MAJOR SCALE FORMS

IONIAN DORIAN PHRYGIAN

RT
RT

RT

LYDIAN MIXOLYDIAN AEOLIAN

RT

RT

RT

LOCRIAN

RT

* The modal name refers to the lowest note, played by the first finger on the 6th string.
 MELODIC MINOR SCALE FORMS
LYDIAN
IONIAN b3 DORIAN b2 AUGMENTED

RT
RT

RT

LYDIAN b7 MIXOLYDIAN b13 AEOLIAN b5

RT

RT

RT

SUPER LOCRIAN/ALTERED SCALE

RT
 HARMONIC MINOR SCALE FORMS

IONIAN b3 b6 LOCRIAN nat.6 IONIAN #5

RT
RT

RT

DORIAN #4 MIXOLYDIAN b9 b13 LYDIAN #9

RT

RT

RT

ALTERED SCALE natural 6

RT
 HARMONIC MAJOR SCALE FORMS

Ionian b6 Locrian nat. 2,6 Altered nat. 5

RT
RT

RT

Ionian b3,#4 Mixolydian b9, nat.13 Lydian Augmented #9

RT

RT

RT

Alt. sus4, nat.6,

RT
 Level One and Three Chord Forms

Major 7th Major 7th Minor 7th Minor 7th

Dom. 7th Dom 7th Min 7b5 Min 7b5

Dom 7sus4 Dom 7sus4 Dom.7#5 Dom.7#5

Diminished 7 Diminished 7 Major 6th Major 6th

 Level One and Three Chord Forms pg.2

Minor 6th Minor 6th Minor 9th Minor 9th

Dom. 9th Dom. 9th Dom. 7b9 Dom. 7b9

Dom. 7# 9 Dom. 7# 9 Dom. 13th Dom. 13th

 Level Two and Four Chord Forms

Min maj7 Min maj7 Maj 7#5 Maj 7#5

Maj 7b5 Maj 7b5 Min 7#5 Min 7#5

Dom 7b5 Dom 7b5 Dimmaj7 Dimmaj7

Maj7,9 Maj7,9 Maj6,9 Maj6,9

 Level Two and Four Chord Forms pg.2

Min9 maj7 Min9 maj7 Dom7b9b13 Dom7b9b13

Dom7b9,13 Dom7b9,13 Dom9,b13 Dom9,b13

 Level 7, Page 1
Triad/Close Voicings/ Cycle 2: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ
˙ Dµ E !Ø FÊ G A! Bµ CÊ
b ˙˙ ˙˙ b ˙˙
b˙ ˙ b ˙˙˙ ˙˙
˙ bb ˙˙˙ ˙˙˙ b ˙˙
& ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
b CÊ
˙˙ Dµ E !Ø FÊ G A! Bµ CÊ
˙ b ˙˙˙ b ˙˙˙ b ˙˙ ˙˙
& ˙ ˙ bb ˙˙˙ ˙˙
˙ ˙
b ˙˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ
˙˙ b Dµ
˙˙˙ E !Ø FÊ G A! Bµ CÊ
b˙ b ˙˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
& b˙ b
b˙ ˙ b ˙˙˙
3

Triad/Open Voicings/ Cycle 2: C harmonic minor

{R|o|o|t| |P|o|s|i|t|i|o|n}

b CÊ
˙ Dµ
˙ E !Ø FÊ G A! Bµ CÊ
˙˙ ˙ b ˙˙ b˙ ˙
& b˙ ˙ ˙˙ ˙ bb ˙˙ ˙
˙ ˙
b˙
˙ ˙ ˙ ˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ
˙ b Dµ
˙ E !Ø FÊ G A! Bµ CÊ
b˙ ˙ ˙ ˙ ˙˙ ˙
˙ ˙ ˙
b˙ b˙ ˙ ˙˙
& ˙ ˙ bb ˙˙ ˙
˙ b˙
5

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ
˙˙ Dµ
˙ E !Ø FÊ G A! Bµ CÊ
b˙ ˙ ˙
b˙ b ˙˙ ˙ ˙ ˙˙ b˙ ˙˙ b˙
& ˙ b˙ ˙ ˙˙
b˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 2
Triad/Close Voicings/ Cycle 2: C harmonic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Dµ E !Ø FÊ G A! Bµ CÊ
b ˙˙˙ ˙˙ ˙
bb ˙˙
˙˙ b ˙˙˙
b ˙˙˙ b ˙˙˙ b ˙˙˙ ˙ ˙
&
1
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ Dµ E !Ø FÊ G A˙ ! ˙˙Bµ b ˙˙CÊ
b ˙˙ ˙˙
b ˙˙ ˙˙
b˙ b ˙˙˙ ˙ ˙ bb ˙˙ ˙ ˙
& ˙
2
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ Dµ E !Ø FÊ G A! Bµ ˙˙CÊ
˙˙ ˙˙ bb ˙˙˙ ˙˙
b ˙˙˙ b ˙˙ ˙ b˙
& b ˙˙˙ ˙ b˙ ˙
3

Triad/Spread Voicings/ Cycle 2: C harmonic minor--Also acceptable

{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Dµ E !Ø FÊ G A! ˙Bµ b ˙CÊ
˙ b˙ ˙ ˙ ˙˙
b˙ ˙ ˙˙
& ˙˙ b ˙˙ ˙
b˙
˙˙ ˙˙ bb ˙˙
4
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ Dµ E !Ø FÊ G A! Bµ CÊ
˙ b˙ ˙ ˙
˙ b˙ ˙ ˙ b˙
& b ˙˙ ˙ ˙ b˙
˙
˙
˙
˙
b˙ ˙ ˙
5 ˙ b˙ ˙
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ Dµ E !Ø FÊ G A! ˙˙Bµ ˙˙CÊ
˙˙ b ˙˙ ˙
b˙
˙˙ ˙˙ bb ˙˙ ˙ b˙
& b˙ ˙ ˙ b˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 3
Triad/Close Voicings/ Cycle 4: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ FÊ Bµ E !Ø A! Dµ G CÊ
˙˙ ˙ b ˙˙˙ ˙˙˙ b ˙˙
& b ˙˙
˙
b ˙˙
˙ ˙ b ˙˙˙ bb ˙˙ ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ FÊ Bµ E !Ø A ! Dµ G ˙˙CÊ
˙˙
b ˙˙ ˙˙
b˙
˙˙˙ b ˙˙˙ bb ˙˙˙ b ˙˙˙ ˙ b˙
& ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ FÊ Bµ E !Ø A ! Dµ G CÊ
˙˙ b ˙˙ b ˙˙˙ ˙ ˙˙ ˙
b ˙˙
& b ˙˙˙ b ˙˙˙ ˙ ˙ b b ˙˙ ˙
3
Triad/Spread Voicings/ Cycle 4: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ FÊ Bµ E !Ø A ! Dµ G CÊ
˙ b˙ b ˙˙ ˙ ˙
b˙ ˙ ˙˙ ˙ ˙˙ b˙
& ˙
˙
b˙
˙ ˙ b ˙˙ b˙ ˙ ˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ FÊ Bµ E !Ø A ! Dµ G CÊ
˙ b˙ b ˙˙ ˙ ˙ ˙˙
& b ˙˙ ˙
˙ ˙˙ ˙ b
˙
b ˙˙ ˙
˙ b˙
5 ˙ b˙ ˙
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ FÊ Bµ E !Ø A ! Dµ G CÊ
˙ ˙ ˙ ˙˙ b˙
˙˙ b˙
˙˙ ˙ b ˙˙ b b ˙˙ ˙
b˙ ˙
˙˙
& b˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 4
Triad/Close Voicings/ Cycle 6: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ A ! FÊ Dµ Bµ G E !Ø CÊ
˙˙
˙˙ ˙˙ b ˙˙˙
b ˙˙˙ bb ˙˙˙ b ˙˙
˙
b ˙˙˙ ˙ ˙ b˙
&
1
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ A! FÊ Dµ Bµ G E !Ø CÊ
b ˙˙ b ˙˙
& b ˙˙˙ ˙
bb ˙˙ b ˙˙˙ b ˙˙˙ ˙˙
˙
˙˙˙ ˙ ˙
2
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ A! FÊ Dµ Bµ G E !Ø CÊ
b˙ ˙˙ ˙˙ ˙˙˙ ˙˙ b ˙˙˙ b ˙˙˙
& ˙˙ bb ˙˙˙ b˙ b˙ ˙
3
Triad/Spread Voicings/ Cycle 6: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ A! FÊ Dµ Bµ G E !Ø CÊ
b˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙ bb ˙˙ b˙ b ˙˙ ˙ b ˙˙ b˙
˙ ˙ ˙ ˙ ˙
4
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ A! FÊ Dµ Bµ G E !Ø CÊ
˙ ˙ ˙
˙ b˙ b˙ b ˙˙ ˙ ˙˙ b ˙˙ b˙
& b ˙˙ ˙
b˙
˙˙ ˙ ˙ ˙ ˙
5

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ A! FÊ Dµ Bµ G E
b˙
!Ø CÊ
b˙
˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙
b˙ ˙ ˙˙
& ˙ bb ˙˙ b˙ b˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 5
Triad/Close Voicings/ Cycle 7: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Bµ A! G FÊ E !Ø Dµ CÊ
b ˙˙˙ ˙˙
˙˙ ˙ ˙˙˙ ˙
b ˙˙ b ˙˙˙ b˙
& b ˙˙˙ ˙ bb ˙˙
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ Bµ A! G FÊ E !Ø ˙Dµ b CÊ
˙˙
˙˙ b ˙˙ b ˙˙˙ b ˙˙ ˙
& b ˙˙˙
˙˙
˙ bb ˙˙˙ ˙ ˙
2
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ Bµ A! G FÊ E
b ˙˙
!Ø Dµ
˙˙ b CÊ
˙˙˙
b ˙˙ ˙˙˙ bb ˙˙˙
˙˙ b ˙˙˙ ˙ b ˙
& ˙ ˙
3
{R|o|o|t| |P|o|s|i|t|i|o|n}
Triad/Spread Voicings/ Cycle 7: C harmonic minor
CÊ Bµ A! G FÊ E
b˙
!Ø Dµ
˙ CÊ
˙˙
b˙ ˙ ˙˙ ˙ b ˙˙
b˙ ˙˙ ˙ ˙˙ b˙
& ˙˙ b˙ b˙ ˙
˙
4
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ Bµ A! G FÊ E !Ø Dµ CÊ
˙
˙˙ ˙ ˙ b ˙˙ b˙
˙ ˙ ˙ b˙ ˙ ˙ ˙
& b ˙˙
˙
˙ b ˙˙
b ˙ ˙ b˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ Bµ A! G FÊ E !Ø Dµ b CÊ
˙
˙ b˙ ˙ ˙ ˙
˙ b˙ b˙ ˙
& b ˙˙ ˙˙ b˙ ˙
˙
˙˙ ˙ b ˙ ˙
˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 6
Triad/Close Voicings/ Cycle 7: C harmonic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Bµ A! G FÊ E !Ø Dµ CÊ
b ˙˙˙ ˙˙
˙ bb ˙˙˙ ˙˙˙ b ˙˙˙ b ˙˙˙ b ˙˙˙ b ˙˙˙
&
1
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ
˙ Bµ A! G FÊ E !Ø Dµ CÊ
˙˙ bb ˙˙˙
b ˙˙ ˙ ˙˙
˙
˙
b ˙˙
b ˙˙ b ˙˙˙ ˙
& ˙ b ˙˙
2
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

b CÊ
˙˙ Bµ A! G FÊ E !Ø Dµ CÊ
˙ ˙˙ b ˙˙ ˙˙ b ˙˙
˙ b˙ ˙ ˙ b ˙˙˙ ˙˙ b ˙˙
& b˙ ˙
3

Triad/Spread Voicings/ Cycle 7: C harmonic minor--Also acceptable

{R|o|o|t| |P|o|s|i|t|i|o|n}

b CÊ
˙ Bµ A! G FÊ E !Ø Dµ CÊ
˙ ˙ ˙ b˙
˙˙ ˙˙ ˙ ˙
bb ˙˙ ˙˙ ˙˙ ˙ b˙
& b˙ b ˙˙ ˙˙
4
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ
˙˙ Bµ A! G FÊ E !Ø Dµ CÊ
˙˙
bb ˙
˙ ˙˙ ˙
b˙ ˙ ˙ ˙ ˙ b ˙˙ b ˙˙ ˙˙
& b˙ ˙ ˙ b˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ
˙ Bµ A! G FÊ E !Ø Dµ CÊ
˙ b˙ ˙ ˙
b˙ ˙ ˙ ˙ b˙ b˙ ˙ ˙
& ˙ ˙ b˙ ˙ ˙
˙ ˙ b˙
6
˙ b˙ ˙
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 7
Triad/Close Voicings/ Cycle 5: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ G Dµ A! E !Ø Bµ FÊ CÊ
b ˙˙˙ ˙˙ ˙˙
& ˙ b˙ bb ˙˙˙ b ˙˙
˙
˙˙
˙ b ˙˙˙ ˙˙
b˙
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ
˙˙ G Dµ A! E !Ø Bµ FÊ CÊ
b˙ ˙˙ b ˙˙˙ bb ˙˙˙ b ˙˙˙ ˙˙˙ ˙˙ b ˙˙
˙ b˙
& ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

b CÊ
˙˙ G˙ Dµ A! E !Ø Bµ FÊ CÊ
˙ ˙˙ b ˙˙˙ b
b˙
˙˙
b ˙˙˙ ˙˙ b ˙˙ b ˙˙˙
˙ ˙
&
3
Triad/Spread Voicings/ Cycle 5: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}

b CÊ
˙ G Dµ A! E !Ø Bµ FÊ CÊ
˙˙ ˙ ˙
˙˙ ˙ b ˙˙ ˙ b˙ ˙˙
& ˙ b˙ bb ˙˙ ˙ ˙
˙ ˙˙
b˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ G Dµ A! E !Ø Bµ FÊ CÊ
˙˙ ˙ ˙
b˙ ˙
˙ b ˙˙ bb ˙˙ b˙
˙ ˙
˙˙
˙
˙
˙
b˙
& ˙ ˙ b˙ ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ G Dµ A! E !Ø Bµ FÊ CÊ
˙ ˙ b ˙˙ b˙ ˙ ˙ ˙
b˙ ˙ ˙ b˙
& ˙ ˙ ˙ b˙ b ˙˙ ˙
˙ b˙
˙ ˙˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 Level 7, Page 8
Triad/Close Voicings/ Cycle 3: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ E !Ø G Bµ Dµ FÊ A ! CÊ
b ˙˙˙ b ˙˙˙ ˙˙ ˙˙˙ ˙ ˙
bb ˙˙˙ b ˙˙
& ˙ b ˙˙ b ˙˙ ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
! A!
b CÊ
˙˙ b E˙˙ Ø G˙
˙˙ ˙˙Bµ Dµ
b ˙˙˙
FÊ
b ˙˙˙ ˙
CÊ
˙
˙ ˙ ˙ bb ˙˙ b ˙˙
&
2
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ
˙˙ E !Ø G Bµ Dµ FÊ A! CÊ
b˙ b ˙˙˙ ˙˙
˙
˙˙
˙
b ˙˙˙ b ˙˙
˙ bb ˙˙˙ b ˙˙˙
&
3
Triad/Spread Voicings/ Cycle 3: C harmonic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
! A!
b CÊ
˙ b E˙ Ø G˙ ˙Bµ Dµ
˙ FÊ
˙˙ ˙
CÊ
˙
˙˙ ˙ ˙ ˙˙ ˙
& ˙ ˙ b˙ b˙ bb ˙˙ b˙
˙
4
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ
˙ E !Ø G Bµ Dµ FÊ A! CÊ
b˙ b ˙˙ ˙
˙˙
˙
˙
b˙
˙
b˙
˙
b˙
˙ ˙˙
& ˙ ˙ ˙ ˙ ˙ b˙ b˙
5
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ E !Ø G Bµ Dµ FÊ A! CÊ
˙˙ ˙ ˙ ˙˙ ˙ ˙ b˙ b˙
& b˙ b ˙˙ ˙
˙ ˙ b ˙˙ b˙
˙
b˙
˙ ˙˙
6

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission
 LEVEL I
Sample Test Questions and Responses

I. Scales
1) Major: Two octaves from any degree or mode (sixteenth notes at =60).
Ex.1 G from 2nd degree

Ex. 2 D Locrian

2) Chromatic: Two octaves from tonic (sixteenth notes at =60).

A Chromatic

II. Triads
Chords: Maj., Min., Aug., Dim., close voicing starting Arpeggios: Maj., Min., Aug., Dim. one
from root position, across fingerboard one octave. octave from root (eighth notes at =60).
D0 ① D
② ②
➃ ➂ ➂ ➂
➄ ➃ ➃
➅ ➄

III. Four Part

Chords: Maj7, Min7, Dom7, Min7b5, Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4,
Dom7sus4, 7#5, Dim7, Maj6, Min6, 7#5, Dim7 one octave from root (eighth notes at =60).
Min9, 9, 7b9, 7#9, 13–one form for each.
CMaj7 F7sus4

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 LEVEL II
Sample Test Questions and Responses

I. Scales
1) Melodic Minor: Two octaves from any degree or mode (sixteenth notes at =60).
Ex.1 Bb from 7th degree

Ex. 2 Bb Lydian b7

2) Whole-tone: Two octaves from tonic (sixteenth notes at =60).

C Whole-tone

II. Triads
Chords: Maj., Min., Aug., Dim. close voicing, starting
from any inversion, one octave up and down any Arpeggios: Maj., Min., Aug., Dim. two
string set: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃. octaves from root (eighth notes at =60).
(1st Inv., 2nd string set)
Dm A
②
➂
➃

III. Four Part

Chords: Min(maj7), Maj7#5, Maj7b5, Min7#5,
7b5, Dim(Maj7), Maj(9/7), Maj(9/6), min9(maj7),
7(b9/b13), 13(b9), 9(b13)–one form for each
( )
C0 Maj7
Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5,
Dim(Maj7) one octave from root (eighth notes at =60).
F7 5

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 LEVEL III
Sample Test Questions and Responses

I. Scales
1) Harmonic Minor: Two octaves from any degree (sixteenth notes at =60).
Ex.1 D from 5th degree

Ex. 2 C from 7th degree

2) Diminished (whole step, half step): Two octaves from tonic (sixteenth notes at =60).
G Diminished

II. Triads
Maj., Min. spread (open) voicings, starting Maj., Min., Aug., Dim. from any chord tone,
from any inversion, one octave. one octave (eighth notes at =60).
(from 1st Inv.)
E m A 0 (1st Inv.)

III. Four Part

Chords: Maj7, Min7, Dom7, Min7b5, Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5,
Dom7sus4, 7#5, Dim7, Maj6, Min6, Dim7 from any chord tone, one octave (eighth notes at =60).
Min9, 9, 7b9, 7#9, 13–two forms for each
( )
G7sus4 G7sus4 Dm7 5
(from 7th)

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 LEVEL IV
Sample Test Questions and Responses

I. Scales
1) Harmonic Major: Two octaves from any degree (sixteenth notes at =60).
D from 5th degree

2) Pentatonic: Two octaves from tonic–major (1, 2, 3, 5, 6,) and Japanese minor (1, 2, b3, 5, 6), (sixteenth notes at
=60).
Ex. 1 Eb Pent. Major

Ex. 2 A Pent. Minor

II. Triads
Chords: Aug., Dim., open (spread) voicings Arpeggios: Maj., Min., Aug., Dim. from any
starting from any inversion, one octave. chord tone, two octaves (eighth notes at =60).
(from 2nd inv.) (from 5th)
C0 Gmin

III. Four Part

Chords: Min(maj7), Maj7#5, Maj7b5, Min7#5, Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5,
7b5, Dim(Maj7), Maj(9/7), Maj(9/6), min9(maj7), 7b5, Dim(Maj7) one octave from any chord tone,
7(b9/b13), 13(b9), 9(b13)–two forms for each. (eighth notes at =60).
( 5)
GMaj7 GMaj7 ( 5 ) F ° (Maj7 )
(from 3rd)

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 Triad/Close Voicings/ Cycle 2: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}

˙˙˙C DÊ
˙˙
EÊ
˙˙
F
˙˙
G AÊ Bµ C
˙ ˙ ˙ ˙˙ ˙˙ ˙˙˙
˙ ˙ ˙˙
& ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C˙˙ DÊ
˙˙ EÊ F G AÊ Bµ C
˙ ˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙
& ˙ ˙ ˙˙ ˙˙
˙ ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C˙ DÊ
˙˙˙ EÊ F G AÊ Bµ C
˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙ ˙ ˙
˙˙ ˙˙˙
˙
3

Triad/Spread Voicings/ Cycle 2: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C˙ DÊ
˙ EÊ F G AÊ Bµ C
˙˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙ ˙˙ ˙ ˙ ˙
˙ ˙ ˙ ˙˙ ˙
4 ˙
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C˙ DÊ
˙˙ EÊ F G AÊ Bµ C
˙ ˙ ˙ ˙˙ ˙
˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙
˙ ˙ ˙ ˙
& ˙ ˙
5
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C˙ DÊ
˙ EÊ F G AÊ Bµ C
˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙
& ˙ ˙ ˙ ˙˙
˙
6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 1
 Triad/Close Voicings/ Cycle 2: C major--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}

C DÊ EÊ F G AÊ Bµ C
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙
& ˙˙˙ ˙˙˙ ˙˙˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C DÊ EÊ F G AÊ
˙˙ Bµ
˙˙ C˙˙
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙
& ˙˙ ˙ ˙ ˙ ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C DÊ EÊ F G˙ AÊ
˙˙ Bµ
˙˙ C˙˙
˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙
& ˙˙˙ ˙ ˙ ˙ ˙
3
Triad/Spread Voicings/ Cycle 2: C major--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
C DÊ EÊ F G AÊ Bµ
˙ C˙
˙ ˙ ˙ ˙ ˙ ˙˙
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
& ˙ ˙˙
˙
4
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

C DÊ EÊ F G AÊ Bµ C
˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
& ˙˙ ˙ ˙ ˙
˙
˙
˙
˙
˙ ˙ ˙
5 ˙ ˙ ˙
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C DÊ EÊ F G AÊ Bµ
˙˙ C˙
˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙
˙ ˙ ˙ ˙
& ˙˙ ˙ ˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 2
 Triad/Close Voicings/ Cycle 4: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}
C F Bµ EÊ AÊ DÊ G C

˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙˙˙ ˙ ˙ ˙ ˙ ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C F Bµ EÊ AÊ DÊ G C˙
˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
& ˙˙ ˙ ˙ ˙ ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C F Bµ EÊ AÊ DÊ G˙ C˙
˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙
& ˙˙˙ ˙˙˙
˙ ˙ ˙
3

Triad/Spread Voicings/ Cycle 4: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C F Bµ EÊ AÊ DÊ G C
˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙
˙ ˙˙ ˙ ˙˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
4
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C F Bµ EÊ AÊ DÊ G C
˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙˙ ˙˙ ˙ ˙
˙
˙˙ ˙
˙ ˙
5 ˙ ˙ ˙ ˙
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C F Bµ EÊ AÊ DÊ G C
˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙
˙˙ ˙˙ ˙ ˙˙ ˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 3
 Triad/Close Voicings/ Cycle 6: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}
C AÊ F DÊ Bµ G EÊ C
˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
˙ ˙ ˙ ˙ ˙
&
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C AÊ F DÊ Bµ G EÊ C
˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
& ˙˙˙ ˙˙
˙
˙˙˙
˙ ˙ ˙ ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C AÊ F DÊ Bµ G˙ EÊ
˙˙ C˙
˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
& ˙ ˙ ˙ ˙
3

Triad/Spread Voicings/ Cycle 6: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C AÊ F DÊ Bµ G EÊ C
˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙ ˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C AÊ F DÊ Bµ G EÊ C
˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙
˙ ˙˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C AÊ F DÊ Bµ G ˙EÊ C˙
˙ ˙ ˙˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 4
 Triad/Close Voicings/ Cycle 7: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}
C Bµ AÊ G F EÊ DÊ C
˙˙ ˙˙˙ ˙˙
˙˙ ˙˙˙ ˙˙ ˙
& ˙˙˙ ˙˙ ˙ ˙ ˙
˙
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C Bµ AÊ G F EÊ DÊ
˙˙ C˙˙
˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙ ˙
˙˙
& ˙˙˙ ˙ ˙ ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C Bµ AÊ G F EÊ
˙˙ DÊ
˙˙ C˙˙
˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙ ˙ ˙
˙˙ ˙ ˙
& ˙
3

Triad/Spread Voicings/ Cycle 7: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C Bµ AÊ G F EÊ
˙ DÊ
˙ C˙
˙˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙˙ ˙ ˙
& ˙ ˙ ˙ ˙
˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C Bµ AÊ G F EÊ DÊ C˙
˙ ˙ ˙ ˙
˙˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙
˙ ˙˙ ˙ ˙
& ˙ ˙ ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C Bµ AÊ G F EÊ DÊ C˙
˙ ˙ ˙˙ ˙ ˙˙
˙ ˙ ˙
& ˙˙ ˙˙ ˙ ˙
˙
˙
˙ ˙ ˙
˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 5
 Triad/Close Voicings/ Cycle 7: C major--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
˙˙˙C ˙˙˙Bµ AÊ
˙˙ G
˙˙˙
F
˙˙
EÊ DÊ C
˙ ˙ ˙˙˙ ˙˙˙ ˙˙˙
&
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C˙ Bµ AÊ G F EÊ DÊ C
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙ ˙˙ ˙˙
& ˙ ˙ ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

C˙ Bµ AÊ G F EÊ DÊ C
˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙˙ ˙˙ ˙˙
& ˙ ˙ ˙ ˙
3
Triad/Spread Voicings/ Cycle 7: C major--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
C˙ Bµ AÊ G F EÊ DÊ C
˙˙ ˙ ˙ ˙ ˙ ˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙
& ˙˙ ˙˙
4
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C˙ Bµ AÊ G F EÊ DÊ C
˙ ˙˙ ˙˙ ˙˙ ˙ ˙˙
˙ ˙ ˙ ˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
˙ ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C Bµ AÊ G F EÊ DÊ C
˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 6
 Triad/Close Voicings/ Cycle 5: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}
C G DÊ AÊ EÊ Bµ F C
˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C˙ G DÊ AÊ EÊ Bµ F C
˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙
& ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

C G DÊ AÊ EÊ Bµ F C
˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙ ˙ ˙ ˙ ˙˙ ˙˙˙
˙
3

Triad/Spread Voicings/ Cycle 5: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C˙ G DÊ AÊ EÊ Bµ F C
˙˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙
˙ ˙ ˙˙ ˙ ˙˙
& ˙ ˙ ˙ ˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C G DÊ AÊ EÊ Bµ F C
˙ ˙ ˙ ˙˙ ˙ ˙
˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
& ˙
5

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C G DÊ AÊ EÊ Bµ F C
˙ ˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙˙
˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 7
 Triad/Close Voicings/ Cycle 3: C major
{R|o|o|t| |P|o|s|i|t|i|o|n}
C EÊ G Bµ DÊ F AÊ C
˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

C˙˙ EÊ
˙˙ G˙ Bµ
˙˙ DÊ
˙˙ F˙ AÊ
˙˙ C˙
˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙˙
&
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C EÊ G Bµ DÊ F AÊ C
˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙
˙ ˙ ˙ ˙ ˙
&
3

Triad/Spread Voicings/ Cycle 3: C major

{R|o|o|t| |P|o|s|i|t|i|o|n}
C˙ EÊ
˙ G Bµ DÊ F AÊ C
˙˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙
˙ ˙ ˙˙ ˙ ˙˙ ˙
& ˙ ˙ ˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
C EÊ G Bµ DÊ F AÊ C
˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙
˙ ˙˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙
5
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
C EÊ G Bµ DÊ F AÊ C
˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙
& ˙ ˙˙ ˙ ˙˙ ˙ ˙˙
˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 8
 LEVEL V
Sample Test Questions and Responses
I. Scales
1) Major: Three octaves from any degree or mode (sixteenth notes at =60).

Ex.1 Db from 3rd degree

Ex.2 F# Aeolian

2) Chromatic: Three octaves from tonic (sixteenth notes at =60).

G Chromatic

II. Triads
Chords: Diatonic to C Major, voice-led through six cycles from Root, 1st and 2nd inversion (close and spread).
Ex.1 Key of C Major Ex.2 Key of C Major
Cycle 3 from 1st Inv. (Close) Cycle 4 from Root Pos. (Close)
C Em G B0 Dm F Am C C F B0 Em Am Dm G C

Arpeggios: Major 3 octaves from any chord tone, all keys (eighth notes at =60).
D from 3rd

III. Four Part

Chords: Maj7, Min7, Dom7, Min7b5, 7#5, Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5,
Dom7sus4, Dim7 all inversions (student's Dom7sus4, Dim7 two octaves from any chord tone,
choice of key. all keys (eighth notes at =60).
B m7 B 7sus4 C7sus4 from b7

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 Triad/Close Voicings/ Cycle 2: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ DÊ E !Ø F G Aµ Bµ CÊ
b ˙˙˙ ˙˙ b ˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙ b ˙˙˙ ˙˙˙ b ˙˙
& ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
b CÊ
˙˙ DÊ
˙˙ E !Ø F G Aµ Bµ CÊ
˙ ˙ b ˙˙˙ ˙˙
˙ ˙˙
˙ b ˙˙˙ ˙˙ ˙
& ˙ b ˙˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ
˙˙ DÊ
˙˙˙ E !Ø F G Aµ Bµ CÊ
b˙ b ˙˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙
& ˙ b˙ b ˙˙˙
˙
3
Triad/Spread Voicings/ Cycle 2: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
b CÊ
˙ DÊ
˙ E !Ø F G Aµ Bµ CÊ
˙˙ ˙
˙ b ˙˙ ˙
˙˙
˙
˙ b˙
˙ ˙ ˙
& ˙ ˙ ˙˙ b˙
˙ ˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ
˙ DÊ
˙˙ E !Ø F G Aµ Bµ CÊ
b˙ ˙ ˙ ˙˙ ˙
˙ ˙ b ˙˙ ˙
˙ ˙ b ˙˙ ˙
˙ ˙
˙
& ˙ b˙
5

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ
˙˙ DÊ
˙ E !Ø F G Aµ Bµ CÊ
˙˙ b˙ ˙˙ ˙ ˙
b˙ ˙ ˙˙ ˙ ˙˙ b˙
& ˙ ˙ ˙˙
b˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 1
 Triad/Close Voicings/ Cycle 2: C melodic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ DÊ E !Ø F G Aµ Bµ CÊ
˙˙ ˙˙˙ b ˙˙˙ ˙˙˙ b ˙˙˙
b ˙˙˙ ˙˙˙ b ˙˙˙ ˙
&
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ DÊ E !Ø F G ˙˙Aµ ˙˙Bµ b ˙˙CÊ

b˙ ˙˙ b ˙˙˙ ˙˙ ˙˙ b˙ ˙ ˙
& ˙˙ ˙ ˙ ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ DÊ E !Ø F G Aµ Bµ ˙˙CÊ
˙˙
˙˙ b ˙˙ ˙˙ ˙˙ b ˙˙˙ ˙ b˙
& b ˙˙˙ ˙ ˙ ˙ ˙
3
Triad/Spread Voicings/ Cycle 2: C melodic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ DÊ E !Ø F G Aµ ˙Bµ b ˙CÊ
˙ ˙ ˙ ˙ ˙ ˙˙
b˙ ˙˙ ˙˙ b ˙˙ ˙˙
& ˙˙ ˙˙ b ˙˙
4
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ DÊ E !Ø F G Aµ Bµ CÊ
˙ ˙ ˙ ˙ ˙
˙ b˙ ˙ b˙
& b ˙˙ ˙ ˙ ˙ ˙
˙
˙
b˙ ˙ ˙
˙ ˙ ˙ ˙
5

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ DÊ E !Ø F G Aµ ˙˙Bµ ˙˙CÊ
˙ ˙˙ b ˙˙
˙˙ ˙
˙ b ˙˙ ˙
˙ ˙ ˙ ˙ b˙
& b˙ ˙ ˙
6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 2
 Triad/Close Voicings/ Cycle 4: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ F Bµ E !Ø Aµ DÊ G CÊ
˙˙ ˙˙ ˙˙ ˙˙˙ b ˙˙
& b ˙˙˙ ˙˙
˙ ˙ b ˙˙˙ b˙ ˙ ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ F Bµ E !Ø Aµ DÊ G ˙˙CÊ
b˙ ˙˙ ˙˙˙ b ˙˙˙ b ˙˙˙ ˙˙˙ ˙˙ b˙
& ˙˙ ˙ ˙
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ F Bµ E !Ø Aµ DÊ G CÊ
˙˙ b ˙˙ b ˙˙˙ ˙˙ ˙˙ ˙
b ˙˙
& b ˙˙˙ ˙˙˙ ˙ ˙ ˙ ˙
3

{R|o|o|t| |P|o|s|i|t|i|o|n} Triad/Spread Voicings/ Cycle 4: C melodic minor

CÊ F Bµ E !Ø Aµ DÊ G CÊ
˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙
b˙ ˙ ˙ ˙˙ b˙
& ˙˙ ˙ ˙ b˙ b˙ ˙ ˙
˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ F Bµ E !Ø Aµ DÊ G CÊ
˙ b˙ b ˙˙ ˙ ˙ ˙˙
& b ˙˙ ˙˙ ˙ ˙ ˙
˙˙ ˙
˙ b˙
5 ˙ ˙ ˙ ˙
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ F Bµ E !Ø Aµ DÊ G CÊ
˙ ˙ ˙ ˙˙ b˙
˙ ˙ ˙ b ˙˙ b˙ ˙ ˙˙
& b ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 3
 Triad/Close Voicings/ Cycle 6: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Aµ F DÊ Bµ G E !Ø CÊ
˙˙ ˙˙ ˙˙
b ˙˙˙ b ˙˙˙ ˙˙
˙
˙˙˙ ˙ ˙ b ˙˙˙ b˙
&
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ Aµ F DÊ Bµ G E !Ø CÊ
˙˙ ˙˙ ˙˙˙ b ˙˙ b ˙˙
& b ˙˙˙ ˙˙
b˙
˙˙˙
˙ ˙ ˙ ˙
2
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ Aµ F DÊ Bµ G E !Ø CÊ
b˙ b ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ b ˙˙˙ b ˙˙˙
& ˙˙ ˙ ˙ ˙
3

{R|o|o|t| |P|o|s|i|t|i|o|n}
Triad/Spread Voicings/ Cycle 6: C melodic
! minor
CÊ Aµ F DÊ Bµ G E Ø CÊ
b˙ b ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙
& ˙ ˙ ˙˙ ˙ b ˙˙ b˙
˙ ˙ ˙ ˙ ˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ Aµ F DÊ Bµ G E !Ø CÊ
˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙
˙ ˙˙ b˙ b˙
& b ˙˙ ˙
b˙
˙˙ ˙ ˙ ˙ ˙
5

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ Aµ F DÊ Bµ G E !Ø CÊ
˙ ˙ ˙˙ ˙ ˙ ˙˙ b˙ b˙
b˙ b ˙˙ ˙ ˙˙ ˙ ˙˙
& ˙ ˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 4
 Triad/Close Voicings/ Cycle 7: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ CÊ
˙˙˙ ˙˙
˙˙ ˙˙ ˙˙˙ ˙˙
˙ b ˙˙˙ b˙
& b ˙˙˙ ˙ b˙
1
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ Bµ Aµ G F E !Ø DÊ
˙˙ b ˙˙CÊ
˙˙ b ˙˙˙ ˙˙ ˙˙ b ˙˙˙ ˙ ˙
& b ˙˙˙ ˙ ˙ ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ
˙˙ ˙˙˙ b ˙˙ ˙˙ b ˙˙˙CÊ
b ˙˙ ˙˙˙ b ˙˙˙ ˙ ˙ ˙
& ˙
3

Triad/Spread Voicings/ Cycle 7: C melodic minor

{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ ˙CÊ
˙˙ b˙ ˙ ˙
b˙ ˙˙ ˙ ˙ ˙ ˙˙
˙ ˙˙ ˙ ˙ b˙
& ˙ ˙ b˙
˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ ˙CÊ
˙ ˙ ˙ ˙˙ b˙
˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ b ˙˙ ˙ ˙ b˙
& b˙ ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ Bµ Aµ G F E !Ø DÊ b ˙CÊ
˙ ˙ ˙ ˙ ˙
˙ b ˙˙ b˙ ˙
& b ˙˙ ˙˙ ˙
˙
˙˙ ˙ ˙ ˙
˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 5
 Triad/Close Voicings/ Cycle 7: C melodic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ CÊ
b ˙˙˙ ˙˙
˙ b ˙˙˙ ˙˙˙ ˙˙
˙ b ˙˙˙ ˙˙˙ b ˙˙˙
&
1
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ
˙˙ Bµ Aµ G F E !Ø DÊ CÊ
b˙ ˙˙ b ˙˙˙ ˙˙ ˙˙
˙ ˙ ˙˙ ˙˙ ˙˙
& ˙ ˙ ˙ b˙
2
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

b CÊ
˙˙ Bµ Aµ G F E !Ø DÊ CÊ
˙˙ ˙ ˙˙
˙ ˙ b ˙˙ ˙
˙˙
˙ b ˙˙˙ ˙˙ b ˙˙
& ˙ ˙
3
Triad/Spread Voicings/ Cycle 7: C melodic minor--Also acceptable
{R|o|o|t| |P|o|s|i|t|i|o|n}

b CÊ
˙ Bµ Aµ G F E !Ø DÊ CÊ
˙ ˙ ˙ ˙
˙˙ ˙˙ b ˙˙ ˙˙ ˙ ˙ b˙
˙˙
& b ˙˙ ˙˙ ˙˙
4
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ Bµ Aµ G F E !Ø DÊ CÊ
˙˙ ˙˙ b ˙˙ ˙˙ ˙
b˙ ˙ ˙ ˙ ˙ b ˙˙ ˙˙ ˙˙
& ˙ ˙ ˙ b˙
5

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

CÊ Bµ Aµ G F E !Ø DÊ CÊ
˙ ˙ ˙ ˙
b˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙
& ˙ ˙ b˙ ˙ ˙ ˙ ˙ b˙
˙ ˙ ˙ ˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 6
 Triad/Close Voicings/ Cycle 5: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ G DÊ Aµ E !Ø Bµ F CÊ
b ˙˙˙ ˙˙
˙
˙˙
˙ b ˙˙˙ b ˙˙ ˙˙ ˙˙˙ ˙˙
& ˙ ˙ b˙
1

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ
˙˙ G DÊ Aµ E !Ø Bµ F CÊ
b˙ ˙˙ ˙˙˙ b ˙˙˙ b ˙˙˙ ˙˙˙ ˙˙ b ˙˙
˙ ˙
& ˙
2

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

b CÊ
˙˙ G˙ DÊ
˙˙ Aµ E !Ø Bµ F CÊ
˙˙ ˙˙
˙ ˙ b˙ b ˙˙˙ ˙˙
˙
˙˙
˙ b ˙˙˙
&
3

{R|o|o|t| |P|o|s|i|t|i|o|n}
Triad/Spread Voicings/ Cycle 5: C melodic minor

b CÊ
˙ G DÊ Aµ E !Ø Bµ F CÊ
˙˙ ˙ ˙
˙˙
˙ ˙ b ˙˙ b ˙˙ ˙
˙
˙
˙˙
˙˙
& ˙ ˙ ˙ b˙
4

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ G DÊ Aµ E !Ø Bµ F CÊ
˙˙ ˙ ˙ b ˙˙ b˙ ˙ ˙ ˙
b˙ ˙ ˙˙ ˙ ˙˙ ˙ b˙
˙ ˙ ˙ ˙
& ˙
5
{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ G DÊ Aµ E !Ø Bµ F CÊ
˙ ˙ ˙˙ ˙ ˙ ˙ ˙
b˙ ˙ ˙ b˙
& ˙ ˙ ˙ b˙ b ˙˙ ˙
˙ ˙
˙ ˙˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 7
 Triad/Close Voicings/ Cycle 3: C melodic minor
{R|o|o|t| |P|o|s|i|t|i|o|n}
CÊ E !Ø G Bµ DÊ F Aµ CÊ
b ˙˙˙ b ˙˙˙ ˙˙
˙
˙˙˙ ˙˙
˙
˙˙
˙ b ˙˙˙ b ˙˙
& ˙
1

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

b CÊ
˙˙ b E˙˙ !Ø G˙
˙˙ ˙˙Bµ DÊ
˙˙ F˙
˙˙
Aµ
˙˙ CÊ
˙˙
˙ ˙ ˙ ˙ b˙ b˙
&
2

{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

CÊ E !Ø G Bµ DÊ F Aµ CÊ
˙
b ˙˙ b ˙˙˙ ˙˙
˙
˙˙
˙ ˙˙˙ ˙˙
˙ b ˙˙˙ b ˙˙˙
&
3

Triad/Spread Voicings/ Cycle 3: C melodic minor

{R|o|o|t| |P|o|s|i|t|i|o|n}
!Ø
b CÊ
˙ E
b˙ G
˙˙ ˙
Bµ DÊ
˙
F
˙˙
Aµ
˙
CÊ
˙
˙˙ ˙ ˙˙ ˙ b ˙˙ b˙
& ˙ ˙ ˙ ˙ ˙
4

{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}
CÊ E !Ø G Bµ DÊ F Aµ CÊ
˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙
b˙ b˙ ˙˙ ˙ ˙˙ ˙ ˙
& ˙ ˙ ˙ ˙ b˙ b˙
5
{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}
CÊ E !Ø G Bµ DÊ F Aµ CÊ
˙˙ ˙ ˙ ˙˙ ˙ ˙ b ˙˙ b˙
& b˙ b ˙˙ ˙
˙ ˙
˙
˙
˙
˙ ˙ ˙˙
6
Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 8
 LEVEL VI
Sample Test Questions and Responses
I. Scales
1) Melodic Minor: Three octaves from any degree or mode (sixteenth notes at =60).

Ex.1 G from 1st degree

Ex.2 G Altered

2) Whole tone: Three octaves from tonic (sixteenth notes at =60).

F Whole tone

II. Triads
Chords: Diatonic to C Melodic Minor, voice-led through six
cycles from Root, 1st and 2nd inversion (close and spread).

Ex.1 Key of C Mel. Minor Ex.2 Key of C Mel. Minor

Cycle 2 from 1st Inversion (Close) Cycle 6 from Root Position (spread)
Cm Dm E aug F G A0 B0 Cm Cm A0 F Dm B0 G E aug Cm

Arpeggios: Minor 3 octaves from any chord tone, all keys (eighth notes at =60).
B m from 5th

III. Four Part

Chords: Min(maj7), Maj7#5, Maj7b5, Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)
Min7#5, 7b5, Dim(Maj7) all inversions
(student choice of key). two octaves from any chord tone, all keys (eighth notes at =60).
( ) ( 5) ( )
Cm maj7 C7 GMaj7 5
from 3rd

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 LEVEL VII
Sample Test Questions and Responses
I. Scales
1) Harmonic Minor: Three octaves from any degree (sixteenth notes at =60).
Ex.1 G from 7th degree

Ex.2 Bb from 5th degree

2) Diminished: Three octaves from tonic (sixteenth notes at =60).

G Diminished

II. Triads
Chords: Diatonic to C Harmonic Minor, voice-led through six
cycles from Root, 1st and 2nd inversion (close and spread).
Ex.1 Key of C Harm. Minor Ex.2 Key of C Harm. Minor
Cycle 3 from 2nd Inversion (Close) Cycle 5 from 1st Inversion (spread)
Cm E G B0 D0 Fm A Cm Cm G D0 A E B0 Fm Cm

Arpeggios: Augmented 3 octaves from any chord tone, all keys (eighth notes at =60).
D from 3rd

III. Four Part

Chords: Maj7, Min7, Dom7, Min7b5, Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7,
7#5, Dom7sus4, Dim7 all inversions,
all keys. three octaves from any chord tone, all keys (eighth notes at =60).
( 5)
B m7 C7 GMaj7 from 7th

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 LEVEL VIII
Sample Test Questions and Responses
I. Scales
1) Harmonic Major: Three octaves from any degree (sixteenth notes at =60).
Ex.1 A from 6th degree

Ex.2 Eb from 3rd degree

2) Pentatonic: Three octaves from tonic-major (1, 2, 3, 5, 6) and Japanese minor (1, 2, b3, 5, 6) (sixteenth notes at
Ab Major Pentatonic (1, 2, 3, 5, 6) =60).

G Minor Pentatonic "Japanese" (1, 2, b3, 5, 6)

II. Triads
Chords: "48 to 48" (Any Maj. Min. Aug. Dim. triad voice-led to any other triad. 4 qualities X 12 keys = 48)
16 triads, supplied by test team are to be played both close and spread. See the article Triadic Equal Rights
by Mick Goodrick, available at http://classes.berklee.edu/gr
Ex.1 close
C A m Bm E A D0 G F m B E m F D E C0 Gm E

Ex.2 spread
C E Gm C E D F E m B F m E D0 A C B A m

Arpeggios: Diminished 3 octaves from any chord tone, all keys (eighth notes at =60).
C0 from 5th

III. Four Part

Chords: Min(maj7), Maj7#5, Maj7b5, Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)
Min7#5, 7b5, Dim(Maj7)–all two octaves from any chord tone, all keys (eighth notes at =60).
inversions, all keys.
0 (M a j 7 ) ( )
D M a j 7 #5 B Dm M a j 7 from 3rd

IV. Performance
1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.
2. Reading: Level appropriate—single note and chords with rhythm slashes.
 (09/17/03)
Level I and Level II

Level I
Scales Keys: C, F, Bb, Eb, G, D, A
1. Major Two octaves from any degree or mode (min. tempo: sixteenth notes at
=60).
2. Chromatic Two octaves from tonic (min. tempo: sixteenth notes at =60).
Triads Roots: C, F, Bb, Eb, G, D, A
3. Chords Maj, Min, Aug, Dim–close voicing, starting from root position, across
fingerboard, one octave.
4. Arpeggios Maj, Min, Aug, Dim–one octave from root (min. tempo: eighth notes
at =60).
Four-Part Roots: C, F, Bb, Eb, G, D, A
5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6,
Min9, 9, 7b9, 7#9, 13–one form for each.
6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave from
root (min. tempo: eighth notes at =60).
Performance
7. Performance Instructor approved performance piece–three minute maximum.
Notation required for test team.
8. Reading Level appropriate—single note and chords with rhythm slashes.

Level II
Scales Keys: C, F, Bb, Eb, G, D, A (parallel to major)
1. Melodic Minor Two octaves from any degree or mode (min. tempo: sixteenth notes
at =60).
2. Whole-tone Two octaves from tonic (min. tempo: sixteenth notes at =60).
Triads Roots: C, F, Bb, Eb, G, D, A
3. Chords Maj, Min, Aug, Dim–close voicing, starting from any inversion, one
octave up and down all string sets: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃.
4. Arpeggios Maj, Min, Aug, Dim–from root, two octaves (min. tempo: eighth
notes at =60).
4-Part Roots: C, F, Bb, Eb, G, D, A
5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7), Maj(9/7),
Maj(9/6), min9(maj7), 7(b9/b13),13(b9), 9(b13)–one form for each.
6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave
from root (min. tempo: eighth notes at =60).
Performance
7. Performance Instructor approved performance piece-three minute maximum.
Notation required for test team.
8. Reading Level appropriate—single note and chords with rhythm slashes.
 (9/17/03)
Level III and Level IV

Level III
Scales Keys: C, F, Bb, Eb, G, D, A
1. Harm. Minor Two octaves from any degree (min. tempo: sixteenth notes at =60).
2. Diminished Two octaves from tonic (min. tempo: sixteenth notes at =60).
(whole step, half step)
Triads Roots: C, F, Bb, Eb, G, D, A
3. Chords Maj, Min spread (open) voicings–starting from any inversion, one
octave.
4. Arpeggios Maj, Min, Aug, Dim–from any chord tone, one octave (min. tempo:
eighth notes at =60).
4-Part Roots: C, F, Bb, Eb, G, D, A
5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6,
Min9, 9, 7b9, 7#9, 13–two forms for each
6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave
from any chord tone (min. tempo: eighth notes at =60).
Performance
7. Performance Instructor approved performance piece-three minute maximum.
Notation required for test team.
8. Reading Level appropriate—single note and chords with rhythm slashes

Level IV
Scales Keys: C, F, Bb, Eb, G, D, A
1. Harm. Major Two octaves from any degree (min. tempo: sixteenth notes at =60).
2. Pentatonic Two octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5, 6)
(min. tempo: sixteenth notes at =60).
Triads Roots: C, F, Bb, Eb, G, D, A
3. Chords Aug, Dim spread (open) voicings–starting from any inversion, one
octave.
4. Arpeggios Maj, Min, Aug, Dim–from any chord tone, two octaves, (min.
tempo: eighth notes at =60).
4-Part Roots: C, F, Bb, Eb, G, D, A
5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7), Maj(9/7),
Maj(9/6), min9(maj7), 7(b9/b13),13(b9), 9(b13)–two forms for each
6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave
from any chord tone, (min. tempo: eighth notes at =60).
Performance
7. Performance Instructor approved performance piece-three minute maximum.
Notation required for test team.
8. Reading Level appropriate—single note and chords with rhythm slashes
 (09/17/03)
Level V and Level VI

Level V
Scales— All keys
1. Major Three octaves from any degree or mode, (min. tempo: sixteenth
notes at =60).
2. Chromatic Three octaves from tonic, (min. tempo: sixteenth notes at =60).
Triad–
3. Chords Diatonic to C Major, voice-led through 6 cycles from Root, 1st and
2nd inversions, close and spread.
4. Arpeggios Major three octaves from any chord tone, all keys (min. tempo:
eighth notes at =60).
4-Part–
5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions,
student choice of key.
6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–two octaves
from any chord tone, all keys (min. tempo: eighth notes at =60).
7. Reading Level appropriate—single note and chords with rhythm slashes.
8. Performance Instructor approved performance piece.

Level VI
Scales— All keys
1. Mel. Minor Three octaves from any degree or mode, (min. tempo: sixteenth
notes at =60).
2. Whole tone Three octaves from tonic, (min. tempo: sixteenth notes at =60).
Triad–
3. Chords Diatonic to C Melodic Minor, voice-led through 6 cycles from Root,
1st and 2nd inversions, close and spread.
4. Arpeggios Minor three octaves from any chord tone, all keys (min. tempo:
eighth notes at =60).
4-Part–
5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all
inversions, student choice of key.
6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)
–two octaves from any chord tone, all keys (min. tempo: eighth
notes at =60).
7. Reading Level appropriate—single note and chords with rhythm slashes.
8. Performance Instructor approved performance piece.
 (09/17/03)
Level VII and Level VIII

Level VII
Scales— All keys
1. Harm. Minor Three octaves from any degree, (min. tempo: sixteenth notes at
=60).
2. Diminished Three octaves from tonic, (min. tempo: sixteenth notes at =60).
Triad–
3. Chords Diatonic to C Harmonic Minor, voice-led through 6 cycles from
Root, 1st and 2nd inversions, close and spread.
4. Arpeggios Augmented 3 octaves from any chord tone, all keys (min. tempo:
eighth notes at =60).
4-Part–
5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions,
all keys.
6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–three octaves
from any chord tone, all keys (min. tempo: eighth notes at =60).
7. Reading Level appropriate—single note and chords with rhythm slashes.
8. Performance Instructor approved performance piece.

Level VIII
Scales— All keys
1. Harm. Major Three octaves from any degree or mode, (min. tempo: sixteenth
notes at =60).
2. Pentatonic Three octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5,
6), (min. tempo: sixteenth notes at =60).
Triad–
3. Chords Maj, Min, Aug, Dim–voice-led chromatically "48 to 48" (close and
spread).
4. Arpeggios Diminished three octaves from any chord tone, all keys (min. tempo:
eighth notes at =60).
4-Part–
5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all
inversions, all keys.
6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–three
octaves from any chord tone, all keys (min. tempo: eighth notes at
=60).
7. Reading Level appropriate—single note and chords with rhythm slashes.
8. Performance Instructor approved performance piece
 Triad Rows for Level 8 Final Exam Practice
Play in close position and then open position. Play also in retrograde (backwards)

1. ||: C F- B+ Eo A D- G+ Co F B- E+ Ao D G- C+ Fo B E- A+ Do G C-
F+ Bo E A- D+ Go :||

2. ||: C Go D+ A- E Bo F+ C- G Do A+ E- B Fo C+ G- D Ao E+ B- F Co
G+ D- A Eo B+ F- :||

3. ||: C D- E+ Fo G A- B+ Co D E- F+ Go A B- C+ Do E F- G+ Ao B C-
D+ Eo F G- A+ Bo :||

4. ||: C Bo A+ G- F Eo D+ C- B Ao G+ F- E Do C+ B- A Go F+ E- D Co
B+ A- G Fo E+ D- :||

5. ||: C A- F+ Do B G- E+ Co A F- D+ Bo G E- C+ Ao F D- B+ Go E C-
A+ Fo D B- G+ Eo :||

6. ||: C Eo G+ B- D Fo A+ C- E Go B+ D- F Ao C+ E- G Bo D+ F- A Co
E+ G- B Do F+ A- :||

7. ||: Gb Ab- Bb+ Dbo Eb Gb- Ab+ Bbo Db Eb- Gb+ Abo Bb Db- Eb+
Gbo Ab Bb- Db+ Ebo :||

8. ||: Gb Bb- Eb+ Abo Db Gb- Bb+ Ebo Ab Db- Gb+ Bbo Eb Ab- Db+
Gbo Bb Eb- Ab+ Dbo :||

9. ||: Gb Db- Ab+ Ebo Bb Gb- Db+ Abo Eb Bb- Gb+ Dbo Ab Eb- Bb+
Gbo Db Ab- Eb+ Bbo :||

10. ||: Gb Ebo Db+ Bb- Ab Gbo Eb+ Db- Bb Abo Gb+ Eb- Db Bbo Ab+
Gb- Eb Dbo Bb+ Ab- :||

11. ||: Gb Dbo Ab+ Eb- Bb Gbo Db+ Ab- Eb Bbo Gb+ Db- Ab Ebo Bb+
Gb- Db Abo Eb+ Bb- :||

12. ||: Gb Bbo Eb+ Ab- Db Gbo Bb+ Eb- Ab Dbo Gb+ Bb- Eb Abo Db+
Gb- Bb Ebo Ab+ Db- :||
Triadic
Equal Rights
by Guitar Department Professor Mick Goodrick ’67
from Berklee Today, Summer 1999, Volume 11, number 1
reprinted by permission

If you ask just about any guitarist which of the four triad types they know best, many will say
they know the major and minor types better than diminished or augmented types. There is a
statistical reason for this. If you examine all of the diatonic triads occurring in the major,
melodic minor, and harmonic minor scales, you’ll discover that major and minor triads occur
66.7 percent of the time. Diminished and augmented triads occur about 23.8 percent and 9.5
percent of the time respectively.

In order to develop our skills with diminished and augmented triads, we need to change the
bias. This can easily be accomplished with a little bit of math. Table 1 lists 24 different se-
quences using the four triads. Since each triad type appears only once in each of the se-
quences, the bias is changed so that each one occurs 25 percent of the time. I guess you could
see this as a move toward triadic equal rights.

Let’s look at line 11 on table 1. Its pattern is diminished, minor, augmented, major. To become
more familiar with all triad types, we can take this sequence through various root progressions,
tonic systems, and scale cycles. The objective is to voice lead the triads using common tones,
stepwise motion, or the smallest possible leaps as each individual voice moves to the next
chord. The upper staff shows the sequence in close-voiced chords; the lower staff shows the
same sequence with open voicings.

Example 1 shows sequence number 11 (diminished, minor, augmented, major) moving through
a root progression of ascending perfect fourths starting on C.
For example 2, let’s work with sequence number 6 (minor, augmented, major, diminished).
This time we will use the harmonic minor scale with a cycle three root progression (roots
ascending diatonically in thirds). Notice that you have to move through the cycle four times
before the first chord, C minor, returns.
In addition to the 24 sequences that use all four triads, you can make another 12 sequences of
three triads that include both the augmented and diminished chords and either a major or
minor chord (see table 2). Example 3 shows sequence 10 with a cycle five root progression
(roots ascending in diatonic fifths) moving up the melodic minor scale.

In addition to finding these to be great theoretical exercises, you may find that these triad
sequences (or parts of them) actually sound pretty interesting. Personally, I favor the sonority
of the open triads, but the close position voicings are equally useful.

Good luck!

Page 1 of 3
 Table 1

1. maj, min, dim, aug 13. maj, dim, min, aug

2. min, dim, aug, major
3. dim, aug, maj, min
4. aug, maj, min, dim
5. maj, dim, aug, min
6. min, aug, maj, dim
7. dim, maj, min, aug
8. aug, min, dim, maj
9. maj, aug, min, dim
10. min, maj, dim, aug
11. dim, min, aug, maj
12. aug, dim, maj, min
14. min, aug, dim, maj
15. dim, maj, aug, min
16. aug, min, maj, dim
17. maj, min, aug, dim
18. min, dim, maj, aug
19. dim, aug, min, maj
20. aug, maj, dim, min
21. maj, aug, dim, min
22. min, maj, aug, dim
23. dim, min, maj, aug
24. aug, dim, min, maj

Table 2

1. maj, dim, aug 7. min, dim, aug

2. dim, aug, major 8. dim, aug, min
3. aug, maj, min 9. aug, min, dim
4. maj, aug, dim 10. min, aug, dim
5. aug, dim, maj 11. aug, dim, min
6. dim, maj, aug 12. dim, min, aug

Example 1: Table 1, #11 (diminished, minor, augmented, minor) through cycle 4

C° b+ E b A b˜ D - b F #+ B E
˜ A- D
+ G
F– B

b œœœ œœœ # œœ n œœœ

& c b b œœ b œœ # b œœ n b b œœœ b b œœ b b œœœ # # n œœœ # # œœœ # œ
œ œ œ œ
Bb
+ Eb b˜ D b- F#
+ B ˜ A- D+ G
b œ œ # œœ œœ
A E
bœ #œ œ
C° F–

bœ œ #œ œ bœ œ œ
bœ b œ n œ #œ
&c b œ b œ b œ b b œœ œ #œ # œ œ œ # œ œ
œ œ œ œ
Page 2 of 3
 Example 2: Table 1, #6 (minor, augmented, major, diminished) through harmonic minor, cycle 3
b+ G B ˜ + Ab C˜ E b-
+ ˜ b+ b˜
œœ œœ œœ œœ
C- E D- F G
œœœ œœ b b œœ b b œœ b b œœ # n œœ
B D F- A C E

&c
b œ bœ œ œ #œ n œ œ b œ n œ # # œœœ n b n œœœ œ
b œœ b œœœ œœ ∫ b œœ
œ bœ
C- E b
+ G B˜ + Ab C˜ E b-
+ ˜ Ab
+ Eb
˜
bœ bœ œ œ D- F
œ #œ nœ œ
G B D F- C

œœ œ œ œ œ œ b œ b œ b b œœ # n œœ œ b
# œ n œœ
bœ
œœ
œ
œ œœ b œ
&c œ œ œ œ œ bœ b œ bœ nœ # œ nœ œ œ ∫ b œœ

G- B
+ D F
˜ b C+
A - E b G
˜ B- D
+ F A b˜ C-

& b œœœ n # œœœ # n œœœ b nb œœœ bbb œœœ # nn œœœ n bb œœœ n b b œœœ # œœœ # # œœœ n n œœœ b œœœ b www
G- B
+ D F˜ A b- C
+ Eb G
˜ B- D
+ F A b˜ C-
œ œ #œ nœ
& œœ #n œœ n œœ b b œœ
b bb œœ # n œœ bœ
nœ
b œœ œ œ
# œœ # œ n œœ œœ w
bw
bœ nœ bœ bœ # œ n œ bœ w

+ G D A- b˜ B +
Example 3: Table 2, #10 (minor, augmented, diminished) through melodic minor, cycle 5
C-
˜ E F- C
˜ G
+ D- A
˜ E b+
b œœ b b œœ n œ
3 b œœœ b b œœœ n b # œœœ œœœ b b œœ # n œœœ
œ œ œ # œœ œœ
œ
b œœ
œ
b œœ
&4 œ
˜ D+ Eb
˜ B+ ˜ + ˜ Eb
+
œ bœ bœ œ œ
C- G A- F- C G D- A
œ b œœ œ œ b œ # œœ œ œ œ
3 œ
b
& 4 œ b œ #œ
œ n œ œ b œ n # œœ bœ b œ n œ œ œ œ
œ œ bœ bœ

B- F
˜ C
+ G- D
˜ A
+ E - b B
˜ F
+ C-

œ œ
œ
& # œœ b b œœ # n œœ b œœœ b œœœ n # # œœœ b b b œœœ n œœœ# œœ ˙.
œ b ˙˙ ..
B- F
˜ C
+ G- D
˜ A+ E b- B
˜ F+ C-

#œ bœ # œœ œ œ œ bœ œ œ b˙ .
& œœ œœ
œ
bœ
œ
bœ nœ
œ #œ
bœ
bœ
nœ œ
œ #œ ˙ ..
˙

Page 3 of 3
 PENTATONIC SCALE FORMS

MINOR MAJOR MINOR

RT

RT

RT
RT
MINOR MAJOR

RT

A PENTATONIC SCALE IS BASED UPON A SERIES OF “PERFECT” FIFTHS:

C,G,D,A,E = C MAJOR PENTATONIC / A MINOR.

The Major pentatonic contains the following scale degrees;

Rt, 2nd, 3rd, 5th and 6th

The minor pentatonic contains; Rt, b3, 4, 5, and b7

 Level Four Major and Minor Pentatonic Scales

The Major Pentatonic Scale consists of the following scale degrees;

Rt, 2nd, 3rd, 5th, 6th

RT

RT

The “Melodic Minor”or Kumoi Pentatonic Scale consists of the following scale
degrees;
Rt, 2nd, b3rd, 5th, 6th

It is essentially a Melodic Minor scale minus the 4th and 7th.

RT

RT
 Open Voiced Triads
(major)
2nd Inv. Rt Pos. 1st Inv.

Rt Pos. 1st Inv. 2nd Inv.

1st.Inv. 2nd Inv. Rt Pos.

 Open Voiced Triads
(minor)
2nd Inv. Rt Pos. 1st Inv.

Rt Pos. 1st Inv. 2nd Inv.

1st Inv. 2nd Inv. Rt Pos.

 Open Voiced Triads
(diminished)
2nd Inv. Rt Pos. 1st Inv.

Rt Pos. 1st Inv. 2nd Inv.

1st Inv. 2nd Inv. Rt Pos.

 Open Voiced Triads
(augmented) = Rt

* Augmented triads are symmetrically built therefore any note may be considered the root.
 Spread Voicings
Julien Kasper
C Major Triads...   
    
 
  
   


Spread or "open" voicings are created by dropping or raising the middle voice of a close voiced triad by an octave. When the
middle voice is dropped the triad changes inversion to reflect the new lowest note. If the middle voice is raised the inversion
remains the same.


  
7

   










There are three practical fingering types for spread voicings: lower adjacent - two lower pitches are on adjacent strings;
upper adjacent - two upper pitches are on adjacent strings; non-adjacent - pitches skip strings. This applies to all
inversions on each possible string group. After practicing all inversions on the same string group start mixing and matching
possibilities, moving through the different fingering types and string groups. As with all new fretboard material it is
most important to rapidly internalize the intervalic structure of these voicings so you can manipulate them. Convert all fingering
types and all inversions on each string group to minor, diminished, and augmented. Manipulation of intervals is the most
effective means of understanding and utilizing the material. Practice the triads harmonically and melodically.

Root position Lower adjacent Upper adjacent Non-adjacent

 
8fr 10fr 5fr 7fr 3fr 12fr

 
13
3       
 5      
R      

First Inversion Lower adjacent Upper adjacent Non-adjacent

12fr 7fr 10fr 5fr 8fr 3fr

       
21

        
5
 R
3
      

Second Inversion Lower adjacent Upper adjacent Non-adjacent

3fr 10fr 5fr 9fr 3fr 8fr
29     
    
 

R   
   
 
 3
5
 © J.Kasper 
 Symmetric Scale Forms

Chromatic Scale

Whole Tone Scale

Symmetric Diminished
 TRIAD ARPEGGIOS

MAJOR

ROOT POS. 1st inv. 2nd inv.

MINOR

ROOT POS. 1st inv. 2nd inv.

 TRIAD ARPEGGIOS

DIMINISHED

ROOT POS. 1st inv. 2nd inv.

AUGMENTED

ROOT POS. 1st inv. 2nd inv.

 MAJOR TRIADS UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

2nd.. Inv. Rt. pos. 1st. Inv.

1st. Inv. 2nd.. Inv. Rt. pos.

Rt. pos. 1st. Inv. 2nd.. Inv.

= Root
 MINOR TRIADS UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

2nd.. Inv. Rt. pos. 1st. Inv.

1st. Inv. 2nd.. Inv. Rt. pos.

Rt. pos. 1st. Inv. 2nd.. Inv.

= Root
 AUG. TRIADS UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

2nd.. Inv. Rt. pos. 1st. Inv.

1st. Inv. 2nd.. Inv. Rt. pos.

Rt. pos. 1st. Inv. 2nd.. Inv.

Because of the Augmented triads inherent symmetry, any note is an available root note.
 DIMIN. TRIADS, UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

2nd.. Inv. Rt. pos. 1st. Inv.

1st. Inv. 2nd.. Inv. Rt. pos.

Rt. pos. 1st. Inv. 2nd.. Inv.

= Root
 AUG. TRIADS UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

2nd.. Inv. Rt. pos. 1st. Inv.

1st. Inv. 2nd.. Inv. Rt. pos.

Rt. pos. 1st. Inv. 2nd.. Inv.

Because of the Augmented triads inherent symmetry, any note is an available root note.
 Level V
- Major Scale Chord Cycles -

Cycle 3 descending (two common tones)

C Em G Bo Dm F Am C

Cycle 6 ascending (two common tones)

C Am F Dm Bo G Em C

Cycle 5 descending (one common tone)

C G Dm Am Em Bo F C

Cycle 4 ascending (one common tone)

C F Bo Em Am Dm G C

Cycle 2 descending or parallel ascending (no common tones)

C Dm Em F G Am Bo C

Cycle 7 ascending or parallel descending (no common tones)

C Bo Am G F Em Dm C
 Level VI
- Melodic Minor Scale Chord Cycles -

Cycle 3 descending (two common tones)

Cm Eb+ G Bo Dm F Ao Cm

Cycle 6 ascending (two common tones)

Cm Ao F Dm Bo G Eb+ Cm

Cycle 5 descending (one common tone)

Cm G Dm Ao Eb+ Bo F Cm

Cycle 4 ascending (one common tone)

Cm F Bo Eb+ Ao Dm G Cm

Cycle 2 descending or parallel ascending (no common tones)

Cm Dm Eb+ F G Ao Bo Cm

Cycle 7 ascending or parallel descending (no common tones)

Cm Bo Ao G F Eb+ Dm Cm
 Level VII
- Harmonic Minor Scale Chord Cycles -

Cycle 3 descending (two common tones)

Cm Eb+ G Bo Do Fm Ab Cm

Cycle 6 ascending (two common tones)

Cm Ab Fm Do Bo G Eb+ Cm

Cycle 5 descending (one common tone)

Cm G Do Ab Eb+ Bo Fm Cm

Cycle 4 ascending (one common tone)

Cm Fm Bo Eb+ Ab Do G Cm

Cycle 2 descending or parallel ascending (no common tones)

Cm Do Eb+ Fm G Ab Bo Cm

Cycle 7 ascending or parallel descending (no common tones)

Cm Bo Ab G Fm Eb+ Do Cm
 Level 1+ 3 7th Arpeggios.
2 octave
Major 7th Minor 7th Dominant 7th

Minor 7 flat 5 Dominant 7 sus4 Dominant 7#5

Diminished 7th
 Level 2 + 4 7th Arpeggios.
2 octave
Min. major 7th Major 7th #5 Major 7th flat 5

Minor 7th #5 Dominant 7 flat 5 Diminished Maj7th