1127 Acordes 17 Escalas 20 Ritmos 10 Cadencias 1127 Chords 17 Scales 20 Rhytms 10 Cadences by LUIS SARTOR LUIS SARTOR » : and GUSTAVO GREGORIO GUSTAVO GREGORIO PACHAMAMA EDITIONS= Ge Indice Curriculum Introduccion Capitulo 1: Acordes Simbolos utilizados para los acordes Capitulo 2: Escalas Capitulo 3: Acordes en el Charango Capitulo 4: Rasguidos - Ritmos Capitulo 5: Cadencias Epilogo Anuncio 5/6 147 150 159 160 Contents Profile Introduction Chapter 1: Chords Symbols employed for chords Chapter 2: Scales Chapter 3: Chords in the Charango Chapter 4: Strumming - Rhythms Chapter 5: Cadences Epilogue AnnouncementVUVUVVV VV CURRICULUM Luis Sartor nacié el 3 de Noviembre de 1952 en San Javier, Provincia de Santa Fe, Repiblica Argentina. Comenzé sus excudios musicales en el piano desde los 8 anos con Ia profesora Amelia Traverso. A los 10 afios empces a estudiar guitarra, alteando con diferentes grupos y géneros musi- cales. ‘A los 13 aos debuta como miisico profe- sional integrando la orquesta “Tropical San Javier”. En 1969 se radied en la ciudad de Santa Fe y pasé a tocar el bajo eléctrico con el cual se unis all grupo de rock “Fstafio”, donde comenzé interpre- tando algunos de sus remas originales En 1972 se radicd en Buenos Aires y siempre como bajista, continué interprewando musica de rock y riumos del caribe con varios grupos. En 1976 conocié al maestro Antonio Pancoja y con el ingreso al mundo de la miisica fol - Kigrica. Comienzan enconces sus estudios del cha- zango con el maestro Jorge Montenegro. En 1978 y 1980 realizé sus primeros viajes a Japén integranda el grupo del ya_mencionado {quenista peruano Antonio Pantoja y dando concier: (os en los teatros ms importantes de wodo el pais CURRICULUM Gustavo Gregorio nace en Buenos Altes Repiiblica Argentina, el 4 de Julio de 1953 ‘Comienza estudios de guitarra clisica a los 15 afte pero la influencia del rock nacional y extranjero esa época lo llevan a dedicarse por completo a laca t1era de cantautor solsta, bajo el nombre de “Liao”, la cual continiia hasta 1973. Durante todo ese ano viaja por varios palse de Europa y decide cambiar su instrumento por € bajo eléctrico, el cul sigue ejecutando como su pein, cipal hasta nuestros dias. En 1975 realiza un curso de 2 affios en © Conservatorio Manuel de Falla, en Buenos Alses estudiando Atmonia_y Composicién, ademés de contrabajo aciistco. De 1983 hasta 1986, Orguestacién y Arreglos en forma privada com ¢ enact Juan Caos Ciilianoy en 1987 ea beca para escudiar en Berklee College of Music Boson, USA. Alli viaja en 1988, donde curse ¢ ciclo completo de "Misica para Pelicwlas? graduindase en 1991, y pasando a residir desdetes momento en Osaka, Japén, hasta la fecha. ‘Como bajista tiene cn su haber 9 grab iones con distintos grupos y bandas, realizado Charange Maser 5Grabs aqui dos discos LP con temas originales crea dos en colaboracién con el maestro Pancoja, los que también fueron Ianzados en Europa, en algunos pafses latinoamericanos y Japén, Posterionmente continué sus estudios de charango en la Escuela de Misica de SADAIC (Gociedad Argentina de Autores y Compositores) bajo la direccién del maestro Abdlardo Veiga. En la misma época compuso para vatios grupos musicales, pero fundamentalmente en la linea del folklore de proyeccidn, integrando el grupo "identidad” con el compositor Jorge Mlikora. ‘A partir de 1985 se traslad6 a Japon donde reside hasta ahora ‘Actualmente cs integrante del grupo fol- Klérico “Los Tres Amigos” con quienes se presenta dando conciertos en los teatros de todo Japén. Ya hhan sacado a la venta 2 CD, el primero con temas tradicionales del folklore iatinoamericano, y el segundo con cemas originales compuestos por ellos ‘mismos, con un tercero en preparacion. ‘Como autor y composicor tiene mas de 130 temas grabados cubriendo una gran variedad de géneros musicales. Enere ellos, componiendo junto a Kuvwara Keisuke cuatro temas para la banda de sonido de la pelicula "Inamura Jane” en 1990. ‘También ha colaboradlo activamente con la exitosa “Orquesta de la Luz” en difetences dlbumes, tuno de los cuales "La Aventura” fue nominado para el Grammy de 1995 en Estados Unidos como "Best Latin Tropical Albums", incluyendo una de sus com- posiciones. Recicntemente coments a trabajar con Gustavo Gregorio ex el Lanzamicnto de su primer GD conjunco, que incluird al charango como princi- pal instrumento, entre ous. PROFILE Luis Sartor was born on November 3, 1952 in San Javier, Province of Santa Fe, Argentina. He started his musical scudies in piano when he was 8 years old with professor Amelia Traverso. Ac 10 he started co study guitar, trying different musical styles ‘and groups. ‘Ac the age of 13, he made his professional debut as a musician, playing with the orchestra “Tropical San Javier”. In 1969 he moved to Sana Fe City and changed into electric bess, joining the rock group 6 Charange Mascer ‘Argentina, Colombia (donde residié entre 1976 y 1978) y Espafia (en Madrid desde 1978 hasta 1981), para importantes sellos como CBS, Epic, Music Hall, Polydor, eve importante cantidad de composiciones y aireghs para teatro, cortos cinematogrificas y para diversos grupos y solistas ec una ampliavariedad de estilo ademés de eres mécodos musicales (dos para bajo y uno para guitarra), editados por "Ricordi Americana” ‘Actualmente dedica gran parte de su tiempo 4 sus dos grupos: "Gregorio’s Movie", con un CD ‘edicado en 1996 llamado “Mamibonga", interpretan- do. sus composiciones folldéricas de fusion, y “Adokin", tango contempordnen, con otro CD 2 edicarse en 1998 y citulado “Tangostinaro”, ambos en su propio sello “Liao Records". Su interés por el charango y el folklore comenzs en 1982 al conocer al pianista argentino Marcelo Kaplan (uno de los precursores del géncro folklérico contempordneo en Argentina) y pasando a Tambien ha excrito wna integrar su geapo *“Vozarrén” De allen mis siguen colaborando juntos en listineas bandas del mismo estilo hasta 1988, lo que continia solo mientras estudia en Boston. Al pasar a cesidir en Osaka, toma contacto con Luis Sartor, y deciden escribir juntos este libro, cl primero de ura serie de proyectos en comin. Como charanguista, ha realizado alguncs intervenciones den:to del marco de sus propios gru- pos. Actualmente esti colaborando en la futura pre sentacion de la Misa Criolla, de Ariel Ramirer, junto con el maestro Ima Izumi y el Coro de la Orquesta Sinfénica de Kobe, Japon, en varias ciudades de este pats, incluyendo como tenor solista a Luis Carlos Severich, PROFILE Gustavo Gregorio was born in Buenos Aires, Angentina, on July 4, 1953, He began co study cla sical guitar at the age of 15, but the influence of for- cign and national rock movements moved him 0 dedicate himself full ime a 2 voloist (playing acoustic guitar and singing his own compositions under che name of "Liao") unl 1973. In that year he traveled eround Europe and he decided to change from the guitar co electric bass, she instrument he has played professionally until1972 he moved to Bucnos Aires and cof- ‘career as electric bass player in rock bands, shifting int Caribbean rhychms with ‘performing groups. “In 1976 Luis Sactor met Peeui performer Antonio Panoja and with him he the world of folklore music, then started g the charango with Maestro. Jorge er. He travelled to Japan in 1978 and 1980 with io Pantoja and performed in the most impor- " tanc theaters all over the counsry. In Japan were pro- duced two LPs wich original compositions by Mazstro Pantoja and Luis Sartor, which were «0 make a hit in Europe, Latin America and Japan. Later, Luis Sartor continued bis studies on scharango at SADAIC (Argentine Society of Authors and Composers) Musie School under the direction ‘of Macstro Abelardo Veiga. About the same time, he composed for several music groups mainly in the contemporary linc of folklore while being 2 mem- bber of the group “Identidad” with composer Jorge Miikota. He moved « Japan in 1985, where he resides since chen, Presently, Luis Sartor is a member of the folklore tio "Los Ties Amigos" which is successfully performing concerts around Japan, Two CDs have already been produced, the fist with craditional songs of Latinamerican folklore, and’ the second, with original songs composed by the group mem- bers. Nowadays they ate preparing the release of their third CD. ‘As a composes, Luis Sartor has more than 130 themes recorded in a variety of musical styles. ‘Among them. four themes composed! together with Kuwata Keisuke for the soundtrack of the film “Inamnura Jane" in 1990, Another important success is his active con- tribution in several albums of the famous “Orquesta de la Luz", one of them "La Avencura” having been nominated in the U.S. to the Grammy 1995 as "Best Latin Tropical Album”, including one of his own compositions. More of his own will be also recorded in the first CD joining forces with Gustavo Gregorio, Including the Chatango as che main instrument, among others. “In 1975 nee Manuel de Falls. Music Co Aires, taking Harmony and Composition Acoustic Bass studies. From 1983 until 1986, Asranging and Orchestration, with Juan Carlos Cirigliano and in eee Scholarship to study at Berklee College of Mi Boston, USA. He arrived there on 1988, in "Film Scoring", graduating ia 1991, and subse quently traveling to Osaka, Japan ro reside whem he's living now. : As a bassist he has recorded 9 oa wich different groups and bands, in Argentina, Coleiniaa Cobare fe gehae Termes 1976 € and 1978) and Spain (he lived there berween 1978 and 1981), for important record labels such as CBS, Epic, Music Hall, Polydor, ete. He has written an important quantity of compositions and atrange- ments for theater plays, short movies and diverse groups and soloists in a wide range of styles. He has also written three music methods («wo for elec- tric bass, the another for guitar) for Ricordi ‘Americana Editions. ‘Actually he’s deeply dedicated ro his owo bands where he performs his own music: "Gregorio's Movie", contemporary fusion folklore, with a CD named “Mambonga” released on 1996, and "Adokin", releasing “Tangostinato” - a com. temporary tango CD - on 1998, both in his own label “Liao Records”. His interest in charango and falkdlore began on 1982 when he met argentine pianist Marcelo Kaplan (one of the first to establish che contempo- rary folklore in Argentina) and began co play in his band "Vozarrén". From thar moment they calla- borated together in different bands of che same syle until 1988, wich Gregorio continuing along, the same musical path in Boston. Afcer moving to Osaka, he made contect with Luis Sartor, and they decided co write this book together, the firse of series of common pro- jects, As a charango player, he made some appearances into the frame of his own bands. Nowadays he’ collaborating in the future presen tation of the “Misa Criolla", by Ariel Ramicez, with Japanese conductor Ima Izumi and the Chorus of the Kobe Symphonie Orchestra, in var- fous cities of lapan, with Luis Carlos Severich as a solisecenor.CHARANGO MASTER INTRODUCCION La misica andina ha adquiride una impor tancia y difusign muy amplias en todo of mundo ¥, por ende, también cl charango al ser parce indisol ble de ella misma. Este es un instrumento que ¢s cje cutado generalmente por cultores de la misiea “cradicional” andina y, por consiguiente, los acordes de la mayorla de las progresiones arménicas de ese estilo “tadicional” son generalmente los mas bisicos: tfadas mayores, menores y acordes domi nantes 2 4 voces, La miisica de nuestros dias ha aleanzado un nivel muy rico cn armonia tanto sea en jazz, fusion, ciertas canciones del pop y del rock, bossa nove, el folklore de proyeccidn, etc, en instrumentos come el piano y la guicarra, entre otros. Y, de acuerdo a nucs- tra opinién, el charango ha quedade pricticamente relegado de la investigaciOn acdrdica, ya que no uuchos interpeetes utilizan las tensiones melédicas (novenas, oncenas, trecenas, etc.) en sus interpreta- El charango, al igual que cualquier o1ro si- ilar dela familia de lox instrumentos de cuerdas, tiene el potencial de desarrollo arménico suficiente para ser utilizado en cualquier estilo. musica. Nosotros queremos hacer nuestro aporce presentan- do CHARANGO MASTER, una compilacién de acordes eadicionales y no tradicionales, escalas, rit mos y cadencias, para que este bello i ocupe el lugar defnitivamente universal que metese. “También queremos mencionar algunos con- ceptos de su procedencia: el charango es un instru mento de cuerdss de origea andino que hizo su aparicidn durance el siglo XVIL aunque es imposi- ble precisarlo con exactitud ya que la docu imentacién es casi inexistente. Su lugar de nacimien. to fue el Ako Peri, regién que actualmente com: prende la Republica de Bolivia y la cordillera del sur y-eentro del Perd, 2onas donde el charango fue esen: ialmente difundido, Entre los charangos mas populares vamos a destacar cuatro de ellos, cada uno con su correspon: diente afinacién (ordenadas de grave a agudo). 8 Charango Maser CHARANGO MASTER INTRODUCTION The Andean music has acquired great notoriery around the world; The Charango has also become well known because of its inseparable part of this music. The Charango is an instrament usually played by devoreesof Andean “tradition- al” music and cherefore the chord structures for ost of the harmonic progressions arc: major and minor triads and 4 voices dominant chords Today's music has reached 2 very rich harmonic level, for example: jazz, fus.on, some pop and rock songs as well as bossa nova and_con- temporary folklore may use complex chord forms om time to time, We believe that actualy the charanigo has been virtually relegated fiom any chord research, since not too many performers normally use the melodic tensions such as ninths, eleventh, chieceenths, ete. in their performances. ‘The charango, as much as any other instrument in the family of string insceumentss has cnough potential for harmonic development to be put tb use in any musical style. We would like to contribute by iateoducing CHARANGO MASTER, a compilation of traditional and not traditional chords, scales, rhychms and cadences, so chis beautiful instrument may definitively take the universal place it deserves We also wish to include here a few con ments about its origin. The charango is an Andcan string insteument which made ies appear- ance during: che XVII century, though it is impossible to state it with accuracy since dara on. its origin is almose non existent. Its biechplace was the Upper Peru, within a segion which presently comprises the Republic of Bolivia and che South and Central Andes Range of Peru: these are the aarcas where use of the charango essentially spread. We would like ro ineroduce 4 of che most populae charangos, each four of therm, with its own tuning (classified from low tune co highf1-LA-MI (utlizado. o base de ejemplo todo “© seks | te © Escala de Do mayor ( Jonica) / ,C major scale (Ionian ) 14 Charango MasterEn este caso, Is escala puede comenzarse tanto con ol Do al aire de la 4° cuerda, el Do de la 5° cucrda-5* trasie 0 el Do de fa 2° cuerda-30raste. El Re sin, guience a la ténica exch reperido ya que segiin con {qué nota Do de bs ies disponibles secomience, con- vendré usar el Re de fa 2° cuerda o ede la 4° cuer- da. (También puede comenzarse desde el Do de la 3° ccucrda-8° traste, si se desea una posicién més alta): Lacacala mayor, en cualquier ronalidad, es la excala “madre” de las Escalas Modles, tambiga lla- madas Modos Gregorianos (fundadas durante el teinado del Papa Gregorio I, entre los afios 590 y 604), los cuales son 7: Modo Jénico, Dérico, Frigio, Lidia, Mixolidio, Eélico y Lecrio. De uso general por millares de miisicos en todo el mundo, las escalas modales son esencialmente apias para la impro- visacién, Se forman comenzando por cada una de las notas de la escala mayor diaténica, obreniendo siete escalas diferentes: Ionian, Dorian, Frigian, Lydian, Mixolydian, Acolian y- Locrian, (denominaciones ‘que usaremos en todo ef capirulo 3) Mamadas Modales. (Los nombres son dcrivados de antiguas provineias eriegas.) El diagrama anterior con Ia escala de Do mayor corresponde a la exala Ionian (0 modo Jonico), la cual vs “madre” de las seis restantes. Para craskadarla a ocras tonalidades, bastaré tomar su estructura y emplazarla comenzando desde su nueva én, ‘A contiouacisn, el modo Dérico 0 escala Dorian, escala menor con el 6° grado natural (ténica RE}: In this case, ‘open C on the th. string, C on the Sch. 3 Sth. fret, ox fom C on the 2nd.scring - 3rd. ‘The note D after the tonic is cepeated. according to the C note that you choose ro: with among those chree available, it will be better use the D on the 2nd. string of D on :he 4th. six (You can also‘stare from C on the 3ré.string - 8th. fret if you wane a higher position). 7 Also, the major scale on any tonality is called “mother” or “main” scale among the 7 Modal Scales or Gregorian Modes (originzted during the | reign of Pope Gregor I between the years 590 and 604) which are named as follows: Ionian, Dorian, Frigian, Lydian, Mixolydian, Acolian and Locti Modes. The Modal Scales, widely used by thou- sands of musicians around the world, are essential- ly suitable for improvisation. They are formed start ing from each note of the diatonic major scale, so that seven different scales can be obtained. These seven scales have been named after the old Greek: provinces. ‘The laste diagram with the C major scale corresponds to the Ionian scale (or Ionian mode), this being the “mother” of the six remaining, Ic will be possible co move i€ te other ronalities tings suustare and poioning ic atng om, Please, observe the example of the Dorian mode or Dorian minor scale on the natural Gch. degree ( D tonic ): 1m oa eo wm epee se sald ¢ce é ae Modo Mixolidio 0 Escala Mixolydian, escala mayor Mixolydian Mode or Mixolydian Seale, major scale con al séptimo grado menor o escala Dominante with flat 7th. degree or Dominant scale (G tonic): {téniea SOL): +e rem ve 3 ar 40 <@ Escala de Sol Mayor ( Mixolidia) / G major scale ( Mixolydian ) ay Md Elica Ea Acélian exillenctoe tds!) ~~ Acollan Made of Acaiaa SSE tninorscle aaal conocida como la “relativa menor” 0 escala menor known as “relative minor” or "natural minor scale” natural (tonica LA): [A tonic): Escala de La menor ( Eélica) / A minor scale ( Aeolian ) ‘Modo Loctio 0 Escala Joctian, escala menor medio Loerian Mede or Locrian’ Scale, halfediminished disminuida (por su quinto grado disminuido) y con minor scale (named so because of its Aa fifth su segundo grado también disminutdo (wnica S!) degree) and also with the flat 2nd. degree (B tonic): Charango Master 17Fscala de Si menor (Locria) { B minor scale ( Locrian ) Otras excalas que servirin para la improvisicidn y Other scales (written in C major tonality) which will ‘exe libro son also help on improvisation and correspond to chords introduced in this book are: Augmented Scale o +” chords) que corresponden a acordes escritos (escritas en tonalidad de Do mayor) las siguientes: Escala Aumentada o “Whole Tone”, de tonos “Whole Tone” (for "+" and centers (para los acordes "+" y 47") yp ait = Escala Aumentada / Whole tone scale Fscala Menor Arménica, comenzada desde su Harmonic Minor Scale, starting from ies firse degre primer grado o nota tSnica (para los acordes "= of tonic note (for “-/maj7" chords): maj?” | 18 Charange MasterHarmor Escala Menor Arménica ( acordes “ -/maj7 ”) scale (“*-fmaj7” chords ) Exeala Menor Arménica, comenzada desde su tercer Harmonic Minor Scale, starting from its third grado y dando forma a una escala mayor con su. degree and giving shape t a major scale with the Quinto grado aumentado (para cl acorde"maj7/#5"): augmented fifth degrce (For a "mnaj7/#5" chord): Pw te Escala Menor Asménica ( acordes “ maj7/#5.") / Harmonic minor scale (“ maj7/#5” chords) Escala Menor Arménica, comenzada desde su quin- Harmonic Minor Scale, starting from its fifth degree 0 grado, dando forrna a una excala mayor domi- and giving shape ca.a dominant major scale with the nance con sus 2° y 6? grados disminuidos (yara sl flat 2nd. and 6th. degrees (for "7/69" chord): acorde °7/b9"):seg ab Escala Menor Arménica (acordes “7/b9”) / Harmonie minor scale ( “7/69” chords) se puede usar Ia Bscala de It is possible co use the Blues Seale for the 17/49" chord containing “blue notes” - nores between the scale notes which are nor include here - which is basically a miner pentatonic scale or scale of 5 Para el acorde Blues que contiene “blue notes” - notas entre medio de las noras de la escala que aqui no incluimos -, pisicamente una escala pentatonica menor, 0 sea, de 5 moras: notes: ad Escala de Blues (acordes“7/#9”) Blues scale (“*7/#9" chords) Bboe——— 20 Charango Master TET HanEscala Disminuida (acordes Otrs escala factible para los acordes °7/b9°, "7/89", "71#11" y acordes disminuidos, es Ix Escala Siméirica Disminuida “€ | set Escala Simétrica Disminuida (acordes "7/69",°7/39" y °7/11") y "°7") / Diminished scale ("°" and" 07” chords) Another workable scale for chords "7/b9","7/49", "71411" and for diminished chords is the Symmetric Diminished Scale: Symmetric Disninished scale (C71b9""7/89" y "718 11")Escala “Lidia 7", esencialmente una escala modal “Lydian idia con su séptima grado menor (para los acordes__with the lar 7+h degree (Far chords "7/#11") 11") Escala Lidia b7 (acordes “7/#11” {Lydian b7 scale ( “7/#11" chords ) 22 Charango MasietJonica Dérica Frigia Lidia Mixolidia Eélica Locria Aumentada Menor Arménica Escala de Blues Lidia b7 Disminuida Simétrica Disminuida CHAPTER 3 CHORDS IN THE CHARANGO to the ch Ionian Dorian Frigian Lydian Mixolydian Acolian Locrian Whole Tone Harmonic minor Blues scale Lydian b7 Diminished Symmetric diminished Charango Master 23Tonalidad de Do Key of C ‘Acordes Mayores y Aummentacios Major and Augmented Chords G-€-G-C- E-C-E * Ionian Tonian G-C-G-E-C *Jonian 24 Charango Masterie * Any Major or Minor with NawuralTonalidad de Do Key of C ‘Acordes Mayeres y Aumentatos Major and Augmented Chon Cadd9 Cadd9 eo Set G-G-G-D-E G-C-E-D-G *Tontan I *Tonian Cadd9 SS ae G-C-E-D-C G-E-C-D-E “Toman * Tonian E [EE 26 Charsngo Master_ Tonalidad de Do Key of C Acordes Mayores y Aumentados Major and Augmented Chords Cadd9(no3°) Cadd9(no3°) Cadd#11 fart Et oes Cadd#11 CEFtrC-E Lydian‘Tonalidad de Do Key of C ‘Acordes Mayores y Aumentades C+ Major and Augmented Chords | G-C€-E-AG *Jontan ACoEsASG “lonian * Ionian G-G-E-C-A G-C-A-EE “IonianTonalidad de Do ‘Acordes Mayores y Aumeorados C6GL 63 65 7 69 Tonalidad de Do ‘Acordes Mayoees y Aumentados C6/9 Key of C Majoc and Angmented Chords C6/9 wt | 62 =pEEE G-G-A-D-E ¥Jonian Ccé6/9 G- D-A Ske * Tontanz> C6/9 G-D-C-A-E “Ionian Co/9 G-C.A-D-G “Tonian *Tonian C6/9 68 oe CG6add#11 qt i So 70 G-C-F-A-E * Lydian 30 Charango Master~ ‘Tonalidad de Do of C ‘Acordes Mayes Aumestador Major and Augmented Chords Cmaj7 Cmaj7 72 G-C-E-B-G G-C-G-B-E “Ionian 7 “Ionian Cmaj7 Cmaj7 io Oe Gl ia G2G2BPCER Gecl os * Ionian * Tonian Cmaj7 76 “ G-C-B-E-G lonian Cmaj7 78 G-E-B-C-E G-E-B-C-G “Ionian “fonian Cmaj7 Cmaj7 - 30 = Se -e $i | = = s C-E-G-B-E oniansTonalidad de Do Key of C Acordes Mayenesy umeneaos inissceeddeereeetichard 81 83 G-C-E-E-B G-C;B-E-E Cmaj7 86 BH G-G-B-G-E *Tonian Cmaj7 E Fe 90 i EEE G-G.B-D-E G-G)B;D-B lonian *Tonian 32. Charango MaserTonalidad de Do Key of C ‘Acordes Mayoces y Aumentades Major and Aogmented Chords Cmaj7/9 B-C-G-D-E “Tonian Cmaj7/5 B-C-G#-D-E A-C-E-D-B * Harmonie Minor *Tonian Cmaj7/#11 Cmaj7/*5' 98 ©-GE, BF OP iver Cmaj7/"} ony i] 100 i Ee stoma Charango Master 33Key of C Moje and ened horde Tonalidad de Do ‘Acordes Mayoresy Aumentaton Cmaj7/6 Cmaj7/6 -E-Bb-G “Kiohtien Bb; €-G-C-E + Mixolydian 34. Charargo MascerTonalidad de Do Key of C ‘Acordes Mayoresy Aumentados Major and Augmncated Chords Cena, ae Bb G-C-Bb-E-C kee * Mixolydian -C-Bbh-G-E “Mixohdian “Mixobydsan 6 G8h.8-*121 125, 127 Tonalidad de Do ‘Acordes Mayores y Aumentados % E G-G-Bb-E-C *Mixolydian Key of C Mapesnid sees cule C7/b9 STEt Bb-C-E-Db-G * Harmonie Minor C7/b9 Ei ii ll co = 124 Bb-C-G-Db-E Bb-Db-E-C-E * Harmonic Minor Harmonic Minor bis C7/b9 CAs 126 Bb-Db-G-C-E * Harmonic Minor c7/9 Bb- Db-E-C- Ab * Harmonic Minor Bb-C-G-D-E + Mivolydian_ Tonalidad de Do a ee. ern oa c7/9 C7/9 132 Bb-C-E-D-Bb = * Mixolydia C7/9 oE- ~Eb- Bb-E-G~- a: < peseln OTe Seen C7sus4 C7sus4 137 ij] (138 SEE G-C.F_Bb-F G-C-F-Bb-G “Mixobydran “Mixohdian C7sus4 C7sus4 139 140 i ©-5;S5a-* 5-5 4BaBs ¢ Charange Master 37Tonalidad de Do Key of C cords Myevsy Asrensadon nsec caageeaclers C7sus4 C7sus4/ 9 141 142 G- tb - Bb Bb-C- D-A Sakctidean } Siicabdton C7/#11 C7/#11 143 Bb- Ss. ope Bb -F# Fe sen ap se c7l*s 145 147 Bb-C.G#-Bb-E * Whole Tone C4+7/9 v9 = f 150 Bb.C,.Gr-D - pigeons 38 Chorange Maser. h ‘onalidad de Do Mayoret y Aumentados C7/13 Be Mcabdaan C713 bean ce ii ES aa C7/13 152 Patil ® C7/13 154 G-C-Bb-E-A * Mixolydian C7/3 Bb -C-E-D-A * Mixobdian Charango Master 39Tonalidad de Do ‘Acordes Menores y Disminuidos G-Eb-G.C-G * Aeolian, Frigian C-Fb-G-C-G + Aeolian, Frigian Key of C Minor and Diminished Chords G-C.G-Eb-G * Aeolian, Frigian a | C;Eb-G-Eb-G “Aeolian, Frigian G-C-G-Eb-C *Acolian, Frigian G-C-C-Eb-C * Aeolian, Frigian C-add9 C-Eb-G-D-G “Aeolian, Dorian 40 Charange Master G-G-C-Eb-C * Aeolian, Prigian ian, Frigian C-add9 G-C;G-Eb-D “Aeolian, DorianTonalidad de Do Key of C Acordes Menoresy Dinminuides Minor sad Diminished Choods C-add11 C-addl11 168 G-Eb-F-C-G G-C-G-Eb-F> * Aeolian, Darian | be wee 181 A- Eb. Gb-C Gb Eb-Gb-A-Gl Diminited CoRipaieeds C7 184 -Eb-Gb-.C-A G-C-G-Eb-Bb * Diminished < Austin, Dovian 185 G- Eb-G-C- Bb '< Mblias, DorianMioikdad de Do Key o£G ‘Aconies Menores y Disminuidos Minor nd Dininished Chords C-7 G-Eb-Bb-C-G G-Eb-Bb-C-Bb ‘“Acolian, Dorian ‘Aeolian, Dorian 190 G-C-Bb-Eb-G G-C-Bb-Eb-Bb * Aeolian, Dorian * Aeolian, Dorian C7 t wh G-C-Bb-Eb-C G-C-Bb-Eb-Eb * Aeolian. Dorian > Aeolian, Dorian C-7/9 C719 oe 194 = tT ee 6 G-C-Bb-Fb-D Fb-C-Bb-D-G “Acolian, Dorian * Aeolian, Dorian C-7/11 196 G- Eb- F-C-Bb © GG: BE ane * Aeolian. Dorian * Aeolian, Dorian Charango Maser 43Tonalidad de Do of C Aconles Menores y Disminuidlos Mine and Diminished Choeds C75 C-7/b5 Eb-C-Bb-D-F X-C~Bb-Eb-Gb B dsliep, Dorin * Locrian C-7/b5 Cc maj7 X-C_Gb- Bb - Bb G-C-G-Eb-B * Locrian “Harmonic Minor C-maj7 eee @ e G;C-B-Eb-G G-G-C-Fb-B * Harmonie Minor ¥ Harmonie Minor. C-maj7/9 C-maj7/9 203 i E C:Eb-G-D-B C-Eb-B-D-G > Harmonic Minor * Harmonic. MinordG onalidad de Reb Key of Db Acordes Mayores y Aumentados Major and Augmented Chords Db 206 : SF he Dh A Dbadd9 208 = : F x Ab; Db-F- Db : Ab - 2 F-Db- F Dbadd9 Dbadd9 209 210 i ; Ab-Eb-F-Db- Ab Ab- Eb Ab -Db-F Dbsus4 Dbsus4 4 201 = 212 : Ab- Db Gh - Db-Gb Db - Gh Ab Db- a Dbadd#11 Dbadd#11 213 ; 214 aS Db-Db-F-Db-G G-Dk-G-Db-F zs “Lydian “Tydian‘Tonalidad de Reb ‘Acordes Mayores y Aumearados 215 -Db-F-Db-F A Piibdle Tone 217 219 "Ionian 221 Ab- oe F-Bb- Ab Tonian Db6/9 23 Bb- Db- Ab-Eb-F AG Charango Master *lonian Key of Db eps eee ee Db+ A-Db-P-A-F * Whole Tone lonian 222 Db-F Ab - Db- Bb Dbmaj7Tonalidad de Reb “Acordes Mayores y Aumcatador Dbmaj7 Ab- Db - Ab-C-F “lonian =Db abe * fonian Dbmaj7/#11 Db-Db-F-C- * Lyaian Dbmaj7/#11 231 G-Db-F-C-F “Lydian Dbmaj7/6 Bb- Db-F-C-F Tontan 226 228 232 234 Key of Db Majer Dbmaj7 Ab>DE -E=C# Ab * Ionian Dbmaj7/9 Ab- Db -F-Eb-C *Jonian Dbmaj7/#11 Ge Db-Db-G-C-F *hydian Dbmaj7/#5 A; Db- Homan Mian Db7Tonalidad de Reb Acordes Mayores y Aumentades Key of Db Major and Augmented Chords Ab- Db-F-Cb- Ab Mixolyian Ab - Db - Ab - -Db-F-Cb-F *Mixolydian Db - F-Cb- Db- Ab * Mixobdian Db7/9 Ab-D-F-Cb-F * Harmonic Minor Db7/#9 J] Ab -Eb-F-Cb-F + Mixolydian Db7sus4 Ab - Db - Gb- Cb * Mixobydian 48 Charango Master -Db-F-Cb-E * Blues Seatle Db7/#11 Db-Db-F-Cb-G *Dydsan b7_ Tonalidad de Reb ‘Acordes Mayoces y Aumentados Db+7 A Pei ie Db7/13 el Ch Db- Ab. Bb- F * Mixol Iydian Db7/13 Key of Db Major and Augmented Chords el Db+7 i 246 Se A RViok Toe * Db7/13 248 Bb-Db-F.Cb-F *Mixolydiande Do# ores y Disminuidos G#-E-E-C#-G# * Aeolian, Prigian C#- E-G# Ct -C# * Aeolian, Frigian C#- G#, C# -E-C#-G# “Aeolian, Frigian C#-add9 C#-D#-GH-C#-E * Aeolian, Dorian 251 253 255, 257 259 Key of C# Minor and Diminished Chords C#- GE. G#-C#-E * Aeolian, Frigian C#-E- Gt -C#- Gt ‘Aeolian, Frigian G# - E- G#-C# - G# “Aeolian, Frigian C#-add9 C#-E-G#-D¥-G# * Aeolian, Dorian C#-add11 G#- C#-E- Cit - Fe “Aeolian, DorianTonalidad de Do# Key of C# ‘Acordes Meaotesy Disminufdon Minor and Diminithed Chords C#-6 C#-6 261 G#- CH E-At-E G#-C#-E-Ae-Ge “Dorian 2 Dorian C#-6 C#-6 263 Git - C# - G# - A#-E * Doran * Dorian C#-6 i 1 i | 265 A#-Ch-E-A#-G# A#-E-G#-C#-E * Dorian * Doréan as C#-E-A#-C#-G# “Dorian 269 G-C#-E-C#-G G-C#-G-C#-E “Diminished Diminished Charango Master 51Tonalidad de Do# “Acovder Mencres y Dlamiaiidos C#°7 -C#-B-at-E G-C#-E-A#- penis eee OBimniced * FS Bimbibed © C#-7 G#-C#-E-B-G# * Aeolian, Dorian C#-7 G4-C#-G#-B-E B-E-G#-C#-E “Aeolian, Dorian “Aeolian, Dorian C#-7 C#-7 B-E-E-C#-G# B-E-E-C#-B “Aeolian, Dorian *Aeclian, Dorian 52 Charango MasterTonalidad de Do# ‘Acordes Menoees y Distninnidos B-E-G#-C#- Gt “Aeolian, Dorian C#-7/9 -B-E Cr Det - Gt “Aeolian, Dorian C#-7/b5 Key of C# Minor and Diminished Chords C#-7 281 G#-E-B-C#-G# A Nealian, Dorian 283 Ss Se Se om a se oo i G-C#-E-B *Locrian C#-maj7 He Be -E-G#-C#-E. * Harmonic Minor Ge. C#-E-B¥-E * Harmonic Minor Gharango Master 53)