Fretboard Harmony

Transcription

Fretboard Harmony

Fretboard Harmony
An approach to modern harmonic relationships
that are unique to the guitar
Bruce Bishop
Introdu ction
This book provides an approach to modern harmonic relationships that is unique to
the guitar, creating the foundation necessary for a complete understanding of music
theory as it relates to the guitar fingerboard. Designed for the elementary and intermediate player, this book does not require the ability to sight-read.
The book is divided into two sections: text and workbook. The text section is
presented with a minimum of verbiage, the workbook section is comprised of simple
exercises designed to promote assimilation and utilization of the information provided
in the text.
Topics covered: Sharps, flats and enharmonics; symmetrical scales and tech-
nique exercises; the five pentatonic scale patterns; the “relative minor” relationship;
pattern movements within I, IV, V progressions; intervals and their symbols; the fretboard geometry of intervals; the major scale and its role in present-day music; chords,
chord progressions and chord substitutions; chord inversions; 15 common major-scaletype chord progressions; 45 real-world, useable chords diagrammed and explained; the
five major scale patterns; root positions of the five major scale patterns; detailed presentations and analyses of three songs; the “D” tuning, with diagrams of 40 practical
chords; line progressions, diagrammed and explained; passing chords, ascending and
descending; contrasting major and minor keys; understanding minor progressions; and
commonly used chord types in minor progressions.
It is recommended that players practice and study at least one hour per day to
reap the maximum benefits from this book.
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iv Fretboard Harmony
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Acknowledg ments
Fretboard Harmony is a distillation of 35 years of lessons learned from a vast pool of
players, teachers, friends, studio engineers and even a few dogs and cats. All of their
names and stories easily could fill a book — a book that would be far more interesting
than a text for the guitar.
I am grateful to my wife, Julie, who with the help of her mother, Jo Hadley, took
a loose, unorganized, and often long-winded manuscript and turned it into this beautifully produced book. Special thanks, also, to my talented friend Ben Bull (Obscure
Design, San Bernardino, California), for his generous and invaluable computer-graphics advice during the production of this book.
I have also had more than my share of bright, talented and challenging students
who have helped guide the presentation of these concepts.
As a teacher, Jack Smalley, at the Dick Grove Music Workshops, opened up a
multitude of doors and insights into the tapestry of music and human experience. His
positive vitality, honesty and humor were irresistible, and the learning was fun.
Thanks also to Jim Bogen for helping to arrange my classes at Pitzer College.
Without his efforts I would not have undertaken this book.
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Contents
Introduction iii
Acknowledgments v
PART I FRETBOARD HARMONY TEXTBOOK
1
THE BASICS 3
Sharps, Flats and Enharmonics 3
Symmetrical Scales and Technique 4
Pentatonic Scales 5
Metronome Practice 7
General Practice Tips 8
2CHANGING MAJOR TO MINOR 9
Major and Minor 9
Relative Minor 10
Summary of Basic Major and Minor Chord Shapes within the
Pentatonic Patterns 11
3
I, IV, V P ROGR ESSIONS 13
Pentatonic Scales within I, IV, V Progressions 13
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viii Fretboard Harmony
4
MIXED I, IV, V PROGRESSIONS 23
Mixed I, IV, V Progression Combinations 23
Simplifying the Pentatonic Pattern Movement in I, IV, V Progressions 24
5
IN T ERVAL GEOMETRY 33
Intervals and Symbols 33
Upper Extensions 34
Interval Geometry 35
6
THE M AJOR SCALE 47
The Major Scale 47
Chords and Chord Progressions 53
Learning New Chords 57
About Inversions 57
7
THE MAJOR SCALE PATTERNS 63
The Major Scale Patterns 63
Root Positions of Major Scale Patterns 68
8
SONG ANALYSIS, EXAMPLE 1 73
Example 1: Julia 73
Julia 74
Chords for Julia 75
Song Analysis: Julia 78
9
SONG ANALYSIS, EXAMPLE II 81
Example II: Freddie the Freeloader 81
Freddie the Freeloader 82
Chord Melody for Freddie the Freeloader 84
The Dominant Pentatonic Scale 86
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Fretboard Harmony ix
10
SONG ANALYSIS, EXAMPLE III 89
Example III: The Low Down 89
The Low Down 90
Chords for The Low Down 92
Chord Chart Analysis: The Low Down 99
11
THE “D” TUNING 105
The “D” Tuning 105
“D” Tuning Diatonic Chords 106
Basic Minor Chords in the “D” Tuning 109
12
BEYOND THE MAJOR SCALE 111
Line Progressions 111
Passing Chords 117
Contrasting Major and Minor 122
Playing Minor Progressions 123
PART II FRETBOARD HARMONY WORKBOOK
Sharps, Flats and Enharmonics 129
The Chromatic Scale 133
Symmetrical Scales 137
Pentatonic Scales 143
Relative Minor 156
Changing Major to Minor 159
Relative Minor Pentatonic Scales 165
I, IV, V Progressions 178
Pattern Movement in I, IV, V Progressions 181
Pattern Movement in I, IV, V Progressions in Minor 187
Pattern Movement in Mixed I, IV, V Progressions 192
Pattern Movement Circles 201
Intervals 225
Interval Geometry 232
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P
A
I
R
T
Fretboard Harmony
Textbook
1
The Basics
Sharps, Flats and Enharmonics
b = flat
# = sharp
n = natural
Note is lowered by one fret, 1/2 step
Note is raised by one fret, 1/2 step
Used to cancel a previous sharp or flat instruction
The Chromatic Scale
The Ascending Chromatic Scale
The Descending Chromatic Scale
I
I
All 12 notes
I
I
I
AA BCC DD EFF GG A
A Ab G Gb F E E b D Db C B Bb A
I
I
I
I
I
I
(F & Gb) (G & Ab) (B & C)
I
(B & Cb) (F & E )
Enharmonic Equivalents
Example:
Same note with two names
(A & Bb) (C & Db) (D & E b)
Exercises
Practice drawing and saying the alphabet A through G forwards, backwards, and every
other letter.
Using workbook pages 129 through 136, draw and recite chromatic scales starting from
each note.
3
4 Fretboard Harmony
Symmetrical Scales and Technique
Symmetrical Scales are groups of evenly spaced notes.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes, spaced
apart by 1/2 steps
Whole steps
1-1/2 steps, minor 3rds
I
I
I
I M
I M M R
I
M
I M R R B
I M R B B
M R B
R B
B
I
I
I
M
B
I
B
I
M
B
I
B
M I
B
B
I
I
B
I
B M
M
B
B
B
B
Exercises
Using workbook pages 137 through 142, draw the Symmetrical Scales.
Fretboard Harmony 5
Pentatonic Scales
Are the most universal scales
Lay well on the fretboard
Provide an open sound with great harmonic strength
Are able to assume many harmonic identities
When layered over with blues scales, provide wide range of possibilities
Example of Pentatonic Scales in the key of A
Fret
2
Fret
5
AEO - PENT
IO - PENT
“G” Shaped
Fret
9
Fret
7
“E” Shaped
Fret
12
LYDI - PENT
“C” Shaped
MIXO - PENT
“A” Shaped
DORI - PENT
“D” Shaped
6 Fretboard Harmony
Exercises
Practice drawing chord shapes.
Play chord shapes and scales.
Break the patterns into parts and develop licks.
Advanced: Play as 4ths (two adjacent notes at once).
Using workbook pages 143 through 155, draw the pentatonic scale patterns and their
corresponding chord shapes.
Fretboard Harmony 7
Metronome Practice
Time is everything! Tell yourself this every day for life!
GET ONE — BUY ONE — STEAL ONE!
Exercises
Practice playing the following with a metronome:
M.M. 200
Play 1/2 notes (one note equals two ticks)
M.M. 120
Play 1/4 notes (one note equals one tick)
M.M. 120
Play 1/8 notes (two notes equal one tick)
M.M. 120
Play 1/8 notes with swing feel (doo-ba)
Repeat the above, playing in between the metronome ticks.
8 Fretboard Harmony
General Practice Tips
Warm up slowly with the symmetrical scales for three or four minutes.
Practice drawing what you are working on.
Isolate your weaknesses and allow them more time.
Keep a practice journal.
Save “getting off” for after practice.
Remember that two minutes of concentrated effort on a difficult passage is the equivalent of 15 to 20 minutes of song repetition.
Don’t get discouraged! It is not uncommon for people to have difficulty assimilating
this new information and incorporating it into their playing repertoire. Most people
who embark upon concentrated studies of this nature tend to lose perspective on their
growth rate. This is totally normal! A little faith and patience will help a lot.
2
Changing Major to Minor
Major and Minor
All five basic chord shapes can be changed from major to minor. Doing this requires
memorizing which of the chord notes are the 3rds.
Key of “A” Major
Fret
2
Fret
7
3
Fret
3
9
3
Fret
5
3
Fret
12
3
3
3
3
3
“G” Shaped
“E” Shaped
“D” Shaped
“C” Shaped
“A” Shaped
Lowering the 3rd by one fret (1/2 step) changes the chord from major to minor.
Key of “A” Minor
Fret
2
Fret
7
b3
Fret
5
b3
Fret
9
b3
b3
b3
Fret
12
b3
b3
“G mi.” Shaped
“E mi.” Shaped
“D mi.” Shaped
9
“C mi.” Shaped
“A mi.” Shaped
10 Fretboard Harmony
Relative Minor
The term relative minor means that three frets down from any major chord lies a minor
I
I
chord that shares most of its notes with its relative major chord, three frets up. “A”
major’s relative minor is “F ” minor. “F ” minor’s relative major is “A” major.
I
Here is how “F ” minor fits into the five pentatonic scale patterns:
Key of “F I ” Minor
Fret
2
Fret
9
Fret
5
AEO-PENT
“E mi.” Shaped
Fret
7
IO-PENT
“D mi.” Shaped
Fret
12
DORI-PENT
“C mi.” Shaped
LYDI-PENT
“A mi.” Shaped
MIXO-PENT
“G mi.” Shaped
Note that each of the five pentatonic patterns contains a major chord and its corresponding relative minor chord.
Exercises
Experiment with new chord shapes within the patterns — most sound good and there
are many possibilities — all of which can be substituted for their basic chord counterparts.
Using workbook pages 156 through 177, complete the major-to-minor exercises.
Fretboard Harmony 11
Summary of Basic Major and Minor Chord Shapes
within the Pentatonic Patterns
Preceding are five different fingerings and scale patterns of the Pentatonic Scale; each
pattern contains the shape of a major chord, and the shape of its relative minor chord.
Example:
I
The Keys of “A” Major and F Minor
AEO-PENT at fret #2 = “G” shaped major chord and “E” minor shaped chord.
IO-PENT at fret #5 = “E” shaped major chord and “D” minor shaped chord.
DORI-PENT at fret #7 = “D” shaped major chord and “C” minor shaped chord.
LYDI-PENT at fret #9 = “C” shaped major chord and “A” minor shaped chord.
MIXO-PENT at fret #12 = “A” shaped major chord and “G” minor shaped chord.
Also, three frets below any major chord is its relative minor chord.
Example:
I
Three frets below “A” major lies its relative minor chord, “F ”minor.
It follows then, when changing from major to minor, all of the patterns shift up the neck by
three frets.
Example:
The “A” major chord becomes the “A” minor chord.
3
I , IV, V P rogressions
Pentatonic Scales within I, IV, V Progressions
A chord progression is a group of chords played in succession.
Chord progressions typically have a beginning and an end — they are a cycle.
Chord progressions usually move between tension and resolution.
The most basic chord progression is the I, IV, V.
The Roman numerals are used to simplify transposition.
The Roman numeral “I” always names the key.
Example:
The I, IV, V Progression in the Key of “A” Major
I = “A” Major
IV = “D” Major
V = “E” Major
13
Observe what occurs at the fifth fret when the “A”, “D”, and “E” chords are played.
Notice all three chords can be easily played without ever leaving the fifth fret area of the
neck.
I
IV
“A” Major
Fret
5
V
“D” Major
Fret
5
“E” Shaped
“E” Major
Fret
5
“A” Shaped
“C” Shaped
Associating the learned pentatonic scale pattern for each of the five basic chord shapes
produces the following I, IV, V Progression in the key of “A” Major, at the fifth fret:
I
IV
“A” Major
V
“D” Major
“E” Major
Fret
4
Fret
5
Fret
5
Fret
7
IO - PENT
“E” Shaped
MIXO - PENT
“A” Shaped
LYDI - PENT
“C” Shaped
Exercises
Using workbook pages 178 through 180, complete the I, IV, V Progressions.
Observe a similar occurrence at the second fret:
I
IV
“A” Major
Fret
2
V
“D” Major
Fret
2
AEO - PENT
“G” Shaped
“E” Major
Fret
2
LYDI - PENT
DORI - PENT
IV
V
“C” Shaped
“D” Shaped
At the seventh fret:
I
“A” Major
Fret
7
“D” Major
Fret
7
“E” Major
Fret
7
Fret
10
DORI - PENT
“D” Shaped
AEO - PENT
“G” Shaped
MIXO - PENT
“A” Shaped
At the ninth fret:
I
IV
“A” Major
V
“D” Major
Fret
9
“E” Major
Fret
9
Fret
10
Fret
12
Fret
12
LYDI - PENT
“C” Shaped
IO - PENT
AEO - PENT
IV
V
“E” Shaped
“G” Shaped
At the twelfth fret:
I
“A” Major
Fret
12
“D” Major
Fret
12
MIXO - PENT
“A” Shaped
“E” Major
Fret
12
DORI - PENT
“D” Shaped
IO - PENT
“E” Shaped
Exercises
Using workbook pages 181 through 186, complete the pattern movement exercises.
Remember that each chord in the I, IV, V Progression has a corresponding relative
minor chord.
Example:
I
I = “A” Major and “F ” minor
IV = “D” Major and “B” minor
V = “E” Major and “C ” minor
I
A I, IV, V Minor Progression can be built using relative minor chords:
I
I minor = “F ” minor
IV minor = “B” minor
V minor = “C ” minor
I
I
This would be called the key of “F ” minor.
The learned pentatonic scale patterns are exactly the same for the:
I (“A” Major), IV (“D” Major), V (“E” Major) Progression in “A”
I
I
and the
I
I (“F ” minor), IV (“B” minor), V (“C ” minor) Progression in “F ” minor
I
I
Observe what occurs at the fifth fret when the “F ” minor, “B” minor, and “C ” minor
chords are played. Notice all three chords can be played easily without ever leaving the fifth
fret area of the neck.
I
I Minor
Fret
5
I
IV Minor
“F ” minor
V Minor
“B” minor
“C ” minor
Fret
5
“D” mi. Shaped
Fret
5
“G” mi. Shaped
“A” mi. Shaped
I
Associating the learned pentatonic scale pattern for each of the five basic chord shapes
produces the following I, IV, V Progression in the key of “F ” minor, at the fifth fret:
I
“F ” minor
I Minor
Fret
5
IV Minor
I
V Minor
“B” minor
“C ” minor
Fret
4
Fret
5
Fret
7
IO - PENT
“D” mi. Shaped
MIXO - PENT
“G” mi. Shaped
LYDI - PENT
“A” mi. Shaped
Observe a similar occurrence at the second fret:
I
“F ” minor
I Minor
Fret
2
I
IV Minor
V Minor
“B” minor
Fret
2
AEO - PENT
“E” mi. Shaped
“C ” minor
Fret
2
LYDI - PENT
DORI - PENT
IV Minor
V Minor
“A” mi. Shaped
“C” mi. Shaped
At the seventh fret:
I
“F ” minor
I Minor
Fret
7
I
“C ” minor
“B” minor
Fret
7
Fret
7
Fret
10
DORI - PENT
“C” mi. Shaped
AEO - PENT
“E” mi. Shaped
MIXO - PENT
“G” mi. Shaped
At the ninth fret:
I
“F ” minor
I Minor
IV Minor
V Minor
“B” minor
Fret
9
Fret
9
Fret
10
Fret
12
Fret
12
LYDI - PENT
“A” mi. Shaped
IO - PENT
AEO - PENT
IV Minor
V Minor
“D” mi. Shaped
“E” mi. Shaped
At the twelfth fret:
I
“F ” minor
I Minor
Fret
12
Fret
12
MIXO - PENT
“G” mi. Shaped
I
“C ” minor
“B” minor
Fret
12
DORI - PENT
“C” mi. Shaped
IO - PENT
“D” mi. Shaped
Exercises
This information should be absorbed slowly — it takes time!
Exercises
Practice the I, IV, V chord/arpeggio and pattern changes at each of the five areas just
reviewed.
Spending two minutes per area, for ten minutes a day, will do the trick.
Please be patient and consistent.
4
Mixed I , IV, V Progressions
Mixed I, IV, V Progression Combinations
I, IV, V Progressions in major and minor are often mixed together.
The possible combinations of Mixed I, IV, V Progressions are:
I minor
IV Major
V Major
I Major
IV minor
V Major
I Major
IV Major
V minor
I minor
IV minor
V Major
I minor
IV Major
V minor
I Major
IV minor
V minor
Exercises
23
Simplifying the Pentatonic Pattern Movement in
I, IV, V Progressions
The following pentatonic pattern movements are based on all of the possible two-part
combinations of I, IV, V Progressions.
Although there are 16 possible two-part combinations of the I, IV, V Progressions, only
seven different pattern movements are required to produce them.
In fact, of the seven movements, only four need be memorized, because the other three
are the same movements in reverse order.
Group One Pentatonic Movement
I to IV
and
Inside circle = I (A)
Outside circle = IV ( D)
IV Major to V Minor
Inside circle = IV Major (A)
Outside circle = V minor (B minor)
MIXO
at fret 5
IO
at fret 5
LYDI
at fret 14 or 2
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
DORI
at fret 12
LYDI
at fret 9
IO
at fret 10
AEO
at fret 7
Group Two Pentatonic Movement
I to V
Inside circle = I (A)
Outside circle = V (E)
LYDI
at fret 4
IO
at fret 5
DORI
at fret 14 or 2
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
LYDI
at fret 9
IO
at fret 12
AEO
at fret 9
Note: This is group one in reverse.
MIXO
at fret 7
Group Three Pentatonic Movement
IV to V
and
Inside circle = IV (A)
Outside circle = V (B)
I Minor to IV Major
I
Inside circle = I minor (F minor)
Outside circle = IV Major (B)
AEO
at fret 4
IO
at fret 5
MIXO
at fret 14 or 2
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
LYDI
at fret 11
LYDI
at fret 9
DORI
at fret 9
IO
at fret 7
Group Four Pentatonic Movement
I Major to V Minor
Inside circle = I Major (A)
Outside circle = V minor (E minor)
DORI
at fret 5
IO
at fret 5
IO
at fret 15 or 3
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
LYDI
at fret 9
AEO
at fret 12
MIXO
at fret 10
Note: This is group three in reverse.
LYDI
at fret 7
Group Five Pentatonic Movement
IV Minor to V Major
I
I
Inside circle = IV minor (F minor)
Outside circle = V Major (G )
IO
at fret 4
IO
at fret 5
AEO
at fret 13 or 1
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
MIXO
at fret 11
LYDI
at fret 9
LYDI
at fret 8
DORI
at fret 6
Group Six Pentatonic Movement
I Minor to V Major
I
I
Inside circle = I minor (F minor)
Outside circle = V Major (C )
MIXO
at fret 4
IO
at fret 5
LYDI
at fret 13 or 1
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
DORI
at fret 11
LYDI
at fret 9
IO
at fret 9
AEO
at fret 6
Group Seven Pentatonic Movement
I Major to IV Minor
Inside circle = I Major (A)
Outside circle = IV minor (D minor)
LYDI
at fret 5
IO
at fret 5
DORI
at fret 15 or 3
DORI
at fret 7
AEO
at fret 14 or 2
MIXO
at fret 12
LYDI
at fret 9
IO
at fret 13
AEO
at fret 10
Note: This is group six in reverse.
MIXO
at fret 8
5
Interval Geometry
Intervals and Symbols
In harmony the distance between notes is measured up or down using whole steps (two
frets), and half steps (one fret).
Each distance or interval is given a name:
Root
Up
or
Down
Written As
Is Called
“C” 6 whole steps
6 whole steps = “C”, an octave
8
“C” 1 whole step
. . . . . . . . . . .
“C”11/2 whole steps
. . . . . . . . . . .
= “E b”, a minor 3rd
2
mi. 3 or b3
. . . . . . . . . . .
= “E”, a major 3rd
Ma. 3, 3 or 3
. . . . . . . . . . .
= “F”, a perfect 4th
4
= “D”, a major 2rd
3 whole steps = “Gb”, a diminished 5th
21/2 whole steps = “G”, a perfect 5th
5
2 whole steps = “G ”, an augmented 5th
+5
11/2 steps
= “A”, a major 6th
Ma. 6, 6 or 6
1 step
1/
2
= “B”, a major 7th
Ma. 7 or 7
step
I
= “Bb”, a minor 7th
33
flat 5 or b5
“
“
flat 7, 7 or b7
“
Upper Extensions
When describing an interval further than one octave above the root, the number seven
(7) is added to the interval name.
Example:
“C” is the root
“D” is the major 2nd
One octave above “D” is called the Major 9th
It follows:
“F” is the 4th = one octave above “F” = 11th
“A” is the 6th = one octave above “A” = 13th
In everyday chord useage:
10ths are known as 3rds
12ths are known as 5ths
14ths are known as 7ths
15th are known as octaves
The exception is the 2nd, which is almost always referred to as a 9th!
Exercises
Using workbook pages 225 through 231, complete the interval exercises.
Interval Geometry
Octave = The same note 12 frets away
If “C” is the root, then “C” is also the octave.
I and I
OCTAVE
OCTAVE
OCTAVE
R
R
R
R
R
R
R
R
R
OCTAVE
OCTAVE
OCTAVE
R
R
R
R
R
R
R
R
R
R
Major 2nd = Two frets above root (or ten frets below)
If “C” is the root (I), then “D” is the major 2nd (II).
I and II
Major 2nd
Major 2nd
2
Major 2nd
2
R
R
2
2
Major 2nd
2
2
Major 2nd
2
R
Major 2nd
2
2
2
R
2
R
R
2
2
Minor 3rd = Three frets above root (or nine frets below)
If “C” is the root (I), then “E b” is the minor 3rd ( bIII or b3).
I and bIII
Minor 3rd
Minor 3rd
b3
Minor 3rd
b3
b3
R
R
R
b3
b3
b3
Minor 3rd
Minor 3rd
b3
b3
R
b3
Minor 3rd
R
R
b3
b3
Major 3rd = Four frets above root (or eight frets below)
If “C” is the root (I), then “E” is the major 3rd (III).
I and III
Major 3rd
Major 3rd
3
Major 3rd
3
3
R
R
R
3
3
3
Major 3rd
Major 3rd
Major 3rd
3
R 3
R
R
3
3
3
Perfect (Normal) 4th = Five frets above root (or seven frets below)
If “C” is the root (I), then “F” is the perfect (normal) 4th (IV).
I and IV
Perfect 4th
Perfect 4th
4
Perfect 4th
4
R 4
R 4
Perfect 4th
4
R 4
Perfect 4th
4
Perfect 4th
4
R
R
4
R 4
Diminished/Flatted 5th = Six frets above root (or six frets below)
If “C” is the root (I), then “G b” is the flatted 5th ( bV).
I and bV
b5
b5
b5
b5
R
b5
R
b5
R
b5
b5
b5
b5
b5
b5
b5
b5
R
R
R
b5
b5
Perfect (Normal) 5th = Seven frets above root (or five frets below)
If “C” is the root (I), then “G” is the perfect (normal) 5th (V).
I and V
Perfect 5th
Perfect 5th
Perfect 5th
5 R
R
5
5 R
5
Perfect 5th
5
Perfect 5th
Perfect 5th
5
5 R
5 R
R
5
5
Minor 6th or Augmented 5th = Eight frets above root (or four frets
below)
I
If “C” is the root (I), then “G ” is the augmented 5th (+V or +5).
I and +V
+5
+5
R
+5
R
R
+5
+5
+5
+5
+5
+5
+5
+5
+5
R
+5 R
R
+5
+5
+5
+5
Major 6th = Nine frets above root (or three frets below)
If “C” is the root (I), then “A” is the major 6th (VI).
I and VI
Major 6th
Major 6th
6
Major 6th
6
R
R
R
6
6
6
6
6
Major 6th
R
Major 6th
6
Major 6th
R
R
6
6
6
6
Flatted 7th = Ten frets above root (or two frets below)
If “C” is the root (I), then “B b” is the flatted 7th ( bVII or b7).
I and bVII
b7
R
b7
b7
b7
b7
R
R
b7
b7
b7
b7
b7
b7
R
R
b7
b7
R
b7
Major 7th = Eleven frets above root (or one fret below)
If “C” is the root (I), then “B” is the major 7th (VII).
I and VII
Major 7th
Major 7th
Major 7th
7
R
R
7
R
7
7
Major 7th
Major 7th
Major 7th
7
7
7
R
R
R
7
7
Exercises
Using workbook pages 232 through 238, draw the interval shapes.
6
The Major Scale
The Major Scale
The major scale is used to measure and describe harmonic relationships.
Producing the major scale requires a series of whole steps (two frets) and half steps (one
fret).
In the following examples: “W” = whole step
“H” = half step
The sequence goes like this:
W, W, H, W, W, W, H
(whole step, whole step, half step, whole step, whole step, whole step, half step)
I
I
I
The sequence applied to the chromatic scale:
I
I
CC D D E F F G G A A B C
W
W H W W W H
Produces the major scale:
C D E F G A B C
47
Each note is assigned a Roman numeral:
I II III IV V VI VII I
C D E F G A
B C
The familiar singable symbols are also assigned to each note:
I II III IV V VI VII I
C D E F G A B C
do re mi fa sol la ti do
Because the Roman numerals, singable symbols, and whole step/half step sequences
always remain the same, it is easy to transpose from one key to another.
The following examples illustrate all 12 possible major scales and their practical
spellings:
Key of “C” Major
I
II
W
C
III
W
D
IV
H
E
V
W
F
VI
W
G
VII
W
I
H
A
B
C
VI
VII
I
No sharps or flats.
Key of “F” Major
I
II
W
F
III
W
G
IV
H
A
Bb
V
W
W
C
One flat.
W
D
H
E
F
Key of “B b” Major
I
Bb
II
W
III
W
C
IV
H
D
V
W
Eb
VI
W
F
VII
W
I
H
G
A
Bb
VI
VII
I
Two flats.
Key of “E b”Major
I
Eb
II
W
III
W
F
IV
H
G
Ab
V
W
Bb
W
W
H
C
D
Eb
VI
VII
I
Three flats.
Key of “Ab” Major
I
Ab
II
W
Bb
III
W
IV
H
C
Db
V
W
Eb
W
W
H
F
G
Ab
VI
VII
I
Four flats.
Key of “D b” Major*
I
Db
II
W
Eb
III
W
IV
H
F
Gb
V
W
Five flats.
Ab
W
Bb
W
H
C
Db
Key of “G b” Major*
I
Gb
II
W
Ab
III
W
Bb
IV
H
Cb
V
W
Db
VI
W
Eb
VII
W
I
H
F
Gb
VII
I
Six flats.
Key of “C b” Major*
I
Cb
II
W
Db
III
W
Eb
IV
H
Fb
VI
V
W
Gb
W
Ab
W
Bb
H
Cb
Seven flats.
Key of “G” Major
I
II
W
G
III
W
A
IV
H
B
V
W
C
VI
E
I
F
VI
VII
W
D
VII
W
I
H
G
One sharp.
Key of “D” Major
I
II
W
D
III
W
E
I
F
IV
H
V
W
G
W
A
Two sharps.
W
B
I
C
I
H
D
I
II
W
A
III
W
B
I
C
IV
H
V
W
VI
W
D
E
I
F
VII
W
I
G
I
H
A
Three sharps.
Key of “E” Major
I
II
W
E
I
F
III
W
I
G
IV
H
V
W
VI
W
A
B
I
C
VII
W
I
D
I
H
E
Four sharps.
Key of “B” Major
I
II
W
B
I
C
III
W
I
D
IV
H
V
W
E
I
F
VI
W
I
G
VII
W
I
A
I
H
B
Five sharps.
I
Key of “F ” Major*
I
I
F
II
W
I
G
III
W
I
A
IV
H
W
B
V
I
C
Six sharps.
VI
W
I
D
VII
W
I
E
I
H
F
I
I
Key of “C ” Major*
II
I
I
C
W
I
D
III
W
IV
I
E
H
I
F
W
V
I
G
VI
W
I
A
VII
W
Seven sharps.
I
I
* (C b & B), (F & G b), and (C & D b) are all enharmonic equivalents.
I
B
I
H
C
I
Chords and Chord Progressions
Start by harmonizing the the major scale:
I
= “C” Ma. 7 (“C”, “C” sus., “C6”, “C” Ma. 9, “C 69”, etc.)
II = “D” mi. 7
(“D” mi. 6, “D” mi. 9, “D” mi. 11, etc.)
III = “E” mi. 7
IV = “F” Ma. 7
V = “G7”
(“G7” sus. 4, “G9”, “G13”, etc.)
VI = “A” mi. 7
VII= “B” mi. 7 ( b5)
• The use of 7th chords (four-part harmony), clearly illustrates how a chord fits into its “parent” scale.
• The substitution possiblities within the Roman numerals are:
III and VI are substitutes for I
II and IV are substitutes for each other — II, V, I in jazz and I, IV, V in rock
VII can substitute for V
The following are examples of chord progressions built from the major scale:
1. I Ma. 7 & IV Ma. 7
2. IV Ma. 7 & V 7
3. II mi. 7 & V 7
4. I Ma. 7 & II mi. 7
5. II mi. 7, V 7, I Ma. 7
6. I Ma. 7, IV Ma. 7, V 7
7. I Ma. 7 & VI mi. 7
8. IV Ma. 7 & II mi. 7
]
]
]
]
C Ma. 7
F Ma. 7
F Ma. 7
G7
D mi. 7
G7
C Ma. 7
D mi. 7
D mi. 7
]
]
]
]
G7
C Ma. 7
}
}
}
}
C Ma. 7
F Ma. 7 G 7
/
/
/
C Ma. 7
A mi. 7
F Ma. 7
D mi. 7
/
}
}
}
}
E mi. 7
]
9. III mi. 7 & I Ma. 7
C Ma. 7
A mi. 7
D mi. 7
G7
C Ma. 7
G/ B
A mi. 7
G7
]
10. I Ma. 7, VI mi. 7, II mi 7, V 7
]
11. I Ma. 7, V/3, VI mi. 7, V 7
“Descending”
C Ma. 7
/ / / /
/ / / /
}
}
}
12. Ascending straight up the line starting from the IV Ma. 7
]
F Ma. 7
G7
A mi. 7
B mi.7( b5) C Ma.7
/
/
/
/
D mi. 7 E mi. 7
/
/
/
/
}
13. Moving primarily by 4ths
]
C Ma. 7
F Ma. 7
E mi. 7
A mi. 7
D mi. 7
G sus. G 7
F Ma. 7
B mi. 7 ( b5)
/
/
/
/
}
14. Moving primarily by 5ths
C Ma. 7
]
D mi. 7
A mi. 7
G7
D mi. 7
E mi. 7
F Ma. 7
}
15. Using inversions to embellish a bass line
]
G 7 G 7/ F
/
/
/
C/ E F Ma. 7/A
/
/
/
/
/
G/ B
/
/
F/C
/
A mi./ E D mi. 7
/
/
/
/
/
}
Learning New Chords
Learn “Root on E” and “Root on A” chords first, followed by “Root on D.”
About Inversions
In four-part harmony — 7th chords — any part of the chord can be put on the bottom
of the “pile.”
Using “G7” as an example:
First inversion
= “G” 7/3 or “G” 7/ “B”
Second inversion
= “G” 7/5 or “G” 7/ “D”
Third inversion
= “G” 7/ b7 or “G” 7/ “F”
The primary reason to invert a chord is to achieve a desirable bass line (refer to chord
progression example number 15, on page 56).
Examples
See the following five pages for examples of some of the chords that can be built using
the major scale.
Major 7th and 6th Chords
C Ma. 7
C Ma. 7/ 3
C Ma. 7
X
C Ma. 7
X
C Ma. 7
X
X
I
Fret
3
I
I
Fret
5
Fret
8
I
I
M
R
Fret
10
M
Fret
12
I
I
R B
B
R
(M)
B
R
R
B
Rt.
5
7
3
5
X
3
C6
5
Rt.
3
7
Rt.
C 6/ 3
X
X
7
3
5
7
3
(5)
C6
X
Rt.
5
7
3
Rt.
C6
X
X
3
5
Fret
5
M
3
C6
X
X
Fret
8
I
M
R
Fret
10
Fret
12
( ) I
B
R
7
I
I
Fret
3
X
B
I
(M)
R
R
B
M R
B
X
Rt.
5
6
3
X
3
5
Rt.
3
6
Rt.
6
3
5
(3)
(5)
Rt.
5
6
3
(5)
Rt.
3
6
Rt.
X
Major 9th and 6 9 Chords
C Ma. 9
C Ma. 9/ 3
X
C Ma. 9
X
C Ma. 9
X
C Ma. 9
X
X
Fret
12
I
Fret
3
( ) M
R
I
I
Fret
8
B
M
Fret
7
(5)
Rt.
3
7
9
M
3
C69
R
5
9
B
3
7
( ) I
(M)
B
Rt.
I
R
X
C 6 9/3
( )
Fret
10
7
9
5
X
(3)
R B
(5)
C69
Rt.
5
7
B
9
Rt.
C69
X
9
5
7
3
C Ma. 13*
X
I
Fret
3
( ) M
Fret
5
R
( ) I
I
Fret
8
M
R
Fret
12
I
Fret
10
R
( ) M
I
R
B
R
B
(5)
Rt.
3
6
9
5
3
5
9
3
6
Rt.
(3)
6
9
5
Rt.
(5)
Rt.
3
6
9
(3)
Rt.
* When a Major 7th is added to a 6 9 chord, a Major 13 chord is the result.
9
6
7
3
Minor 7th and Minor 9th Chords
A mi. 7
( )
O
A mi. 7/b3*
O
A mi. 7
O
A mi. 7
X
A mi. 7
X
I
Fret
2
I
Fret
3
Fret
5
( ) M
M
M
Fret
7
R
( ) I
Fret
12
( ) M
M
R
(5)
Rt.
5
b7
b3
5
(b7)
b3
b7
R
b3
5
Rt.
Rt.
X
b7
b3
5
Rt.
(5)
Rt.
5
( )
R
B
b7
b3
(5)
Rt.
b3
b7
b3
(5)
* Yes, C 6 and A minor 7 look and are the same.
A mi. 9
( )
O
O
A mi. 9/b3**
O
A mi. 9
O
A mi. 9
A mi. 9
X
I
Fret
2
Fret
3
Fret
5
( ) I
M
M
R
Fret
7
M
B ( )
R
(5)
Rt.
5
b7
9
5
(b7)
b3
b7
9
5
b7
(Rt.)
( ) M
R
B
Rt.
I
X
b7
b3
5
9
Fret
12
( ) M
R B ( )
B
(5)
Rt.
b3
b7
** C Major 7 and A minor 9 are the same.
Minor 9th chords can not be used as a III minor 7 !
Example: In the key of C Major, E minor = III minor 7.
9
(5)
Rt.
b3
b7
9
(5)
7th and 9th Chords
G7
G7
G7
G7
X
Fret
3
I
G 7/3
X
Fret
R ( )5
M
Fret
8
( ) I
M
B
( )
R
Fret
10
Fret
12
( ) I
I
I
M
B
Fret
10
M
( ) R
B
(5)
b7
R
B
R
( )
b7
Rt.
3
5
(Rt.)
(3)
(5)
G9
Rt.
5
b7
3
Rt.
G9
3
Rt.
X
(5)
Rt.
G9
5
b7
3
5
Rt.
3
G9
5
Rt.
5
b7
3
13
G 13*
X
( )
Fret
3
M
I
B ( )
R
I
Fret
5
Fret
10
( ) M
R
Fret
10
( ) M
(3)
b7
9
5
Rt.
(5)
Rt.
3
b7
R
9
(5)
Rt.
I
R
B
Rt.
Fret
12
( ) I
I
3
b7
9
5
(5)
Rt.
5
M
b7
9
B
( )
b7
(Rt.)
* When a 6th is added to a 9th chord, a 13th chord is the result.
R
B
3
b7
9
Minor 7th b5
B mi. 7 ( b5)
B mi. 7 ( b5)/ b3*
B mi. 7 ( b5)
X
( )
( )
Fret
2
I
( )
I
( ) M
R
Fret
7
X
M
I
Fret
9
R B
I
( )
B
B
X
I
Fret
5
M
R
X
B mi. 7 ( b5)
B mi. 7 ( b5)
R
R
Fret
14
b5.
Rt.
b5
b7
b3
(b5)
(b7)
b3
X
Rt.
b5
b7
Rt.
X
b7
b3
b5
(b7)
(b3)
X
Rt.
b5
* B minor 7 ( b5) and D minor 6 are the same.
b7
b3
X
B
Rt.
b3
b5
b7
b3
7
The Major Scale Patterns
The Major Scale Patterns
This is an introduction to the major scale patterns and how they relate to the pentatonic scale patterns.
Again, the fretboard is divided into five areas to produce five different fingerings of the
same scale. They will be numbered one through five.
Notice that each major scale pattern contains three pentatonic scale patterns. Each pattern relates to the I, IV, V chord, and in turn, the substitutes for these chords.
On paper it looks like this:
“C” Major Scale
C
D
E
F
G
A
B
C
I
II
III
IV
V
VI
VII
I
63
I = “C” Pentatonic Scale
C
D
E
*
I
II
III
G
A
V
VI
*
C
I
IV = “F” Pentatonic Scale
F
G
A
I
II
III
*
C
D
V
VI
*
F
I
V = “G” Pentatonic Scale
G
A
B
I
II
III
*
D
E
V
VI
*
G
I
* The pentatonic scales contain no 4th or 7ths! That is what gives them their sound. It
is the half step intervals (the 4th and 7th) that produce the tension as well as the specific
identity of a chord or scale.
Major Scale Patterns in “C”
Pattern #1
I Chord
Fret
8
7
3
1
4
2
5
6
2
7
5
7
3
1
4
1
I
I
I
I
Fret
8
M M
IV Chord
Fret
7
I
M M
V Chord
Fret
8
Fret
8
R R
6
2
B
Scale Degrees
B
B
B
B
B
Fingering
IO-PENT
MIXO-PENT
LYDI-PENT
I Chord
IV Chord
V Chord
Pattern #2
7
Fret
10
3
I
Fret
10
2
5
1
4
6
2
3
6
2
5
7
3
R R B
1
4
B
4
Scale Degrees
I
I
I M M I
B
I
B
B
B
B
Fingering
Fret
10
Fret
10
DORI-PENT
Fret
10
AEO-PENT
MIXO-PENT
Pattern #3
I Chord
Fret
12
3
6
2
5
4
5
7
3
1
4
7
3
1
4
Fret
12
I
I
I
I
M
6
I
I
IV Chord
Fret
12
V Chord
Fret
12
Fret
13
M M
R R R
2
5
B
Scale Degrees
B
B
B
B
Fingering
LYDI-PENT
IO-PENT
AEO-PENT
I Chord
IV Chord
V Chord
Pattern #4
7
Fret
3
5
1
3
6
4
I
2
5
I
M M M
7
6
2
5
1
I
Fret
3
I
I
Fret
3
Fret
3
Fret
3
R
3
4
Scale Degrees
6
B
B
B
B R R
B
Fingering
MIXO-PENT
DORI-PENT
IO-PENT
Pattern #5
I Chord
7
Fret
5
6
2
5
1
3
1
4
6
V Chord
I
3
6
Fret
5
I
I
I M I
2
5
Scale Degrees
I
Fret
5
Fret
5
Fret
5
M
4
7
IV Chord
7
R R R B
1
B
B
R
B
Fingering
B
AEO-PENT
LYDI-PENT
DORI-PENT
Root Positions of Major Scale Patterns
I Ma. 7
Pattern #1
C Ma. 7
C6
X
X
I
Fret
8
Fret
8
I
X
7
3
Fret
8
R
M
B
5
X
7
Rt.
6
X
I
M
R B
Rt.
X
I
Fret
8
M
C69
C Ma. 9
3
I
R
Fret
8
M
B
5
Rt.
7
9
5
Rt.
(Ionian Mode)
VII mi 7 ( b5) or II mi. 7 b5
Pattern #1
B mi. 7 ( b5)*
X
X
X
G/B
X
I
Fret
7
Fret
7
M
Fret
7
R B
I
M
R
B
Rt.
b7
b3
b5
3
5
R
Rt.
3
(Locrian Mode)
* The real scale for mi. 7 ( b5) chords is the melodic minor from the 6th degree.
( b5)
b
b
b
b
D mel. mi. produces B mi. 7 ( 5), B mi. 9 ( 5), B mi. 11 ( 5), B mi. 11 ( 13).
6
9
5
Rt.
II mi. 7
Pattern #2
D mi. 7
D mi. 6
D mi. 9
D mi. 11
X
X
X
I
Fret
10
Fret
10
Fret
10
I
M
I
Fret
10
R
I
R
Fret
R
B 10 M
R B
9
b7
B
Rt.
5
b7
b3
b7
Rt.
Rt.
6
b3
5
Rt.
Rt.
5
b7
b3
5
Rt.
b3
11
(Dorian Mode)
III mi 7 or Altered Dominant
Pattern #3
E + 7 ( b9)
E + 7 (+9)
X
Fret
12
Fret
12
E+7
X
Fret
12
I
X
Fret
12
I
M
E mi. 7
Fret
12
I
M
I
M R
R
B
Rt.
b7
3
+5
+9
B
Rt.
b7
3
+5
b9
Rt.
b7
3
+5
(Phrygian Mode)
Rt.
Rt.
b7
5
b3
No 9th!
In a pinch, the phrygian mode can be used with altered dominant chords —
just remember that it isn’t the true source of these chords.
b7
Rt.
IV Ma. 7
Pattern #3
F Ma. 7 (+11)
F Ma. 9 (+11)
X
X
I
Fret
13
M
M
7
3
I
Fret
13
Fret
13
M
R B
I
M
R B
R
+11
7
Rt.
7
X
I
Fret
13
Rt.
F Ma. 7
X
I
Fret
13
F Ma. 13 (+11)
9
+11
7
Rt.
3
6
9
+11
7
Rt.
7
3
5
7
(Lydian Mode)
V7
Pattern #4
G7
G9
X
X
G 13
X
X
G 7 sus. 4
X
I
Fret
3
Fret
3
I
M
R
Fret
3
M
R
B
Fret
3
I
Fret
3
M
B
I
R
B
Rt.
(Mixolydian Mode)
b7
3
5
Rt.
b7
9
5
Rt.
b7
3
13
R
9
Rt.
5
B
b7
4
5
Rt.
VI mi. 7
Pattern #5
A mi. 7
A mi. 9
X
Fret
5
Fret
5
M
A mi. 11
X
Fret
5
R
M
X
Fret
5
R
Fret
5
I
I
F/A
X
M
R
B
B
Rt.
(Aeolian Mode)
b7
b3
5
Rt.
Rt.
b7
b3
5
9
R
Rt.
5
B
b7
11
5
Rt.
3
5
Rt.
3
8
Song Analysis, Example I
Song Analysis
To aid in the familiarization and understanding of song charts, three different examples
are presented in this and the following two sections. Included in the examples are
charts for each song, followed by several pages of chord possibilities, and then a detailed
breakdown and analysis of the charts themselves.
Example I: Julia
Notice on the following chart of Julia that it sticks very closely to the Major scale in the
Key of “E”.
Such tunes are often referred to as “diatonic,” referring to the use of only the eight tones
of a standard major or minor scale without (chromatic) deviations.
73
Julia
A
1
J
E Pedal . . . .
( )
A add
9
2
I
F mi. 11
(
&]
I
G mi. 11
. . . . . . . . .
2
3
. . . . . . . . .
( )
B add
11
. . . . . . . . . .
A/3
B/3
(
J
4
. . . . .
G mi. 11
I
E Pedal . . . . .
J
. . .10. . . . . .
I
I
18
G mi. 11
I
E Pedal
J
I
. . . . .
22
F mi. 7 G mi. 7
25
I
. . . . . . . . . .
15
I
F mi. 11
A
20
I
(No Pedal)
I
A6
24
A/B
F mi. 7 G mi. 7
27
A6
B7 (9/3) B (9/3)
G + 7 (+9)
23
F mi. 11
12
B7 sus. 4 B7
A6
26
J
I
. . . . . . . . . .
16
19
. . . . . . . . .
8
E Ma. 9 E
C mi. 7
(
21
G mi. 11
. . . . . . . .11.
I
14
G mi. 7
C
I
. . . . . . . . .
B13
(No Pedal)
17
7
F mi. 11
F mi. 7
B
13
I
. . . . . . . . .
(
9
6
(
I
A Pedal
5
28
}
Chords for Julia
I
I
G mi. 11
O
A (add
9 )
F mi. 11
O
X
O
B (add
11 )
O
O
X
O
A/3
O
O
X
O
O
I
Fret
11
Fret
9
I
I
M
M
M
Rt.
X
11
b7
b3
5
Rt.
11
b7
b3
Bars 1, 3, 9,
11, & 21
Bars 2, 4, 10,
12, & 22
B/3
F mi. 7
O
Fret
7
O
5
X
R
Rt.
I
M
Fret
9
Rt.
3
9
R
( b7) Rt.
5
3
Fret
9
Fret
7
I
I
Rt. (11)
Rt.
5
E Ma. 9
E
O
X
Fret
7
M
Bar 13
b3
5
Rt.
b7
3
Bar 14
5
I
M
R
R
Rt.
O
Fret
7
M
R
B
B
b7
5
B13
R
Bar 8
(Rt.)
Bar 7
M
5
11
Bar 6
X
R
3
Rt.
I
M
(b7)
3
R
Bar 5
I
Fret
13
M
Fret
11
13
B
9
Rt.
Rt.
3
7
9
Rt.
Rt.
Both in Bar 15
3
Rt.
3
(6)
More Chords for Julia
X
O
O
Fret
5
X
O
Fret
4
I
R
X
Fret
4
I
I
R
3
5
5
Rt.
Rt.
M
B
3
6
R
5
Rt.
5
Both in Bar 16
B7 sus. 4
B7
X
Fret
2
C mi. 7
M
M
Rt.
I
G mi. 7
O
Fret
5
I
Rt.
I
A6
A
X
Fret
2
I
R
b7
b3
5
Rt.
Fret
2
R
R
5
b7
Bar 17
Bar 18
B7 (9/3)*
B (9/3)*
X
I
Rt.
b3
5
9
5
X
Fret
2
I
B
I
R
R B
B
Rt.
5
b7
4
5
Rt.
Both in Bar 19
5
b7
3
5
Rt.
5
b7
9
5
Rt.
5
Both in Bar 20
* 9/3 is sometimes referred to as “sus. 2.”
Rt.
Still More Chords for Julia
I
X
I
G + 7 ( b 9)
G + 7 (+9)
X
I
G +7
X
X
X
I
Fret
4
Fret
4
I
Fret
4
I
M
M
M
()
Fret
5
I
Fret
2
R
M R
I
F mi. 7
A6
M
R
Rt.
b7
B
B
b7
Rt.
3
+5
+9
b7
Rt.
3
Bar 23
Fret
4
M
b9
b7
Rt.
3
+5
Rt.
Subs for Bar 23
I
G mi. 7
X
+5
A/B
X
Fret
2
R
X
A/B
I
M
Rt.
b7
b3
5
Bars 25 & 27
Rt.
9
5
Rt.
Bar 28
3
(6)
6
3
5
Bars 24 & 26
I
Fret
7
Rt.
R
B
(9)
Rt.
3
5
(Rt.)
Sub for Bar 28
(7)
b3
5
Bars 25 & 27
Rt.
Song Analysis: Julia
The following is a bar-by-bar breakdown of the Julia chord chart. Notice that each bar
has a circled number.
The symbols A , B , & C are just for reference; they are sometimes called
“rehearsal letters.”
]
notice.
J
refers to time only — usually called a “push,” here it means push Bar
1
means repeat.
“E Pedal” means play a low “E” note under the chords until further (
I
the “F mi. 11.”
Bar 2 2
Bars
3
& 4
I
“E Pedal” continues under “F mi. 11.”
means repeat the previous two bars.
Notice the modal effect of the first four bars — this is basically the Ionian mode.
Bar
5
“A Pedal” indicates to play a low “A” note under the chords until further
(
notice.
“(add
9 )” means the chord has no 7th.
J
means push the “B(add
11 ).”
6
(add
Bar“B
11 )” means the chord has no 7th or 9th.
I
7
Bar“A/
3” is an “A” with a “C ” on the bottom.
I
Bar 8
The same as bar 7 , “B/3” = “B” with “D ” on the bottom.
Again notice the modal sound with the “A” pedal; this is the sound of the Lydian mode.
Bars
10
9
I
Back to the “E” pedal, push “F mi. 11.”
, 11 , & 12
Bar 13
notes.
“No Pedal” means cancel the previous instruction to play the pedal I
“F mi. 7” is the “II mi. 7” chord.
Bar 14
“B13” is the “V 7” chord.
Bar 15
“E Ma. 9” is the “I Ma. 7” chord.
Bar 16
“A” is the “IV Ma. 7” chord.
I
17
mi. 7” is the “III mi. 7” chord. (It cannot have a 9th or 13th!)
Bar“G
I
18
mi. 7” is the “VI mi. 7” chord.
Bar“C
Bar 19
“B sus.” is the “V 7” chord.
20
Bar“9/
3” means the 3rd has been replaced by the 9th, sometimes called a “sus. 2.”
Bars
21
&
The same as bars
1
and 2 .
22
I
I
I
23
+ 7 (+9)” is a “G 7” with a raised 5th (“E”) and a raised 9th (“B”).
Bar“G
The “G ” triad contains “C”, which is not in the “E” major scale. In other
words, it is chromatic to the key of “E” major. However, the +5, the b 9, and
the +9, are all found in the Phrygian mode of the major scale.
Bar
24
“A6” could be “A Ma. 13.”
Bar
25
Two beats per chord.
Bar
26
“A6” could be “A Ma. 7 (+11)” — it’s Lydian.
Bar 27
28
Bar“A/
B” is an “A” chord (“IV” chord) with “B” (“V”) in the bass — it is a variation of “B7 sus. 4.”
} means repeat back to the top of the chart.
9
Song Analysis, Example II
Example II: Freddie the Freeloader
Freddie the Freeloader, by Miles Davis, is a good illustration of an elementary I, IV, V
Blues progression, with the added twist of a bVII7 chord. Although the tune is simple,
the analysis of the scale applications for improvisation reveals many possibilities.
It is easy to modify the basic chords to accommodate the melody, therefore diagrams of
those chords are provided.
It may be found that the addition of the bVII7 chord (“Ab7”) forces the player to focus
instead of routinely playing through the usual I, IV, V Blues progression.
81
Freddie the Freeloader
Miles Davis
4
4
B b7
2, 14
1, 13
3, 15
E b7
5, 17
1.
2.
21
B b7
6, 18
7, 19
10
11
E b7
F7
22
8, 20
A b7
E b7
F7
9
4, 16
12
B b7
23
24
(Med. Slow)
B b9
q.
2, 14
E b13
bE
E b9
H
(
w
q.
B b7
F7
n h.
bq
9
F7
/
/
(B b7)
bq
21
F7
h.
q
10
q
q bq
/
(B b7)
(
h.
q.
q
E b7
23
bq
w
12
A b7
B b13
^
^
A b7
w
E b9
B b7
8, 20
B b7
11
E b7
h.
22
eh
A b7
E b9
E b7
B b7
F7
n h.
E b7
(
2.
/
7, 19
(
1.
6, 18
E b7
B b9
B b9
(
5, 17
4, 16
B b13
(
Q.
E b9
3, 15
(
B b7
4
?4
w
B b9
B b9
w
eh
(
1, 13
eh
(
(
w
(
q. e h
2
(
B b9
(
4
&4
B b13
Miles Davis
B b7
24
Chord Melody for Freddie the Freeloader
X
B b13
X
B b9
or
X
X
B b7
X
E b13
X
I
Fret
6
I
Fret
6
M
M
R
B
I
M
Fret
6
R
M
I
b7
3
Fret
6
R
M
R
B
B
X
X
I
Fret
6
R
Rt.
E b9
13*
B
9
Rt.
X
b7
9
5*
Rt.
X
b7
3
5*
X
X
Rt.
3
b7
Bars 1 & 2, and the repeat (Bars 3 & 4)
3
13*
X
Rt.
3
b7
9
Bars 5 & 6
1.
B b13
B b9
X
B b7
X
B b7
F7
X
X
I
Fret
6
I
Fret
6
M
M
R
B
Fret
6
Fret
8
I
R
Fret
6
I
I
M
B
M
R
R
B
R
B
Rt.
X
b7
3
13*
9
Rt.
X
b7
9
5*
Rt.
5
b7
3
b7*
B
Rt.
Bars 7 & 8, and the repeat (Bars 19 & 20)
After the first ending, the chart jumps from
here to Bar 21, the second ending.
* Melody notes
Rt.
5
b7
3*
5
Bar 9
(This is the first ending.)
*
5*
Chord Melody for Freddie the Freeloader - Continued
2.
E b7
X
Fret
6
E b9
X
Fret
6
I
A b7
Fret
4
I
B b7
F7
X
Fret
8
I
Fret
6
I
I
M
M
M
B
R
R
R
B
R
B
X
Rt.
5
b7
3*
5
X
Rt.
5
b7
9*
5
Rt.
Bars 10
5
3
b7*
B
Rt.
X
Bars 11 & 12
(Take first ending
to top of chart)
E b7
E b9
X
b7
Rt.
Fret
6
I
X
M
5
B b9
X
X
I
Fret
6
3*
I
Fret
6
R
I
Fret
6
M
M
R
B
R
M
X
Rt.
5
B
b7
3*
B
5
Bar 22
Rt.
3
b7
9*
5
Rt.
X
b7
3
13*
9
Rt.
X
b7
Bars 23 & 24
From here the whole
chart starts over again.
* Melody notes
Rt.
5
b7
3
b7*
Bar 21
This is the second ending; the chart
jumps from Bar 20 and continues.
B b13
X
5
b7
9
5*
X
5
The Dominant Pentatonic Scale
DORI-PENT
IO-PENT
Fret
3
Fret
5
DOM.
IO-PENT
Fret
3
LYDI-PENT
Fret
7
DOM.
DORI-PENT
Fret
5
MIXO-PENT
Fret
10
Fret
12
DOM.
MIXO-PENT
DOM.
LYDI-PENT
Fret
7
AEO-PENT
Fret
10
DOM.
AEO-PENT
Fret
12
By changing the 6th Degree to a “b7th” (raising the 6th by one fret),
the Pentatonic scale is changed to one that specifically fits Dominant 7th chords, “G6” to “G7.”
Miles Davis
B b7
4 (V in E b Ma.)
4
1, 13
Fret 6
IO-PENT
Dominant IO-PENT
“B b” or “G” Blues scale
Pattern #4 of “E b” Major scale
2, 14
Fret 8
DORI-PENT
Dominant DORI-PENT
E b7
5, 17
Fret 6
MIXO-PENT
Dominant MIXO-PENT
“B b”or “G”; “E b”or “C”Blues scale
Pattern #2 of “A b” Major scale
Fret 3
LYDI-PENT
Dominant LYDI-PENT
1.
9
6, 18
Fret 8
AEO-PENT
Dominant AEO-PENT
Fret 8
MIXO-PENT
Dominant MIXO-PENT
“B b” or “G”; “F” or “D” Blues scale
Pattern #2 of “B b” Major scale
10
Fret 5
LYDI-PENT
Dominant LYDI-PENT
“B b” or “G”; “F” or “D” Blues scale
Pattern #1 of “B b” Major scale
2.
21
22
(V in A b Ma.)
(V in E b Ma.)
8, 20
A b7
11
(V in D b Ma.)
Fret 4
IO-PENT
Dominant IO-PENT
“B b”; “A b” or “F” Blues scale
Pattern #4 of “D b” Major scale
12
B b7
23
(V in E b Ma.)
Fret 6
DORI-PENT
Dominant DORI-PENT
Fret 8
LYDI-PENT
Dominant LYDI-PENT
Fret 1
AEO-PENT
Dominant AEO-PENT
E b7
F7
(V in B b Ma.)
7, 19
E b7
(V in A b Ma.)
4, 16
B b7
Fret 11
IO-PENT
Dominant IO-PENT
F7
(V in B b Ma.)
Fret 1 or 13
MIXO-PENT
Dominant MIXO-PENT
Fret 10
LYDI-PENT
Dominant LYDI-PENT
Fret 3
AEO-PENT
Dominant AEO-PENT
(V in A b Ma.)
3, 15
24
10
Song Analysis, Example III
Example III: The Low Down
The Low Down is a tune that combines elements of the Blues with the major scale-type
chord progressions. The key is basically “C” Major, but liberties have been taken.
Here is a look at how the normal members of the major scale chord family have been
modified; as well as the new scale sources from which these chords are built:
Normal
I =
II =
III =
IV =
V =
VI =
VII=
“C” Ma. 7
“D” mi. 7
“E” mi. 7
“F” Ma. 7
“G7”
“A” mi. 7
“B”mi.7( b5)
Modified
“C7”
“D7”
“E7”
“F7”
“G+7”
(not)
(not used here)
bVII = “B b7”
Io
Also several passing chords are used:
+IV = F 7
VII = B
Scale Source
“F” Major scale
“G” Major scale
“A” Major scale
“B b” Major scale
“G” Whole tone
“C” Major scale
(could be sub for “G7”)
“E b” Major scale
I
F Diminished scale
They move by so quickly that they do not have much effect on the key center of the song.
89
The Low Down
MM70 12/8 Feel
G7
4
41
on cue . . .
C
(verse)
A
>w
/
/
2
E
F
/
/
5, 29
/
E7
/
/
/
/
/
/
C6
/
/
/
13, 37
/
/
/
/
17, 41
/
/
/
21, 45
Io
/
Io
/
/
/
/
/
Io
/
/
/
/
/
/
/
/
/
C9
/
/
26, 50
E/G
/
I
/
/
27, 51
/
/
/
/
/
28
G7
G+7
/
/
G7
G+7
/
/
/
12, 36
I
A mi.
/
/
I
F7
/
/
/
16, 40
Io
/
/
/
/
/
C
/
/
C9
/
/
24, 48
G7
/
/
/
20, 44
F 7
/
1.
/
/
/
23, 47
/
/
B b/D B/D C/E Csus/F C/G C7
F
/
/
D13
/
19, 43
C
/
/
/
C
18, 42
/
/
A mi. 9
C/G
/
/
D9
/
11, 35
G13
22, 46
/
/
15, 39
/
/
/
F 7 C/E A mi. D9/F G9/F C/E
F
25, 49
/
F 7
D9
F 7
(refrain) F
/
/
A mi.
A mi. 7
C6
14, 38
C/E
/
G+7
8, 32
B b13
F
/
/
7, 31
/
C9
/
C/G
4
B b7
10, 34
C
/
3
/
F Ma. 9
9, 33
C
/
/
6, 30
C
B
>w
Io
F F 7
C C/E
F7
G+7
/
I
C B b/D B/D C/E
2.
/
/
52
/
/
/
C
/
/
/
53
F
/
/
C
/
/
/
/
/
Io
/
/
/
/
A mi.
/
/
/
/
C13
I
/
/
/
/
/
A mi.
/
/
/
/
C13
/
/
56
/
Io
/
I
/
/
/
/
C
/
/
C9
/
/
G7
C
/
on cue . . .
68
/
60
64
D9
67
/
C B b/D B/D C/E
G9/F
63
C/E
C6
F 7
F
62
66
/
/
59
C6
/
/
D9/F
/
58
/
/
55
/
Io
/
Io
F 7
F
54
F 7
F
65
/
C9
C/E
61
/
/
F 7
F
/
Io
C
F 7
57
(solo)
Io
F 7
(refrain) F
69
U
/
Chords for The Low Down
G7
C
F7
X
X
Fret
1
O
I
X
M
F
C/E
X
X
X
X
R
I
M
X
I
Fret
8
B
Fret
3
X
Fret
3
R
Fret
7
I
I
R
B
R
R
Rt.
X
b7
3
5
X
Rt.
(3)
Bar 1
3
Io
F 7
X
X
Rt.
X
Rt.
3
X
X
3
3
X
X
Rt.
Rt.
C/G
G+7
C
E
X
X
X
bb 7
b3
X
X
Rt.
X
X
Fret
3
R
X
Fret
7
I
X
I
5
X
X
Rt.
3
+5
Rt.
X
X
Rt.
5
R
Rt.
Bar 4
Bar 3
/
3
X
M
Fret
10
R B
5
3
I
M
b5
Rt.
/
R
X
5
/
I
B
Rt.
Bar 3
X
Fret
10
5
/
M
R
5

I
Fret
9
5
Bar 2

X
b7
//
3
X
X
Rt.
5
Rt.
Bar 5
//
//
 = four beats
Time notation:
/
= one beat
//
3
X
F
X
X
X
B b7
C6
X
D9
A mi. 7
X
X
X
X
I
Fret
8
Fret
6
I
I
M
I
Fret
8
R
M
Fret
5
R
I
R
Rt.
5
Rt.
3
X
Rt.
X
b7
3
5
X
Rt.
X
6
3
5
X
Rt.
5
b7
b3
//
//
G7
G+7
C
E7
X
X
X
X
X
X
M
M
R
I
M
R
B
Fret
3
Fret
7
I
R
B
B
R
Rt.
X
b7
3
5
X
Rt.
X
b7
3
Bar 8
/
/
+5
X
Rt.
R
5
Rt.
3
X
X
Rt.
b7
3
Bar 9
//
X
Rt.
b7
3
//
I
Fret
3
Rt.
Bar 8
//
X
5
Bar 7
//
X
I
R
R
Bar 6
Fret
3
M
B
B
X
Fret
5
//
Rt.
9
5
F Ma. 9
X
X
X
B b13
C6
D13
A mi. 9
X
X
X
X
I
Fret
6
I
Fret
8
M
I
M
M
R
Rt.
3
7
Fret
5
R
M
Fret
5
R
B
9
X
Rt.
X
b7
3
13
9
Rt.
X
6
3
5
X
Rt.
X
b7
b3
5
//
//
//
G7
G+7
C
C9
X
X
X
X
I
M
Fret
3
R
I
M
R
Fret
3
I
X
M
R
B
B
R
Rt.
X
b7
3
5
X
Rt.
X
b7
3
+5
X
Rt.
5
Rt.
Bar 12
/
3
X
X
Rt.
b7
3
Bar 13
/
//
B
section starts here.
X
Rt.
b7
3
//
X
Fret
3
B
Bar 12
I
Fret
3
9
Bar 11
//
X
R
B
Bar 10
X
M
B
R
B
X
I
Fret
8
//
9
9
13
Fret
1
Io
F 7
F
X
I
C/G
X
X
E/GI
A mi.
X
I
Fret
2
R
M
Fret
3
R
Fret
4
I
I
M
R
Fret
5
I
B
R B
R
Rt.
5
Rt.
3
5
Rt.
Rt.
X
bb7
b3
b5
X
5
Rt.
R B
5
Rt.
3
Bar 14
3
X
X
5
Rt.
3
Rt.
5
Bar 15
b3
Rt.
//
//
//
//
F7
C/E
A mi.
D9
G13
X
X
X
I
B
X
Fret
5
I
M
Fret
3
R
I
M
R
R
R B
X
Rt.
b7
3
Rt.
X
X
3
5
Rt.
3
X
Rt.
5
B
Rt.
b3
5
Rt.
X
Rt.
b7
3
Bar 17
Bar 16
//
Rt.
I
Fret
5
M
R
X
I
Fret
7
5
Bar 16
//
X
Fret
8
X
//
9
5
Rt.
X
b7
3
Bar 18
//
//
//
13
9
B b/ D
C
X
Fret
3
X
X
Fret
3
I
R
X
Rt.
X
X
Fret
4
I
R
5
Rt.
3
X
X
3
B/ DI
X
X
X
Fret
5
I
Rt.
3
X
3
5
Rt.
3
X
X
3
5
Rt.
3
X
/
/
C/G
C7
F
F 7
X
X
Fret
8
I
X
Io
X
Fret
9
I
X
M
I
M
R B
R
R
B
R
B
X
5
Rt.
3
5
X
Rt.
5
b7
3
b7
Rt.
X
Rt.
5
Rt.
Bar 20
/
4
Rt.
4
/
I
I
X
Bar 20
/
Fret
8
I
R B
//
Fret
8
X
R
Bar 19
X
X
Fret
8
I
R
5
C sus./F
(or just play F)
C/E
3
X
X
Rt.
b5
bb7
Bar 21
/
//
C
refrain starts here.
//
b3
X
5
Rt.
C
X
X
Io
F 7
F
C9
X
X
X
X
X
I
Fret
3
Fret
3
I
M
R
Fret
9
I
R
Rt.
5
Fret
3
M
I
B
Rt.
3
X
X
Rt.
b7
3
9
5
X
Rt.
R
5
Rt.
3
//
//
C9
F
F 7
X
X
X
Rt.
b5
bb7
b3
X
Rt.
Bar 23
//
X
X
I
M
X
R
Bar 22
Fret
3
X
I
Fret
8
R
X
C
Io
X
5
Rt.
3
X
5
Rt.
Bar 24
//
//
C/E
A mi.
X
X
I
R
Fret
5
M
Fret
3
Fret
4
R
I
Fret
5
I
I
M
R
B
M
R B
B
X
Rt.
b7
3
9
5
X
X
Rt.
5
Rt.
Rt.
b5
bb 7
b3
X
3
5
Rt.
Bar 25
Bar 24
//
3
//
5
X
Rt.
5
Rt.
Bar 26
//
//
//
b3
X
D9/F I
I
(F mi. b5)
1.
C/E
G9/F
X
X
G+7
G7
X
X
X
X
X
X
I
Fret
9
I
Fret
8
M
R
Fret
3
I
Fret
7
M
B
3
b7
9
5
X
X
b7
b7
3
M
M
R
B
B
9
(13)
X
3
5
Rt.
5
X
Rt.
X
b7
3
5
X
Rt.
X
b7
3
Bar 28 *
//
//
//
/
/
* Go back to the C of the chart
for the second verse.
2.
B b/D
C
X
X
X
Fret
3
I
R
X
B/DI
X
Fret
4
I
R
Rt.
5
Rt.
3
X
X
3
C/E
X
R
5
Rt.
5
X
Fret
5
I
I
R
B
X
I
B
Bar 27
Fret
3
Fret
3
R
R
R
X
I
B
X
X
3
5
Rt.
5
B
X
X
3
5
Rt.
Bar 52 **
/
/
** This leads into the last chorus.
/
/
5
X
+5
X
Chord Chart Analysis: The Low Down
How the chart breaks down:
MM70 Set metronome at MM70.
12/8 Feel Count: “1, 2, 3; 2, 2, 3; 3, 2, 3; 4, 2, 3” beats per bar.
Bar 1
4 means four beats per bar.
4
w ” is a whole note; hit the chord once and let it ring.
“ > ” is a hard accent.
“on cue” indicates that someone in the band will direct the changes.
“
“G7” is V7 in “C”.
Bar 2
“F7” is IV7; the “B b” Major scale is the source.
Bar 3
“C”, “C/E”, “F”, F 7” form an ascending bass line (isolate and learn).
Bar 4
“C/G” (second inversion); “G” note in bass completes ascending line.
“G+7” has an augmented 5th (“D ”), which leads into a “C” chord.
Io
I
]
“E” is III7; the “A” Major scale is the source.
A Bar 5
repeat mark.
“C” is I7; the “F” Major scale is the source.
Bar 6
“F Ma. 7” or “Ma. 9” is IV Ma. 7; the “C” Major scale is the source.
“B b7” is bVII7; the “E b” Major scale is the source.
Bar 7
“C6” is I Ma. 7; Diatonic to the “C” Major scale.
“A mi. 7” is VI mi. 7; Diatonic to the “C” Major scale.
Bar 8
“D9” is II7; the “G” Major scale is the source.
“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”
Bar 9
“C” is I7; the “F” Major scale is the source.
“E7” is III7; the “A” Major scale is the source.
Bar 10
“F Ma. 9” is IV Ma. 7; the “C” Major scale is the source.
“B b13” is bVII7; the “E b” Major scale is the source.
Bar 11
“C6” is I Ma. 7; Diatonic to the “C” Major scale.
“A mi. 9” is VI mi. 7; Diatonic to the “C” Major scale.
Bar 12
“D13” is II7; the “G” Major scale is the source.
“G7” and “G+7”* are V7; the “C” Major scale is the source for “G7.”
*
The possible scale sources and substitutes for “G+7” are:
b 5 ), G9(+5
“G” Whole Tone scale = G+7, G+9, G7(+5
b5 )
“G” 8 Note Dominant scale = G7( b 9), G7(+9), G7(+11
+9 )
b9
+11
Mode VII of “Ab” Melodic Minor scale = G+7( b 9), G+7(+9), G+7(+9b9 )
b 13
Mode III (Phrygian) of “E b” Major scale = G7( b 9), G7(+9), G7(+9 )
(Contains no Major 3rd, but works in a pinch.)
b9
B Bar 13
“C” is I Ma. 7.
“C9” is I7 (helps set up move to “F”).
Bar 14
“F” is IV Ma 7.
Io
“F 7” is +IV dim. 7.
Bar 15
}
First part of ascending bass line.
“C/G” (second inversion).
I
“E/G ” (first inversion).
}
More chromatic ascending line.
Bar 16
“A mi. 7” is VI mi. 7; “end of the line.”
“F7” is IV7.
Bar 17
“C/E” is descending line from “F7.”
“A mi.” is beginning of descending 4th bass line.
Bar 18
“D9”
“G13”
}
More 4th bass movement.
Bar 19* “C” is I.
“B b/D” and “B/D ” are the beginning of another ascending bass line.
I
Bar 20* “C/E” & “C sus./F”; chromatic ascending bass line.
“C/G” and “C7”; 4th movement.
*
Isolate and learn Bars 19 and 20 as a “chord lick.”
}
One single chord
inverted to produce
a bass line.
C Refrain.
Bar 21
Io
“F” is IV Ma 7.
Bar 22
“C” is I Ma. 7.
“C9” is I7.
Bar 23
“F” is IV Ma 7.
}
This section leads off with a IV to I movement.
Io
Bar 24
“C” is I Ma. 7.
“C9” is I7.
Bar 25
“F” is IV Ma 7.
Io
“F 7” is +IV dim. 7
}
Bar 26
“C/E”
“A mi.”
Bar 27
“D9/F ” (first inversion).
I
Substitute for “C” & “C9” (like Bar 22), but has softer
effect and different bass line.
“G9/F” (third inversion).
}
Chromatic descending bass line.
I
Bar 28
“C/E” is last of descending bass line.
“G7” & “G+7”; raised 5th (“D ”), lifts back to Bar 5, 29 for second verse.
This is referred to as a “first ending.”
1.
} Repeat back, in this case to A , to the top of the verse section.
ending, jump to the second ending
and then play to the end of the tune.
Bar 52
“C”, “B b/D”, “B/D ”, “C/E” are similar to Bars 19 and 20 — “lifts” into
Play A , B , and C again (Bars 29 through 51), skip the first
C (Refrain).
I
2.
(Bar 52)
104 Fretboard
Fretboard Harmony
Harmony
104
11
The “ D ” Tuning
The “D” Tuning
The “D” tuning changes the open-string voicing of the guitar to a “D” major chord, it’s
sound is identical to an “E” shaped bar chord.
Although the tuning is beautiful-sounding, it presents the player with some real challenges.
The primary difficulty arises from correlating the unique voicings to the outside world
and vice-versa.
As a point of departure, diagrams of the diatonic-chord voicings from the three major
scales that contain the “D” Major chord will be provided.
“D” = I Major in “D” Major scale
“D” = IV Major in “A” Major scale
“D” = V7 in “G” Major scale
105
“D” Tuning Diatonic Chords
When “D” is a I Chord (“D” Major Scale)
D
O
A
O
DI
D F
O
O
A
O
I
F mi. (or D/F I)
E mi. 7 or 11
D
O
X
O
O
I
Fret
2
M
R
O
O
M
Rt.
3
5
Rt.
Rt.
X
Rt.
I Ma.
II mi. 7
A7
B mi.
X
Fret
7
b3
11
or 5
b7
Rt.
O
M
R
b3
Rt.
O
O
Fret
5
M
5
O
Fret
5
I
R
(M)
B
b3
X
(+5)
Rt.
X
7
3
9
5
Rt.
R
Rt.
b7
3
V7
B mi. 7
I
C mi. 7 (+5
b5)
D (add)
9
O
O
O
O
X
Fret
4
M
B
O
Fret
5
I
O
Rt.
3
V7
b7
Rt.
O
I
M
B
5
5
IV Ma. 7
R
Rt.
or
III mi. 7
X
Fret
2
I
Fret
9
R
or
O
A7
I
I
5
X
B
Fret
4
Rt.
G Ma. 9
B
B
Rt.
Rt.
X
Rt.
5
VI mi. 7
5
b3
Rt.
b3
5
VI mi. 7
b7
b3
Rt.
b5
b7
b3
VII mi. 7 b 5
+5
(Rt.) Rt.
5
3
I Ma.
9
Rt.
When “D” is a IV Chord (“A” Major Scale)
D
O
A
O
D
O
I
F
O
A
O
E7
D
O
or
X
Fret
2
X
O
Fret
2
I
I
M
I
G mi. 7 (b 5)
F mi.7(or D/F I)
E7
O
O
O
O
X
Fret
6
R B
I
I
Fret
4
M
R
B
M
B
Rt.
5
Rt.
3
5
Rt.
Rt.
5
Rt.
5
X
Rt.
b7
X
3
5
b7
Rt.
Rt.
or b3
5
V7
V7
VI mi. 7
A6
B mi. 7
B mi. 13
C mi.
O
I
O
M
X
Fret
2
I
Fret
9
O
M
O
O
6
X
3
I Ma. 7
5
Rt.
Rt.
Rt.
b3
Rt.
b7
VII mi.7 (b 5)
Rt.
D Ma. 7
O
O
R
X
B
b5
I
I
Fret
4
Rt.
(+5)
I
R
R
Rt.
Rt.
b3
IV Ma. 7
X
Fret
7
R
b7
b3
II mi. 7
b7
b3
X
Rt.
b3
13
II mi. 7
b7
b3
R
Fret
4
B
Rt.
b3
5
Rt.
III mi. 7
b3
Rt.
M
5
3
R B
5
7
IV Ma. 7
3
When “D” is a V Chord (“G” Major Scale)
D
O
A
O
D
O
D
I
F
O
A
O
I
F mi. 7 (b 5)
E mi. 7
D
O
G69
G 6 9 sus. 4
X
I
Fret
2
Fret
4
I
M
R
B
Fret
5
Fret
5
I
I
M
R B
R B
B
Rt.
X
5
Rt.
3
5
Rt.
Rt.
b3
5
5
b7
b3
Rt.
X
Rt.
b3
b5
V7
VI mi. 7
VII mi.7 (b 5)
A mi.
B mi. 7 (add
13 )
C Ma. 13
O
X
O
O
Rt.
O
Rt.
6
9
11
5
Rt.
Rt.
6
9
3
5
I Ma. 7
I Ma. 7
C Ma. 9
C Ma. 9 (+11)
X
X
O
6
O
I
Fret
2
I
M
Fret
2
I
Fret
10
R
M
Fret
3
R
I
I
Fret
3
R B
B
X
Rt.
5
Rt.
II mi. 7
b3
5
X
Rt.
b3
13
III mi. 7
b7
b3
Rt.
5
7
3
6
IV Ma. 7
M
R
R
9
X
Rt.
5
7
9
IV Ma. 7
5
X
Rt.
3
+11
7
9
IV Ma. 7 (+11)
Basic Minor Chords in the “D” Tuning
I
G mi. 7 (b 5) or
I
C 7
B mi. 6
X
X
X
or
X
X
I b)
C 7(+9
9
I
Fret
6
Fret
2
I
Fret
4
I
R
Rt.
X
b3
b5
M
R
Fret
3
M
B
b7
b3
I
Rt.
X
Rt.
5
6
(11)
X
Rt.
Rt.
X
X
X
I
M
X
Rt.
3
b7
B
X
Rt.
X
Rt.
o
b5
B
bb7
b3
VII 7
or D I mi. 7 (+5
b 5)
F mi. 6
X
Fret
8
I
Fret
12
b9
(+9)
I
or A Ma. 7 (+5) or
F mi. Ma. 7
Fret
4
B
3
b7
V7 (+9)
I
or
X
R
B
()
IV mi. 6
I
M
I
R
B
F mi.
Fret
4
X
R
II mi. 7 (b 5)
X
X
I
Fret
4
B
M
o
F 7
or
X
I
Fret
5
M
I
M
M
R
B
Rt.
X
Rt.
b3
I mi.
5
X
Rt.
X Ma.7 b3
5
I mi. Ma. 7
X
X
Rt.
3
+5
7
b III Ma. 7 (+5)
3
X
Rt.
5
Rt.
I mi. 6
b3
6
B
X
Rt.
b5
b7
b3 (+5)
VI mi. 7 (b 5)
12
B eyond the Major Scale
Line Progressions
It is possible to create moving lines by changing one note in a given chord. Two of the
most common are:
A major chord where the 5th ascends.
A minor chord where the root descends.
In the following example the notes move chromatically; pay careful attention to the fact
that each time the note moves the chord name changes.
Major Chord with Ascending 5th
(5)
(Rt.)
(3)
“G”
=
“C”
“C”
“E”
“G ”
=
“C+” Augmented
“C”
“E”
“A”
=
“C6”
“C”
“E”
“B b”
=
“C7”
“C”
“E”
I
(Rt.)
“A”
“A”
“A”
“A”
( b3)
“C”
“C”
“C”
“C”
Minor Chord with Descending Root
(5) (Rt. oct.)
= “A” mi.
“E”
“A”
= “A” mi. Ma.7
or “A” mi./“G ”
“E”
“Ab”
= “A” mi. 7
or “A” mi./“G”
“E”
“G”
= “A”mi.6or “F ”mi.7( b5) or“A”mi./“F ”
“E”
“F ”
I
I
111
I
I
The following four pages contain chord charts diagramming the previous examples.
On the chord charts the labels “High Position, “Mid Position” and “Low Position” or
“Hi-Po”, “Mi-Po” and “Lo-Po”, are used to designate the following:
“High Position”
= “D,” “G,” “B,” and “E” strings (top four strings)
“Mid Position”
= “A,” “D,” “G” and “B” strings (middle four strings)
“Low Position”
= “E,” “A,” “D,” and “G” strings (bottom four strings)
Line Progressions
C
X
C+
X
X
C6
X
X
C7
X
X
X
Fret
8
Fret
8
Fret
8
I
I
M
X
Rt.
5
Rt.
Rt.
R
3
+5
M
M
R
3
I
I
M R
R
X
Fret
8
Rt.
Rt.
R
B
3
6
B
Rt.
X
X
Rt.
3
b7
Rt.
Root on “D” string.
“Hi-Po”
C/E
X
C+/E
X
X
Fret
12
X
X
Fret
12
I
C6/E
M
X
X
Fret
12
I
X
Fret
12
I
M
R
C7/E
I
M
R
M
R B
R
B
X
X
3
5
Rt.
3
X
X
3
+5
Rt.
3
X
X
3
6
Rt.
3
X
X
Chord’s 3rd is on the “D” string.
“Hi-Po”
3
b7
Rt.
3
Line Progressions
C
C+
C6
C7
X
I
I
Fret
8
B
Rt.
3
5
Rt.
3
(6)
X
M
Fret
8
R
M
Rt.
3
+5
Rt.
3
(6)
Rt.
3
6
3
5
X
Rt.
3
C6
X
Fret
3
Fret
3
I
b7
3
X
X
C7
Fret
3
I
I
M
R B
( )
R B
R
R
( )
X
Rt.
C/G
3
5
M
R
B
X
( )
Rt.
I
B
B
C+
X
(5)
X
B
C
( ) I
X
Fret
8
R
Root on “E” string.
“Lo-Po”
Fret
3
C7
I
R
R
Fret
8
X
I
Fret
8
M
or
(+5) Rt.
C+/GI
X
Rt.
3
+5
(6)
Rt.
5
Rt.
3
6
C6/A (A mi. 7)
Root on “A” string.
“Mi-Po”
b7
B
Rt.
5
Rt.
C7/B b
3
b7
Rt.
X
b7
3
5
Line Progressions
A mi.
A mi. Ma. 7
A mi. 7
A mi. 6
or
X
D9
X
I
Fret
5
Fret
5
I
Fret
5
I
Fret
5
I
M
I
Fret
5
R
M
R
M
R B
Rt.
5
Rt.
R
b3
5
Rt.
Rt.
5
R
Ma.7 b 3
5
Rt.
Rt.
5
b7
b3
5
Rt.
Rt.
X
6
b3
5
Rt.
X
Rt.
3
b7
9
5
Root on “E” string.
“Lo-Po”
A mi.
X
A mi. Ma. 7
X
X
A mi. 7
X
X
A mi. 6
X
X
or
X
D9
X
X
I
Fret
12
I
M
Fret
12
I
R
M
Fret
12
I
M
R B
R
Fret
12
I
M
R
B
Fret
12
M
R
B
B
B
X
Rt.
X
Rt.
b3
5
X
Rt.
X Ma.7 b 3
5
X
Rt.
X
b7
b3
5
Root on “A” string.
“Mi-Po”
X
Rt.
X
6
b3
5
X
X
Rt.
3
b7
9
Line Progressions
A mi.
X
A mi. Ma. 7
X
Fret
7
X
X
Fret
7
I
A mi. 7
X
X
Fret
7
I
M
X
or
X
Fret
7
I
M
R
A mi. 6
X
Fret
7
I
M
R B
D9/3
I
M
M
R
R
R
B
X
X
Rt.
5
Rt.
b3
X
X
Rt.
5
Ma.7 b 3
X
X
Rt.
5
b7
b3
Root on “D” string.
“Hi-Po”
X
X
Rt.
5
6
b3
X
3
5
Rt.
3
b7
Passing Chords
On the following four pages are passing chords that fit between the regular chords of
the major scale.
There is always more than one choice — ascending progressions lend themselves to
using different passing chords from descending progressions.
Ascending Passing Chords in Major Keys
Io
C 7
C Ma. 7
X
Io
D 7
D mi. 7
X
X
X
X
X
I
Fret
3
Fret
4
I
R
Rt.
5
R
3
5
X
Rt.
and
X
X
b5
Fret
7
M
M
B
bb 7
b3
X
X
Rt.
R
I
M
B
X
b3
5
X
Rt.
b5
M
b3
X
X
Rt.
5
Rt.
I/III
3
X
X
X
M
Rt.
I+/3
3
X
X
Rt.
3
5
X
Fret
10
M
R
+5
b3
I
Fret
9
R
3
b7
G7
I
B
B
3
5
III mi. 7
Io
I
Fret
8
bb 7
F 7
X
I
R
b7
F6
X
Fret
7
5
R
II mi. 7
C+/E
I
Fret
7
X
R
I Ma. 7
C/E
Fret
6
I
B
7
or
I
Fret
5
M
M
E mi. 7
Rt.
R
3
IV Ma. 7
6
X
Rt.
b5
bb 7
b3
X
X
Rt.
5
B
b7
V7
3
5
Ascending Passing Chords in Major Keys
Io
G 7
X
Io
A 7
A mi. 7
X
X
X
X
X
X
B mi. 7 ( b 5)
or
G/B
X
X
X
I
Fret
6
I
Fret
7
M
R
Fret
8
I
B
I
M
R
M
M
B
Fret
9
Fret
9
R
I
R
X
X
Rt.
b5
bb 7
b3
C Ma. 7
X
X
Fret
10
I
R
X
X
Rt.
5
7
3
X
X
Rt.
5
VI mi. 7
R
b7
b3
X
X
Rt.
5
bb 7
b3
X
X
3
5
V/3
Rt.
3
X
b5
b7
VII mi. 7 ( b 5)
X
Rt.
b3
Descending Passing Chords in Major Keys
B mi. 7 ( b 5)
C Ma. 7
X
X
Fret
10
X
X
Fret
9
I
or
X
X
Fret
9
I
X
X
Rt.
5
7
3
X
X
Rt.
b5
b7
I Ma. 7
VII mi. 7 ( b 5)
A mi. 7
Ab Ma. 7
X
b3
X
X
X
Rt.
5
R
b7
b3
X
X
X
5
3
X
X
Fret
7
I
R
Rt.
5
B
b7
3
D/FI
X
M
R
7
X
Fret
5
I
M
Rt.
R
G7
X
Fret
6
I
R
I
M
Ab 7
or
X
Fret
6
I
X
Fret
9
M
R
X
Fret
7
X
M
R
X
Bb7
or
X
Fret
9
I
R
X
B b Ma. 7
B mi. 7
I
M
B
R
B
R
B
X
X
Rt.
5
VI mi. 7
b7
b3
X
X
Rt.
5
7
3
X
X
Rt.
5
b7
3
X
X
Rt.
5
V7
b7
3
X
3
5
Rt.
5
(6)
Descending Passing Chords in Major Keys
F Ma. 7
X
Fret
8
or
E mi. 7
X
Fret
7
I
X
Fret
7
I
M
R
E b Ma. 7
C/E
X
Fret
( )6
I
X
Fret
6
I
M
M
B
Eb7
or
R
I
M
R
R
B
R
B
B
X
Rt.
5
7
3
5
X
Rt.
5
b7
b3
IV Ma. 7
III mi. 7
D mi. 7
D b Ma. 7
X
5
X
3
Rt.
3
5
(7)
X
Rt.
Db7
or
X
Fret
4
I
Fret
4
I
Rt.
5
R
b7
II mi. 7
b3
5
X
Rt.
5
5
X
Rt.
5
X
Fret
4
I
3
5
X
I
M
Fret
3 (
R
) I
M
B
7
b7
C Ma. 7
M
R
X
3
D b 9 +11
or
X
B
7
I/3
( )
Fret
5
5
3
R
5
X
Rt.
5
B
b7
3
R
5
( b 5) Rt.
5
b7
3
+11
(5)
Rt.
5
B
7
I Ma. 7
3
Rt.
Contrasting Major and Minor
When exploring the minor tonalities, it may help to compare the Definitive chords
with those of the major scale:
Major
I Ma. 7
Minor
I mi. 6 or I mi. Ma 7
II mi. 7
II mi. 7 ( b5)
III mi. 7
bIII Ma. 7 +5
IV Ma. 7
IV mi. 6
V7
V7 (+9) or any alterations
VI mi. 7
VI mi. 7 ( b5)
o
VII mi. 7 ( b5)
VII 7 (Diminished 7th)
The Roman numerals behave the same way, more or less, in minor progressions and
chord substitutions as they do in major:
I mi. 6 and VI mi 7 ( b5) can be swapped
I mi. Ma. 7 and bIII Ma. 7 (+5) can be swapped
II mi. 7 ( b5) and IV mi. 6 can be swapped
o
V7 (+9) and VII 7 can be swapped
Playing Minor Progressions
On pages 122 and 123 are some basic minor progressions. Playing them will teach the
ability to hear and recognize these “colors.”
Try all of the combinations shown.
Major and minor tonalities are often mixed:
II mi. 7 V7 +9 I Ma. 7
In the above example the V chord is from minor, the II and the I chord are from major.
II mi. 7 ( b5) V9 I mi. 6
The second example above is reversed from the first, II and I are from minor and the V
chord is from major.
These basic progressions are the building blocks of all our modern western music.
Basic Minor Progressions
D mi. 7 ( b5) or
X
X
F mi. 6
X
X
X
o
or
G7 (+9)
X
X
X
I
Fret
5
I
Fret
3
M
R
Fret
5
I
B
M
X
I
Fret
3
M
B
M
X
I
Fret
2
R
or
C mi. 6
B7
R
M
B
B
R
X
Rt.
b5
b7
b3
X
II mi. 7 ( b5)
Rt.
5
6
b3
X
X
IV mi. 6
A mi. 7 ( b5) or
X
X
X
3
M
X
X
I ( )
Fret
3
R B
I
M
M
R B
R
Fret
6
Rt.
X
b7
b3
b5
VI mi. 7 ( b5)
+9
or E b Ma. 7 (+5)
I
Fret
5
b7
V7 (+9)
C mi. Ma. 7
X
Rt.
X
X
Rt.
X Ma.7 b 3
I mi. Ma. 7
5
B
X
Rt.
3
+5 Ma.7
bIII Ma. 7 (+5)
3
X
Rt.
o
VII 7
b5
bb 7
b3
X
X
Rt.
X
6
I mi. 6
b3
5
Basic Minor Progressions
D mi. 7 ( b5) or
X
F mi. 6
X
X
X
o
or
G7 (+9)
X
X
X
X
( )
I
Fret
12
I
I
Fret
13
R
X
X
Rt.
Fret
10
b5
M
b7
II mi. 7 ( b5)
b3
Rt.
M
6
b3
5
Rt.
X
Rt.
3
b7
+9
or E b Ma. 7 (+5)
C mi. Ma. 7
X
( )
I
Fret
8
I
( b 5) Rt.
b5
Fret
11
I
R
X
X
M
M
b7
VI mi. 7 ( b5)
b3
Rt.
X Ma.7 b 3
R
5
I mi. Ma. 7
Rt.
Rt.
3
7
3
+5
X
bIII Ma. 7 (+5)
X
X
o
VII 7
Rt.
I
M
R
V7 (+9)
X
Fret
7
I
B
IV mi. 6
A mi. 7 ( b5) or
R
R
X
Fret
9
or
C mi. 6
B7
b5
B
bb 7
b3
Fret
10
(Rt.) X
R
Rt.
B
b3
I mi. 6
6
5
P
A
R
II
T
Fretboard Harmony
Workbook
Fretboard Harmony Workbook 129
Fill in the missing notes and their enharmonic equivalents.
Flat
Given Note
1/2 step above
1/ 2 step below
1.(C b) or B
2.
3.
4.
5.
6.
7.
I
8.(A ) or Bb
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Sharp
C
F
Bb
Eb
Ab
Db
Gb
C b
E
A
D
G
D
G
C
B
F
A
I
I
I
I
I
I
C or (Db)
I
C n or (B )
130 Fretboard Harmony Workbook
Given Note
Flat
1/2 step above
1/ 2 step below
I
1.(E b) or D 2.
3.
4.
5.
6.
7.
8.
9.
10.An
11.
12.
13.
14.
15.
16.
17.
18.
Sharp
E
A
D
G
D
G
C
B
F
A
C
F
Bb
Eb
Ab
Db
Gb
Cb
I
F or (E )
I
I
I
I
I
B or (C b)
Flat
1/ 2 step below
1.
Given Note
I
I
Sharp
1/2 step above
A
2.
F
3.(A ) or BbB
C or (B )
4.
C
5.
G
6.
D
7.
G
8.
D
9.
A
10.
E
11.
Cb
12.F n
GbGn
13.
Db
14.
Ab
15.
Eb
16.
Bb
17.
F
18.
C
I
I
I
I
I
Flat
Given Note
1/2 step above
1/ 2 step below
1.
G
2.
3.
4.
5.
6.
7.
8.
9.Gn
10.
11.
12.
13.
14.
15.
16.
17.
18.
Sharp
AbAn
C
Eb
Gb
A
C
F
Bb
G An
E
F
B
D
Db
Cb
D
G
A
I
I
I
I
I
The Chromatic Scale
Complete these ascending and descending Chromatic Scales, working forward on the
ascending and backward on the descending.
Go Flat
1.
Go Sharp
I
I
I
I
I
C, Db, D, E b, E, F, Gb, G, Ab, A, Bb, BC
C , D, D , E, F, F , G, G , A, A , B, C
2.
3.
4.
5.
6.
7.
8.
Start here
C, Db, D, E b, E, F, Gb, G, Ab, A, Bb
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
F
Bb
Eb
Ab
Db
Gb
C b
E
A
D
G
D
G
C
B
F
A
I
I
I
I
I
I
I
I
I
I
C n, C , D, D , E, F, F , G, G , A, A , B, C
The Chromatic Scale
Go Flat
1.
Start here
Go Sharp
I
I
I
I
I
E, F, Gb, G, Ab, A, Bb, B, C, Db, D, E bE
F, F , G, G , A, A , B, C, C , D, D , E
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
A
D
G
D
G
C
B
F
A
C
F
Bb
Eb
Ab
Db
Gb
Cb
I
I
I
I
I
The Chromatic Scale
Go Flat
1.
Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab, An 2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Start here
I
I
A
F
B
C
G
D
G
D
A
E
Cb
Gb
Db
Ab
Eb
Bb
F
C
I
I
I
Go Sharp
I
I
I
I
I
B, C, C , D, D , E, F, F , G, G , A, A
The Chromatic Scale
Go Flat
1.
Start here
Go Sharp
I
I
I
I
I
Ab, A, Bb, B, C, Db, D, E b, E, F, Gb, G, AbAA , B, C, C , D, D , E, F, F , G, G or A
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
C
Eb
Gb
A
C
F
Bb
G
E
F
B
D
Db
Cb
D
G
A
I
I
I
I
Symmetrical Scales
Draw the Symmetrical Scales, including fingering notation.
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
I
I
I
I M
I M M R
I
M
I M R R B
I M R B B
I
I
I
M
B
M R B
I
B
I
M
B
R B
I
B
M I
B
B
B
I
B
I
I
B M
B
M
B
B
B
I
I
I
M
I
I
I
M
R R
B
I
I
M
R
B
I
M
R
B
R
B
B
B
Symmetrical Scales
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Symmetrical Scales
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Symmetrical Scales
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Symmetrical Scales
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Symmetrical Scales
Chromatic Scale
Whole-Tone Scale
Diminished Scale
All 12 notes
Whole steps
Minor 3rds
Pentatonic Scales
Draw the Pentatonic Scales, including scale shapes, bar chord shapes, fret numbers and
fingering notation.
Fret
2
Fret
5
I
I
I
I
I
I
I
I
Fret
7
I
M
I
I
I
I
I
I
R
R
R
R
R
I
I
R
R
R
R
B
B
B
B
IO - PENT
Fret
12
I
I
DORI - PENT
“E” Shaped
Fret
9
I
R
B
“G” Shaped
I
B
B
AEO - PENT
I
B
I
I
I
R
R
“D” Shaped
I
I
I
R
R
M
R
B
R
B
B
LYDI - PENT
“C” Shaped
B
B
B
MIXO - PENT
“A” Shaped
This is an expample of the following exercises. Use the “E” and “A” shaped bar chords
to help locate the proper fret numbers.
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
DORI - PENT
“D” Shaped
“A” Shaped
Hint: An “E” shaped “C” chord lies at fret number eight.
An “A” shaped “C” chord lies at fret number three.
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
I
Key of “F ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
I
Key of “C ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
Key of “Bb” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
Key of “E b” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
Key of “Gb” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Pentatonic Scales
fingering notation.
Key of “Ab ” Major
AEO - PENT
IO - PENT
LYDI - PENT
MIXO - PENT
“G” Shaped
“C” Shaped
“E” Shaped
“A” Shaped
DORI - PENT
“D” Shaped
Relative Minor
Fill in the missing chords.
Major
Rel. Mi.
Major
Rel. Mi.
Major
C Ma.
A mi.
G Ma.
E mi.
A mi.
D mi.
G mi.
D mi.
C Ma.
F Ma.
Bb Ma.
E b ma.
Ab Ma.
Db Ma.
Gb Ma.
C b Ma.
E Ma.
A Ma.
D Ma.
G Ma.
D Ma.
G Ma.
C Ma.
B Ma.
F Ma.
A Ma.
I
I
I
I
I
G mi.
E Ma.
B mi.
I
I
G mi.
I
C mi.
I
I
B mi.
F mi.
A mi.
C b mi.
Gb mi.
Db mi.
Ab mi.
E b mi.
Bb mi.
F mi.
C mi.
I
I
F Ma.
C b Ma.
Db Ma.
E b Ma.
F Ma.
Rel. Mi.
B mi.
I
A mi.
Gb mi.
Ab mi.
Bb mi.
C mi.
E Ma.
A mi.
D Ma.
I
D Ma.
G mi.
I
G mi.
Relative Minor
Major
I
F Ma.
I
I
C Ma.
G Ma.
Rel. Mi.
Major
A mi.
C Ma.
F Ma.
Bb Ma.
I
B mi.
I
D mi.
G mi.
D Ma.
A mi.
E Ma.
Gb Ma.
Ab Ma.
Bb Ma.
C Ma.
Gb Ma.
C b Ma.
E Ma.
C b mi.
Db mi.
E b mi.
F mi.
E b Ma.
G Ma.
C Ma.
I
I
Rel. Mi.
Major
Bb Ma.
E b mi.
Ab mi.
Db mi.
B Ma.
I
D Ma.
G Ma.
Rel. Mi.
I
F mi.
I
I
C mi.
G mi.
D mi.
A Ma.
A mi.
D mi.
G mi.
I
I
B mi.
F mi.
A mi.
C b Ma.
Db Ma.
E b Ma.
F Ma.
E mi.
Gb mi.
Ab mi.
Bb mi.
C mi.
Relative Minor
Major
E b Ma.
Ab Ma.
Db Ma.
A Ma.
D Ma.
Rel. Mi.
C mi.
F mi.
Bb mi.
Gb mi.
C b mi.
E mi.
G Ma.
Major
I
E b Ma.
Ab Ma.
Db Ma.
A Ma.
D Ma.
G Ma.
D mi.
B Ma.
I
F Ma.
Bb Ma.
I
G mi.
I
C mi.
I
B Ma.
F Ma.
Bb Ma.
Rel. Mi.
Major
C mi.
F mi.
Bb mi.
C Ma.
F Ma.
Bb Ma.
Gb mi.
C b mi.
E mi.
I
I
I
D mi.
G mi.
C mi.
Gb Ma.
Cb Ma.
Rel. Mi.
E b mi.
Ab mi.
Db mi.
A mi.
D mi.
E Ma.
E b Ma.
Ab Ma.
I
C Ma.
G mi.
B mi.
I
F mi.
I
A mi.
Complete the following diagrams, changing the five basic chord shapes from major to
minor, indicating the changing 3rd.
b3
ma.
3rd
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
“E” Shaped
“E” mi. Shaped
“A” Shaped
“A” mi. Shaped
“C” Shaped
“C” mi. Shaped
“D” Shaped
“D” mi. Shaped
“G” Shaped
“G” mi. Shaped
Relative Minor Pentatonic Scales
Draw the relative minor Pentatonic Scales, including scale shapes, minor bar chord
shapes, fret numbers and fingering notation.
I
Key of “F ” Minor, relative to “A” Major
Fret
2
Fret
5
I
I
I
I
I
I
I
I
Fret
7
I
M
I
I
I
I
I
I
R
R
R
R
R
I
I
R
R
R
R
B
B
B
B
B
IO - PENT
“E” mi. Shaped
Fret
12
I
I
I
I
R
DORI - PENT
“D” mi. Shaped
Fret
9
B
B
AEO - PENT
I
B
I
I
I
R
R
“C” mi. Shaped
I
I
I
R
R
M
R
B
B
R
B
LYDI - PENT
“A” mi. Shaped
B
B
B
MIXO - PENT
“G” mi. Shaped
This is an example of the following exercises. Use the “E” and “A” minor shapes to help
locate the proper fret numbers.
Key of “C” Minor, relative to “E b ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
DORI - PENT
“C” mi. Shaped
“G” mi. Shaped
Hint: An “E” minor-shaped “C” minor chord lies at fret number eight.
An “A” minor-shaped “C” minor chord lies at fret number three.
Key of “F” Minor, relative to “Ab ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “Bb” Minor, relative to “Db ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “E b” Minor, relative to “Gb ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “A” Minor, relative to “C” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “D” Minor, relative to “F” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “G” Minor, relative to “Bb ” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “E” Minor, relative to “G” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Key of “B” Minor, relative to “D” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
I
Key of “C ” Minor, relative to “E” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
I
I
Key of “A ” Minor, relative to “C ” Major
AEO - PENT
IO - PENT
“E mi.” Shaped
“D mi.” Shaped
LYDI - PENT
MIXO - PENT
“A mi.” Shaped
“G mi.” Shaped
DORI - PENT
“C mi.” Shaped
I
Key of “G ” Minor, relative to “B” Major
AEO - PENT
IO - PENT
“E” mi. Shaped
“D” mi. Shaped
LYDI - PENT
MIXO - PENT
“A” mi. Shaped
“G” mi. Shaped
DORI - PENT
“C” mi. Shaped
Fill in the blanks as shown in the example.
I
IV
V
I
C
F
G
F
G
C
D
F
Bb
IV
V
I
A
V
D
I
I
F
IV
I
I
I
V
V
F
I
IV
I
D
I
Bb
IV
Bb
IV
V
V
F
I
I
V
IV
I
I
V
IV
Eb
V
C
I
IV
V
I
Ab
IV
I
IV
Ab
V
G
C
I
I
V
I
V
Ab
I
G
IV
I
G
I
E
A
D
I
Eb
A
D
G
IV
B
D
G
Eb
C
B
I
I
Bb
B
G
D
I
F
IV
A
V
F
C
I
A
I
IV
E
A
E
I
IV
V
I CI DI
I I I
D G A
I I I
C F G
G
IV
Ab
V
V
Ab
IV
I
I
C
I
IV
Eb
Ab
I
V
IV
C
I
V
Eb
IV
V
E
C
V
I
IV
Bb
V
V
Bb
IV
I
IV
IV
F
I
V
V
F
I
I
I
A
V
F
V
V
I
A
I
C
IV
I
C
V
I
IV
D
G
D
IV
IV
C
G
D
I
F
Bb
I
I
A
F
D
A
I
B
Eb
I
I
F
B
I
A
E
IV
B
A
E
I
G
D
I
I
I
D
I
I
I
A
I
G
IV
D
G
IV
V
I
A
V
V
I AI
I
I
D
I I
C D
I
I
IV
I
A
I
C
V
V
F
I
IV
I
IV
I
V
I
I
F
IV
I
B
V
Bb
IV
Bb
I
Bb
V
Eb
V
E
A
C
B
I
IV
A
B
F
I
E
D
IV
V
A
D
F
C
V
D
F
C
IV
G
IV
I
I
G
F
A
V
G
E
or
F
I
IV
V
C
I
IV
Eb
I
E
IV
I
V
G
C
I
I
Eb
V
Ab
I
I
G
IV
Ab
I
G
I
Ab
Pattern Movement in I, IV, V Progressions
Follow this example to fill out the remaining exercises, working from left to right.
I=A
IV = D
V=E
I=G
IV = C
V=D
AEO at fret 2
LYDI at fret 2
DORI at fret 2
IO at fret 3
MIXO at fret 3
LYDI at fret 3
IO at fret 5
MIXO at fret 5
LYDI at fret 4
DORI at fret 5
AEO at fret 5
MIXO at fret 5
DORI at fret 7
AEO at fret 7
MIXO at fret 7
LYDI at fret 7
IO at fret 8
AEO at fret 7
LYDI at fret 9
IO at fret 10
AEO at fret 9
MIXO at fret 10 DORI at fret 10
IO at fret 12
AEO at fret 12
MIXO at fret 12 DORI at fret 12
I
IV
V
I
IV
V
I
IV
V
I
IO at fret 10
LYDI at fret 12
IV
V
DORI at fret 12
I
IV
V
IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI
LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO
MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO
Use a guitar or bass to verify the answers.
Fill in the blanks, working from left to right.
I=
I
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
IO
I
IV
V
DORI
IO
I
V
LYDI
DORI
IO
IV
IV
V
MIXO
LYDI
DORI
I
IV
V
AEO
MIXO
LYDI
I
AEO
MIXO
AEO
I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I
IV
V
MIXO
I
IV
V
AEO
MIXO
I
V
IO
AEO
MIXO
IV
IV
V
DORI
IO
AEO
I
IV
V
LYDI
DORI
IO
I
LYDI
DORI
LYDI
I=
I
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
AEO
I
IV
V
IO
AEO
I
V
DORI
IO
AEO
IV
IV
V
LYDI
DORI
IO
I
IV
V
MIXO
LYDI
DORI
I
MIXO
LYDI
MIXO
I=
Key of “Ab ” Major
IV =
V=
I=
Key of “E b ” Major
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
I
IV
V
DORI
I
IV
V
LYDI
DORI
I
V
MIXO
LYDI
DORI
IV
IV
V
AEO
MIXO
LYDI
I
IV
V
IO
AEO
MIXO
I
IO
AEO
IO
I=
I
Key of “Bb” Major
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV
V
LYDI
I
IV
V
MIXO
LYDI
I
V
AEO
MIXO
LYDI
IV
IV
V
IO
AEO
MIXO
I
IV
V
DORI
IO
AEO
I
DORI
IO
DORI
Pattern Movement in I, IV, V Progressions in Minor
Key of “A” Minor
Key of “G” Minor
I = A mi. IV = D mi. V = E mi.
I = G mi. IV = C mi. V = D mi.
MIXO at fret 3
DORI at fret 3
IO at fret 3
MIXO at fret 1
DORI at fret 1
IO at fret 1
AEO at fret 5
LYDI at fret 5
DORI at fret 5
AEO at fret 3
LYDI at fret 3
DORI at fret 3
IO at fret 8
MIXO at fret 8
LYDI at fret 7
IO at fret 6
MIXO at fret 6
LYDI at fret 5
DORI at fret 10
AEO at fret 10
MIXO at fret 10
DORI at fret 8
AEO at fret 8
MIXO at fret 8
LYDI at fret 12
IO at fret 13/1
AEO at fret 12
LYDI at fret 10
IO at fret 11
AEO at fret 10
I IV V I IV V I IV V I IV V I IV V
mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi. mi.
MIXO DORI IO AEO LYDI DORI IO MIXO LYDI DORI AEO MIXO LYDI IO AEO
IO MIXO LYDI DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI
DORI AEO MIXO LYDI IO AEO MIXO DORI IO AEO LYDI DORI IO MIXO LYDI
Key of “E” Minor
Key of “C” Minor
I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IV V I IV V I IV V I IV V I IV V I
AEO
IO
AEO
DORI
IO
AEO
LYDI
DORI
IO
MIXO
LYDI
DORI
MIXO
LYDI
MIXO
Key of “F” Minor
Key of “B” Minor
I=
IV =
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
DORI
LYDI
DORI
MIXO
LYDI
DORI
AEO
MIXO
LYDI
IO
AEO
MIXO
IO
AEO
IO
I=
Key of “Ab” Minor
IV =
V=
Key of “E b” Minor
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
MIXO
AEO
MIXO
IO
AEO
MIXO
DORI
IO
AEO
LYDI
DORI
IO
LYDI
DORI
LYDI
I=
Key of “Bb” Minor
IV =
Key of “D” Minor
V=
I=
IV =
V=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
IO
DORI
IO
LYDI
DORI
IO
MIXO
LYDI
DORI
AEO
MIXO
LYDI
AEO
MIXO
AEO
Pattern Movement in Mixed I, IV, V Progressions
Key of “A” Mixed
Key of “G” Mixed
Imi. = Ami. IVmi.=Dmi. VMa.=EMa. Imi. = Gmi. IVmi.=Cmi. VMa.=DMa.
MIXO at fret 3
DORI at fret 3
DORI at fret 2
AEO at fret 3
LYDI at fret 3
LYDI at fret 2
AEO at fret 5
LYDI at fret 5
LYDI at fret 4
IO at fret 6
MIXO at fret 6
MIXO at fret 5
IO at fret 8
MIXO at fret 8
MIXO at fret 7
DORI at fret 8
AEO at fret 8
AEO at fret 7
DORI at fret 10
AEO at fret 10
AEO at fret 9
LYDI at fret 10
IO at fret 11
IO at fret 10
LYDI at fret 12
IO at fret 13
IO at fret 12
MIXO at fret 13 DORI at fret 13 DORI at fret 12
mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma.
IO
LYDI
AEO
DORI
IO MIXO MIXO
-1 fret LYDI IO -1 fret AEO LYDI -1 fret DORI AEO -1 fret MIXO DORI -1 fret
AEO
DORI
MIXO
LYDI IO -1IOfret AEO LYDI -1LYDI
fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret
AEO
DORI
MIXO
LYDI IO -1IOfret AEO LYDI LYDI
-1 fret DORI AEO -1 fret MIXO DORI -1 fret IO MIXO -1 fret
Key of “G” Mixed
Key of “A” Mixed
Imi. =
IVmi.=
VMa.=
Imi. =
IVmi.=
VMa.=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma.
IO
LYDI
IO
AEO
LYDI
IO
DORI
AEO
LYDI
MIXO
DORI
AEO
MIXO
DORI
MIXO
Key of “E” Mixed
Key of “C” Mixed
IVmi.=
VMa.=
IMa. =
IVmi.=
VMa.=
IMa. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma.
LYDI
AEO
LYDI
DORI
AEO
LYDI
MIXO
DORI
AEO
IO
MIXO
DORI
IO
MIXO
IO
Key of “F” Mixed
Key of “B” Mixed
VMa.=
IVMa.=
Imi. =
VMa.=
IVMa.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
V IV I V IV I V IV I V IV I V IV I
Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi.
AEO
DORI
AEO
MIXO
DORI
AEO
IO
MIXO
DORI
LYDI
IO
MIXO
LYDI
IO
LYDI
IVmi.=
Key of “Ab” Mixed
VMa.=
Imi. =
IVmi.=
Key of “E b” Mixed
VMa.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi.
DORI
MIXO
DORI
IO
MIXO
DORI
LYDI
IO
MIXO
AEO
LYDI
IO
AEO
LYDI
AEO
Vmi.=
Key of “B b” Mixed
IVMa.=
Key of “D” Mixed
IMa. =
Vmi.=
IVMa.=
IMa. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
V IV I V IV I V IV I V IV I V IV I
mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma. mi. Ma. Ma.
MIXO
IO
MIXO
LYDI
IO
MIXO
AEO
LYDI
IO
DORI
AEO
LYDI
DORI
AEO
DORI
IVMa.=
Key of “Db” Mixed
Vmi.=
Imi. =
Key of “Gb” Mixed
IVMa.=
Vmi.=
Imi. =
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi.
IO
LYDI
IO
AEO
LYDI
IO
DORI
AEO
LYDI
MIXO
DORI
AEO
MIXO
DORI
MIXO
I
IMa. =
IVmi.=
I
Key of “F ” Mixed
Key of “C ” Mixed
Vmi.=
IMa. =
IVmi.=
Vmi.=
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
at fret
Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi. Ma. mi. mi.
LYDI
AEO
LYDI
DORI
AEO
LYDI
MIXO
DORI
AEO
IO
MIXO
DORI
IO
MIXO
IO
Use the previous exercises as a guide for completing the following Pattern Movement
Circles exercises.
The circle pattern creates a visual image that mirrors the movement of the patterns on
the fretboard.
Playing the patterns next to one another produces I, IV, V movement, while remaining
in the same area of the neck.
Clockwise movement in the circle produces physical movement up the neck.
Counterclockwise movement in the circle produces physical movement down the
neck.
Imagine a five-story building (the five pentatonic patterns) with three rooms (the I, IV,
V progressions) on each floor — and a “magic” elevator (the pattern movement circles).
This elevator enables the rider to go from floor to floor, and room to room, in any order,
at any time!
Pattern Movement Circles
I
I, IV, V in the Key of “A” Major/“F ” Minor
LYDI
at fret 4
V
IV
DORI
at fret 2
LYDI
at fret 2
V
MIXO
at fret 5
IV
IO
at fret 5
AEO
at fret 7
DORI
at fret 7
AEO
at fret 2
MIXO
at fret 7
I
V
IV
IV
MIXO
at fret 12
LYDI
at fret 9
DORI
at fret 12
IO
at fret 12
IV
V
IO
at fret 10
AEO
at fret 9
V
I, IV, V in the Key of “G” Major/“E” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I
I, IV, V in the Key of “E” Major/“C ” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “C” Major/“A” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I
I, IV, V in the Key of “B” Major/“G ” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “F” Major/“D” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “Ab” Major/“F” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “E b” Major/“C” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “Bb” Major/“G” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “D” Major/“B” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “Db” Major/“Bb” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
I, IV, V in the Key of “Gb” Major/“E b” Minor
V
V
IV
IV
I
V
IV
IV
IV
V
V
Mixed I, IV, V in the Key of “A”
V Ma.
V Ma.
IV mi.
IV mi.
I mi.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “C”
V Ma.
V Ma.
IV mi.
IV mi.
I mi.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “G”
V Ma.
V Ma.
IV mi.
IV mi.
I mi.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “E”
V Ma.
V Ma.
IV mi.
IV mi.
I mi.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “D”
V Ma.
V Ma.
IV mi.
IV mi.
I mi.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “F”
V Ma.
V Ma.
IV mi.
IV mi.
I Ma.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “Bb”
V Ma.
V Ma.
IV mi.
IV mi.
I Ma.
V Ma.
IV mi.
IV mi.
IV mi.
V Ma.
V Ma.
Mixed I, IV, V in the Key of “E b”
V ma.
V ma.
IV mi.
IV mi.
I ma.
V ma.
IV mi.
IV mi.
IV mi.
V ma.
V ma.
Mixed I, IV, V in the Key of “A”
V mi.
V mi.
IV Ma.
IV Ma.
I mi.
V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Mixed I, IV, V in the Key of “C”
V mi.
V mi.
IV Ma.
IV Ma.
I mi.
V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Mixed I, IV, V in the Key of “G”
V mi.
V mi.
IV Ma.
IV Ma.
I Ma.
V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Mixed I, IV, V in the Key of “E”
V mi.
V mi.
IV Ma.
IV Ma.
I Ma.
V mi.
IV Ma.
IV Ma.
IV Ma.
V mi.
V mi.
Intervals
Fill in the blanks.
Root
Ma. 2nd
Root
A
B
F
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
Db
D
I
D
B
G
E
C
A
Db
Bb
Gb
Eb
Cb
Ab
A
G
C
F
I
I
I
I
b3
Mi. 3rd
Ab
D
An
Dn
Root
Bb
Eb
Ab
I
I
G
F
Gb
Cb
A
C
F
B
E
A
D
G
C
Db
I
I
Ma. 3rd
D
I
B or C
Dn
D
F
I
Intervals
Fill in the blanks.
Root
P. 4th
Root
A
D
F
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
C b or B
D
B
G
E
C
A
Db
Bb
Gb
Eb
Cb
Ab
A
G
C
F
I
I
I
I
b5
Dim. 5th
Bn
Bb
Gn
n
n
Root
P. 5th
Bb
Eb
Ab
I
I
G
F
Gb
Cb
A
C
F
B
E
A
D
G
C
Db
I
I
C
I
b
I or
Intervals
Fill in the blanks.
Root
+5
Aug. 5th
A
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
Root
Ma. 6th
E or F
F
D
G
D
B
G
E
C
A
Db
Bb
Gb
Eb
Cb
Ab
A
G
C
F
I
I
Gn
En
Bn
I
I
I
I
I
G
Bb
G
Root
b7
Mi. 7th
Bb
Eb
Ab
Ab
I
I
An
I
I
G
F
Gb
Cb
A
C
F
B
E
A
D
G
C
Db
F
I
C b or B
Intervals
Fill in the blanks.
b3
Root Mi. 3rd P. 5th
A
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
C
Cb
F b or E
Bn
Minor Triads
F
E
Eb
Ab
D
Root Ma. 3rd P. 5th
I
D
B
G
E
C
A
Db
Bb
Gb
Eb
Cb
Ab
A
G
C
F
I
I
I
I
A
C
Root
P. 4th
P. 5th
Bb
Eb
Ab
Eb
F
B
C
En
Gb
I
I
F
Ab
Eb
Gb
B or C
D
I
Major Triads
I
G
F
Gb
Cb
A
C
F
B
E
A
D
G
C
Db
I
I
Suspended Triads
I
Intervals
Fill in the blanks.
b3
Mi. 3rd P. 5th
A
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
Root
I
P. 5th
I
C orDb F or Gb
C
F
I
C or B F or E
D
G
Minor Triads
(First Inversion)
I
A
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
b3
Root Mi. 3rd Ma. 3rd P. 5th
D
F
E
G
Fb
F
I
Gn
An
Major Triads
(Second Inversion)
Root
C
A
F
C
E
G
C
G
B
D
F
Abor G C b or B F b or E
Cb
Eb
Gb
Bb
Db
F
C
G
A
I
I
I
I
I
Major Triads
(First Inversion)
Intervals
Fill in the blanks.
P. 5th
F
D
B
G
E
C
A
Db
Bb
Gb
Eb
Cb
Ab
A
G
C
F
I
I
I
I
b5
b3
+5
Root Ma. 3rd Root Aug.5th Ma. 3rd Root Dim.5th Mi. 3rd
Bb
D
A
I
C
Bb
Eb
Ab
I
I
G
F
Gb
Cb
A
C
F
B
E
A
D
G
C
Db
I
I
Db
F
Major Triads
(Second Inversion)
I
F or Gb
D
D
A
I
D
F
I
Augmented Triads
(Always Major)
A
C
E
G
B
D
F
Ab
Cb
Eb
Gb
Bb
Db
F
C
G
A
Eb
C
I
I
I
I
Diminished Triads
Intervals
Fill in the blanks by adding or subtracting seven.
Original Up by one Original Up by one Original Up by one
Interval
Octave
Interval
Octave
Interval
Octave
Ma. 2nd
Ma. 9th
mi. 3rd
mi. 10
Ma. 3rd Ma. 10th
P. 4th
P. 11th
dim. 5th dim. 12th
P. 5th
P. 12th
Aug. 5th Aug. 12th
Ma. 6th Ma. 13th
mi. 7th
mi. 14th
Ma. 7th Ma. 14th
8th Octave 15th. ..
2
b3
3
4
b5
5
+5
6
b7
7
8
9
b10
10
11
b12
12
+12 or b13
13
b14
14
15
13
11
9
10
12
+12 or b13
15
b10
b14
10
13
b13 or +12
15
14
10
12
b12
b14
Interval Geometry
To draw the interval shapes, refer to the indicated roots, then fill in the remaining notes.
Hints are provided under the correct strings; just locate the correct fret.
Octaves
Octaves
Oct.
Octaves
Octaves
Oct.
Oct.
R
R
R
R
Oct.
Oct.
8
Oct.
8
8
Octaves
8
Octaves
8
Oct.
8
Octaves
R
8
Octaves
R
15ths (2 octaves)
R
R
R
8
8
8
Ma. 2nd
R
2
Ma. 2nd
R
2
2
8
8
Ma. 2nd
R
2
2
8
8
Ma. 2nd
Ma. 2nd
R
2
2
15
R
2
(2nds are almost always called 9ths when they appear in chords.)
2
2
Interval Geometry
Draw the interval shapes.
Ma. 9th
Ma. 9th
Ma. 9th
Ma. 9th
R
R
R
9
9
9
9
9
R
R
b3
b3
Mi. 10
R
b3
b3
Mi. 10
R
9
b10
b3
b3
R
b10
b10
Mi. 3
R
R
Mi. 10
R
b10
9
Remember, a 9th is just a 2nd up an octave.
Mi. 3
Mi. 3
Mi. 3
Mi. 3
b3
R
b10
A 10th is just a 3rd up an octave.
b3
b3
b3
Interval Geometry
Ma. 3rd
Ma. 3rd
R
3
Ma. 3rd
R
3
3
Ma. 10th
R
R
3
3
Ma. 10th
R
3
3
R
3
3
Perfect 4th
Perfect 4th
3
R
10
10
Perfect 4th
Perfect 4th
10
10
Perfect 4th
R
R
Ma. 3rd
Ma. 10th
R
10
Ma. 3rd
R
R
R
4
4
4
4
4
4
4
4
When a 3rd is replaced with a 4th it is known as a suspended 4th.
4
Interval Geometry
Perfect 11th
R
Perfect 11th
Perfect 11th
R
11
R
11
11
11
11
11ths and major 3rds never appear in the same chord as do minor 3rds and 11ths.
Dim. 5
Dim. 5
Dim. 5
Dim. 5
Dim. 5
R
R
R
b5
b5
R
R
b5
b5
b5
b5
b5
b5
For the guitarist, b5 and +11 are basically the same, the 5th is just lowered by one fret.
+11
+11
R
R
+11 +11
+11 +11
b5
Interval Geometry
Perfect 5th
Perfect 5th
Perfect 5th
Perfect 5th
Perfect 5th
R
R
R
5
5
R
R
5
5
5
5
5
5
5
Not enough fingers to play a chord? Lower the 5th to a 4th or 3rd, or raise it to a 6th (13th) or 7th.
Perfect 12th
Perfect 12th
R
R
12
12
12
Remember, when dealing with guitar chords, a 12th is called a 5th. A 5th up an octave is a 12th.
Aug. 5
Aug. 5
Aug. 5
Aug. 5
Aug. 5
R
R
R
+5
+5
R
+5
+5
R
+5
+5
+5
+5
There is no such thing as a minor chord with an augmented 5th. C mi. +5? No, it’s really Ab ma.
+5
Interval Geometry
b13 or +12
b13 or +12
R
R
+12 +12
+12
When b13 is in a chord symbol, think of it as +5. Also, +12 is never seen in chord symbols.
Ma. 6th
Ma. 6th
Ma. 6th
Ma. 6th
()
()
()
()
R
R
R
R
(6)
6
(6)
6
6
(6)
6
6
6
Need a 6th more than a root? Lower the root by three frets.
Ma. 13th
Ma. 13th
R
R
13
(6)
13
13
A 13th is just a 6th up an octave.
Interval Geometry
Mi. 7
Mi. 7
Mi. 7
Mi. 7
()
R
(b7)
b7
()
()
()
R
R
R
(b7)
b7
b7
(b7)
b7
(b7)
Need a b7 more than a root? Lower the root by two frets.
Mi. 14
Mi. 14
R
b7
R
b14
Ma. 7th
b14
b14 is never seen in chord symbols; it is always shown as b7.
Ma. 7th
Ma. 7th
Ma. 14th
R
Ma. 14th
R
()
()
()
R
R
(Ma.7)
Ma.7 Ma.7
(Ma.7)
R
Ma.7 Ma.7
(Ma.7)
Ma.7 Ma.7
Ma.14 Ma.14
Major 14th is always shown in chord symbols as major 7th.
Ma.14

Fretboard Harmony

Transcription

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