Neo Soul

Guitar Book
 Introduction

Author
Jordan Hemphill is the founder of the Nasty Soul
Youtube channel and has been working as a
professional musician and educator for over 10
years. After having graduated from Musicians
Institute (which produced players like Mateus
Asato, Anderson .Paak, John Frusciante) he took
that experience and continued to hone his
expertise thru hundreds of students and
performing with world-class professionals
throughout his hometown of Los Angeles.

Who is this book for?

This book is for the guitar player who knows
nothing about music theory and can play barre
chords. Theoretical concepts will be introduced,
but some details will be omitted for the sake of
simplification. The idea is to apply the concepts,
use your own ear as you experiment with them
(ALWAYS lead with your ear) and allow your
curiosity to guide your interest in future study.
How To Use This Book
The intention of this book is to provide ideas for rhythm and
lead guitar commonly used in the neo-soul style. This is not
a chronological book, any page will provide an idea that you
can apply and practice, however, chapters have a consistent
key and chord progression.

Chord Progression
Each chapter introduces
Rhythm Style a new chord progression
and examples on how to
New Chords approach it.

Lead Approach

Chord diagrams are color coded. The black dots

are the original chord and the red dots are
notes that can be played with the chord, most
commonly as a hammer-on/pull-off. The
number on the left is the fret which matches the
name of the chord, but the chord can be moved
anywhere following the root note labeled as the
yellow R. (there are NO open strings in these chords)

Every scale is meant to be seen through the

main pentatonic pattern. The red dot notes are
to be seen as unique "flavors" added to the
scale.
 My Approach

Do now, ask questions later

Ok, that MAY be a little extreme, but I stand by it. With
every new thing you learn, experiment with it and see
how it fits in with whatever you are inspired by. That is
where creativity lies and the great tradition of art:
learning from the past masters and "frankenstein-ing"
their influence with all your personal and cultural
influences to make that unique YOU sound.

A Word On Music Theory

Music is relative, meaning that every note in a
song relates directly back to the key center.
The note C in the key of C sounds resolving
and complete. The note C in the key of Db
sounds tense and incomplete. This is the
difference between the 1st degree scale tone
and the 7th. It took me years to get a grasp
on the relativity of music, so don't trip if this is
alien to you right now or months down the
road. It will come, just keep pushing forward.

Final Note
This is a book of concepts commonly used in the neo-soul style.
Springboard ideas. Spending a month on a single page/concept is not
inappropriate, it is encouraged and will be inevitable.
 Table of Contents

Chapter 1 Chapter 5
RnB Style Chords Diatonic Chords
Minor 11 Chord Pent. Add 11
Soul Notes
Neo Chords Chapter 6
Change Key Minor 9 Move
Chapter 2 Diminished Sub
Superimposed Pentatonics
Major 7 Chords
Arepeggios
Chords in a Key
Slash Chords Chapter 7
Double Stops
Altered Chords
Neo Pentatonic
Sequences
Chapter 3
Outro
Groove Theory
Major 9 Chord Refresh
Pent. Add 9 Chord Library
Tabbing A Groove
Chapter 4 Suggested Listening
Find The Key
More Neo Chords
Finding Neo Chords
 Chapter 1
RnB Style Chords
The foundation of neo soul is RnB, and the most
distinct rhythm style is adding hammer-ons and
pull-offs to your chords.

|: Gm7 |A m7 |D m7 | D :| m7

Gm7 Am7

Dm7
Minor 11 Chords Chapter 1

Change the texture of a m7 chord by playing a

m11 chord instead. Continue to be creative with
hammer-on/pull-offs over your m7 chord.

|: Gm11 |A m11 |D m7 | D :| m7

Gm11 Am11

Dm7
Soul Notes Chapter 1

Soul notes are meant to be played as grace

notes. Notes that you don't sit on, but pass thru
to give a soulful feeling.

|: G m11 |A m11 |D m7 | D :| m7

This chord progression is in

the key of D minor.
IVm - Vm - Im
Practice soul notes over the
Dm Pentatonic pattern

Gm11 Am11

Dm7
Neo-Chords Chapter 1

Neo-chords can be applied like any lick or double

stop. They are simply harmonized notes that work
over the general key center.

|: Gm11 |A m11 |D m7 | D :| m7

Gm11 Am11

Dm7
Change Key Chapter 1

You cannot fully utilitize a new idea unless you

can play it in different keys. Always practice
each new concept over different keys and chord
progressions.

|: B m7 |B m7 |E m7 | E :| m7

Bm7

Em7
Major 7 Chords Chapter 2

Get familiar with the RnB style movements over

a major 7 chord and pair that with all the
options you have with a minor 7 chord.

|: E maj7 |E maj7 |F #m7 | F :|#m7

Emaj7

F#m7
SlashChords
Chords
in a key
Chapter 2

Slash chords are most commonly used as the V

chord in the key with the 2nd letter being the
root. (A/B = B7sus)

The 2nd letter is the

root of the chord:

B7sus = A/B
A7sus = G/A
E7sus = D/E
D7sus = C/D

I II III IV V
E maj7 F #m7 G #m7 A B maj7 7

D maj7 E m7 F #m7 G A maj7 7

A maj7 B m7 C #m7 D E maj7 7

G maj7 A m7 B m7 C D maj7 7
Slash Chords Chapter 2

Add movement to a simple chord progression

by playing a slash chord before the I chord. This
progression is in the key of E major, so a V chord
(A/B) will lead into any E chord.

|: E maj7 |E maj7 |F #m7 | F A :|

#m7 /B

Emaj7

F#m7 A/B
Double Stops Chapter 2

When you play two strings at the same time, it is

called a double stop. The easiest way is to
slightly bar your finger across two strings (A/D
or D/G)

|: E maj7 |E maj7 |F #m7 | F :| #m7

Emaj7

F#m7
Neo Pentatonic Chapter 2

This pattern is perfect for slides and hammer

ons that create common neo-soul phrasing.
This is similar to the "B.B. King Box" that brings
out a Major sound.

|: E maj7 |E maj7 |F #m7 | F :| #m7

Note: This is not technically

a pentatonic scale, but is
best if approached as such

Emaj7

F#m7
Groove Theory Chapter 3

Create a groove by slapping the guitar on beats

2 & 4 and plucking muted strings. Start very
slow and get the coordination of movements
down first (chord, slap, chord, bass, etc)

|: F maj9 |E 7 |A m7 | A :| m7

Fmaj9 E7

Am7

*See Tabbing The Groove at end of book to learn how to read this tab
Major 9 Move Chapter 3

Add movement by hammering into the chord

from the red note.

|: F maj9 |E 7 |A m11 | A :| m11

Fmaj9 E7

Am11
9th Scale Degree Chapter 3

Give your pentatonic licks some extra flavor by

including the 9th degree (red dot). This note
sticks out as a bit mysterious and sounds very
nice sliding into it from a half step below.

|: F maj9 |E 7 |A m11 | A :| m11

Fmaj9 E7 Am11
 Find The Key Chapter 4

Any time you have 2 chords of the same quality

(both major or minor) one whole step apart,
that is most likely the IV and V chord of the key.

|: E maj9 |C #7sus2 |B maj9 | F :| #(add4)

Use this basic blues pattern to see where

the key center is by finding the root notes of
the 2 chords on the A string

In this example E and F# and both major

chords AND a whole step apart, so that
would lead me to the key of B Major

Emaj9 C#m7sus2

Bmaj9 F#(add4)
More Neo Chords Chapter 4

Get familiar with and be creative when applying

these chords over the B major key. Red dot
notes are optional for movement.

|: E maj9 |C #7sus2 |B maj9 | F :|#(add4)

7-
Finding Neo Chords Chapter 4

It can be tricky getting used to seeing these

chords through the key center, so here is
another example in D major.

|: Dmaj7 |D maj7 |G maj7 | G :| /A

Diatonic Chords Chapter 5

Diatonic chords are the chords made from

notes in a single key signature. The chords in
this progression are all made up of notes from
it’s key center, C# minor.

|: C B | G #m #m A B :|
|: I VII | V
m b m bVI VII:| b

As the chords breakdown into numbers, you

will see each chord has a function as a result
of it’s relationship to the root note. (In the
key of G you resolve on G major, but in the
key of C, G Major pulls you to C Major)

C#m B

G#m A B
11th Scale Degree Chapter 5

Always start with and see the pentatonic scale

and then tastefully bring in the 9th or the 11th
scale degree.

|: C #m B |G #m A B :|
Slide into the note before the 11th
scale tone.

In this example, on the B string, slide

into the 9th fret from the 8th fret.
Minor 9 Move Chapter 6

Add movement by hammering into the chord

from the red note

|: E m9 A m7 |C maj7 B 7(#5) :|

Em9 Am7 Cmaj7 B7(#5)

Diminished Substitution Chapter 6

In place of a V chord, play a diminished chord

1/2 step below the I chord. Move the same
shape up a minor 3rd (3 frets) for an easy
natural inversion.

|: E m9 A m7 |C maj7 B 7(#5) :|

9-

B7(#5)
Em9 Am7 Cmaj7 D#dim7 F#dim7
Superimposed Pentatonics Chapter 6
Over a major key, you can play the minor
pentantic scale starting on the 3rd to bring out a
major 7 sound. In the key of C major, you would
play E minor pentatonic.

|: D m9 |G 13 |C maj7 |A 7(#5) :|
The simplest way to figure this
out is to follow the diagram on
the right.

Find the root note on the E

string. In the key of C, the root
note (C) is on the 8th fret.

The 3rd of the scale is the root of

the minor pentatonic I would
play.
Special Note:
The 3rd in the key of C major is This trick does not
E, so I would play Em pentatonic work with a basic C
in the key of C to bring out a major progression. It
Cmaj7 sound. specifically highlights
the major 7 chord. If
there is not major 7, it
may not sound good.
Arpeggios Chapter 6

Playing an arpeggio is like playing a scale, but

creates a more open and specific tonality.

|: E m9 A m7 |C maj7 B 7(#5) :|

Play a Major 7 Arp over it’s own chord (C major 7

arpeggio over a C major 7 chord)

Play a Major 7 Arp on the 3rd of a minor chord

(The third of Em is G, so play G Major 7 Arp over
Em)

Am7 Cmaj7 B7(#5)

Em9

G Major 7 Arp C Major 7 Arp

Altered Chords Chapter 7

Add tension to a V chord by altering it’s chord

tones. #9 b9 #5 b5

|: D m9 |G 13 |C maj7 |A 7(#5) :|

#9 and b9
chords are
often played
one after
another
Sequences Chapter 7

Scale runs can be more interesting by playing a

scale in 2, 3, or 4 note patterns. Experiment
with the feel by changing the rhythm of the run
(1/8th notes, triplets, 1/16th notes)

|: D m9 |G 13 |C maj7 |A 7(#5) :|
2 Note “Scale Back”

2 Note “Scale Back” Triplets

4-Note Pattern
Sequences Chapter 7

Alongside changing the rhythm of the sequence,

try starting the sequence a beat or two early or
late.

|: D m9 |G 13 |C maj7 |A 7(#5) :|

Fretboard knowledge goal:

Learn pentatonic scale on 2 strings going
up the neck. Learn it on one string. Try
sequence patterns on 1or 2 strings.
 Outro
Refresh

|: C #m B | G A B :| #m

|: E maj9 | C | B | F :|
#7sus2 maj9 #(add4)

|: F maj9 | E | A | A :|
7 m7 m7

|: E maj7 | E | F | F :|
maj7 #m7 #m7

|: G m11 | A | D | D :|
m11 m7 m7

|: D m9 | G | C | A :|
13 maj7 7(#5)

|: E m9 | A | C | B :|
m7 maj7 7(#5)

Lead: Rhythm:
Pentatonic Soul Notes Major 9
Pentatonic add the 9th Minor 11
Double Stops Minor 7 moves
Neo Pentatonic Slash Chords
Neo Chords Minor 9 moves
Pentatonic add the 11th Diminished
Arpeggios Altered
Superimposed Pentatonics
Sequences
 Outro
Refresh

|: I bVII | bIII bVI bVII :|

m m

|: IV | bVI | I | V :|
maj9 m maj9

|:bVI | V | I | I :|
maj9 7 m7 m7

|: I | I | II | II :|
maj7 maj7 m7 m7

|: IV | V | I | I :|
m11 m11 m7 m7

|: II | V | I |VI :|
m9 13 maj7 7(#5)

|: I | IV |bVI | V :|
m9 m7 maj7 7(#5)

Goals:
If you can play these chord progressions in several different
keys, you are on your way to truly understanding music
theory and you will have a stronger ability to creatively apply
all the concepts in this book.
 Outro
Chord Library
Every single chord is a variation of three options:
Minor (Cm7) Major (Cmaj7) Dominant (C7)
Any of those 3 chords can be Suspended (C7sus4) taking away their major or
minor quality. Dominant chords can be Altered for more tension (C7#9)
Major = Happy Minor = Sad Dominant = Going Somewhere Sus = Floating

Minor
m7 m7 m11 m9 m9

Dominant
Suspended
7 7 13 9

Altered
7(#5) 7(#9) 7(b9) Dim7

Major
Maj7 Maj9 Maj7
 Outro
Tabbing A Groove

Slap Thumb Fingers

Slap: Give the guitar a percussive slap when X is notated on

the EAD string (this usually happens on beats 2 + 4)

Thumb: Pluck the muted string with your thumb when X is

notated on A string.

Fingers: Pluck the muted strings with your first 3 fingers

when X is notated on DGB string.
 Outro
Suggested Listening

Tom Misch Masego

FKJ Moonchild
Anderson .Paak Snarky Puppy
H.E.R. Curtis Mayfield
Snoh Aalegra Stevie Wonder
Ari Lennox Ledisi
Lucky Daye Robert Glasper
BJ The Chicago Kid Hiatus Kaiyote
Kiana Lede Solange
SIR Mary J Blige
Anthony Hamilton Ginuwine
Jorja Smith Miguel
Pink Sweats Bilal
Erykah Badu Frank Ocean
D Angelo Tank
Floetry Gallant
Maxwell Allen Stone
Jill Scott Janelle Monae
Lauryn Hill Mac Miller
Groove Theory Daniel Caeser
Tony! Toni! Tone! Lianne La Havas
The Roots Bruno Major
A Tribe Called Quest Mac Ayres
Soulquarians Jacob Collier
Musiq Soulchild Marvin Gaye
Eric Benet Teddy Pendergrass
Raphael Saadiq EWF
India Arie Al Green
Smokey Robinson George Benson
Isley Brothers Roy Ayers
Roy Hargrove Commodores