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NOTE! This chart was created with Power Tab. A known issue with Power Tab is occasional incorrect labeling of accidentals in standard notation. The notes are the correct pitch, but sharps and flats may be incorrectly labeled (ex. a D# may be labeled Eb).

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9 c c j V V V 4 g
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
c
c
j
V
V
V
4
g V
V
V
V
g
V
j
e V
1
I
4
k
P R
V
V
V
V
k
Down a Cminor triad
T
8
8
10
8
8
8
A
10
8
10
B
8
10
8
8
P
H
Anticipating the next chord change
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
c
3
c
g V
V
V
V
V
j
V
V
g V
g V
V
V
V
f V
g V
e V
V
V
5
I
k
V
V
V
k
b P R
V
V
V
k
C minor pentatonic
Cmin triad
Down an Fmaj triad
Fmaj triad
Bbmaj triad

9

13

3 V 9 7 T 8 6 4 10 8 10 10 8 8 5 7
3
V
9
7
T
8
6
4
10
8
10
10
8
8
5
7
5
5
A
10
7
8
5
6
7
B
8
8
8
H
sl.
P
E9sus4
E9
E9sus4
E9
F9sus4
F9
F9sus4
F9
c
V
V
g
V
f
V
V
j
V
V
V
V
V
e V
g
V
f
V
V
g V f V
V
V
j
g
V
f
V
V
g
V f
V
V
V
I
g V
k
V
V
V
V
k
Noti ce th e u se of Ch r omati ci sm in th ese nex t 3 measu r es
Each target note is a note of the chord being played, the root and fifth in this case.
1/2
M
T
7
6
A
4
B
10 9 8 13 8 6 5 8 7 6 10 11 6 5 4 7
10
9
8
13
8
6
5
8
7
6
10
11
6
5
4
7
5
12
12
10
12
10
2
5
4
3
12
P
P
P
P
P
H
These few measures outline Cminor with some embellishment.
See if y ou can n ot ice th e C min or t riad , which is the f ou nd ation o f th is ph ras e.
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
c
P R
V
e V
V
V
j
V
c
V
j
V
g V
V
V
j
V
e V
V
I
k
V
V
V
u
g V
V
8
10
8
T
11
8
6
8
7
8
8
5
5
A
7
5
5
8
7
B
6
8

H

P

H

sl.

Notice the triad motif or "theme"

F9sus4 F9 F9sus4 F9 d V V V V g V V e V V V
F9sus4
F9
F9sus4
F9
d
V
V
V
V
g V
V
e V
V
V
V
V
V
e V
V
V
V
V
V
V
V
V
V
V
V
g V
17
I
l
l
l
l
l
l
l
Fmaj triad
Gmin triad
Fmaj triad
Ebmaj triad
Fmaj triad
Gmin triad
Ebmaj triad
Fmaj triad
8
10
8
6
8
10
11
13
T
10
11
10
8
10
11
11
13
10
12
10
8
10
(10)
12
12
14
A
B
F9sus4
F9
F9sus4
F9
d
c
V
V
j
V
V
V
V
g V
g V
V
g V
g V
e V
V
e V
19
I
V
l
V
l
V
V
l
l
Anticipating the next chord change
Fmaj triad
Ebmaj triad
Fmaj
triad
Ebmaj triad
10
8
7
T
1
4
6
8
10
9
7
2
3
5
8
A
3
5
7
8
B
Same idea as the previous measure
but a half step up .This is a very useful technique
E9sus4
E9
E9sus4
E9
F9sus4
F9
F9sus4
F9
j
V
V
V
V
V
V
e V
g W
W
V
V
V
V
V
V
V
V
V
21
I
k
V
k
T
9
7
6
10
8
7
7
7
10
12
10
A
10
10
7
10
(10)
10
12
12
B
sl.
P
P
H
P
Utilizing the guitar's box pentatonic shape is very effective.
L arr y tak es adv an tage o f
th is in th ese measu res .
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
d
V
V
V
c
V
V
V
j
l
V
V
V
V
V
V
V
V
V
V
V
V
g V
g V
V
g V
V
V
V
e V
V
e V
V
d V
25
I
k
k
V
V
l
k
k
Notice the use of common tones here.
10
8
15
13
3
T
8
10
8
8
8
8
8
10
10
14
8
10
8
8
10
8
8
8
8
A
8
10
8
8
10
B
8
10
sl.
H
H
H
H
H
H
P
Playing the same idea on different strings and
Chromaticism targeting the root and 5th
of an Fmaj triad
F7 arpeggio with an added 9th
different octaves is very effective.
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
c
3
3
V
c
V
3
V
V
c
g V f V
V
V
V
V
V
g
V
f
V
V
V
g V
e V
V
e V
V
29
I
k
V
V
V
g V
V
k
k
V
k
V
k
V
V
g V
V
V
g V
Ebmaj7 arpeggio with
Eb maj7 arpeggio
an added 9th
1
T
8
6
8
7
6
6
8
7
5
7
6
5
3
7
5
3
7
5
8
A
5
3
5
4
3
5
5
7
B
6
3
6
6
8
P
P

33

37

41

45

E9sus4 E9 E9sus4 E9 F9sus4 F9 F9sus4 F9 V c V V V g V g
E9sus4
E9
E9sus4
E9
F9sus4
F9
F9sus4
F9
V
c
V
V
V
g V
g V
V
V
V
V
V
V
g V
V
V
e
V
f
V
g V
V
V
g V
V
e V
V
V
I
k
V
Sliding up a half step is a very effective way to
1/2
M
make the next chord change clear.
Phrase starts on a Bminor triad then embellishes around the chord
10
8
13
T
7
10
7
7
8
7
7
7
7
8
12
10
10
A
9
8
9
11
11
10
10
12
B
13
12
H
sl.
P
sl.
P
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
V
c
V
c
R
R
V
V
V
g V
V
f V
V
V
V
I
j
j
V
l
P
b P
V
j
k
V
V
e
V
V
V
V
V
V
V
k g
V
k f
V
V
k
l
g V
g V
V
V
V
Full
M
You can think of this as Cm9 to F7
Chromaticism using chords
T
13
6
5
4
(4)
3
1
3
1
12
5
4
3
(3)
3
2
3
2
A
5
5
6
7
7
6
5
(5)
1
1
1
1
B
8
6
H
H
Great voicings anticipating
the next chord change
F9sus4
F9
F9sus4
F9
F9sus4
F9
F9sus4
F9
c
g V
V
V
V
V
V
V
V
g
V
V
V
V
V
V
V
e V
V
V
V
V
V
V
fg V V g
V
V
V
V
V
V
V
fg V V
fg V V g
V
f V
V
e V
V
V
V
V
V
V
I
k
j
V
V
V
k
l
k
V
g V
V
V
V
V
V
V
g V
V
V
V
V
V
A great Cm9 to Cm triad voicing
1
9
T
3
3
3
3
1
8
8
(8)
3
1
3
1
3
1
8
8
8
7
3
3
3
3
2
8
8
(8)
3
2
3
2
3
2
8
8
8
7
A
1
1
1
1
1
12
10
(10)
1
1
1
1
1
1
12
12
10
7
B
P
sl.
P
P
sl.
E9sus4
E9
E9sus4
E9
F9sus4
F9
F9sus4
F9
V
c
c
c
c
V
V
c
V
e V
V
g V
V
V
V
V
g V
V
V
V
c
V
V
V
V
g V
V
V
V
V
V
V
V
V
g V
V
V
V
e V
V
e V
V
V
I
k
V
g V
V
k
V
V
f
V
V
V
V
e
V
V
Notice the bottom note moving down chromatically
Ascending 3rds. Some 4ths in there but mostly 3rds.
12
5
6
8
T
10
7
7
7
7
7
7
7
4
8
6
6
8
10
11
7
7
7
7
7
7
7
5
3
3
8
5
A
9
11
9
8
7
6
6
6
5
7
7
5
B
6
8

sl.

49

V u V I 13 T 10 A B
V
u
V
I
13
T
10
A
B