by WILBUR M. SAVIDGE and RANDY LEE VRADENBURG UEAD LINES OVER CHORD PROGRESSIONS AND NEVER PLAY BAD NOTES, HOW TO CREATE AND USE INTERVALS, SCALES, MODES AND ARPEGGIOS IN ANY KEY, REVISED CD EDITION PRAXIS BS70297 PRAXIS MUSIC PUBLICATIONS, INC.ales = CHORDS WILBUR M. SAVIDGE + RANDY LBE VRADENBURG ‘THIRD EDITION © Copyright 1994 by Praxis Muse Publications ne Exclusive Publication Rights ISBN 1-884848-05-2 All rights rysered. No part ofthis bok may be reproduced in any frm or by any levtronic or mechanical eane neuding information storage and Fteeval stems Graphic Devin ~ Cover! Tent bor M Saige Production Supervision Randy Lee Viadenbare Composition ‘TEAM Graphs, Ine cover ouirar: Fender Stratacaster - Serial #28 0f 100 The Story of "The Red Strat” ‘he a Sent ltgrp fi a eof is bck hn oe ier eyo ond are. Sect pln ploang "ang Oe top. Ths ood in tata of oto tre ate the ‘Bare arancampany anh rane cana ma. Beauly lode we rupee wa aed and Had) Lot Vary haw ped oa of us bs are PRAXIS MUSIC PUBLICATIONS, INC. Bedford, Toxas 76021WLR M1 SAVIOGE Ranoy ee RADNER Rance EK JORNSON SAAB NEin ‘bom stor ate snare ‘Sone Scomlonn Nov MCHLN Bc Ne Avo = Baia’ scon icon, Four Lob PRODUCTIONS NS ‘The Audio Companion CD is designed to(1) audibly demonstate the written examples in the baok “Sales ‘over Chords: Host improvise a never play bd note an (2) to pode os with sar own band wilh ‘which you may practice sla mprovieatin-Eusluding ce last four songs all examples ae ecoded with the bandon the left channel and ur lead quite on the rit. Ifyour CD player has a balance eno, st ‘may be used to ehminate out lad guitar aa you may practice improvisational slg, ot et the band and proctc playing rythm. PAN LEFT to et the lead guitar fer sling... PAN RIGHT to ct the ban for yt pra. Sethe balance control inthe center poston to atte songs aren STUDY EXERCISE INDEX NOT: We have pce our opening monaog a aring tak tthe end ofthe Auto Compenion CD Crack nos (S503 ‘Trce nthe a ner, po 1th ke 2 escent 4 Srubr nunc wie abit SD exe “Ape aa 2 ews para 4 STUD HARRIS nck BEAT Sue mca Sscusmoms 2 Stubr ame coun aa STUDY ERC COU HALE 5 Awoweueraraws 4 Sruby anone pacar Spy mesh nano aoc 4 Scala Arve 5 STUDY EXERCISE 6 Bear PEEL a berate ‘uns tear 1 Doxa ars. LH SING = roby moe -Laeunn serapossgasacaessess 43 STUDFIRGHERE- Rocka ols. STEIYEGRCSE- nvm xabuss Gp. SMUDYRAEROSE LVAD 2 STUDY RE APE ‘Stuy eurone cu ear STUDY Hao sic RUD ‘ STubveneacse.Counmar” 8, STUDY ERCSb moc ma STuby usc -a0c8 HMMOMENG MAORSCALE i. STUDY Enc noe a Srubr Ruse cove 1m Chara noaoons 4 Stuy Ets acne ocxsoxt 1 ADatrmes reece ‘ Stubrewacst rN aus soe 2 Gparmee amectos {2 stem ixiaesropnoce suuessoxe 2 pwr PRO 4 Stuy exis avant shazs0N0, 22. RKIVATIVENNODES 4. STUY EXERCISE ROSSANOT ‘TUNINGPERSONAL COMMENTS. Randy Lee Vradenburg. Wilbur M. Savidge {in 1966, while working on the Guitar Phones slbums, my mentor, Chet Akins, sated ‘fl hi wisn that "he war te pier Twa the teacher! Tis has proven tobe a proud for The ound that Fe underatnsFean foah Tha a jd most of my time running a basiness: and with this beak same the Howances fr my dutta as preident ofa publishing cmpany ese therefore Jtrouce fo you a gentleman, a friend of 20 years ands man with demonstra euitarist and teacher Randy Loe Vradenburg began his musical career a fer He is cureently busy playing in and producing jingles, demos and al {standing teacher and has worked diligenty to Smprove tnening tach frming the guitar fon and exciting, I asked Randy to ee-author tls bok or Ufccxperienc, pationce and thoughtflner to be of immenturable essa bftorms the tad guitar work onthe Audio Companion CD. fog hard work snd dition. nas dveloped into a premier perores oa snd band = BILL SAVIDOE, Publisher aoe ossande of ta, and auhored sx guitar educational bucks which ae successful eno tha {now imo tore th peanue, ites a2 ge 10, and re He eat new beTABLE OF CONTENTS: aie Dean Mo ® ee retin 3 es =} ete a : =e or Sete RR 5 eae ; BEES Saee Paying Chretien nD Pepa s ee Ee : Sere RRA see : Se 2 ES ia ° Skewstcaers 8 Rah 8 ee Be : income rs orn Pater - oe erin Made = orm Pater mtnnennnn Seton Five Trai fmprevition 's Cusieeea 3 = agian Eee eaten : Se —— i 5 See 8 fe Ee iscirae 2 Eee oe Se 28 Beceem. & ieee 3 aaa ee e aa 0 Ree Sees 2 kee —a iene usar eee fd ear ¢ Eee 8 ec 8 3 GP trie as ‘ean Ses Dei fram Me Seis HT ‘Se Sort Bi nnn en Tr Pater = 0 See . ES oe ier z ef See kepada tae Phin Mode cn oar Fee Te Patra eA eee — Sue $ Betis Laeiaa Made oS Coutive Tink. - So fea retro i eae a mesa 20 BS EG ie 2 an Nee * Che dipaeINTRODUCTION SCALES OVER CHORDS “Improvisation, isthe spontancous creation of a rhythmic melodic line over a group of chords. Iinvolees applied knowledge and human creativity. It isa way of expressing oneself musically, ‘through the instrument.” —Triadie Improvisation: Wilbur M. Savidge. ‘©All guitarists desire to create musi, to play in 8 band, jam with fiends, participate in «recoding session, of just beable to express themselves in their living oom. Lacking a working knowledge of scales, modes and how they play over chord progressions will ertainly hinder these aspirations. It isthe purpose of this book to teach you how to play a solo with forethought and knowledge tiling a"streat smarts” approach to theory. Boring and traditional methods of teaching theory have been ‘voided, Everything we show you will be presented in easy to follow steps which allow you to build ‘pn the knowledge and tols required in order to begin the journey into improvisation, "The advanced player wil find new insights into how to be more eretive, and how to play new and more complex Toad lines. ‘© You will find in this book new and exciting information. You willbe given examples, then shown bow to se the information your way (We'also encourage you ta wor with the Audio Companion CCD fr it not only offers you the opportunity to hear examples played onthe guitar, the CD presents ‘special feature ~you can play slong with a band!) You ean experiment with all the knowledge you ‘obtain from your studies with this book, you ean try new ideas, practice old tricks all in the environment of having your own band to beck you up. ‘© Been betta, we provided a truly new concept - BANDJAM, a 60-minute vdeo with which you can stand in front of a band and show your stuff Ask your musi dealer fora demonstration ofthis remarkable EntertninmentEdeation Video, (BANDJAM Vidoo sold separately), Mission Statement ‘Toenable you to choose the correct scale (mode) that will play over a given chord progression, so you may always play correct notes. B, To toach you how to look at a chord progression and identify the key in which ‘the song is written, ‘To teach you how to ereate rifle, motifs and load lines that are correct (no bad notes) and fit the rhythm structure ofthe music, so you will play with competence ‘and flair D. To give you playing experience in a variety of musical styles.‘To improvise successfully; one must possess sufficient knowledge of music theory ‘how things work) to establish a working perimeter. Once we can apply few rules ‘of what will work, we ean then use aur intuitive abit to improvise, to crente music on the fy" We are going to teach you how to play scales over chords. Why? Because chords are bl from seale tones! Chords ae the results of harmonizing a scale, placing notes In intervals of thirds, fourths, fits, et on tap of each other. By playing notes of the scale of which the chord is constructed, you will learn to relate scales and chords together: When the proper scale splayed over a given chord progression, we will nat play any bad notes. ‘What are the key cloments you must understand and apply correctly in order to Improvise? 1. You must understand the theory of intervals, scales, modes, chords, and arpeggios. 2 You must know and be able to play sales in five patterns on the fingerboard 8. You must have a “developed” ear; the acquired ability to distinguish tones, inter: vals, and chord harmony 4. You mst understand the prineiple rhythm structure of varius types of Jaz, Blues, Country, Pop ete, 5. You must know how to determine “Key Centers" within a chord progression. 6, You must develop the technique to to create rif, motif, lad lines, and how ta cance them together Improvisation goes beyond sight reading, and while we encourage yo to develop this ability, iis the purpose ofthis book to provide you with the knowledge to think intelligently and play correctly over any given chord progression. Study all exam: ples and make sure you understand the principale explained, so you may play and ‘ronte solos with ease and ski, How to Use This Book “Seales Over Chords," is divided into 7 sections. Hach sec- tion focuses on one element of improvisation. There are no short cuts. If you wish to succeed, study, assimilate and learn to use the information presented in each section. As a complete text, the knowledge in this book provides a com- prehensive study ofthis fascinating subject. RULES OF IMPROVISATIONBASIC IMPROVISATIONAL THEORY BASIC IMPROVISATIONAL THEORY Improvisational playing is playing by ear and using applied knowledge to create music “on the fly". This requires a working knowledge of how musie works. This section teaches the rudiments of music theory, not sight reading, just an explanation of how the elements of music fit together. If this information is unfamiliar, please take the time necessary to learn the concepts presented, — as ae. Cp SeeeBASIC IMPROVISATIONAL THEORY — CREATING MUSIC Creating music is about organizing piteh and developing melodies that aro interesting and pleasant to the eat. Thie book focuses specfclly on singe-note improvisation and how to connect solo ideas into long, smooth, uninterrupted lines. Our objective is to afr ways you ean ereate solo lines aver established ‘chord progression and to know how to use sales that are appropriate to the tse setting. ‘The Tools We Use Are: INTBRVALS, SCALES, CHORDS, AND ARPEGGIOS. DEFINITIONS INTERVALS: ‘An Interval is the diferenco in piteh between any two notes measured in wile and halEstops. The lower tone is considered the Root or Tone, the upper tone isthe INTERVAL. SCALES: All sales are a predetermined pattern of notes arranged in steps and half ‘taps (whole tones and halftones. Athol step is the distance of two frets fn the guitar, Seales are depicted on the staff by notes writen in ascending or descending order. cuorps: {A chor isthe simultancous sounding of three (or more) tones alld a trlad ‘There are four type of chords and many variations ofeach, We have Major, Minor, Augmented, and Diminished chords, plus variations such as ths, ‘hs, Sth, th, and 13ths, Chords may also utilize altered tones such as: bth and #9th, ARPEGGIOS: [An arpetio is some or all notes ofa chord played one note at atime,-— BASIC IMPROVISATIONAL THEORY —— TYPES OF INTERVALS When two tones of diferent pitch are played in succession, i is called s MELODIC INTERVAL, ‘When two tanes are played tether (asin chord), tis ealled an HARMONIC INTERVAL, Intervals are identified by their position in the scale. They are named according to their distance fom the tnie note PRIME or UNISON INTERVAL ‘The first interval is called the PRIME of UNISON interval ~ two notes of the same letter: two tomes ofthe same pith, PERFECT INTERVALS ‘The UNISON, FOURTH, FIFTH, and OCTAVE are called PERFECT intervals because they ‘remain constant from key to key MINOR INTERVALS ‘When notes of 8 Major interval are brought closer together, we Ihave a MINOR interval. This say be accomplished by lowering the upper tone, one hal-tep or raising the lower tone half ‘step. The second, third, sixth and seventh intervie may be played a MINOR INTERVALS, DIMINISHED INTERVALS ‘The DIMINISHED interval is obtained by bringing # PERFECT interval or a MINOR interval one halfstp close. AUGMENTED INTERVALS. ‘When the interval between two tones is EXPANDED, the interval is called AUGMENTED, This applies to both the Major and Perfect intervals, Each of these become augmented by raising the Upper noe ane halestep, or loteing the lower tne ane hale. ‘TRITONE INTERVAL "The interval between the fourth and fifth is called the TRITONE. Because ofthe “enharmonic” spalling, the Tritone interval may be called either an "augmented fourth, or a “diminished” Rit, INTERVALS IN WRITTEN FORM z ——}+ o o o oe oe eo bo o a eft tsh Aptech lt ——————— = o = = = = -— BASIC IMPROVISATIONAL THEORY — TYPES OF SCALES ‘All music is based on the proven scientific fact that the notes we use to create ‘music have fixed rates of vibration which are mathematically related to one ‘nother, Each note has « pitch which we can produce vocally or with a musical Instrument. These noes, when played in fixed patterns, ae called scales. When we have two notes of the same name, but one of different pitch, one writen higher than the ather and viee versa, they are said to be an OCTAVE apart. It is Important to realize that an octave does not consist of 13 tones, but isthe 1Sth ‘ote above the first of series of 12 successive notes. In our study of improvisation we will explore the usage of the fllowing scales: Chromatic Seale, Diatonic Mojor Seale snd i ita derivative sales, called Modes. CHROMATIC SCALE ILLUSTRATION ONE, "The interval sequence of notes upon which all scales are built is called a CHROMATIC SCALE, The chromatic scale is one octave divided into 12 tones, called hal steps. ILLUSTRATION TWO Since we have 12 notes in music (not counting their enharmonic names), we hhave 12 Chromatic Scales, each starting ona different note of the scale, This is the basis of establishing our musical KEYS. If the first note of the scale is the note A, we would have the "A chzomatic Scale". ILLUSTRATION THREE ‘The blac and white piano keyboard presents the chromatic scale in clear, visual way that is not as obvious on the guitar fingerboard. The keys af the piano keyboard reprotent one Chromatic Seale repenting itself in higher and higher actaves with the lowest octave on the left of the keybotrd The dis tance between each key, black or white, isthe distance ofa halstep, ‘The division ofthe chromatic sale into 12 tones (hal step, is aomplished ‘on the guitar neck by the placement ofthe fingerboard frets. The distance between each fret is called a halfstep. An INTERVAL is the distance ‘between two Frets, two notes.CHROMATIC SCALES ILLUSTRATION ONE, THE CHROMATIC SCALE A af BC CH D DF BF FF G Ge aA 12 34 5 6 7 89 Wo HR — 12NOTE CHROMATIC SCALE ——I 13 NOTE CHROMATIC OCTAVE ILLUSTRATION TWO 12 CHROMATIC SCA\ AAUBCCHDDABFFYGGHA AHBCCHD DHEF FAGGHA Ad BOC#D DHEF FHGG#A ANB CC#D DEEP F#GG#A AKBC CHD DEEP !¥GG#AARBCOH DD¥EFP#GG#A A¥BCCHD D#BF F¥GGHA A#BCCHD Di FENGGHAAYBCCHD DHE FFWGGWA AVBCCHD DEF FVGGHA AN BCCHDDIEFFY GGNAANBCCHDDIEFFHG GHA ANBCCWD DIEF FG GH ILLUSTRATION THREE ‘THE PLANO KEYBOARD ~ A CONTINUOUS CHROMATIC SCALE mt ce |BASIC IMPROVISATIONAL THEORY — PLAYING CHROMATIC SCALES Chromatic scale exercises offer an ideal way of developing independont left-hand finger movement. Practicing chromatic scale in ascending and descend order over the entire length ofthe fingerboard develops the Tat coral ability to play single line-one string melodies, ILLUSTRATION ONE. Linear Movement - One String "The following exercises commence on the first fret of the first string ‘Ascending order: Play four notes (one finger for each note), then shit fand play the fifth note with the first finger, Desvending order: Commencing with the fourth finger on the 13th fet, again use one fn gor foreach fet, shift nnd continue the seal. Practice this Bngering ‘excise on each string ILLUSTRATION TWO ‘A Movable Six Strings Position Aan excellent techniawe builder, thie ascending ‘movable’ chromatic scale position, shifts back one fret as you play across each string except the movement across the third string ~ the tuning thing, third interval between the G and B strings, all ether strings are tuned 1 fourth interval apart, Proficiney will require practice as there is 8 tendency to get lost when making the sbits ILLUSTRATION THREE A Movable Position - Six Strings ‘Again, an excelent left-hand development exercise, all notes are placed (in asonding order, forward of the fist Gnger which acte as a bars. Notice thatthe fourth finger plays two notes. Develop the stretch roquired (a five finger reach, s0 a forward movement ofthe left hand is not required RRR SEAL IS ee Chromatic scales provide a arent connecting link between scales and “lick played at difivent positions on the Fngerbord Als, they may be eta connec! aypeioe and lege intro sp,CHROMATIC SCALES (| ILLUSTRATION ‘ONE Linear Movement Paton et sting ILLUSTRATION TWO ILLUSTRATION THREE ble Six PositionBASIC IMPROVISATIONAL THEORY — THE GUITAR FINGERBOARD. ‘The six strings of the guitar make up six chromatic sales, Each seale starts on the note in the chromatic sale upon ‘which the guitar string is tuned and continues up the neck, ‘ascending in piteh until the tone is repeated agin at the 12th fet. Twelve fete plus the open string tone equals one In our study, itis important to fully understand the tonal relationship of chromatic seale notes, for the chromatic scale includes every piteh within an octave. It upon the chromatic scale we build the mote simplistic seales used in fstablshing our musical keys: the Diatonie Major and Minor Senles, Remember: ‘The chromatic scale. simply ropresents, in alphabetical order, our interval system of 1 is important to memorize the fingerboard. It ean be a formidable task. However, if you start by leerning the ‘names of the open strings, the educational process can be really simplified by visualizing a chromate see in your hea. smetmatnncs Foherens tect atncrinteeerene )(7 SIX CHROMATIC SCALES THE COMPLETE GUITAR FINGER BOARD (12 FRETS PLUS THE OPEN STRINGS) pean ttn o ce tie ¢ ote Gk Ce DG BE AD @ DGCFAD DE GE Ce FH AR DE Eb _Ab Db Gs Bb By EADGBE®BASIC IMPROVISATIONAL THEORY —— THE MAJOR DIATONIC SCALE Most modern music is not writen with chromatic scales, but with a more manageable, pleasant sounding, eight note scale called a DIATONIC SCALE. The Diatonie Major Seal with it fil- iar Do-Re-Mi-PaSo-La-Ti-Do sound, listration Three, isthe scale used to create the vast majority of the music guitarists encounter daily: It is from the Diatonie Major Scale that the ‘minor, the pentatonic, and our modal system of scales originate. To understand the art of impro- sation we must therefore fly understand the step paltera (dhe degree name and number of ‘the diatanie scale and be able to play scales in five patterns onthe fingerboard, ILLUSTRATION ONE ‘The Major Diatonie Seale is a predetermined pattern of eight notes arranged in five whole steps (whole tones) and two halfsteps(semi-tones). A halftep isthe distance of one fret on the guitar: » whole step i the distance of two frets In other words, « Major Distonie Seale is succession of tones arranged in a fixed step, halstep pattern. The distance between notes remains constant and the interval between notes is fixed and will not change even if the ‘use is played in another key. In this manner, we recognize a song and can bum the melody, regardless of the key (pitch) in which is performed, thus making it possible to transpose a piece of music to diferent keys ‘A distonie sale may be built commencing on any ofthe twelve notes ofthe chromatic scale ‘Ths, we have twelve major scales called KEYS, each a different piteh. The sound of the Major Diatonic Seale is due tothe placement of the hal:stes between the Srd and 4th notes tnd between the 7th and 8th notes. The resulting two-tone (step, step), interval between the Ist and 3rd notes reste the scales major characteristic. (A lowered thied, step halfstp, ene fates minor sound). ILLUSTRATION TWO (SCALE NOTRS ON THE GUITAR FINGERBOARD Experiment with the step, stop, halfstep, step, step. step, halfstep principle on the guitar. Start at any fet and walk up the fingerboard using the correct step, halestep patter. Your fending note should always be the same letter name as your starting tone In playing the seale pattern, ase four Fingers, Always art the patlen with your frst fnger onthe Best note. ILLUSTRATION THREE, DEGREES OF THE SCALE Each step ofthe Diatoni Seale may bo indicted by Romen numeral, This designation is used ‘commonly in theory books. Each degree also has a proper theoretical name. The terms Tonic, Subdominant, and Dominant are also used 1 deseribe the three primary chord of each Key ILLUSTRATION FOUR, ( MAJOR DIATONIC SCALE - WRITTEN FORM ‘This illustration represents the C Major scale a it appears in written form,-——__ DIATONIC SCALE ——___,, ‘THE MAJOR DIATOM ILLUSTRATION ONE, aia 1 2 cla! lp 7 NOTES FE SV Se ay aw, NN sip Ste sie sip WCSCALE: ‘THE MAJOR DIATONEC OCTAVE: 13 NOTES Key of C 5 6 7| 8 DIATONICSCALE lal ata a |e cimomanic scat % Notes on the Fingerboard C'Seale = Step, Stop, Half Step ILLUSTRATION FOUR a a “pd | Tae : tat tat tatitertetato he CDiatonie Seale in Written Form & o e— BASIC IMPROVISATIONAL THEORY — ‘THE SCALE IN THEORETICAL FORM. ILLUSTRATION ONE ALPHABETICAL NAMES Bach Diatonie Scale wil have a different group of letors (notes) anda different arrangement and number of sharps or fats. In our example, the C Major Sale- CD BF GA BC, we do not have any sharps or flat, ealled accidentals. The C Aiatonie sale sealed the NATURAL SCALE, SCALE DEGREES Each note ofthe sele is called a DEGREE, and may be indicted by ARABIC Numerals: 12845678 Bach degree may also be indicated by ROMAN Numerals. The usage of Roman Numerals is common in chord theory studies. A ‘apitol Roman number (I) indieates major chords. Small letters (1) ropresents ‘minor chords, ‘THE DO RE MI SYSTEM ‘Tho Do Re Mi system af identifying seale degrees was developed as an educa tional aid in teaching vocalists to ‘sing’ notes on pitch, Do, being the frst note of ‘adiatonie scale, the Tonic note. ‘THEORETICAL FORM. ‘The correct theoretical name foreach degree of the sale onic, Super Tonic, Modiant, Subdominant, Dominant, Submodiant, Leading ‘Tone, Tone, is eam: ‘monly used in chord theory studies INTERVALS. ‘An Intrval is the distance between two tones ILLUSTRATION TWO ‘The Diatonic Seale, eight notes, canbe continued on in higher or lower sequence called OCTAVES, It is permissible to continue counting numerically ~9 10 11 12 19 14 15 ~ to determine the next octave. The fist and eighth notes are the ‘same alphabetically. When building “extended” chords, 9th, 11th, 13th, this con ‘inuation ofthe sale is utilized to determine the names these additional notes —eer OTREET CMARTS \ [The Diatonic Seale is the “Mother Seale” of improvisation, You must be able te create diatonic scales: Fa ere tt ee Sena eee ene oy gmetad se aac les aie et hie utaee amc: | |, Mitotic Spe ses ase all eS och \ diaries )THE DIATONIC SCALE THEORETICAL FORM ILLUSTRATION ONE ‘THE C MAJOR DIATONIC SCALE Aumanenest © > E F « a 8 c nan 2 3 4 6 7 8 somes i Wwoovoo ve vi vm som po REM FA SOLA AumeeviaTioNs (PP) Ma2) Mla) PA) (PLS) GMAT) PB ILLUSTRATION TWO ‘THE DIATONIC SCALE EXTENDED TWO OCTAVES 1 718) 9) (nol) 213) hte ts \_____ oye ocraye —__L_____rwoocraves ——1 Ji SoS SS ——— Doe FG A we Dk c Lone oerave: Two octaves ——— isoBASIC IMPROVISATIONAL THEORY —~ READING KEY SIGNATURES A piece of music is written in a particular KEY which defines the PITCH for TONALITY of the sels in which the musi is written, We indicate the key (piteh) by a device called the KEY SIGNATURE. The purpose of the Jey signature is to indieate the sharps or Nats that belong in each indie vidal sele. It eases the eye by avoiding the placing of sharps or flats ‘agninst particular notes everytime they occur in the arrangement, We write the key signature simply by placing the appropriate number of sharps ‘lustration One) or flats (lustration Two) on the music staff ‘after the cle sign and before the time signature. They effec ll desi fd notes appearing in the arrangement ‘The Cirele of Fifths As previously explained, Key signatures are used to establish keys and to indicate what notes must be raised or lowered in order to mintnin the step, hall-sep pattern that establishes the major diatonic scale, ‘The hey of C Major isthe simplest of our seales. Commencing on the note C, the datanie step, halfstep pattern produces a stale without sharps o flats. The method by which the placement of aecidentals ‘occurs follows a very simplistic theme and is called the Circle of Fits ‘The Circle of Fifths is a visual device that shows the relationship. between the Tonic (1), and the Sub-dominant (4), and Dominant (3) notes within a diatonic scale. It presents in logial order the addition of required accidentals as Keys af different pitch are ereated. The Circle of Fifth is based upon two concep Dominant Direction- (ths) Sharps Starting with the key of C, sharp keys are created by counting up an interval of fit (CDERG) The new key is G Major. The note G is the fifth note in the C scale, In onder to maintain the proper sep, halfstep pattern, the seventh note of the new scale (@) has been raised a half step ereating one sharp note inthe G sale F sharp. Sub-dominant Direction-(4ths) Flats Starting with the key of C, fat keys are ereated by counting up sn interval of «fourth (CDEP). The new key is F Major. The nove Fis the ourth note inthe C Seale, In order to maintain the proper step, hal step patter, che sventh note has been lowered a half step, creating fone Mat in the F scale (B83). STRERT SMARTS \ 1 extremely important for you to desl the ably 9 lok fey signatures the placement an rmber of shart o fs on ow what hny in hich you tof play. REMEMBER. The hey ‘Manure ota the ey “he sone Te eae dtarnines the ehards ond gnarl provides al het \ rete im order tay toler and rif =>————— KEY SIGNATURES —————~ ILLUSTRATION ONE ILLUSTRATION TWO SHARP KEYS circle of Sths FLAT KEYS circle of 4ths c c i =| 4——— FBASIC IMPROVISATIONAL THEORY —~ section ome STREET SMARTS REVIEW ———— 8 reer sai Crate eles provides pret conning inks betwen ees ond ck’ pled ot dient | in he garoartPey may als be sd to ont npn on lr itr pe. (Ceovenomnmnnfecon ance atesintunane) —__ srgeer swarrs ‘he Dice Sal the “Mather Sn of mornin, Yo mia ale to create diatonic eles \ from SCRATCH obo ath yee Tad wah he tl patie fhe atone seal eiher na ineararaighttine mosement ory ung a 2ig-taf moveent Geos techy ereling the fpr soy paler of atone ssl tn ohy gies hey ult i pti rl blenny al he rae retyping ct he ies of ayn hy. And as you wil wer, by memorising the eight sep numbers Jou wl Be \ bilo ya te Sate ted in heat of predation } — srReET sMaRTs 1 ql import fr dtl oy ok thy gat te planet ond umber of srr fiat cao hate nek or le ‘Remember: Thefry sanature sets the hey the sale The ele deermines the chords and | sr idee rei ner ay tn aii Page 15SCALE PATTERN DEVELOPMENT —~ SCALE PATTERN DEVELOPMENT Notes do not appear at random on the fingerboard, Every aspect of music, as applied to the guitar, is, systematic and predictable. Notes may be organized into various types, of scales, which provide order, and patterns can be developed. On the following pages, we explore the ‘usage of five scale patterns. Each pattern is movable throughout the range of the fingerboard. Become an expert on seales, because in them lies the real secret of improvisation. FOCUS ON YOUR SPECIAL TALENTS Every strength isa springboard ‘that ean propel you on tothe next plateau, When confused or in ‘doubt, pick one strength to pursue, ‘master it, then move on!SCALE PATTERN DEVELOPMENT —— THE DIATONIC SCALE IN 5 HAND POSITIONS — 5 SCALE PATTERNS, ‘Understanding acale theory is @ mental process and easy to grasp, wherees playing seale i a physical task and takes longer to master. On the guitar, there are countles fingering pattern possibilities for any given scale, soit is desirable vo reduce the options to afew more manageable forms, ‘There are three says we can play scales a LINEAR, lengthwise movement, a ZIG-ZAG move ‘ent and a POSITION, At this time we will omeentrate on playing seals in fixed positions. To begin, we must first fecus on learning to play the Diatonic Seale in five basic hand positions. [A position encompasses all notes ofa given scale placed, normally, within five frets, There are “open positions” scales playod within the first four fete and utiring notes produced by the open strings UE A.D G 3 2), and movable “elsed postions, no open string notes, which produce ‘anew key at cach fot ‘The closed position astends und descends chromatically moving through the entire twelve notes of music and will produce the notes af 12 keys ‘There are several diatonie seal finger patterns in common usage ~ fingering systems developed by individual guitarists to faclitato their unique stsle of playing. We are using fingering pat terns made popular by the late Los Angeles studi pro, Jack Marshal, These five patterns relate tw the five chords forms found in the “open positon" ~the open chords: C, A, G, E and D. This fystem of one scale fingering pattern foreach chord form i used by guitarists ioward Robert, Harney Kessel, and Herb Elis ‘The five patterns divide the fingerboard into smaller more manageable areas of learning, but ‘put them end to end, they cover the entire range af the fingerboard. When we are able to visual: lao the entire fingerboard as e whole, fingering becomes a personel preference. ILLUSTRATION ONE ‘Open Chord Forms Hire we present the fve chords upon which the five seale patterns are constructed. Black tr angles indicted the Tine nots ofeach chor, ILLUSTRATION TWO Closed Chord Forms Here we illustrat the “ope chords played as movable™ chords practice tip — Practioe paying the opn cord. Then pla the ase erm. | Ermetion avin the open ey) STRERT SMARTS —————— _nyplaying the fingering pattern corre, ou have played th seale corrals!FIVE CHORD FORMS ILLUSTRATION ONE OPEN CHORDS Form One Form Two Form Three Form Four Fem Five Cc A G o coo ° ooo o oo oo rig ar et ett ILLUSTRATION TWO CLOSED CHORDS (Moveable) Form One Form Two Form Three Form Four Form Five— SCALE PATTERN DEVELOPMENT —— > C SCALE PATTERN ~ FORM ONE ‘There are five basic barr chord forms in common wage, and since most guitarists have a working knowledge of barr chords and how each ascends and descends chromaticlly, it becomes quite eos to know scales in all 12 keys, Each sete pattern overlays its respective chord form, cll notes of the chord triad are within the scale), therefore chord harmony and arpeggio playing is loeked in ‘withthe seale. We mark the Tonic note of the pattern and chord seth a blac triangle so yoo may know upon which string they receive their name. Remember: Since each scale pattern moves through the entire range ofthe fingerboard, mastering one finger pattern actually provides you ‘withthe skill to playin all twelve Keys lick or solo played in one hey may be played in any Key ‘without changing the fingering that produoed the notes, ‘Example: At the fith fret we ean play an A Major barr chord. The seale form that praduces the A chord willbe an A diatonic scale, Play the same chord form at the eighth fret, we hawe 8 C Major ‘chord, The sale will now bea C diatonie scale Each scale pattrn isa fixed position on the Fingerboard. Develop the “stretch” required to proper ly finger each seale, This requires a one-finger-per-ret approach. The correct fingering is indicated ‘on the TAB charts by amall encircled numbers: In some ofthe patterns you need to reach ave fret shove or below the base position, a five fret reach. We begin each pattern with the lowest note Available within the range'of Uh pattern The nie note is marked with back triangle NOTE: Proper finger articulation is the prerequisite for the fluent exeention of sees, Experiment with all ve seale pattern. [tis our belie that you should strive to master the fingerings inieat- fe foreach pattern, ILLUSTRATION ONE Open pattern "This isthe frst of our five open scale patterns. It encompasses within the open postion, all notes ofthe C Major Seale. It x called the C pattern because it overlays the pen string C chard form, ILLUSTRATION TWO Closed “movable” pattern, ‘This i the first of our five closed seale patterns. Tt encompasses all nots of the scale associated with the movable C chord form. This pattern can be played in higher or lower positions on the Fingerboard. The Tonie note (the name ofthe scale) is loeated on both the fifth and second strings. We ean simply state: The Toni noto slides up and down on the chromatic sale of the String upon which the Tonte act i lated, The Toni note establishes the Kay or name of the scale at each fot. The pattarn correctly produces the proper sharp or fat notes eammon to the ‘hac scale pamscmon mm (cies ’ <5»— C SCALE PATTERN - FORM ONE —~ ILLUSTRATION ONE [FA noc sear reueo we OPEN PATTERN C scat cuorD: cea jEAc@s@ C MAJOR SCALE (Open) ae oe 16 Bij sdes LT tle fies Seed tes i Goer oAncnacr ane $ G@F oa ILLUSTRATION TWO. [61] ocx sear TEMPO 155 ‘CLOSED "MOVEABLE" PATTERN D CHORD: OFFA ‘ae coue, Peas | 6, {118s cre le * o@s = ~ geA SCALE PATTERN - FORM TWO—~ ILLUSTRATION ONE. [6a] noox sear rewro 158 OPEN PATTERN Tha hen fo 7 jgddeeo eda oH [iooemaganroess, —_ @0@ 8 ty, ILLUSTRATION TWO [Cl] s0cx Bear TEMPO 155 ED "MOVEABI IRD: CES ee C MAJORSCALE loveable) € cHioRD: c&@ BEA dad - | ity ene a tH SaaS OH renee | He total7—— G SCALE PATTERN - FORM THREE — OPEN PATTERN Te a Ppt, baa ge te ape ing Sd G cuonw: eo 000 ILLUSTRATION ONE [)) @ MAJOR SCALE (Open) WTS x ROCK BEAT TEMPO 155. ILLUSTRATION TWO [>] CLOSED "MOVEABLE' ERN A MAJOR SCALE (Moveable) ne 1 ‘8 fea ie Se genet creE SCALE PATTERN - FORM FOUR — ILLUSTRATION ONE [02] nook sear reweo 155 E cuorb: care BE mazonscatt Open ee TT T4 t : Fe sday, iifjel |, Compucncang 0@ f | = ult te “4 atria oO-—— D SCALE PATTERN - FORM FIVE ILLUSTRATION ONE. [fi] nook agar reweo 158 OPEN PATTERN D souz D cuono. ot £OOc ae D won scats.open 90 _ Os E MAJOR SCALE (Moveable) eee alt POA RCaDEE DNCH A Gree oRSCALE PATTERN DEVELOPMENT ——~ THE “C A G E D” SEQUENCE OF CHORD/SCALE PATTERNS ILLUSTRATION ONE. ‘This illustration shows how the five individual «hordscale pattern, when linked tether, overs the entire range of the fingerboard _- PRACTICE TIP “Ty improve finger stilton, crete a lead line oot patter) sn the hey of play stn the C ssl i each of the five ay quarter fh noes and seen ota, _————-erneer ewanza (Cena pt a o aneh pte gte th naendegmteents Pt CAGED SEQUENCE ILLUSMATION ONE Uo oO H i oe tL I Cc roo Weert Form c ut e ONE * a é7] Te Ao =a TAT) )| Fm % GE wy oie TT Form © cuose, } | rlo >| 2SCALE PATTERN DEVELOPMENT ——~ We now begin our study of movable seale patterns. It is important to develop the ability to improvise from within each patter, for as you will erme to understand the Individual finger characteristics of each pattern spurs originality. Often, "licks" played comfortable in one pattern bocome awkward when played in another. Also, Femember that each pattern overlaps its respective chord. Tt i always simpler to ‘dentfya chord position than the appropriate seal postion. By developing the abil ty to improvise eletively in all fve patterns, you will never be caught wondering ‘where the next pase or slo should be played, ILLUSTRATION ONE Bach scale pattern and its respective chord ascend and descend chromatially We {indicate the Tonie note ofthe scale and chord with a black triangle so you will ‘know which string determines its alphabetic name. Remember: Since each seale pattern moves through the entire range ofthe fingerboard, the mastery of one Seale pattern actually provides you with the skill to playin all twelve keys. A “ik” or solo" learned in one key may be played inal keys without any change in fingering. In effect, everything you develop through practie and experience may ‘be multiplied by twelve! NOTE PLACEMENT ‘The Note Placement diagram places all notes of ach pat- ‘term onthe fingerboard, The shaded notes mark the otave within individual pat SCALE DEGREES The Scale Degree diagram, marks each seale note by its egroe number. Learn where each seale tone, by degree number, lies within each stale. Example: Whereis the second degree nate, the third, the Aft? ILLUSTRATION TWO STUDY EXERCISE Practice each exercise and develop the finger articulation required s0 you may play each scale pattern with skill and ease. Bae BP ‘Lear the individual sound of each scale patter. Tein youre to sing with the pita “Move around within th sae, skip intervals learnt predic tones foe they ar played Develop a taind er, and Uh sl to ply rectly any nae oa enn sig (Hrmingrga roa pr mmm cuca eyeball wth may adhe aly tached) | Ferner Sey terion nM ant 0 Rear cho =>——— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE C PATTERN - FORM ONE ‘Note Placement Seale Degrees ae TIT D MAJOR SCALE (Moveable) re QOOr OSS 3 6@603 BOSSANOVA TEMPO 1 ILLUSTRATION TWO [fa STUDY EXERCISE D Em Fim G A BmSCALE PATTERN DEVELOPMENT —~ ILLUSTRATION ONE A PATTERN - FORM TWO [Note Placement Seale Degrees F, C MAJORSCALE Mtoveable) foe aad Gi £ ILLUSTRATION TWO [€a] Rock ¢ Rou TemPo 123 STUDY EXERCISE me msc—— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE Note Placement G PATTERN - FORM THREE Seale Degrees | A SUAJORSCALE ovate) 4 ra _—— seeges \o. aE “ aS . ILLUSTRATION TWO [6A] Sree. Teneo 70 STUDY EXERCISESCALE PATTERN DEVELOPMENT —~ ILLUSTRATION ONE ‘oe Pavement E PATTERN - FORM FOUR Sale egess HH 6 sasonscAte Ooveabe rot #000 |@ _, 1000 6 eet pe jie tg 4 gelleg, Ps FT gee. ® ‘ ° a 290004, -SSaenh | — ecco: Lt Lt 1) ILLUSTRATION two [a] ear reno 13 STUDY EXERCISE——— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE ‘Note Placement D PATTERN - FORM FIVE Seale Degrees E MAJOR SCALE (Moveable) Sa EMorA worm +h Arista ILLUSTRATION TWO |i] country remeo 111 STUDY EXERCISE E A ASCALE PATTERN DEVELOPMENT —-~ section two REVIEW m SHA! ( ne ) Great players know how to connect these patterns together with linear and zig-zag movments. Try it! J paw sz r SrRERr sma. S plinth ingerng pater ort ou hae ple haa sot? | PAGE 38. STREBT SMA hail gn lving rn ci note win amar el an hails thar cho) eae ee ee nek rat PAGE 33 ——__ SeCHORD HARMONY STUDY CHORD HARMONY STUDY Improvisational solos follow a few well-defined rules of chord harmony. A trained ear, knowledge of chord triads, and a developed sense of rhythmie structure constitutes the bedrock of ereative music. Just playing chords will not be enough if ‘you want to ereate lead lines. To solo, ‘you must come to understand the infrastructure of chords; triads, tonality, and how progressions resolve, One of the greatest assets ‘you ean acquire in your study of improvisation is how the scale is, harmonized and what chords belong to each key. SUCCESS IS ASSURED TO THOSE WHO SET GOALS AND FOLLOW THROUGH WITH COMMITMENT. You must know what you want, then develop the desire for its attainment. ‘Desire and hard work make up for a shortage of talent.HARMONIZING THE MAJOR SCALE “The seerot to improvisation, “how to make music’, is as simple as ABC. Well almost, lets say ACHE, of FAC, GHD, EGHE, The ability to suosessflly play lea lines over chord progressions i ‘8 simple aa knowing ditonie chord triads ~ the three notes that form each diatonie chord” ~Tradie Improvisation: Wilbur M. Savidge ILLUSTRATION ONE Composers and arrangors have simple rules to ai them in writing harmony, and to under- stand there rules will enable you eaily determine which chords balong to each key. ‘The Major Scale is harmonized by ereating three note chords over each degree of the ele How ie this accomplished? First, we write out a diatonic major eal, In our example we use the C Major Scale: CDE FGABC. ILLUSTRATION TWO ‘We then count up three notes, an interval ofa third, and wrive another seale in parallel over the frst sale. This is accomplished by using only notes of the orginal scale. The frst note of the second scale isthe note (CDE) a third interval. Our new seae is: EFGABCDE, ILLUSTRATION THREE, To complete our threo note chord, we agein count up a third interval ~ (2G), and write another parallel seele using only the original scale notes. Our third seale: GABCDEPC. ‘The major scale contains seven different notes and we now have ereated seven diferent three note triads called chords. Because each chord contains only notes from the original sale, they fare said tobe diatonic to the key of C, (Diatonie Harmony) ILLUSTRATION FOUR DIATONIC SEVENTH CHORD {In our study, “Harmonizing The Major Seale”, we explained how the chord triad is croated by stacking notes in intervals of a third. The triad (three notes) produces major and minor chords, Ifwe continue stacking “third” to extend each chords tonality it is possible to harmo- nize the sole with four note chords, A four note chord, stacking four third interval, creates SEVENTH chords. Boch chord contains oly notes of the parent scale and is said to be diaton- ie t the hey of which the scale is written. This sequence of chords is known as DIATONIC SEVENTH CHORDS. _—____—_ areger smanre { ‘Scales, harmonised with triads, is the basic principle upon which all harmony is Built. It is this foncept tha ace ths book part froma books you may study Memriae chard td and Femi with he three note that form each chard all hye farther om inthis Boo, we ll ‘eal lriing impotent ccept eed on chord ede! CHORD HARMONY STUDY ———-— HARMONIZING THE MAJOR SCALE ILLUSTRATION ONE [al c op ee FG oA Boe Led inert ILLUSTRATION TWO & = oe 8 CS 7s rE FG A Bc Door wale pk FOG A Boe ILLUSTRATION THREE o A hm © Dp ek kG wi fE oF ¢ 8 ob € bf © op £ F G A 8 € ILLUSTRATION FOUR c ERELATIONSHIP OF CHORDS. ILLUSTRATION ONE. ‘The scale harmonized in thirds establishes the typeof chord ereated at each degree of Major scale. Chords built on the frst, fourth, and 6ith dees are Major type chords, Chord built onthe second third and sixth degrees are Minor chords. Tho chord built on ‘the Soventh degree is called a Minor flat five chord (a minor chord with a lated 6th) (CHORD SEQUENCE: (41) Major, 2) Minor, (8) Minor, (4) Major, (5) Major, (6) Minor (7) Minor at ve ‘The chords formed by harmonizing the C Major scale in Uhinds are: C, Dn, Emi, FG, Ami, Brus. Bxtended “color tone” chords are: Cm, D7, 7, F Maj, G7.Am7, BB. RULES OF CHORD HARMONY ILLUSTRATION TWO "The chords formed by harmonising the diatonic sete in thirds are organized into two sroups: primary ehords, ad aecondary chords. Chords built on the Tunis (1), the Sub Dominant (4, and the Dominant (5), ereate a natural progression of major sounds (as ‘opposed to minor sounds), and aro ealed the Primary Chords. Chords built o the seond, ‘third, sith, and the seventh dagre are minor chords ealled Secondary Chords ‘TONIC (1) chord may resolve to any chord, SUPER TONIC 2) chord may resolve to any chord except the Tone () MEDIANT (3) chord may resolve to any chord except the Toni (1), oF Dominant (5) chord ‘SUB-DOMINANT (4) chord may resolve to any chord DOMINANT (5) chord may resolve to any chord except the Super Tone (2), oF the Leading Tone 0. SUB.MEDIANT (6) chord may resolve to any chord except the Tone (1), o the Leading ‘Tone (D. LEADING TONE (7) chord may resolve to ny chord except the Super Tonic (2 Sub-Dominant (4 or the <0 > CHORD HARMONY STUDY ———-~—— HARMONIZING THE MAJOR SCALE—~ RELATIONSHIP OF CHORDS ILLUSTRATION ONE 1 a ow vow ve oF © Dm Em OF G Am Bubs c Major Minor Minor Major —Major—-Miaae Minor Major RULES OF CHORD HARMONY ILLUSTRATION TWO cpm km ok G Am mbs. é F c Tonie ‘Subdom Dom ested mins Dm Em AmCHORD HARMONY STUDY ———~ PRIMARY CHORDS: ‘The key signature establishes the key in which a pico is written. Seals, chords, melody, and harmo ‘ny must confirm to the tanality set by the key signature. This inter-relationship between the seale land the chords, reated by harmonizing the seale in third interval, produees tonality the way sen- fences work tether vo prodace & paragraph [Not al bat most chord progressions center around the three primary chords the Tonic (1), Sub-domi nant (1V), and Dominant (Vi, a sequence of chords that establishes the Key Center or the tonality of the sale. This phenomenon cocars beewse of the interaction of active and inactive tans within cach chord ‘The Tonic chord is inactive, at rest. The Sub Dominant and Dominant chords are active and demand, resolution. The Dominant chord (V) is most active when played as « Dominant Seventh chord (G7, A7 C7 ete.) Why? Because it is formed by adding a minor third interval over the basi tiad. This pro- duces a flat seventh: a tone that is non- diatonic to the scale established by the Key Signatare, The fdition of this one non-diatonie tone creates a tonality that demands resolution hack to the Tonie ‘whichis the point of rest While there are various ways to play chord progressions, chords eventually reach the Dominant Seventh (V7) and from there esolve to the Toate (1) chord ‘TONIC CHORD ‘The First and eight degree of the seale is called the TONIC. I isthe point against whieh al other values are measured. From the Tone, chords progress through a series of sounds that adds tension ‘nd calor Progressions normally begin and end on the Toni. Why? Because itis the home chord, ‘or the prominent point of rest. SUB DOMINANT. ‘The forth degree af the scale (1V) sealed the Sub Dominant. ts closely related tothe Tonie and its appearance establishes @ strong gravitational movement toward the Tonie chord, The Sub Dominant chord may also move tothe Dominant chord DOMINANT CHORD ‘The Dominant Seventh chord (V7) is of special importance in improvisation, not only because of the prominence of Dominant harmony, but also because the Dominate Seventh has properties not shared hy other chords. The Dominant Seventh ia built with « TRITONE ieterval, ree whole Steps, botweon the thied and seventh degrees. This creates a dissonance which is responsible for the chords netive sound and strong gravitational movement toward the Tonic SECONDARY CHORDS SUPER TONIC (i), MEDIANT (i), and the SUB-MEDIANT (Vi), are minor chords. Minor chords fare constructed by combining a Minor dd interval wth a Major dr. This lowers the minor chords third one semi-tone, which creates the chords minor tonality: The Super Toni) chord ean be ‘usd in substitution ofthe 1V chord. Secondary chords are used also as transitional chords to effect ‘8 movement to and fram major chords-——— CHORD HARMONY STUDY ————~ EXTENDED DOMINANT SEVENTH CHORDS ‘COLOR TONES Dai he ary Jet. wing Ge wae nt ad rt harm cad, an ned he a hed id ‘gag td hh sen ans Te Doma eet orn lovee seal od mkv oe thee cso hdl hr. hy mses tl mae Fee! a ened Doon Sevens ors ele 8 Ai 1 ufo md ran whe tity eh kre mt pat eT owe Sd ks re el Teese Boa ST ena den doped eae ie Soe Tada end paar nef td 8 ond te ole, Tain ey enn oie in ey bin escent ety te tc am ak et a ILLUSTRATION ONE Key of G Major 8 ° wou 2 1 1 2 s{4| [s| |s 3 | 6 jpoe Fe G G A B c D B oO ILLUSTRATION TWO EXTENDED DOMINANT SEVENTH CHORDS (Moveable Chord Forms)CHORD HARMONY STUDY ———~ DOMINANT SEVENTH CHORDS AND THE MIXOLYDIAN SCALE ILLUSTRATION ONE. The triad of the dominant seventh chord, built from the notes of the chords seale, will because of the dominant chords lowered seventh, share in common the notes of the scale in which the song is written. (Key Signature Seale.) Example: Key of C Major ~ Notes: CDEFGABC. The dom nant seventh chord (Sth degree is G7. The parent acle of the G7 chord is @ Major: GABCDEF¥G, The formula for building a dominant seventh chord 1 3 5 67, creates a G7 chord comprised of GBDP, notes of the C Major Sele ILLUSTRATION TWO ‘The Mixolydian Seale places the half.stope between the 4 degrees and the 6-7 degrees. Ths placement of the hal step produces a scale that may be played over dominant seventh chords of the same eter name ‘the Sts degree, the not and playthrough the sale ‘toppingon the ove note practice ip ( ram the G7 chor. Then, play the sel commensing on } STRERT SMARTS — ‘The Misnydian Seal tthe seal of hoe o play overdominant seventh chords——— CHORD HARMONY STUDY———_+ DOMINANT SEVENTH CHORDS AND THE MIXOLYDIAN MODE ILLUSTRATION ONE Key of C Major 1 2 3i4 5 6 78 pO c D elrl [e| Ja Bc Hl Hl 1 2 304 5 6 li7'7]8 G A Boe D e|7\re a c B > 7 Tnonores 1 3 5 "7 ILLUSTRATION TWO G Mixolydian Mode 1 2 a4 5 67 a G A Bic D Ele G <0CHORD HARMONY STUDY ——_~ ARPEGGIOS Arpeasos ae sme oral noes of a chord played oe ot tne, Theo are Major, Minor, Diminished and Augmented ree ee Mey nt ran pe ear on nO wy re we treting mre guy thn plying el Te nape cet ying echt ad woe tte ne the 15m the el ton tear. ‘Sipping seren sng rnd wil eres nie wounds nt pase whe plying sale. Arai may be played in sandler deoending oe FORM ONE C SCALE PATTERN (Key of D Major) D Em —________ sreexerswarrs (( Pracie arpa play Because the tre nats thot Frm the chord the ro), funciona guide toes stark naes fro hah oe ay start or alo——— CHORD HARMONY STUDY C PATTERN ARPEGGIOS examrcel@a] /Pract{ce}riep———__. 1. Phy the arpeggo then tum the chord it retest & Practice this example in Une other four patterns and farms. _—_sasne eee)