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    Ed McGuire - Guitar Fingerboard Harmony PDF

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    Owen Stuckey

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    008145980 = — = = = f= = = = = 301 Mel. Bay's uitar Fingerboard Guitarists have been asking for years for a thorough and complete harmony text applicable, especially, to the unique needs of the guitar. This text will undoubtedly meet that need. It is the finest text | have ever seen dealing with chord formations, voicings, progressions,» harmony, and most important of all, the practical usage of chord formations in ensemble. Ed McGuire is both an outstanding scholar and a truly great guitarist. This book will be an extremely valuable asset to any guitarist regardless of style. It is with great pleasure that | present "GUITAR FINGERBOARD HARMONY” Med Bay By Mel Bay Publeztons, Inc: Pacific, Mo Interrational Copyright Secures Harmony By Ed McGuire “DANNISON" MUSIC Herenweg 255. P.0.ox 3645 DM Vinkeveen/iHolland Tels02972-1985 Ed McGuire has been closely associ ated with the guitar, as a performer/ teacher, for more than thiry years. His credits include work with many top fig- tres in the entertainment world, recording ‘and TV work, and many years "on the road" with bands, including his own. Formal studies include the New York Conservatory of Modem Music, the Penn- syvania State Universi, an independent study certificate in “Arranging and Com positon” from Berkle, plus private stud jee in gute Keyboard, and compos ton, He soent three years of private study with Wiliam (Bity) Bauer, poll winning jace guitarist during the 1950's | He took some classical guitar instruction | from Aaron Shearer, head of guitar studies a Peabody Consenstory. In addllon to ail of his formal music trlning, he holds a degree in Paycholog an is a Regstr- fed Music ‘Therapist with the National Association for Music Therapy. He has ania Mental Health system for twenty years, end for the past five years hes at Mount Aloysius Junior College In Gresson, PennsyWvania worked in the Pen been developing a program of guitar studies He is presently heading up the guitar program at this school For many years now he has limited his public appearances to concerts and jaz workshops. He has focused his teaching on the formal academic level and to appearances at music seminars with students from the school program. | | His approach to the guilar places emphasis on a combination of physical and conceptual processes and he urges students to dovelop their individual musicianship, including keyboard, sight singing, sight reading, arranging, and improvisational sklls, lage level courses in the area of recreational from rea His musical interests are varied and he has developed col muste skills for nonmusicians. These classes are well attended by school teachers and workers the field of mental health and its allied professions. He is a member of the National Therapeutic tion Society and holds a Master Therapeutic Recreation Specialis's registration from this organization He does a great deal of writing in the music field and has writen many critical reviews for news: papers and other media, Ho is presently working on a follow-up to this text, which will be a “Harmony Workbook for Guitar” and which will incorporate @ functional approach to the concepts presented in this book *He earned his Psychology Degree trom Mansfield Stato College, Manstield, PA. “Ed McGuire is an accomplished guitarist and teacher. He is also a good old boy, as they say down in the country. A thorough musician and a superb soloist and accompanist, his command of chordal “comping” and his chordal solos ere evidence of the depth of his understanding of voice leading and harmonic flow.” “His Approach to guitar not only demonstrates his own fine musicianship but his devotion and almost reverence for that master guitarist George Van Eps.” “This book will enhance the guitarist’s grasp of voicings, voice leading, and chord progressions, whether a beginning or advanced player. I recommend it highly.” Tommy Newsome “Ed is a fine musician and guitarist whose years of playing and teaching experience make this book a must for the serious student or profesional guitarist. He examines chords as related entities rather than an isolated stack of tones and develops good usage through tonal cycles and voice leading processes.” George. Sheaning —_— PREFACE A good chord method should, figuratively speaking, “Try to light a candle rather than fill a bucket”. The following pages do not represent a complete dictionary of chords. | have tried to approach the problem from a musical standpoint, rather than a complete series of chord possibilities from any given root tone. Diagrams are used to speed the learning process — The notated forms are the important factors— | strongly suggest, if you are @ beginning student, that you work through this book aided by a qualified teacher. It will provide a most valuable supplement to a regular course of instruction. A good teacher will be able to expand on the material and provide you with musical examples so you may put the knowledge to practi cal use. The order of presentation may be changed to answer the needs of individual students | suggest that it be introduced as soon as the student begins scale studies. The difficult fingerings will be most frustrating if the hand is not fully developed, so these should be delayed. Learning chord formations is an easy matter. Learning chordal content and understanding tonal functions requires a great deal of study. However this approach will make much more sense. It will make you a much better player. Study the following material slowly and thoroughly for best results. | sincerely hope, as you work through the book, that | have been able to light a few candles in your mind. Ed McGuire Copyright 1876 By Me Bay Publications, Ine. [NI Pights Reserved. Interatonal Copyright Secured Printed In USA ———————77~- ACTUAL PITCH OF THE GUITAR An important thing to remember when playing chords on the guitar is that it is actually a transposing instrument. Music for the guitar is written an octave higher ‘than it sounds. So, actually, when you play the low “E” (6) string written like this : 1 The note which is sounding | — = This means inversions must be handled with care and open spaces should be between low notes— 4 x= > = | is actually “sounding” Note open spaces. === = Open E major chord writter This is probably one of the best sounding chords on the guitar, when the instrument is properly tuned. FINGERBOARD HARMONY Learning chord formations isa relatively easy matter. Understanding the theory and structure ofthese i forms is more complicated. This entails more work at the start. However, ‘the results are much more | fruitful. With a theoretical understanding of the building of chords, including the functions of the tones, — it becomes possible for the student to build any chord he may encounter. (regardless of the complexity of the particular chord) | of intervals of thirds — tones combined with each other, three steps ‘Our system of harmony is based 1es which are sounded at the same time. apart. Chords may be defined as any combination of three, or more, tons For example, this This combination combination would would not be ——— called a chord — be called a chord 4 For better understanding, we will begin our study with a knowledge of triads, which are three note chords— there are four basic triads: they are (1) Major 2) Minor @ Augmented (4) Diminished. The tones in the triads are drawn from the scale which would be indicoted by the name of the triad. For example: C major-tones from C scale F minor-tones from F scale G aug.-tones from G scale D dim.-tones from D scale It then becomes obvious that we must know. the 12 major scales as a pre-requisite for a study of triadic harmony We will start our study by building the four basic triads using the ““C” scale as our source of material. ‘The “Root”, or the tone naming the triads will be (in this instance), “C". FIRST : Write out the scale 3 é 4 SECOND : Use Numbers A to indicate the a various tones oo 1 2 8 4 8 6 7 8 Using this as a source, we can now begin to build our four basic triads using the following formula. @ Major triad = 1 - 3 - 5 ‘tones from scale. @ Minor triad = 1 — 63 — 5 tones from scale. @® Augmented triad = 1 - 3 — 45 tones from scale. ® Diminished triad = 1 — 63 — b5 tones from scale. Now let's notate each of these triads! C major minor Cau C dim. The diagrams indicate where these four triads can be played. Play then and listen to how they sound— in time, you should be able to recognize the different triads by sound alone. (Memorize the formula for each of the four triads. the four basic triads using the “G" scale as our source of tones. Now, let's bui G major G minor G aug, G dim. @ © The chordal tones will always be used in the correct sequence — for ex: never spell G aug (G —B— Eb) — Though D# and'Eb sound the same, Eb is incorrect when spelling this chord — a good way to re- member this is as follows: if the root tone is on a line, the other two tones will be on lines. Same applies if the root tone starts ona space. eS. F major. G major. A minor —_B im. ——oEEEaaaeeeeeeee=eSuqqquaSeoo——ee__ The scale tone in each triad will remain the same — use # ; b ; or 4 signs to lower or raise individual tones to conform with the formula. For example Db major would be Db — F — Ab, 1st, 3rd, and Sth tones from the Db scale. Therefore Db minor would be Db — Fb — Ab,and not Db — E — Ab — This would be incorrect. Keep the following principles in mind — Use a." to raise a natural tone. Use 2 ‘“b"” to lower a natural tone. Take away the “b” (via 4 ) to raise a flatted tone. Use a double “b”" ( bb } to lower a flatted tone. Use a double “ft ” ( +) to raise a sharped tone. Take away the “#"” (via ) to lower a sharped tone. @@OO8O Examples natural raised lowered ‘These principles become more obvious when you build triads in keys with high #’s or b's in the key signature. Example B major would be: +B — DR — FE B minor would be: B — D3 — FE B aug. would be: = B — Dt — F* B dim would be: BD - Fh Another example: Db major would be : Db —F—Ab Db minorwould be: : Db — Fb — Ab Db aug. wouldbe =: Db —F—AQ Db dim. would be: Db — Fb — Abb Re-read all this material and then build the four basic triads in all of the twelve keys. As you build the chords, try to play them on your guitar. Almost all of them will be available within the first seven frets — if necessary, use a diagram of 1st 7 frets to make locating the tones easier. |; ee DIAGRAM FIRST SEVEN FRETS Using#s’ Usingbs' PANE OD POTN ceieee De ep Remember there are only two natural half steps in our method of notation. They are between Band C — E and F— 1 4 These tones may be indicated other ‘ways when spelling chords. = ww same as Example Keep this principle in mind. Now try building the various triads. Notice that you must use available tones on three consecutive strings, Thus, you could not build a triad starting on the (2) string — below are some examples: Abmajor Dbmajor F major Bbmajor D f e KD This would represent the lowest possibilities of triads which could also be made minor, augmented, diminished, You can play other triads (lower by % step) in each instance indicated above — however, you ‘could not form the diminished triads in these open positions — For example: G dim isnot Try it, and see why. possible aczA['[' Cis = . You would have to move to is not possible 8th fret & play C on (6)string, jin open pos. Now begin to practice the various forms of the triads — using the major chord as a starting point__ ‘The diminished triads starting on the low E and A (6) strings will involve quite astretch. (5 frets, to be exact) finger these using 1 — 2 — 4. Fingering Daim —_1— T (lh —2— Ff The other strings will conform to “position” fingering. For example: Gin cain Figen @| —:— @ ib —_—2— a D @LL) —-— 4 i 10 Up to this point, we have been building triads in root position _ and the 3rd and 5th tones appear about in consecutive order. For example C maj F maj All in Foot position Name of chord is the low tone, F aug Clim this, later The triads are also “closed” — ie: the three tones as close as possible to each other. More on Example F major of their position in the Root position F major 2nd inversion ‘There are two additional positions for each triad. They are: 1st inversion and 2nd inversion. Root tone is the low note of the chord. 3rd tone is the low note of the chord. 5th tone is the low note of the chord. inversions do not conform to the “line — line — line” and “space — space al Formula for minor, augmented, and diminished will still apply. Alter the appropriate tones, regardless J Example F minor Istinv. Now let's look at the inversions in relation to the guitar fingerboard In “open” position Root pos. C major Ist inv. o} ° “og x Ox xe ewe x xxx FE Try these — Be © careful to play $ only what is ins dicated R35 a5 R BRB = ——oeoOor~”—”—”—OOONNNEFPE In"2nd" position D major Ras as R s RS ee chordal movements sound much more interesting, and add a professional touch to Inversions mal your playing — if handled properly — = Learn them well — In “2nd "position Root Pos. Ast_inv, 2nd_inv. Amajor = xxx x xx xXx x Ras as Rk sR 3 : Now take each of the 2nd position forms and transform them to rinor, augmented, diminished. on string (4) we must move up the .gerboard for 2nd inversion. If we use the form starti Root Po: Ast 2nd inv. . F major x_x x Xxx x x x L ¢ 35k BRS NN To provide a complete dictionary of all four basic triads, plus their respective three positions would | take @ substantial volume. With the material provided here, you have enough “starting material” to work them out yourself. Make @ complete diagram of the guitar neck, and explore all of the possibilities which ble, Just being able to play each of the four basic triads, in three positions, in all twelve keys, will provide you with 144 chords. [there are more — just look!] Tones in the triads may be doubled, giving you more than a three note chord. However, they will still contain only three different tones. | For example | bol Ra] \||~4l C major F major The F major utilized the 1st finger barre and conforms to the harmonic overtone series. ‘The C major has two 3rds (E) (not so good according to traditional harmony) — however, very good sound on the guitar. Origin of the barre chord If we are going to move “open position” chords, using open strings, up the fingerboard _ We have to use our first finger across all of the strings at any given fret to replace the nut, where the strings cross on their way to the tuning pegs. | For example: E maj F maj ° oo — | ie moved up % step becomes pot | Root A maj Bb maj 0° ° —_———- Bp @ | EVEVCD) moved up % step becomes x Root So, we can move any open position chord up the fingerboard using this process. 3 eee Try moving some other open position chords in this manner. Some of them will be most difficult to finger and very impractical. You'll discover these when you try using barre to move them. 6 String Forms, involving the BARRE (still containing only three different tones) except the two 7th forms F maj F min Fm? FT PLLII® © O = = = SS Root = ' + These are the basic barre These two forms have b7 forms. Move up the finger tone added — actually four board and be able to tone chords. Move about name, and play them — 7ths in next section. in any position. T 1 Bb maj Bb min Bb? Bbm7 ft) @ ® ) ¢ » ¢ @ z $ ¢ @| ® s RS R385 sR 5 Rb 5 SR Sb 3 5 oh eees rod = Root = > = Triads in open position ( tenths) Remember the previous triads were in “closed position”. The tones followed each other in natural succession, one after the other. When we open the it presents a different picture. There are, now, ‘open spaces between the tones. (Note barre forms) Example major rr = oR Root position “open” ‘The middle tone jumps an octave higher — the same principle applies to the inversions — Example Minor, augmented, and diminished forms of the triad will “open-up” in the same manner — just Cmajor ——— Ist inversion “closed” 2nd inversion “closed” alter the appropriate tones. These forms, applied to the fingerboard, provide a much fuller “sound” than the closed position triads. Let’s apply them to the fingerboard__ 2nd inversion “open” Here are the three positions of the G major triad — root position, 1st and 2nd inversions. G major x x Root position $ Lp Ast inversion ) h) z 2nd inversion These are the three major forms using strings (6) (4) &(3)___ They are available using other string com- binations. Use your diagram of the neck to find them. They are abundant these three forms may be transformed into minor and aug- mented by altering appropriate tones. Forget the diminished at present. We will use a single form to represent this chord. When you move root position form up one fret, use first finger to play Eb on 4th string xx @® : Ab major (root position) ® Fingering for various forms will remain feirly constant _There may be some deviations later__ Abmaj Abmin Abaug 5 Root Posi All root position forms using this string series will alter in exactly the same manner. ) 4) B) Ist_inversion| F maj F min F aug. = 2nd_inversion C maj min Caug i) Note similarity between Ab z ETT] aug and C aug. el 4 4 | jinished, We will use the same form for all diminished, keeping This covers all possibilities except dit in mind how it repeats itself every 3rd time. Dimnished form. [Incomplete] x x x x x x x xx $ @ © E (@ FR-Gb-A aoa Ab— Gf — . bf -—eb-c —-ob-c¢ F-D This gives you all availables — remember, if we move to 5th fret we repeat the one we played on the 2nd fret _ This is most important! Two forms will cover 7ths using x 87 y x @ this string series. @ @ same form as DI e = » = ») dimin. > > R bv 3 5s 3abr Explore the other open forms using different string combinations — xx x x xx h) Ebmajor @® Bb major Ebmajor Bbmajor 1st Inv, Le © These forms are available in abundance. Remember the lower forms of these open triads will provide the best sounds — ‘The following Etude will demonstrate a few of the "“moverent” possibilities of these open triads. It jsn’t too hard to play — listen to the chords moving from one to the other — Bbm Eb7 Ab abe - c ct F Ft Bb | S Db+ cb Ghm Db Db7 c 4 Try writing some of your own. The possibilities are endless c E A FH B ab vb ¢ a 2nd inv. ‘Ist inv. R. pos Ist inv. R. pos. Istinv. ——_R. pos Kind of interesting movement leading from C to Db. cb BOA pb ch Db c — Notice how smoothly they move — SEVENTH CHORDS or chords containing three different tones. If you Up to this point we have been discussing triads, f Srds. If we add remember, we stated that our system of harmony was primarily based on intervals of another 3rd on top on the triad we have a 7th chord. cma? SS Note the new tone. It is the 7th cane] Gee ——— | | tree a : T 3g = ve 7 ? t 2 2 3 4 5 6 7 8 ‘This ig the major seventh, or the natural scale 7th of the particular scale, It can be found quickly by thinking back ' step from the root, to the next alphabetical scale degree. There are three kinds of 7th intervals used to build 7th chords. They are: ‘minor7 root - - oe = | | We are now ready to begin adding these intervals to the basic triads we have already learned — (if } ‘you haven't, don’t move ahead) ‘There are four basic seventh chords. They are: | © major 7th @) minor 7th 3) Dominant 7th, and (4) Diminished 7th. Through an alteration process of the other tones in the 7th chord, we will expand our vocabulary to | many more than four, as we proceed with our study of the sevenths. | ‘Three of these appear naturally if we harmonize the major scale, building a 7th chord on each tone. maj? Dm? Em?) Fmaj7_— G7 Am? Bm7b5_ C maj? Example | i | j | i . 1 + Major 7th chords appear on | and IV tones: minor 7th chords appear on ii, ili, & vi tones; dominant 7th chord appears on V tone —The chord appearing on vii tone involves one of the alteration processes we talked about. We will discuss this, as we move along. The 7th scale degree should always be indicated by its correct alphabetical name in relation to its Root. For example, don’t do this: dim? = root “3 in relation to the “C” root is the 6th tone of the scale, not the 7th__ | Theoretically the Try to name the three different 7th intervals from different root tones ] major? — minor? dim7 root major 7 — minor? dim7 Work through all 12 tones of the chromatic scale, using them as root tones. Name the 3 kinds of 7th oot aioe? minor? dim? intervals for each root. root Work with this concept until you understand it perfectly. It will be most important when we begin to build seventh chords. Go back to the material on the four basic triads and review. Make sure you know 100%. It will pay dividends you never imagined. ‘The diminished 7th chord would appear on the 7th degree of the harmonized harmonic minor scale. ‘The harmonized minor scale presents many interesting harmonic combinations _ We will discuss this more fully farther along in this book. Now, let's build our four basic seventh chords, using our triads as a foundation and adding our various 7th intervals @) Major seventh 1 —3—5—7 (add the natural scale 7th to the major triad) @ yr seventh 1-b3 — 5 —b7(add the lowered natural scale 7th to the minor triad) () Dominant seventh = 1—3—5~b7(add the lowered natural scale 7th to the major triad) (4) Diminished seventh = 1— b3— b5— bb7 {add the doubly lowered natural scale 7th to the dimi- inished triad) " Memorize the numerical formulas. They may be applied to any given root tone. ‘These four represent the basic chords. It's fairly obvious that there are other possibilities. For Example] The major 7th could have the 5th tone altered in either direction. The minor 7th could have the 5th tone altered. Also the 7th tone. Thedominant7th could have the th tone altered. Here are some of the possibilities Cmaj7 55 m7 bs e7bs C75 Cmin maj7 ‘As you can see, there are many possibilities Some alterations will not sound as good as others. Experiment with the different alterations and combinations. Let your ear be the final judge. Some combi- nations will sound like other chords. x ‘Add D root to C maj7 55 and you Example get a beautiful D13 chord. ny p13 7 Xe B) ‘These possibilities (and there are many) will be discussed in a later section “chords performing a variety of functions. Now let’s begin to apply our knowledge to the guitar finger board — We'll start with a "G" root in a position which will make the four basic 7th chords reasonably easy to finger. (Ordinarily, closed position 7th chords involve difficult finger stretches — with some exceptions which we'll discuss later on) Example G major 7th a2 3 4 & 6 7 Gamajor 7} t t f 20 The four basic 7th chords built on “G” root in closed position- G major 7 @7 Gm7 or | xx x_x xx x_x 9 @ B ze ge + orn oe i R357 R 3a sbz R bs 5 bz R bs babbz Practice these, Play them! Listen to them! The dim.7 will be hard to finger as you move up the finger board, It’s possible, though. Abe7 f z closed position = > The four basic 7th chords built on “ closed position Dmaj7 D7 Dm? x Be) [@ @ KO) L® These are difficult to finger. The difficulty is greatly increased as we move up the fingerboard. x x Tw plying £6 °7 ®| You've got some kind of hand if @) you can play this one, G | think it's obvious that our best chords on the guitar will be “opened” up. The tones will be rearranged $0 that the fingering problems are greatly dimi 21 Let's back up to the G major 7th and see what we can do with a tonal rearrangement. Gmaj? Let’s use an open “G” triad in root position to begir G OT G maj? nn simmer wis, pee — wr OR We now have @ good sounding, practical, open position G major 7th which looks like this: Gmai7y a This form can be transformed into the other 3 basic 7th structures. R573 ] Gr xx Gm? x x G7 x x @ ® Rs ig a I voicing, in this position, may be obtained by raising the 5th tone of the previous Another very pra maj. 7th by an octave. Gmaj7 G maj This is excellent voicing for this particular chord — good for all purposes. oR The other three transformations are possible: or Gm7 G7 All alterations are easily available : G7+5, G7 b5, Gm7b5, Gm maj7, G7 sus Eb , G13 etc We'll discuss all of these further along. You may experiment with some of the alterations if you like. Usage will be discussed fully later! 2 Gmaj7 form in 1st inversion x x Very good voicing in this register J 2 3X4 Transformations all possible 3 R57 xo x x Gm? x x 6°7 Pa [ oR ——> a ® | ¢ ® ¢ $ @ L® | 3 Rs b7 ba Ros br ba R bs bbe t Also good Bb6 chord Remember what we said about the dim. chord repeating itself. G maj? form in 2nd inversi This is the same as the pre- vious G we learned — this time 3rd is low tone. Good sound on inside four string — good for “comping” using fingers — 5 R37 23 Transformations all possible 5 Ro sb7 5s Rbabz bs R babbz Another voicing for G maj7 Gmj7 hh) | Make sure strings (6) and (@) are ® not included, Deaden them with finger 2. OI R 257 The other three transformations are possible: G7 Gm7 Go? x x xx x_x ° @ B z $ 3 ad © R 3 sb7 ba 5 bz R ba bsbbz > ‘one fret up to Ab°7 requires using 1st finger on bb7. > > Aber B) These forms are good for slower Zz accompaniment patterns. Good as $) 4 appeggios. R te bebhr 4 You may combine the tones and use a six-string major 7th in this position, with the root on top and bottom. Makes for unusual sound Gmj7 a ‘st finger used as barre across the hh) i) 3rd fret. (Use this voicing with care) 2 ry TOW @ Transformation impossible Here's @ form that's really opened up — x x G maj? iD Be sure strings (4) & (1) are #, deadened__ 6 ®o Transformations possible ine / Gm7 7 x x & x | @] Rs 3bz7 Rbs bsbz Rbs yabbz > [with ist = finger Using “C" root with same tonal arrangement as the first G maj7 (R — 5~ 7-3) x x cms? Good, inside combination — ideal for comping with fingers — barre b 1st finger for use as full rhythm, chord = 2 root position ‘Transformations all possible Re73 25 x x x xe we = | f | 3 fy) f) 2 2 b $ DIG t a R 8 br by ba bby bs > = = Make sure you understand, and know, the notated examples of all these chords. Remember that learning where to put the fingers in the easy part. Know each tone’s function in every chord you play. Here’s a good ist inversion voicing of C maj7 xx B) . The minor 2nd interval in the t t middle of this chord gives it amost e unusual sound — good for “com: 4 ping,” ballad accomp — etc — Not a good rhythm chord. | a7 RS Transformations all possible co Cm? 7 xx xx xx ®] ® i 4 G 3b7 Ro b3 bz R 5 babbz R bs Alll of these chords move freely up the guitar fingerboard. Thenames of the chord roots will change with each move. You should be able to “spell” any of these formations, regardless of your position on the fingerboard, Remember, always name the chordal tones in relation to the major scale suggested by the root — for example, don’t spell above C97 ( DH — A —C — Ff). 26 Let’s look at some other voicings, in the same position — this time using “C" root — Cmaj7 xx SSS se bass — 2nd inversion note Sth tons 5R37 This transforms nicely to the other basic forms. These are nice, mellow sounding, chords in this particular register__ Remember! Everything written here actually sounds an octave lower__ C major7th ( another 1st inversion form) Cmsj7 Very good form with 3rd tone in the bass. All transformations possible 7 May also be used as Abmaj7/9| {minus root) 2nd inversion 27 We've looked at the major 7th in several positions up to this point. Now let's see what the same chord looks like on the top four strings. 4 Ema? Bbmaj7 Eb mai? b) BY AX R573 All transformations are possible. You can form each of the other basic 7th chords by making the necessary alterations, which you should know by now! The Eb maj? is a chord we've already had: this time We've added the Sth on top of this chord. Remember, all these chords may move to any fret on the finger- board, new chord name will be determined by root — Gmaj7 We've also had another maj7 on 1 top four strings. fy) G maj7 Remember: G Ra57 ‘Along with our discussion of 7th chords, we now have anew inversion. (Remember, the triads may appear in three positions — root position, Yst inversion, and 2nd inversion. With the added 7th tone, we pow have @ new position: 3rd inversion, with the 7th tone os the lowest note in the chord_—This is a good position, but one which requires careful handling (C major 7th € Except (B], these are good closed ings for orchestral arranging. Example: Roat Pos.'8t Inv. 2nd Inv. 3rd Inv. These are the theoretical inversions possible, with the 7th chord in closed position. It becomes obvious ‘that{B], 1st inversion, would be a most impractical sound. The minor second between B and C notes needs another tone above to soften thi nance, and provide some support. Each of the other tonal arrange: monte are good -- however, impractical in most instances as a guitar voicing. Remember, we said that “oper Voicing” was the most practical way to translate a chord from “paper to the guitar’ There are some good Sounding (but hard to finger) closed position chords available we will talk about them in a later section of this book — Al four chords in about example would work well if the 7th tone were lowered ~ C7, Cm7, c°7. 28 Remember, the minor 2nd interval( == )needs support above to make it practical for use as a chord — It is possible (but hard to finger) on the guitar — F maj7 Bhmaj7 Dimaj7 (1st Inversion) (Ist Inversion) (2nd Inversion ) x x x x Bb E ® ¥ - 4 37 5 a7 ks B 7 RS a This one is prac- ically impos There are others available. See if you can find some more (using fingerboard diagram if this is necessary) some of the transformations are also possible — Try them — remember to lower the appropriate chordal tones, regardless of their position in a particular chord _ The major 7th chord with the root as the top note is possible on the guitar. (Refer back to the six string G maj7 form we discussed earlier) There are some other possibilities available: Example: ‘ b may i7 x ney x eS x These chords might be used for h) special effects. They would be 3rd_inv., since the 7th tone is PLY the lowest note in the chord — Ge handle with extreme care! 7.3 58 7 * R 3 1S The D major 7th form has the major 7th tone (Cf ) in an extremely low reqister. If we think back to the harmonic overtone series", picture where the root would appear: yr major 7th Always keep in mind that written guitar music is sounding one octave lower than written; especially important when we play low triads, or chords with notes other than root, 5th, or 3rd as the lowest tone. 29 Previously, we mentioned that certain alterations can be made on the basic 7th chords. If you have been experimenting, as suggested, you've probably discovered some of them by now. Remember that any tone may be raised or lowered. Each change means you must now call the chord by a new name. Some alterations will not produce en effective sound. —In most cases, your ear will note this immediately — (Discuss these with your teacher).For purposes of example, we will make alterations on a few of the basic forms which were presented, To encompass all of them would make this presentation much larger than intended__This is a good assignment for you to do Alter all of the chords which were presented — Do this on paper, away from the guitar__“Finger”” them this way also__Then try them on the guitar so you ‘can double check your fingerings — For examples we will use two basic forms: i7 mi omit x email 34 | z R 7 3s R573 [ Remember, these alterations are possible on almost every one of the chords presented so far.) Let’s begin with the G major 7th form — @ Lower Sth tone G maj7hs oma G mai7bs This voicing gives tonic major 7th 1) a most interesting flavor__(Do not 2 use, if chord 5th happens to be melody note of song. Oe c , R735 @ Raise Sth tone x Emits Gmmaj7+5, This voicing is most unusal and strange when used in this context. h) It ispossible,though your ear should Cad] a be the final judge in this case. R 7 afs @ Lower Sth tone of Dom 7th x OPS x Gas Very good, contemporary (though overworked) sound. Use on domi. nant 7th for unusual flavor — — (Avoid this one if 5th tone happens @ vw to be in melody of song.) R bz abs 30 @ Raise Sth tone of Dom. 7th G75 Gis Very good alteration of dom. 7th. DIE wants to resolve to C maj7 or Am?, in most cases — (Do not use if | EX4) | S chord 5th is melody of song) Rb as | [The 13th chord will be discussed, along with the added 6th chord, at a later point. } ©) Add major 7th to minor form G min(maj7) Good alteration of minor chord__ Use with care This is “high- hi) tension chord — (Sounds bad with G melody note; @ i R zhi s © Lower Sth tone of min7th Gm7bs Excellent, and most usable alter- DD ation of m7 __ Wants to resolve to ey % dom? built on C root, (good elways, except with chord 5th (D) in melody) R bz ba bs @) Raise Sth tone of minor Gm sus DE Gm7 sus Df Good for very rare use, and then with extreme care — sounds more BY CE like 1st inv’ of Eb major triad with ir suspension. R bz ba s [minor 11th chord will be discussed later. } Here are five additional alterations, or positions _ These will be discussed fully in a later section _ x x x Gm6 x x63 x xOmll OT sus @) Ba) S @ R 635 R 6b35 R b7 33 R brbsm R bz suds 0 These forms are presented at this point so they are available for you to use You will find these included in guitar parts of most band arrangements — consider the additional tones as scale tones and they are easy to analyze. @ Dim 7 with added suspension. 3G susEb x Usually resolves as indicated ® | Ch | Very good additional tone to dim? ") By used as passing tone between two chords __ R bbz ba sis Eb Other forms for the diminished seventh chord Gdim7 x x x Gdim7?_ x = x_x Gdim7 PS oa i) De ® De q z R ba bby bs bs R babb7 Rk W7babs R bs palbr R Remember : The diminished chord may be called by any of the notes it contains — Due to perfect minor 3rd construction of chord — the dim7 contains 3 minor 3rd intervals Thus, it will repeat itself every three frets. USING THE C MAJ 7 FORM @ Fiat the sth tone Cmaj7bs Good “ending” chord for unusual effect. Make sure piano, or other y chord instrument, plays b5 along $ - with you — G) | (Also good substitute chord for D13—"Try iv”) Rb 7 3 @ Raise the Sth tone C mais This chord appears as II chord in [th | harmonized harmonic minor scale b In this instance, the scale would be ad A minor. 6) @ (Good chord for special effect.) @® Lower Sth tone of dom 7th x oy _—— cbs IT Ca A good resolution chord through circle of Sths to some form of F chord — (Also analyze as Gb755) I 14 R bs bz a @ Raise Sth tone of dom. 7th x ons <> Resolve to F chord or A minor Bp) pL chord in most cases. Theoretically, two inner tones want to resolve y to "A", @ Ris br 3 © Add maj7th to minor form Cm (maj?) mm (rma) - Good addition to the minor triad. fe Do not use if chord root happens to be in melody of song — 2 = R57 bs © Lower 5th tone of minor 7th cm7bs [ cm7bs Excellent resolution through C5 ‘to DLE fas next dom7. (In this case, F7) Notice 4 it is also Ab9, without root, and # = Ebm6 chord (@ Raise the 5th tone of minor7th m7 sus Gt x cm7susG_x xox m7 susG# = easier to play 33 Here are five additional alterations using the “C”’ form. More discussion later on high extensions. 6 Cm6 C13 mil C7 sust x x x x x x x x x ele @ 2) ney Rs obs Rabrom | Rubrh 4 Rsbra Some of these are hard to finger at first, but will “come along” with 4th tone and 11th tone are the same practice. They are all worth learn- note. (an octave apart) ing. There are many good uses for ‘these forms. @® The diminished 7th. 7 x x Dy Good chord to use as passing tone between two other close chords | q Root can be any note in the chord. R bs bbz bs. f Other forms of the diminished seventh chord 7 7 7 or x xx xXx xx | @ p) arnt 4 > Etat | bs babb7 bs R bs bbz 3bb7 R bs R bbz bs bs. i 4 1 1 + Remember how these repeat themselves every 3rd fret.— Also chord may be called by any of its member tones — ‘The Added 6th Chord[ to the tonic major and minor triads} The 6th tone of the scale may be added to either tonic major or minor chords as another interesting, though overworked, color tone The added 6th does not appear in our regular series of rds, until the 2nd octave __It then functions as a 13th chord — (See section on Sths — 11ths — 13ths).. 34 Added to G triad, gives us G6 chord, ‘The close interval, of a major 2nd, between the top two notes (D — E) is not disturbing Needs no support above _ It functions well as an addition to the minor triad_| Gm6 gC @ This gives a more resolved feeling 8 to the tonic minor triad. ‘Also sounds like @ 2nd inversion dominant 9th chord built on “C" root, (a Sth below root of m6) also sounds like a Ist inversion m755 chord built on “E“ root, (a minor 3rd below root of m6). Rbs 5 6 Much more on this valuable substitution later. Good, practical forms of added 6th chord— (lower 3rd 1/2 step for m6 chord) x 6 x x 6 x xx 66 xx 6 [@| q 5 R316 5 alok R ste 3 aig Bs shkse — =| 5 = 5 = = = cS = vo Third chord in this series takes some work. Root may be added to last chord on Sth string 3rd fret. 3rd % step for m6 chord) G6 x 6 x x ® g | | | | R563 aee3 = $ 3 = = = = xx = . > = eG — (this note is b7 in chord) Make sure(@)string does not sound in 3rd and 4th chord of this ser 35 rca 6th Chords in closed position available using each series of four strings ey x x F6 x ‘Bb fi) The form on the low four strings is possible, though extremely diffi- cult. The other two forms become jer to play. All of the difficult BY | forms are presented for “what they're worth”. They do provide unusual guitar sounds, especially G3 for chord melody playing. R356 Ras 6 Here's another, smaller, G6 form. xx x__x cs Also available 2nd inv. p) q form e358 8 36 R Notice the exact duplication between 16 and vi m7. We will discuss this in detail farther along in the book Use of added 6th, with 7 and b7 in a rather common progression of chords Using “C” roots x ic x x aa] x x i x x cy D r & \ SS = : Sy —2= I = e e as ~ = = = 36 Notice the descending chromatic line in the second voice implies’ melody_ This provides interesting color if you have a succession of tonic chords This device works well on both major and minor tonic Chords — Analyze melody of song before using this pattern in order to avoid conflicts with melody of song — C min(maj7) cm7 x omy ne minor x x x x x x Rs Rba = = Same progression using “G" roots__ G Gmaj7 Gr fod x x xx x x x x > o > o Same descending chromatic line in the second voice under the melody — works well on major — Gm6 isdifficult using above pattern__Example below presents a more practical fingering using minor form — last chord eliminates double 5th and makes fingering easier__Do not “sound” Ist strin« G min G min(maj7) Gm7 Gm6 x x x x x A) A) a) 2) h) b) hi) £ 3 e Rs Rb3 5 Rs 7b3 5 R 5 brbs 5 R 6 b3 5 Additional forms of the minor with added major 7th D min (maj7) F min(maj7) F min (maj?) x, x x x x_x + hy) Ast inver| By) nbs s 7 bs RS 7 R 5 7 ba be i Note the relationship between the upper three notes of this chord (b3 — 6 — 7— to the augmented triad built on the root of the relative major chord. Using this concept for substitutions provides some unusual opportunities for movement. Example] (using F+ as Sub. for Dm maj7) x_x xx | b i | | Inner string forms may be utilized also This provides movement ‘opportunities without getting into etc. to 9th fret | complicated fingerings — i) 9TH—11TH—13TH CHORDS ‘Three additional scale tones may be utilized to complete our chord nomenclature _— These tones are found through an extension of the scale by another five tones beyond the octave — new chordal_tone These extensions are 2asy to remember. The 9th tone is one whole step above the root; the 11th is the same as the 4th; the 13th is the same as the 6th__ If we add another Srd to our 7th chord, we have a 9th chord =S-9= The ninth itself may ——— appear in three forms. Si It must have the seventh, in some form, for support. Added to a basic triad, it becomes a suspension: naturally raised lowered CsusD Example: Let's look at various kinds of 9th chords How they are symbolized, and the nature of the other tones in the chord. | @ co -rR-3-5-b7-9 @® c7b9 -R-3-5-b7-b9 © c7fo-R-3-5-57-$9 These are the forms of the dominant 9th chord, built by adding the 9th to the dominant 7th chord _ ___ Two other alterations would be possible if we alter the Sth tone in either direction. Each form above would give us 9 dominant 9th chords | As follows: o fared cobs 79 cTb9#5 79S. CTR C7945 citsbs -7-9 5-6-9 As follows: Sths could be altered, but with care C maja 6/9 cmg -R-b3-5-b7-9 Cm9b5 — R—b3—b5—b7-9 cm6/9 —R-b3-5-6-9 Cm 9maj7-R —b3-5-7-9 O08 | sth tone alterations possible cm9 cabs cm6/9 m9 maj7 As follows: 39 reer The complete 5 note 9th chords are not always possible Most suitable voicing for guitar eliminates either 5th or root tone__Very few forms of the 9th are available in closed position — Lets take a look at the forms available on the guitar fingerboard — oo o x root for this ) formispossi-| | The form without the root is best 4 ble. [a form for altering. G9b5 or G9+5 would be easily available with 2nd — form__also Complete form ® is available — i with root 5 SVG). The form without root is best for alterations__ 5 1" ° R395 > F9 Pp xx xx 8) With root p |@ $ —— g + s yore "ysis 1 ——— > ‘The previous three 9th forms will cover most any situation at any place on the fingerboard. Almost all alterations are possible. Try some of them With higher extensions it becomes most important to remind you of the sounding range of the guitar — don’t add the 9th tone on the lower strings — unless for special effect — 40 | Dominant 9th Chords Across the Board [Incomplete forms with root and no fifth] Each form will transform to minor 9, to 769, and to 7 #9, Try them all with alterations } Here's @ good, closed position dom. 9th using the top three strings open — This is a beautiful sounding 9th Cannot be moved, due to acute fingering problem. b There are many chordal possibil: ities using open strings with po: | OLE tion fingerings which will be di } er cussed in section titled “Open string possibilities”. Some Alterations on the Dom. 9th chord x 8 xX cube rts | | | | @ I The Sth tone may be raised |e z a) ‘or lowered on each of these | @l@l oT chords — Giving you six more | K - forms G 9+5; G9b 5; G7) 945; | t- G759b5; G79+5 G7# 9b5 abr 9 5 3 bz be 5 3 brie 5 4 x x T The Sth tone may be raised or lowered on these (+5 gets a + iC little shaky) 55 will give you forms: which will resemble Gb7 chord — Try them. s abo 5s abrbo ‘The 7b9 chord in a series, across the board. Gin] | Will be Dim.7th chords except where root is included] xx xx x x x x xx

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