oi RIT A aC Ges A COMPREHENSIVE GUIDE TO GUITAR CHORDS AND HARMONY > Learn all the chords in every key, on any combination of Seu es Ce eRe emer Racy * Expand your knowledge of harmony See Se RRs lee CoRa illus) ROBERT wi Eoin* A COMPREHENSIVE GUIDE TO GUITAR CHORDS AND HARMONY Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop. ROBERT ex 4% BROWN \Altred) Boe Copyright® MEMXCM by Afr Publsting Ca, In Aliph reserves. Printed in USA, erst. editor, rani rypexeting 3 inter dsl le Nsthaval Gunod. orisha Are Canning saline i dagen ten nated netting Cover desire Carol Kassie and Ted Engle2 Chord Connections Table of Contents Chord Index.. Introduction. How to Read Chord Diagrams . Open Position Chard Forms ssn Barre Chord Forms s+ Basic Theory ‘Triad String Set #1... ‘The Chord Connection ‘Triad Chord Connections DiatonicTriads.. Triad String Set #2.. Triad String Set #3.. Triad String Set #4 -rcsnmenanessenisnsnees Gths and [0ths wuss ing 29 ‘Triads in Spread Vc Complex Chords Chord Symbol Notation 0. Tth Chord Inversions The Five Four-Note String Sets Four-Note String Set #1 FourNote String Set #2.. FoursNote String Set #3. FourNote String Set #4. Four Note String Set #5. Other Chords You Should Know (Chords of the Harmonie Minar Seale... Chords of the Melodic Minor Scale... Quartal Harmony «. 103 Chords With More Than One Name ven 109Chord Index This isa quick reference chart for Chord Connections most of che movable chords in a apt ag Oe eens aah op gat goto oe chords inside for ronson et, oft? ne ees Chord ea « roe « 9 oo Major i726 27 28 : Minor 726 27 28 © & % 8 8 Diminished 7% 72 f * 8 * 8 & ‘Triad String Sets Augmenced (7 26 dy es es et soe co sersert Major 7 eos es + 39 si ez 7i ail * 7 ee ee? ee YO Minor 7 os 6 8 39 si ot 7) i * Ht WT Minor 7's > susan sesuna Diminished 7 oss 8 ye so 7 al ® ar — Major 9 Ce ee 3 sos es 7 57 or 787 * Minor 9 ssf 7 sr 7 7a a ta Minor 95 eos ss gy sy ot gt Four-Note String Sets 4 cos st Ww 57 67 7 Sime Sec sina Major 1 os + 5 43 58 68 78 88 ¢ ul st + * 48 58 68 78 88° u's sof fs * 48 58 68 78 68 4 os ¢ * 48 58 68 78 88 ¢ _ oe Major 13 ott 8 49 59 69 79 89 B ose 8 49 59 69 79 ~289 ¢ —- = B 4959 69 79 89 Major 6 a 9 Ot 99 Minor 6 Ce Oe wens 69 cots #93 93 93 93 Bt Minor 7 st tt 954 94 94 94 dP sunsree Augmented 7 wee 8 5 95 95 9595 79 ee 8 8 8 Me GH, w os 9 * «8 Ss 59 © ©. $a _56 a Ts st et 5 6 F958 759 vo... ew ew + 8 Fag 7... ee 8 8 © % as oe. . «ee ew + 8 B 7. +. ee ee 34 Chord Connections Introduction Chord Connections will show you how the many different types of chords are formed, how they relate to each other and how to get from one chord to the next in a smooth, logical manner. Each type of chord will be looked at in terms of: 1. Notes ‘What are the individual notes in the chord. 2. Quality = Is the chord major; minor, dominant, or another type 3. Inversion - Which is the lowest note played. 4, String Set - Which strings are used to finger the chord S. Exercises - Study material to help you fully understand the chord. We will start by looking at open-position and barre chord forms. some of which you probably already know. Then, we will move on co triads: theory. inversions and where to find them on all the possible sets of three strings on the guitar. Next, we'll move on to four-note voicings of 7th, 9th, Ith and |3ch chords in all their qualities. As you will soon learn, there are five qualities of 7th and 9th chords, four qualities of Ith chords, and three qualities of 13th chords, and each of chese can be played four different ways and on five different sets of strings! That's (5 +5 +4 +3 [= 17] x4 [= 68] x 5 =) 340 simple voicings! Furthermore, each chord can be played in any of 12 keys. That's (349 x 12 =) 4.086 different chords! Don't panic! The approach in this book Is quite logical and easy to follow. It will take hours of practice and study to master, but all this material is presented in a step-by-step fashion. All the chords shown are fingered on the neck, and there are plenty of exercises to help you get them uncer your fingers, We will look at special types of chords and where to play chem in all their inversions on all sets of strings. Then, its on to Harmonic Minor and Melodic Minor chords and the theory behind them. And, finally, we will study quartal harmony, where chords are stacked up in 4ths instead of in 3rds, As you will see, Chord Connections is comprehensive. Studying it will be demanding and rewarding. If you go through each lesson, do all the exercises, study the theory, and gec a thorough understanding of each coneept you will: Be able to play any chord, in any Inversion, on any set of strings in any key. Know all the notes that make up each chord. Know where all the notes are located on the neck of the guitar Know how chords relate to each other, Know all the qualities of triads, foursnote chords and other more specialized chords Understand chord scales Understand quartal harmony. Nowawne Much more than 2 chord dictionary, Chord Connections is a new approach to under- standing chords and harmony on the guitar. It will become an invaluable too! and a staple of your library. Robert Brown is the author of many books published by the Notional Guitar Workshop and Alfied, including Jazz for the Rock Guitarist, Stand Alone Tracks: Blues and Stand Alone Tracks: Funk, among othersChord Connections 5 How to Read Chord Diagrams There are hundreds of chord diagrams to read in this book, so it is a good idea to take a moment to familiarize yourself with how they will appear. The vertical lines represent strings, and horizontal lines represenc frets, Roman numerals are used to number the frets. Mute Chord name —— yg do not play this scring Left-hand fingers ———» | 312 «x ee V<—— Fret number Frew Rowan Nuveno Rewex Here is @ quick review of Roman numerals and their Arabic equivalents. Teil Wasi Wibvii 7 Xena Xen lO XI 13 XVI Lavi 16 Woh 2 Vow S VIN vii BOX ad XIV iv 4 XVEL avi 17 MG 3 VIX cP NM HID XV ww IS XVIIL Laviil., 18 Baste Cuoan Nave Asprenanions Here is a short list of abbreviations used to identify the various chord types. For a come plete listing, see page 36. This list will ger you started. For purposes of demonstration, this list assumes a root of °C. C vennne © Major Cming..... C Minor 6 CM a{7 aa © Major 7 Csusd..... C Suspended 4 Cmmin..... C Minor Csus?..... C Suspended 2 CminT nC Minor 7 CMaj9 .... C Major 9 CP ssnnnn © Dominant 7 Cadd9 .... € Major add? CF cron © Dominant ¥6 Chord Connect Open Position Chord Forms This lesson may be a review for you, but it is a good idea to go over all the chords that fall in open position before moving on to more difficult chords. A chord is in open position if it has open strings as an integral part of its make-up. Open Poston 0 Cronos Let's start by looking at the chords with D as the root, If you are unclear about the definitions or spellings of some of these chords, don't worry! You can jump ahead to pages 16,32 and 33 for an explanations of the different types of chords,or just wait tll we get there! Play the chords below, reading across the page from left to right. Pay attention co the sound of each one and how it is different from those before and after. Memorize all of them. Finally, devise your own exercise with these chords by playing them in random ‘orders until you can play them all perfectly and easily. AS you practice moving from one chord to the next, make sure you place all your fingers down at the same time. Also, look for guide fingers. A guide finger can stay on irs string during a chord change because that string and finger are common to both chords. Some. times.2 guide finger plays the exact same note in both chords. Sometimes it moves up or down on its string to a new note. It is very important to look for guide fingers because they minimize the amount of physical movement needed to change chords, and the less movement your hand has to do, the better. D DMaj7 Ds Dade9 xx0132 xxdlll xx0203) xxOdi4 oon oon (@ en e . ' . Dmin Dsus4 Dsus2 xx0231 xxO134 «x 0130 at. ae: eon en je ° i ee . D7sus4 Dir: Dmin/F xeo214 Leo23x x02 3x eon ee | et . ° °Oreu Posirion A Conus Chord Connections The A is the open Sth scring and it should be played along with the other notes in the chord, Notice that there are two voicings of A, AMaj7 and A7. Spend some time becom- ing famitiar with the sound of each individual chord on this page. Play the chords, reading across the page from left to right. A AMai7 xO1230 x02130 eee tle A AMaj7 xOlTI4 x01113 eee . Asus4 Asus2 xO E230 gO 1200 SEE epee ee oe ° Amin xO2310 “TT ee AG eouuit Amin7 wozois Amin xO2314 78 Chord Connections Oren Pasion € Chonns Chords with the low E on the 6th string as the root often have other open strings in their make-up—usually the high E on the Ist string, and/or the B on the 2nd string. In the minortype chords, the G on the open 3rd string is usually included. a2z31oo Emin 023000 Esus4 O23400 EMaj7 o2r3i4o Emin? o23040 E7sus4 o2o400 E6 7 gee, Emine o23040 eooe Eadd? o2z4ioo Emin? gizoss oe °10 Chord Connections Ootu Pasriox € Chonas These chords often have the E on the Ist string and/or G on the 3rd string open. The root is fingered on the Sch string Cc c CMaj7 a ce waro1o 342019 342000 432410 xa2310 ° ° he | ——e ——S . . ee . ee e ee ae, | oe ¢ | ! 1 Ohex Poston F Choaas Some of the chords in F put your lefe chumb to work! This is somewhat unorthodox, but try it out, Fit doesn’t work for you, change the fingering, These fingerings will allow you to do hammerons and pulkoffs often used in folk and country music chat aren't possible with standard fingerings. F FMaj7_ FT Fsus2 FMaj74l Tae211 T4210 xea241 Tae01y T4700 rte, eS eer os ‘ + - oe ee an os | in) T = Left-hand thumb: Ovex Position 8 Choos Finally, here are two chords with B as the root, fingered on the Sth string and with the open B on the 2nd string 87 Bmin7 ~21304 x20304 °rex Pasion G Cronos Chord Connections You will notice that there are two veicings of the G Major chord. Learn them both. The second one is the most commonly used because it silows an easy move from G to C/G Both the 3rd and 4th fingers remain on che same notes during the chord change, This is a common chord progression (the movement from one chord to another). The crick is to make sure that the fat part of your 3rd finger mutes (stops the sound of) the A string: it should rest against it lightly. G G 2 ovoo4 axooad + \-t we a. Gaddo Majo 3x0204 3xolo? Lataey ixolge | ee Gino 3rd) 20034 G6 3x0000 Gsus4 axoo1s we 9Chord Connections 11 Barre Chord Forms To borre (often spelled bar) means to place one of your left-hand fingers across several strings on the same fret at once. It is possible to move most of the open-position chord forms to any other place on the neck— to another root—by using a Ist finger barre. The two most widely used barre farms are those with E as the root and those with A as the root. E-Forn Baaes If you finger an E chord with your 2nd, 3rd, and 4th fingers and then place your |st finger across all the strings at the Sth fret, you will be playing an A chord, because the note on the Sth fret of the 6th string is an A. The form and the shape of the chord is E, but by placing the barre on the Sth fret, the root note becomes A. This works the same way for any position on the neck: where your Ist finger falls is the root of the chord, There are five important E chord forms that can be barred anywhere on the neck: E Major (E), wo voicings each of Dominant 7 (E7), E Minor (Emin), and E Minor 7 (Emin7). AT AT Amin Amin7 we4tirt taiia — ee@oy co ee . . (€ Form) (E Form) (€7 Form) (Emin Form) (Emin? Form) = Root A-Fort Banaes Using the same logic we used for the E forms. we can use chord forms with A as the root and barre them up the neck, The difference is that now the root is on the Sth string, So, an A chord form barred on the Sth fret becomes a D chard, because the note on che Sth fret of the Sch string is D! The five chord-types used for A-farm barres are slightly differ- tent chan those for E-form barres: A Major (A),A Major 7 (AMa\7},A Dominant 7(A7),A Minor (Amin) and A Minor 7 (Amin7). D DMaj7 Db? Dmin7 m13331 xtarat tai sein) 3 12: — — oe ey oe . ee 40 . (A Form) (AMA? Form), (AT Form) {Amin Form) (Amin? Form)12 Chord Connections asic Theory In order to bacome fluent with chords it is necessary to fully understand how they are constructed and how they relate to each other. This theoretical discussion will take place a lite bic at a ime, throughout the book. To begin with, we need to set the stage with look at the basic theory which is essential to any meaningful study of music. Tre Cinonane Sorte The chromotic scale is made with twelve ascending or descending half steps. A half step is ‘the smallest distance between two notes, On the guitar this is the distance between two adjacent frets. You can play the chromatic scale a number of differenc ways, One good way to practice is to start on any open string and play each fret up to the twelfth. The Important thing to remember is that the note chat you start on becomes the first scale degree (I). which js also called the root. All the other notes are given scale degree num- bers based on their distance from the root. For instance, in the example below, Cis | (the root), so D is 2. A sharped D (D4) is #2. 1 in 2 3 4 4 5 ts 6 te Evunnvcnic Eguvavets Each note in the chromatic scale has both a letter name and a scale degree number. In fact, when you are ascending from C, some of the notes have sharps $in front of them, but. when you are descending from C, those same notes have flacs b. That means that some notes can have two names! These are said to be enharmonic equivalents, In the C Chro- matic scale, there aro five pairs of enharmonic notes: coand or Hand 19 and or 2 and 3 Fooand G or 4 and 5 Gt and AY or and 6 AF and Bt or % and 7 The enharmonic spellings you will use depend upon the key you are in, whether the music is ascending or descending, and the intervals involved. The following sections on intervals and scales will clarify this concept.Chord Connections lnrenvs Tie e The distance between any two notes {s called an interval. The smallest interval is the half step, which is the distance between any two adjacent frets on the guitar. The next largest incerval is called the whole step, which is equal to two haif steps.or a move of two frets on che guitar. In one octave (a span of 12 half steps), the following simple intervals will cecur (they can all be measured in haif steps}: Scale Degrees _Interval___Half Steps to 2. Minor 2nd ree 1 to2.. major 2nd... 103 sseensen 1to3 14 minor 3rd . major 3rd. nw perfect 4th augmented 4th diminished 5th perfect 5th. augmented 5th... .»- minor 6th major 6th wen diminished Teh sas 9 Muon Scnue A scale is a group of notes which follow each other in some sort of step-wise (alphabetical) order, usually using half steps and whole steps. There are many scales in existence and perhaps the most important of them for rack and jazz musicians is the major scale. It has 2 specific arrangement of half and whole steps that is always the same, no matter which note you start on. Scale Degrees: 1 2 2 4 5s 68 7 8 Theinernivareamays — NANPA ALA So, the formula for a major scale in whole and half steps is: NZ > Whole step Whole Whole Half Whole Whole Whole Half Se Ballas The haif-steps are between 3 - 4,and 7 - 8 The € Major Scale - WN NR 1314 Chord Connections Kev Stvntunes A key signature is found at the beginning of every line of music in a piece. It is a group of sharps or flacs chat are derived from a specific major scale. What ever notes are sharped oF flatted in the key signature are sharp or flac throughout the piece. The key signature is, therefore. a device which allows us to readily and easily determine what key 2 particular, piece of music is written in. For instance,a key signature which results in using che notes of theA Major scale would indicate the key of A Major. A piece of music in a particular key must generally confine itself to the notes in that key. Other notes, however. can and often, do appear in the piece, Each key signature actually applies to two keys:a major kay and a minor key, The minor key for each key signature is called the relative miner and it is the key whose root is the 6th degree of the major scale. For instance, the 6th degree of a C Major scale is the note A, so the key of A Minor is the relative minor key to © Major: The key of C Major (and A Minor) has no sharps or flats in the key signature, Here are all of the sharp and flat major key signatures and their relative minor keys. MAJOR KEY MINOR KEY SHARPS MAJOR KEY MINOR KEY FLATS ora GE | amen ee ey ee ted > spe men tee ae a * e : 26 CMINOR Cte DF a vipa tind FMR BEAD = cmon kets oman P TL ferme neko pimnor GG ole e errno EPP PMNOR EAD GC a b : AEMINOR FEC GDF al aba! cbvnon G75 Ll ativcr weandcr oTae Cytue oF 4nts Chord Connections 15 Ie is important to learn to recognize each key and also to be able to explain and derive each key in order. The order for keys is called the cycle of 4ths. This is because each key follows its predecessor by the interval of a perfect 4th We start with the key of C Major. This key has no sharps or flats—easy to remember? The next key,a 4th away from C,is F Major, The F Major scale, and therefore the key of Major Keys Minor Key Flats c A none F Majors spelled F-G-A-B'-C-D-E,NoticetheB. D ® ‘There must be one flat in the key of La’ The next key is gh G BLE a perfect 4th away from F.and just happens to be B' This gh c Rew key is spelled BY-C-D-E'-F-G-A. Notice that there ay F BLe.ALD are cwo flats now, B° and €. So, there are ewo flats in the Be BEA DLS key of B., Go up a 4th from B! and you get E',the next key e BEAD EC in the cycle. You can see that each successive flat key adds another flat that is up a 4th from the last flat,and tha the keys themselves are a 4th apart. Of course. this is also rue for the minor keys,as the table on the right illustraces. If we continued on this way, the next key would be C\— ‘with seven flats! In order to avoid this, we can enharmoni- Major Key Minor Key Sharps cally spell C’ and call ie B. If you study the chart on page = B ¢ FL CL GH DR AY |4, you will see that B is a sharp key and that sharp keys E ¢ FL CL GA DA are derived in order from C in a cycle of Sths. Each key is = A ft FA ch Gt 2 perfect Sth away from the previous one,and each sharp B that is added is a Sth away from the previous one. Haw- — G E evar, since popular music more often follows the cycle of C A ths, we will continue by moving around the cycle from B This diagram shows the entire cycle of 4ths, and the cycle of Sths.as well MAJOR KEYS 4ths Cc 1 Sths F G 2 pA. 3 B D B Nummer Eb Co MINOR KEYS FE A? Mupber16 Chord Connections Trios A triad isa three-note chord buile with the Ist, 3rd and Sth seale dagrees. There are four different types, or qualities, of eriads Triad type Scale Degrees Major (Maly r 3 S Minor (min) 1 Bos Diminished (dim) 113. Augmented (aug) 135. InveRsios Each type of zriad can be played three different ways depending on which of the three notes is on the botcom of the triad If the root is on the bottom, the triad is in root position. Ifthe 3rd. is on the bottom, the triad is in Is¢ inversion. Ifthe Sth Is on the bottom, the triad is in 2nd inversion. Root Position Ist Inversion 2nd Inversion C Major e Minor ° C Diminished é C AugmentedChord Connections 17 ‘Triad String Set #1 The first set of triads you need to learn are the ones on the top three strings, which we call Triad String Set #1. Read across first, from left to right, then down. As you read across the page the qualities change, Each chord to the right of the major triad has one or two notes changed, which changes its quality. Listen to the Incredible difference even one nate makes. The gray arrows will help you identify the notes that have been changed from the major triad, As you read down each column. the triads change inversions. Get famile iar with the sound of each of these inversions, and learn the fingerings C Major C Minor C Diminished CAugmented xxx231 xxx321 xxx 321 Xxx 231 Inversions — RP ou ae i ‘un . ey ae a i oe $ i R35 R35 Ras R35 xxx2tl xxxtll Ist @ owt eeow S | 35R BER xxxl3? xxx231 2nd Ce 2 9 ! i SRB SRY Root Position This note been raised or lowered ‘one half step from its position in the major triad to create a triad of a different quality18 Chord Connections The Chord Connection The chord connection exercises in this book will Help you learn all the chords in all their Inversions on ail scring sats, the cycle of 4ths, and increase your knowledge of the guitar fingerboard. The first thing you have to know is the location of the three inyerstons of each triad. Here is a neck diagram of the three inversions of the major «riad on String Set #1. C Major Root Position Ist Inversion, ° 2 ° . e w v vu \seSatng c, ' neering ° Sra Seng © e | eo. or Root Position Ist Inversion ec; e, m v ww Ist Inversion 0 y wu Augmented Root Position ° ‘5 Ist Inversion 2nd Inversion e xt xv Its a good idea to visualize each string indi- vidually to learn the location of the root in each inversion, You'll seo that the triad is outlined on each string up the neck, Here are the minor, diminished and lala augmented triads on the finger- £ ® board. Try to visualize each string e individually, as you did with the major triads. nt xv 2nd Inversion au xv 2nd Inversion eTae Exernse Chord Connections The chore connection exercise, which will be used throughout this book for many chord typas, works as follows: 1) Starting with a C chord in the lowest position possible, play up the fingerboard through all the inversions of the chord 2) Find the inversion of an F chord chat is nearest the last inversion of the C chord. Beginning on tha: inversion of the F chord, come back down the neck, playing through all the inversions of the chord in F until you have reached the lowest position possible. 3) Find the B' chord inversion nearest there, and play back up the fingerboard through all the inversions of the B chord 4) Find the inversion of an E° chord that is nearest the last inversion of the B' chord. Beginning on that inversion of the E chord, come back down the neck, playing through all the inversions of the chord in until you have reached the lowest position possible. If you know which string has the root in each inversion, finding each inversion is simply a mat- ter of finding the root note ‘on the appropriate string. For instance, the Ist inversion of a major triad has the root on the Ist string So to find a Ist inversion C Major triad, you need only find a C note on the Ist string, and then play the Ist inversion triad there. Continue this way through the cycle of 4ths. When you have completed this exercise and can do it without looking at any chord diagrams, you will actually have learned not only all the inversions of the chord in every key, but also, the notes that make up each of those triads! upinc Root Postion Ist everson ed Iverson Here isa full fingerboard view of how the . . . chord connection exercise works using Major : we . the major triad and its inversions, start- ing in Cand ending in moos wu x “ “ Down in F The following section of the book will take Sindltiemel you through this entire process with the — major, minor, diminished and augmented .- triads. Up in BY oct Peitien ——_laharsion ° . ° B Major ' . . Down ia! Zé version Root Posen Ist aversion : “ : E-Major . . * 1920 Chord Connections Triad Chord Connections Mason Tis Read down the left column, then up the next, then down the next, exe., across the two pages. The inversions are marked to the right of each diagram, under the fret number. c P B e AY o> saetil weeese costs emeige «eters eee ego a So = =a 4 oe on eow oc ‘3 ‘ oe eae sao ase saa sae saa eaD eR e222) etd? eee ioen Reem oe tee TL 2 om én . of | ° ee Tl ee ask nas sks nas sas nas eig10) | xt xi . e 4 b ° 8 ° RI5 ROS R35 R35 Here are the diatonic triads for String Set #3 in root position. Find th inversion28 Chord Connections {Triad String Set #4 ~ Triad String Set #4 uses the 4th, Sth and 6th strihgs. Play down the page to hear the inversions, and across the page to hear the qualities, Play each quality Ina chord connections cycle of 4ths. qs rE Maj min e Caug merle 3.4.2 x x x Q4texx 24xxx 32ixxx loohq ft ° ° 2nd W 7 1 @ | " @o so | xe xn eo ee ee. fe ee] | i | tte . 16 ee T3539 Pog eS Ts So 359 Exercise #1: Maj9 chords descending, alcern: 2nd inversion and root position in the cycle of 4ths as per Exercise #1 on pages 52 - 53. Then do the same with 9, min9, min9’'S’ and 9 chords, Exercise #2: Maj9 chords descending, alternating {st Inversion and 3rd inversion in the cycie of 4Aths as per Exercise #2 on page 52-53. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four in- versions up and down the fingerboard in the cycle of Aths as per Exercise 43 on pages 53 - 54. Then do the same with 9. min9, min9'5 and 9 chords. Exercise #4: Play through this standard chord pro- gression in four different positions as per Exer- cise #4 on page 56, starting on a different inver- sion each time: CMaj9 - Amin? - Ding’ - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4chs58 Chord Connections Four-Note String Set #2 This — Exencises #1 - #24 To form | Ith chords, we move 3 to 4 (or |1),s0 there is no 3rd in a four-note Ich chord! Four-note ||th chords are comprised of 1,5,7 and I. Minor I chords are exceedingly rare because, in a foursnote Ith chord, there is no 3rd, ing 2nd inversion and root position in the cycle of ths as per Exercise #1 on pages 52-53. Then do the same with II, 11'S and “11 chords. Exercise #2: Majl| chords descending, alternate ing Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 52- $3. Then do the same with HI, 15 and “1 chords. qos CMajil cll cies cil ela2ax wiaiane gtzity g2alax OO w a . . . R571 x24 13% x23 14x =sT Ist hiw hiv oe oe é : WR lees eibiay ana ee!) X eoe Xx Toe e . % , SRI? SRN SRI? SR DAT xidite wd4iay x2diin x24asax —— r 3rd ext eM +L x xt 6 e %6 je Pog * : e ie ¢ . | TUSR nse FIs R aise Exercise #1: Majl! chords descending, alternat- Exercise #3: Maj! | chord connections in four in- versions up and down the fingerboard in the cycle of 4chs as per Exercise #3 on pages 54 - 55. Then do the same with It, 11'S and °I1 chords. Exercise #4: Play through this standaré chord progression in four different positions as per Exer- cise #4 on page 56, starting on a different inversion each time: CMajil AIL - DII'S - G°LL. Then, transpose this chord progression to all the other keys. through the cycle of 4ths.Tris ~ Exennses #1 - #44 To form 13th chords we will start with 7th chords and move 5 to 6 (or 13). So, in these 13th chords, there is no Sth; there is only 1, 3,7 and 13. CMajl3 x1324% xt Inversions | o ro lt i e . | R173 R Ist and eo ° 3 ee ° BR37 x234ix ard ose eee 7303R TUIBR Exercise #1: Majl3 chords descending, alternat- ing 2nd inversion and root position in the cycle of 4ths as per Exercise #1 on pages 52-53. Then do the same with 13 and min}3 chords. Exercise #2: Majl3 chords descending, alternat- ing Ist inversion and 3rd inversion in the cycle of 4ths as per Exercise #1 on pages 52-53.Then do the same with 13 and minI3 chords. Chord Connections 59 Four-Note String Set # RiB'7 3 x23iax MI % aw 7313R Exercise #3: Majl3 chord connections in four in- versions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 54-55. Then do the same with 13 and minI3 chords Exercise #4: Play through this standard chord progression in four different positions as per Exercise #4 on page S6, starting on a different inversion each time: CMaji3 - Amin |3 - Drnin 3 = G13. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.60 Chord Connections Four-Note String Set #2 Covawami Crono Procfession Here is a chord progression designed to make you think about what notes make up each type of chord, and which inversions to use, It includes 9ch, Ith and 13th chords. Read ‘across the page for the chord progression. Each row is another set of inversions, or another place to play on the fingerboare. CM aj!3 Amin? Dmin95 GI xl423x x2314x x2R14e x2304K Lil ix ees aoe Sar ew u ite . ee e | dtd RI373 WFRS x23iax xiiize Ss | es Sarin iw eoe| vy “a ’ e SRI 27 RB x3244x x2413x Sear in ew te ov a 6 . eyo Inerion i / é | ee i i | o R37 Task Boos TUSR e24i3x% xialdx xiChord Connections 61 Four-Note String Set # Four-Note String Set #3 Tits Four-Note String Set #3 uses the Sth, 3rd, 2nd and Ist strings. Don't play the 6th string, and mute the 4th string with the flesh of whatever finger is playing on the Sth string. Play across the rows to compare the different qualities of 7th chord, and play down the col- umns to compare the inversions of each quality CMaj7 7 c? xin342 xlx2z43 x xaxi3) Invern ‘ ered Oy en T | ° rn I ° 1 : | R Rk 745 R 735 R o7s's e2xt43 x2xt43 x2et3) Ist oliy boo ly oe e . . ° 4 . . 3 RST a R57 3 RS7 moe i 4s w2etdt e2ei3) . lle oo °° and ex ex The x oe in . eo) ° | . Le indy ° 5 37R s aR s BIR 's 307R 5 37 xsei2t eayrat wdxtGl we oe aed ee. exil Noe x 9 e 6 6 ° ' 7 S5R3 7 sR 7 5R9$2. Chord Connections ‘our-Note String Set #3 Exenowse #] — flrenverins Ror Posin evn Gxt nveasion Throuca rae Crouc or 41s. Use your 4th finger as a guide finger as you change from chord to chord. Also do this exercise using 7,min7, min7’5 and 7 chords. Read across the two pages. CM aj7 FMaj7/C. BMaj7 EMaj7/B° AMaj7 D'Maj7/A” mde342 x3024) ced 4? wax24t win2 42 eax D4) cre Pe SF pun coh _ vO Seog Fo. 9 ° exv 2 xv 0 ex ex 8 oxi ex cp ° . . ° e . ° . eo) e . . Exeroses #2 — fliennarine Sno ano Ist lwvensions Thnoucn rae Cycue a¢ Ares, Your Ist finger is your guide finger. Also do this exercise using 7, min?, minJ'S and 7 chords. Read across the two pages CMaj7/8 FMaj7/A BMaj7/A EMai7/G AMai7IG. DMaj7/F Qe 121 x2e143 edxt21 x2eI43 w3xI21 x2x 143 Tahes if .c:om. er i o a | x oe wt . . . ° ° . . . . .Chord Connections 63 Four-Note String Set #3 Exercise #1 Continued Gimay7 BMaj7/Fe EMaj7 AMAZE DMaj7 GMaj7/D xix34? x3u24t eix34? xax24t vixd4? xax24) TS ca hee ot a bd Oe Se Se @ © Gert ssn } ox e wm oo ) evi | eouoi°e ev eo ow ° e eo! is ° ° . . t ie i i. . Exercise #2 Continued G'Maj7iF BMaj7/Dt EMaj7/D# AMaj7/CH DMaj7/C# GMaj7/B ee ee e ev v 1 Fae" ° eu ear LT . . | ¢ '64 Chord Connections Four-Note String Set #3 Exencise #3 — Crono Conrecrios Read this exercise across these two pages. It is the main chord connection exercise for this string set. Starting with Claj7, play down the page (up the fingerboard) in the four inversions of CMaj7, then turn around and play back up the page (down the fingerboard) in the four inversions of FMaj7. Follow the arrows up and down the neck through the cycle of ths. ‘When you have finished this exercise, do the same thing with the 7th, min7, min?’S and °7. chords. Maj? 1x3 42 ° ew aoe 2 eo ° FMal7 xax24) wixa a2 ° eu . . x2x143 oe Xx ° . . BMa7 xi x34? Mai x3xt2t x34? ° ow a2e 4g ° AMai7 xaxi4aa 12342 ° ex OMai7 x32 . oun xi 4342Chord Connections 65 FoursNote String Sec #3 Exercise 43 Continued onal BMaj7 EMaiT AMy7 DMa7 maiz phe) cide ceed gtel ad nest? edeed tee UP eu 8 an oTew ou 6 ow ‘ . ey ' ‘ e ° ar] ae ie . ie . . xdetet xaet4s cea? xaut4) xaetta eaxt2 aa 6 = oT es oo w 0 | om fo cel ioe ow oe 6 . im ° . oe ° \ i ee oe . oe . Rhee et ees tenet ti? ini? ee ee ee 3 en ef vw ow een er) ox . ° 6 . ° ° . ° . . . Meise betas eae ea? Hoey ETD, o ex eM 6 exn ° . . * 8 6 | .66 Chord Connections Four-Note String Set #3 Exercise #4 — Srannnao Chora Prusaession ‘The chord progressions appears in four positions, Read across the page. Each row is ina different position Root Poin Sarin Ireerion tn ie Inversion maiz xix342 ° eu wax e) ext Amin? x2x143 oon . . Dtowe 77 cuonns a C, Roar Pasion min? x3xi4i ve 0 eo 2x34) xaxr4al ee oe ow . ° : . m2x143) x2x13) o ow ee ee ° le e2x14t x1x243 ef ox ee e i . . amet eonsSas — Exercises #1 - #44 In order to create 9th chords, we take 7th chords and move the ist scale degree to the And scale degree. In other words. | is replaced by 2 (ar 9) root! Four-note $th chords are comprised of 3, 5,7 and 9. then apply the four exercises described below. Read across to compare qualities, and down to compare inversions. Chord Connections 67 Note String Set #3 Fou The result is thac there Is no Study these chord forms and cMaj9 oo co «3x2 41 xaxtal x4xtal terion aa ve RP ow oem un ° * . ee ee . 9 73S 9 735 + woe wix243) x2x341 x1e342 lee vi oe on eee oe . e e e * 30957 30957 3 95% 3 SF 3 e5*t m2e14300 £2e143) x2ei43 x2eted x2x134 . . and ew ew Ke n @ 1s e e e e e e e ee . . ° ° 5 379 5 79 5 379 ef 79 s yes maet4t x2etat xdx24) x~delat x2x14t — — ee ou 3rd ee ext © ent osu oe xi e e e é . : ° . . . . 7 S93 7 593 2 ea we hg ly lpm ty Exercise #1: M2j$ chords descending, alternating root position and 2nd inversion in the cycle of 4uhs as per Exercise #1 on pages 52-53. Then do the same with 9, min8, min9'5's and 9 chords. Exercise #2: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of ths as per Exercise #2 on page 52-53. Then do the same with 9, min9, min9'S and 9 chords. Exercise #3: Maj9 chord connections in four in- versions up and down the fingerboard in the cycle of Aths as per Exercise #3 on pages 53 - 54. Then do the same with 8, mind, min9’5 and 9 chords. Exercise #4: Play through this standard chord pro- gression in four different positions as per Exer- cise #4 on page S6. starting on a different inver- sion each time: CMaj? - Amia9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths68 Chord Connections Four-Note String Set #3 Tins — Exenoses #1 - #44 To form 11th chords, we move 3 to 4 (or 11), so there is no 3rd in a fournote I Ith chord! Four-note Ith chords are comprised of 1,5.7 and II. Minor II chords are exceedingly rare because, in a foursnote | Ith chord, there is no 3rd. CMajl cll cits ou est mtx i4) e234) x2ei4! tnesons [4 oe Re 8 eu peg rom ee La | l¢ | jie e| ° R TUS R745 wR brits x3xt42 xaxt32 xaxiai esse eS ee f a Ise a ee voi) oO ey |] « If sy | ‘ toa je ° eive . ei WoRS? WooRS 7 WR 7 x2e34) edxaei x2eatt 42x34! oO oO ane Ix | x a Ix |e: Px | & oe ; ° . | o li 4 ly | Ss NTR 5 UTR 5 MFR STR e4ei23 x2et34 xzesaa aed xu e @. wf 7 SRO Exercise #1: Majll chords descending, alternac- ing roat position and 2nd inversion in the cycle of ths as per Exercise #1 on pages 52-53. Then do the same with 11, 11'S and “I chords. Exercise #2: Majl| chords descending, alcernat- ing Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 52-53,Then do the same with 11, 11!5 and Hl chords. Exercise #3: Mal chord connections in four inversions up and down the fingerboard in the cycle of 4chs as per Exercise 43 on pages 54 - 55. Then do the same with 11, 11'S and "I chords. Exercise #4: Play through this standard chord progression in four different positions as per Exercise #4 on page 56, starting on a differen: inversion each time: CMajI 1 -Al1-DI|5- Gil Then, transpose this chord progression to all the other keys, through the cycle of 4ths.Chord Connections 69 Four-Note String Set #: V5nus ~ Exencises #1 ~ #44 im 2S To form | 3th chords we start with 7th chords and move § to 6 (or 13). Soin fournote 4 13th chords, there is no Sth; there is only |, 3, 7 and 13. te CMaji3 : , xix24a4 RPL ° I R730 x2x143 Ise vt ele ex a R1B7 x3x24) 2nd | e 8 x3x421 ad xt i ° lee 7 1aR3 Exercise #1: Majl3 chords descending, alternat- Exercise #3: Maj|3 chord connections in four In- ing root position and 2nd inversion in the cycle versions up and down the fingerboard in the cycle of 4ths as per Exercise #! on pages $2-53. Then of 4ths as per Exercise #3 on pages 54 - 55.Then do the same with 13 and minI3 chords, do the same with 13 and min13 chords, Exercise #2: Majl3 chords descending, alternat- Exercise #4: Play through this standard chord ing Ist inversion and 3rd inversion in the cycle of progression in four different positions as per Ex Achs as per Exercise #1 on pages 52-53. Then do ercise #4 on page 56, starting on a different in- the same with 13 and min13 chords. version each time: CMajl3 - Amin|3 - Dmin|3- G13. Then, transpose this chord progression to all the other keys, through the cycle of 4ths.