Diatonic II – V Progression ( like „Autumn Leaves“ )

II V I IV VII III7 VI VI

3. TURNAROUNDS:

a) I VI II V b) III VI7 II V

c) I VI7 II V d) I bIII
7
II bII
7

4. Rhythm Changes:

I VI II V III VI7 II V
7 7 7 7
or I bIII II bII III bIII II bII
or I bIIo II bIIIo
dann:

Vm7 I7 IVj7 IVm7 III VI7 II V


5. Blues :

I7 IV7 I7
IV7 I7
V7 IV7 I7

I7 IV7 I7 I7 b9
or
IV7 I7 VI7
IIm7 V7 I7 V7

I7 IV7 I7 Vm7 / I7b9


or
IV7 bV7dim I7 VI7 #9
IIm7 V7 #9 I7 / VI7 IIm7 / V7

copyright W. Kulawik 2012


Articulation and Phrasing:

1. Creating tension:

- suspension of target tone by using intervals of the chordal upper structure


- increase of rhythmical densitiy (vertical density) - more note events in the same
amount of time by doubling notes)
- increase of horizontal density by widening the range of used tones, larger intervals
or using notes from the higher range of the instrument
- use of dynamical means
- repetition of tones or phrases
- sequencing of phrases along with rhythmic variations of the same motif or variing
the rhythmic structure

2. Tonal material

- guide tone lines (melodic lines following the chord progression in small (often
chromatic) movements down or up.
- improvisation over scales, chords or arpeggios (following the chord structure)
- finding and improvising over tonal centres.
- using patterns

3. RHYTHM

- off beats
- laid back playing (playing behind the beat)
- repetitions:
giving the audience the opportunity of "being familiar with" something by
- repating a phrase melodically or rhythmically
- varying a phrase

copyright W. Kulawik 2012


SUBSTITUTIONS

An often discussed chapter of jazz theory. Here I will only roughly mention some commonly
used substitutions.

1. MEDIANTS

If you layer the notes of the major scales up in thirds you get the following chords:

C E G B = Cj7
E G B D = E-7
G B D F = G7
B D F A = B-7/b5
D F A C = D-7
F A C E = Fj7
A C E G = A-7

These chords only contain scale immanent tones. Neighbouring chords have three notes in
in common. The more thirds you move up or down, the more intervals of the upper structure
are included (9th, 11th, 13th)
In Cmajor you get the following intervaI relations:

e g b d f a c e g b
3 5 7 9 11 13 1 3 5 7 in Cj7
5 b7 9 11 b13 1 b3 5 b7 9 in A-7
7 9 #11 13 1 3 5 7 9 #11 in Fj7
9 11 13 1 b3 5 b7 9 11 13 in D-7
11 b13 1 b3 b5 b7 b9 11 b13 1 in B-7/b5
13 1 3 5 b7 9 11 13 1 3 in G7
1 b3 5 b7 b9 11 13 1 b3 5 in E-7

How to read the chart:

- tone "e" is "3rd" in chord "Cmaj", at the same time "e" is "5th in Am7 or
7th in Fmaj7

Notice the "3" means major third while "b3" means minor third (this applies
to all intervals and saves writing space)
An interval is always "major" unless there is a "b" in front of the number.

copyright W. Kulawik 2012


Usually the direct mediants are of special interest. In the following chart you can see what direct relations are of interest.
All the chords have at least three notes in common.
What you receive are chords with no root but a ninth in the upper voice instead.

A B

1. I maj7 VI m7/9
2. III m7 I maj7/9
3. VII m7/b5 V 7/9
4. IV maj7 II m7/9
5. VI m7 IV maj7/9

Especially important is the chord on the 4th scale degree.

F A C E
l 3 5 7 in Fmaj7
b3 5 b7 9 in D m7
b7 9 11 13 in G7

Regarding F as degree IV in C major, then D is degree II and G is degree V.


As a consequence of this you can use the arpeggio of the fourth degree to improvise over II and over V as well.
You can use the Fmajor7 arpeggio to solo over Dminor7th and G7th without any problems !!!

copyright W. Kulawik 2012


2. Diatonic Substitution

In einer diatonic progression Dm7 G7 Cj7 Fj7 Bm7/b5 E7 Am7


II V I IV VII III7 VI

you can replace the chords der V.,IV. und III. degree with a Sixth-chord of the II, I. und VII.degree.

II II m6 I maj7 I6 VII VIIdim VI


Dm7 Dm6 Cmaj7 C6 %m7/b5 %7dim Am7
= G 7/9 = Fmaj7/9 = E7/b9
=V = IV = III7 VI

The resulting substitutes haven´t got a root but a ninth instead.


There is another special chord in this progression.
It´s the diminished chord on the seventh scale degree.
Every dimished chord is at the same time a Dominant7th/b9 chord.
and can be repeated or moved at an interval of a minor third.

C7 dim = F 7/b9 = Ab 7/b9 = % 7/b9 = D 7/b9

So you can use it in a II - V - I progression leading to a I minor.

II V I
Dm7/b5 G7/b9 CmL7
or Dm7/b5 D7dim CmL7

Graphically the relations can be seen as follows::

III 7/b9 IV maj7/9 V 7/9 VI m7 VII dim I6 II m6

copyright W. Kulawik 2012


3. TRITONE-SUBSTITUTION
In a II-V-I progression the chord on the Vth degree can be replaced with a chord a tritone below.
Example:

II V I

D-7 G7 Cj7
D-7 Db7 Cj7
II bII I

You can get a colourful leading voice by changing the upper note.

D-7/9 Db7/#9 Cj7


XSSHUYRLFe: e e e
D-7/9 Db7/#9-b9 Cj7
e e d g

copyright W. Kulawik 2012


Diagrams

On the following pages you find diagrams based on the cycle of fifths. They are
meant to visualize melodic and chordal relations.

copyright W. Kulawik 2012


Chord reinterpretation video

IV
dim7 V
mmaj7
7b9 7
7#11 m6/9 6
7/9/13 5
m7 4
bVII m6 3
7b9 II
7/9 2
m7/9
7sus 1
7/9/11/13

m7b511
bIII dim7 maj7#11 maj6 maj7 m7b5 dim7
VI
7 6 5 4 3 2 1 1 2 3 4 5 6 7

maj7/9

1
7b9 2 7b9b13
bVI 3
III
4
7b13#9
5
6 7b13
7 7b9

bII dim7
VII
bV
C
F G
- Cut out the small cycle of fifths and place it in the center
of the large circle.
- Place the desired chord at "12 o'clock" on the large circle Bb D
and read the different chord interpretations from the subcircles.

Example: Eb A

- C is at the 12 o'clock position, you can see the following relations:


Cm7 = Abmaj7/9 = Ebmaj6 =Bb7/9/11/13 (subcircle 3) or: Ab E
Cm6 = F7/9 = Am7b5 = B7b9b13 (subcircle 2)
- At 12 o'clock you find variations of the minor chord. Db B
F#
- At 9 o'clock you find variations of the major chord.
- At 11 o'clock you find variations of the Dominant7th chord.
- At 3 o'clock you find variations of the m7b5 chord.
copyright W. Kulawik 2012
Diatonic chords in all drop3 and drop2 shapes

1. Drop3 - F shape with root in bass (intervals: 1 7 3 5)

intervals:
audio
I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5

5
F 3
7

root: 1 1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12

2. Drop2 - F shape with root on top (intervals: 7 3 5 1)


intervals:

I II III IV V VI VII
audio
maj7 m7 m7 maj7 dom7 m7 m7b5
root: 1 2 3 4 5 6 7
1
5
F 3
7

1 2 3 4 5 6 7 8 9 10 11 12

3. Drop3 - Bb shape with root in bass (intervals: 1 7 3 5)


intervals:

I II III IV V VI VII audio


maj7 m7 m7 maj7 dom7 m7 m7b5
5
3
Bb 7

root: 1
1 2 3 4 5 6 7

1 2 3 4 5 6 7 8 9 10 11 12

4. Drop2 - Bb shape with root in bass (intervals: 1 5 7 3)


intervals:

I II III IV V VI VII audio


maj7 m7 m7 maj7 dom7 m7 m7b5

3
Bb 7
5
root: 1
1 2 3 4 5 6 7

1 2 3 4 5 6 7 8 9 10 11 12

copyright W. Kulawik 2012


Diatonic chords in all drop3 and drop2 shapes (2)

5. Drop3 - Eb shape with third in bass (intervals: 3 1 5 7)

intervals:
I II III IV V VI VII audio
maj7 m7 m7 maj7 dom7 m7 m7b5

7
Eb 5
root: 1
3 1 2 3 4 5 6 7
3

1 2 3 4 5 6 7 8 9 10 11 12 13

6. Drop2 - Eb shape with third on top (intervals: 1 5 7 3)


intervals:

I II III IV V VI VII audio


maj7 m7 m7 maj7 dom7 m7 m7b5
3
7
Ebroot: 5
1
1 2 3 4 5 6 7

1 2 3 4 5 6 7 8 9 10 11 12 13

7. Drop3 - Ab shape with third in bass (intervals: 3 1 5 7)


intervals:

I II III IV V VI VII audio


maj7 m7 m7 maj7 dom7 m7 m7b5
7
5
Ab root: 1
1 2 3 4 5 6 7
3 3

1 2 3 4 5 6 7 8 9 10 11 12 13

8. Drop2 - Ab shape with third in bass (intervals: 3 7 1 5)


audio
intervals:

I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5

Ab root: 1
7
1 2 3 4 5 6 7

3 3

1 2 3 4 5 6 7 8 9 10 11 12 13

copyright W. Kulawik 2012


Diatonic chords in all drop3 and drop2 shapes (3)

9. Drop3 - C shape with fifth in bass (intervals: 5 3 7 1)

intervals:
I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5
1 2 3 4 5 6 7
root: 1
C 7

5 3

5
1 2 3 4 5 6 7 8 9 10 11 12 13 14
10. Drop2 - C shape with third in bass (intervals: 3 7 1 5)
intervals:

I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5
5
root: 1 1
C 7
2 3 4 5 6 7

3 3

1 2 3 4 5 6 7 8 9 10 11 12 13 14

11. Drop3 - F shape with fifth in bass (intervals: 5 3 7 1)


intervals:

I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5
1 2 3 4 5 6 7
root: 1
7
F 3

5 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14

12. Drop2 - F shape with fifth in bass (intervals: 5 1 3 7)


intervals:

I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5

7
F 3

5 root: 1
5
1 2 3 4 5 6 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14

13. Drop3 - Ab shape with 7th in bass (intervals: 7 5 1 3)


intervals:

I II III IV V VI VII
audio
maj7 m7 m7 maj7 dom7 m7 m7b5

3
Ab 1 1 2 3 4 5 6 7

7 5

7
1 2 3 4 5 6 7 8 9 10 11 12 13
copyright W. Kulawik 2012
Scale Circle video
Detailed instructions for the use of the scale circle on the following page...

IV
maj7
ion V
maj7#11 dom7
lyd mixo
MMi
dom7
mixo#11 HM
bVII HM5 m7 II
dor
3
2
1

7#11 m7b5 m7
bIII lyd. augm. locr#2 aeol VI

1
2
3 m7
phryg
bVI III
dom7
alt
m7b5
locr

bII VII
bV
C C
F G F G

Bb D Bb D

Eb A Eb A

Ab E Ab E

Db B Db B
F# F#
copyright W. Kulawik 2012
The  scale  circle:  
 
This  diagram  offers  an  overview  of  all  scales  from  any  root  note.  
 
Cut  out  the  small  cycle  of  fifhts  and  put  it  into  the  centre  of  the  large  circle.  
-­‐  Place  the  desired  key  onto  the  12  o´clock  position  and  read  the  scales  in  the  three  
outer  circles.  
 
 
Circle  1:  all  diatonic  chords  and  scales  that  are  part  of  the  ionian  scale  
Circle  2:  all  scales  that  belong  the  melodic  minor  (MMi)  scale  
Circle  3:  all  scales  that  belong  to  the  harmonic  minor  scale  
 
Example:  
 
If  you  put  the  small  circle  into  the  middle  of  the  diagram  and  move  it  around  until  "F"  
is  at  the  12  o´clock  position,  then  you  can  find  out  all  the  scales  that  are  derived  from  
the  "F"  ionian  scale  (outer  circle)  (Bb  is  at  11  o´clock  =  the  chord  is  called  Bb  maj7#11  
and  the  scale  is  called  Bb  lydian)  -­‐  C  is  at  1  o´clock,  the  chord  is  called  C7  and  the  scale  
is  called  C  mixolydian)  and  so  on.  
 
If  you  look  at  the  circle  in  the  middle  (which  belongs  to  the  melodic  minor  scale  
MMŝ)  you  can   read  at  11  o´clock  Bb7#11  which  is  a  dominant7th  chord,  the  name  of  
the  scale  is  Bb  mixolydian  #11.  At  1  o´clock  you  find  no  chord  or  scale,  because  there  
is  no  scale  derived  from  melodic  minor  on  scale  tone  5.  

In  circle  #3  (the  inner  circle)  you  only  find  two  scales.  One  is  the  regular  harmonic  
minor  scale,  the  other  is  called  "HM5"  which  means  "harmonic  minor  from  the  fifth  
scale  degree".  This  scale  is  often  used  in  gypsy  jazz  over  a  dominat7th  (b9)  chord.  
So  you  play  the  "C"  harmonic  minor  scale  over  a  G7b9  chord.  
The  more  you  experiment  with  this  scale  circle  the  more  relations  and  insights  you  
will  get.  At  least  it  helps  to  get  familiar  with  the  circle  of  fifths  in  detail  as  well  as  with  
the  modes  of  the  ionian  scale  and  the  derived  scales  of  the  melodic  minor  scale.  

copyright W. Kulawik 2012


Which scale for which chord? video

ION -3 phryg

ixo
7m-
ION
MMA +5 mixo#11
MMA +1 alteriert
Dom7
m7
IO

ION +3 aeol
N-
2d
or

C
F G

Bb D

Eb A

Ab E

Db B
F#

Similar procedure here:


Cut out the outer diagrams, or print them onto a transparency film. Place them onto the cycle of fifths in the middle.
By turnig the transparency around you can find out which scales go with any given chord.ION stands for the ionian (major) scale.
MMA stands for the melodic minor scale

You find all the scales and their names in the overview on page 9 of the book.
ion
+1
ION ion

loc
r
lyd
-5
N
IO

m7b5
r#2
loc 3
MMA -3 lyd augm
+
MA M
maj
copyright W. Kulawik 2012
Drop2  and  drop3  chords  in  detail  
 
The  following  pages  are  intended  to  give  a  complete  overview  over  the  principle  of  drop2  
and  drop3  chords  and  how  they  are  derived  from  each  other.  You  will  find  a  lot  of  chords  in  
their  interval  structure  (no  fingerings  given)  

The  structure  is  always  the  same:  

Row  1:  major  chords  in  four  inversions  


Row  2:  dominant7th  chords  in  four  inversions  
Row  3:  minor  chords  in  four  inversions  
Row  4:  half  diminished  chords  in  four  inversions  
Row  5:  diminished  chords  in  four  inversions  
 
Example:  drop2  voicings  in  C  
 
Here  you  can  see  how  the  chords  are  derived  from  each  other.  The  first  row  gives  major7th  
chords.  By  lowering  the  7th  into  a  minor7th  you  get  dominant7th  chords.  (2nd  row)  
In  the  third  row  the  third  is  lowered  to  a  minor  third,  so  you  get  minor7th  chords.  
In  row  4  the  fifth  is  lowered,  the  result  are  minor7/b5  chords.  
Lastly  in  row  5  the  minor7th  is  diminished  (bb7)  and  what  you  get  are  diminished  chords  
which  repeat  every  minor  third,  so  they  all  look  alike.  

What  you  can  visualize  very  nicely  is  where  the  chord  specific  intervals  are.  On  each  string  
you  will  have  an  arpeggio  that  gives  you  the  chord  tones  on  one  string.  

The  following  pages  are  built  the  same  way.  All  basic  chord  types  (root,  third,  fifth  and  7th  -­‐  
no  ninth,  11th  and  so  forth)  are  placed  on  the  fretboard  in  their  four  inversions.  
 
Some  are  difficult  to  play,  so  if  you  don´t  feel  comfortable,  don´t  practise  them,  as  you  will  
never  play  them  in  a  jazz  situation  anyway.  

But  for  studying  the  structure  of  the  fretboard  and  the  relations  of  chords  and  their  
inversions  these  diagrams  are  of  high  importance.....  

copyright W. Kulawik 2012


Drop2 Voicings 1 in C

5 7 1 3
1 3 5 7
7 1 3 5
maj7 3 5 7 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

5 b7 1 3
1 3 5 b7
dom7 b7 1 3 5
3 5 b7 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

5 b7 1 b3
1 b3 5 b7
m7 b7 1 b3 5
b3 5 b7 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b5 b7 1 b3
1 b3 b5 b7
b7 1 b3 b5
m7b5 b3 b5 b7 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b5 bb7 1 b3
1 b3 b5 bb7
bb7 1 b3 b5
dim7 b3 b5 bb7 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012


Drop3 Voicings 1 in C

1 3 5 7
7 1 3 5
maj7 3 5 7 1
5 7 1 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 3 5 b7
dom7 b7 1 3 5
3 5 b7 1
5 b7 1 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 b3 5 b7
m7 b7 1 b3 5
b3 5 b7 1
5 b7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 b3 b5 b7
b7 1 b3 b5
m7b5 b3 b5 b7 1
b5 b7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 b3 b5 bb7
bb7 1 b3 b5
dim7 b3 b5 bb7 1
b5 bb7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012


Drop2 Voicings 2 in Bb

3 5 7 1
7 1 3 5
maj7 5 7 1 3
1 3 5 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

3 5 b7 1
dom7 b7 1 3 5
5 b7 1 3
1 3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 5 b7 1
m7 b7 1 b3 5
5 b7 1 b3
1 b3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 b5 b7 1
b7 1 b3 b5
m7b5 b5 b7 1 b3
1 b3 b5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 b5 bb7 1
bb7 1 b3 b5
dim7 b5 bb7 1 b3
1 b3 b5 bb7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012


Drop3 Voicings 2 in Bb

5 7 1 3
3 5 7 1
7 1 3 5
maj7
1 3 5 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

5 b7 1 3
3 5 b7 1
dom7 b7 1 3 5
1 3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

5 b7 1 b3
b3 5 b7 1
m7 b7 1 b3 5
1 b3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b5 b7 1 b3
b3 b5 b7 1
b7 1 b3 b5
m7b5
1 b3 b5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b5 bb7 1 b3
b3 b5 bb7 1
bb7 1 b3 b5
dim7
1 b3 b5 bb7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012


Drop2 Voicings 3 in Eb

3 5 7 1
7 1 3 5
maj7 5 7 1 3
1 3 5 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

3 5 b7 1
b7 1 3 5
dom7 5 b7 1 3
1 3 5 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 5 b7 1
b7 1 b3 5
m7 5 b7 1 b3
1 b3 5 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 b5 b7 1
b7 1 b3 b5
b5 b7 1 b3
m7b5 1 b3 b5 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b3 b5 bb7 1
bb7 1 b3 b5
b5 bb7 1 b3
dim7 1 b3 b5 bb7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012


Drop3 Voicings 3 in Eb

7 1 3 5
5 7 1 3
maj7 1 3 5 7
3 5 7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b7 1 3 5
dom7 5 b7 1 3
1 3 5 b7
3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b7 1 b3 5
m7 5 b7 1 b3
1 b3 5 b7
b3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

b7 1 b3 b5
b5 b7 1 b3
m7b5 1 b3 b5 b7
b3 b5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

bb7 1 b3 b5
b5 bb7 1 b3
dim7 1 b3 b5 bb7
b3 b5 bb7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

copyright W. Kulawik 2012