The Infinite Guitar

THE INFINITE GUITAR
The complete roadmap for exploring the boundless contemporary guitar

Copyright 2006, Chris Juergensen
All Rights Reserved
No part of this publication may be reproduced or transmitted in any way without prior
permission from the author.
TABLE OF CONTENTS
CHAPTER 1: INTRODUCTION
The Art of Practicing1

The Five Areas of Practice4
About This Book7
About The Author8
CHAPTER 2: THE SPIRIT OF THE GUITAR
Betty10
Inroads to Europe11
Birth of the Blues in America12
Before you do Anything13
CHAPTER 3: CHORDS AND THEIR SYMBOLS
The Chord Symbol15

Understanding Examples and Diagrams in This Book16
Triads19
Sus Chords22
7th Chords25
Min7(b5) Chords28
7#5 and b5 Chords29
Min(maj7) Chords30
Dim7th Chords32
What You Can Leave Out34
6th Chords35
9th Chords38
7b9 and #9 chords40
Altered Dominant Chords42
Add9 Chords44
69 Chords47
11th Chords49
The Lydian Chord50
Putting 9th and 11th Chords Into Practice52
13th Chords53
13th Chords With Altered 9ths55
Putting 13th Chords Into Practice57
Extensions and Diatonic Progressions58
Upper Extension Chord Forms59
CHAPTER 4: SLASH CHORDS
Slash Chords66
7th Chord Inversions70
Creating Complex Harmony71
Major Family Slash Chords73
Domin an t Family Slash Ch ords 77
Slash Chords and the Half/Whole Diminished Scale80
Minor Family Slash Chords81
Slash Chord Overview85
CHAPTER 5: INCORPORATING OPEN STRINGS IN YOUR VOICINGS
Open String Chord Voicings86
CHAPTER 6: INCREASING YOUR CHORD VOCABULARY
Increasing your chord vocabulary88

Harmonizing Chords From the Half/Whole Diminished Scale91
Putting this concept to use92
Harmonizing Chords From the Lydian Scale95
Harmonizing Chords From the Lydian Augmented Scale96
CHAPTER 7: VOICE LEADING
Contrapuntal Motions97
Chords 98
Contrapuntal Motions in Action101
Examples of Good Voice Leading102
Chords Construction Formula104
CHAPTER 8: THE MAJOR SCALE
What is the Major Scale?109

Playing the Scale111
About Picking112
Harmonizing the Major Scale113
Major Scale Patterns115
The Changing Diatonic Chords117
CHAPTER 9: SEQUENCES
Building Technique118
Diatonic 3rds120
Diatonic 4ths121
Diatonic 5ths123
Diatonic 6ths126
Diatonic 7ths127
CHAPTER 10: ARPEGGIOS
Scales vs. Arpeggios/Diatonic Triad Arpeggios128

7th Arpeggios129
Add9 Arpeggios131
Practicing Over Chord Progressions132
Arpeggio Substitutions133
Arpeggio Overview138
CHAPTER 11: INTRODUCING THE MODES OF THE MAJOR SCALE
The Modes142
The Dorian Mode143
Th e Phry gian Mode 146
The Lydian Mode151
The Mixolydian Mode155
The Aolian Mode (The Natural Minor Scale)158
CHAPTER 12: THE PENTATONIC SCALES
The Major Pentatonic Scale161

The Minor Pentatonic Scale163
The Pentatonic Scale and the Blues165
CHAPTER 13: THE HARMONIC MINOR SCALE
T h e H a r m o n i c Mi n o r S c al e 1 6 6
Harmonic Minor Scale Patterns167
CHAPTER 14: THE MODES OF THE MELODIC MINOR SCALE
Melodi c Min or Scal e Pattern s/History Lesson 16 8

The Modes of the Melodic Minor Scale170
The Altered Mode171
The Lydian Dominant Mode174
The Locrian #2 Mode176
The Lydian Augmented Mode179
Th e D ori an b2 Mode 18 1
CHAPTER 15: THE HALF/WHOLE DIMINISHED SCALE
The Half/Whole Diminished Scale183
CHAPTER 16: INTERVALIC APPROACH TO IMPROVISATION
Breaking the Tertian Paradigm187

Diatonic 4ths188
Diatonic 5ths189
CHAPTER 17: REDISCOVERING THE PENTATONIC SCALE
Rediscovering the Minor Pentatonic Scale191

Sequences192
Minor Pentatonic Scales Over Major Chords 194
Minor Pentatonic Scales Over Minor Chords198
Minor Pentatonic Scales Over Altered Dominant Chords201
Scale Overview205
CHAPTER 18: COMPOSITION AND HARMONIZATION
Working With Triads208

The Numbering System209
Composing and Harmonizing210
Mr. Rogers Diatonic Neighborhood212
Expanding Harmony by Using 7th Chords215
Secondary Dominant Chords 218
Borrowed Chords220
Complete Harmonic Freedom 222
CHAPTER 19: READING STANDARD NOTATION
Introducti on to Reading Stan dard Notation 225

The Notes in Open Position on the First and Second String229
Ties 23 0
The Notes in Open Position on the Third and Fourth String232
The Notes in Open Position on the Fifth String233
Dotted Notes234
The Notes in Open Position on the Sixth String236
The Notes in Second Position in the key of C Major239
Triplets242
The Notes in Second Position in the key of G Major245
Six teenth Notes 247
The Notes in Second Position in the key of F Major250
The Notes in Fourth Position in the key of C Major253
The Notes in Second Position in the key of D Major255
CHAPTER 20: EARS
P e r f e c t P i t c h 2 5 6
Developing Relative Pitch257
CHAPTER 1: INTRODUCTION
Playing vs. Practicing
At a recent guitar seminar held at the school I run in Tokyo, Jennifer Batten said this when
asked about practicing and practice routines; "Practice as much as you possibly can stand without
it turning into something you hate to do."
Practice should be fun but challenging. Practice should be done with specific goals in mind.
I know tons of guitarists who think they are practicing but what they are really doing is just playing.
Playing is important too but practice is something different. What you practice should come out in
your playing. If it doesn't, you're not practicing efficiently. Before you sit down to practice, make
sure you know what goals you are trying to reach by practicing, short term and long. It may even
help to keep a log of your practice sessions. When, how long you practiced, what specifically you
practiced and why you practiced it. The goal must come before the process is determined.
Continuance
Just like going to the gym, the important thing is to practice just about every day. Four
hours today and nothing else for a week will amount to close to nothing. If you can only stand
practicing an hour or so, that's fine, just as long as it is almost every day. Let it become a habit.
Vision
Remember the dreaded F chord? You almost gave up didn't you? Me too. After you got it
under your fingers, it was smooth sailing for a while until the next hurdle came up. More so than any
other instrument, the guitar will challenge you this way. That is why it is important to set realistic
goals with specific time limits for yourself. Always remember, nothing can be learned in an hour or
so. The goals you set should be for weeks or months. Some of the things that I am currently
practicing will take me a year to get together. Don't get discouraged; anything worth learning will
take time.
Balance
The way you practice should change with time. I've been playing for twenty somewhat
years, so what I practice these days, is completely different than what I worked on my first few
years. I know all my scales and have enough technique that I don't need to work on those very
much. I usually work on improvising over really hard chord changes. Stuff like John Coltrane's
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"Giant Steps" or a Wayne Shorter song. I may sequence my own chord changes and try playing over
them. I also find that working on the tunes for the gigs I do often turn into a good learning
experience. For that reason I never turn down gigs that I know are going to be a real pain in the butt
to get the tunes together for.
In the Beginning
If you are just starting out, you should dedicate a lot more time to technique than I do
nowadays. But don't let that be the only thing you work on. If I could change anything about the
way I practiced when I first started out, I would cut down the time I worked on technique and would
have dedicated more time to rhythm playing and reading. When I think back, it kind of cracks me
up because I was working on scales and arpeggios for about five or six hours every day. I was sure
that I was destined to be the fastest guitarist in the universe.
When I went to MI in the eighties, I was shocked because every student around me was
really, really fast. You have to recall, this was about the same time Yngwie Malmsteen and Joe
Satriani were at their zenith and Paul Gilbert was just getting his start in Mr. Big. Everyone was
lightning fast and it dawned on me that I had been focusing on something that was soon to be in
little demand. I completely failed to shine amongst my fellow students. I have to admit, all the
scales and arpeggios I worked on in my younger days left me with chops that I still have today but
there was a time that I struggled because I didn't have my rhythm and reading chops together. I
realized that I was way more likely to get a gig because I could play great rhythm or could read
anything upside down than because I have fast fingers. It is now a whole different era of music and
chops don't count as much any more. That's because the eighties was one big guitar sporting event.
I actually notice a whole different trend going on with young guitarists these days. It
seems a lot of aspiring guitarists have no interest in getting their chops together at all, which is a
whole different problem. The point I'm trying to make here is that balance is the key to good
practice. Work on your technical expertise, your reading and comping skills, your ears and your
theory knowledge.
Wasting Time
Don't practice something you aren't going to use. We guitarists often make the mistake of
practicing exercises that have nothing to do with music at all. It makes no sense because there are
so many things that we could be working on to increase our technique that we can actually use in
a song or something. Instead we tend to work on these real mathematical chromatic exercises or
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something that will never find its way into a guitar solo. I often get students who ask me why, even
though they practice all the time, they don't have any chops. They haven't realized it but they
actually do have chops but the only thing they can play with real precision is the strange
mathematical chromatic lines that they practice all the time. Work on what you can use.
Ruts
If you fall into a rut, stop what you're doing. Sometimes you will feel frustrated about your
playing. Don't worry, it's completely natural. It seems like you practice and practice and nothing
seems to change. You sometimes seem to lose all your creativity. I often have this problem myself.
This is what I do: I stop whatever I'm doing and get out a CD of some musician I really admire. I
listen to the CD and find some phrase that I want to know and figure it our by ear. I may have to
slow it down to do so. I then analyze it to find out how I can use it (this is why music theory is so
important). Then I practice it over some chord changes and let it be come a part of my vocabulary.
It never fails to amaze me how something like this can start to get my creative mind working again.
When I was studying guitar at music school in the eighties, I fell into a horrible rut halfway
through the year. I asked Jazz legend Joe Diorio what he thought I should do. He asked me; "Have
you been out on a date lately?" I answered; "No." He asked; "How about to the movies?" I
answered: "No." He then asked me; "Read any good books lately?" I answered; "Well, I've kinda
been looking at a book on orchestration these days." Then he said; "No wonder you can't do
anything creative on the guitar, your life is a complete bore." He then instructed me to not touch a
guitar on Sundays and have some fun. Go on a date or read a book, see a movie, give your brain
some food. To write a love song it helps to be in love. To be a creative musician your life has to be
somewhat creative. Recently I went with all my guitar students to make pottery one weekend.
Some Practice Advise
Use rhythm whenever you can. The one thing that hasn't changed about the way I practice
is exactly that. When I started going to lessons my teacher would often give me scales and the
chord changes that would work with them. I would tape myself playing the changes on one of them
super gigantic tape players that we had back in the dark ages and jam along with it. These days I
use a sequencer that I program the changes into. It makes practice time way more interesting and
helps to develop my ears. A metronome is fine for practicing but it will only help your rhythmic ear.
It won't help your harmonic ear.
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The Five Areas of Practice
As I said before, what you practice will change as you advance as a player. No matter how
long you play, the basic five things you work on will most likely stay the same. The amount of time
spent on each of them will probably vary to accommodate your changing strengths and weaknesses.
I can't tell you exactly what and how much you should be working on any one of these five different
sections because I have never heard you play so I don't know your strengths and weaknesses. Nor
have I ever discussed your goals as a guitarist with you. You or you and your guitar teacher will
have to decide how much time to dedicate to each one of them. Use the following section as a
guide:
1. Single Note Studies (Scales, Arpeggios and General Technique)
Scales and arpeggios are important to work on for two reasons. One reason is because the
only way to develop strong technical skills is by practicing them and the other is because any solo
you play, regardless of genre, is going to be based on scales or arpeggios. If you don't have much
experience working on scales and arpeggios, at first the whole thing will be just plain mathematics
and that's okay for the time being. Don't worry if at first the whole thing seems a little mechanical
at first.
2. Harmony (Chords and Rhythm Playing)
Harmony is one of the most overlooked aspects of practice. It's strange because we
generally start off playing the chords to our favorite songs. As soon as we learn to solo a bit, we
never think about them again. When I started out, I made the mistake of buying one of those chord
dictionary books that just ended up frustrating me because there were so many chords and no
explanation about how or when to use them or string them together. It is important to see how the
chords fit together with one another. I use the "Real Book" to practice with a lot of the time. The
"Real Book" is a fake book of hundreds of Jazz standards. I look at the chords and try to find
voicings that work well with one another. I may even record them and improvise over the changes
after sight-reading the head. I can knock off my sight-reading, scales and chords all in one shot this
way. It's best to kill a bunch of birds with one stone when it comes to practicing. Each individual
musical genre has its own rhythmic styles and unique chord voicings so work a little on everything.
Some styles lend them self well to the fingers rather than the pick and some, like Funk, leave you
little choice but to use a pick.
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3. Reading
This is where most guitarists make their first mistake. They dont spend enough time
working on their reading skills. There is a lot demand for guitarists who can read music, especially
those who can sight read. It is important to be literate on your instrument so get started early.
Learning how to read music will help you to learn to notate music as well, and knowing how to
notate music if fundamental if you wish to communicate your ideas to other musicians.
4. Theory (Brain Power)
Music theory is important because without understanding theory you will never really be
able to analyze music. Without being able to analyze music you will never be really be able to
understand why you like certain songs or guitar solos that your hear. Without being able to analyze
music you will also never be able to conceptualize certain melodic or harmonic techniques and
make them your own. Especially if you want to get into Jazz, you will need to understand theory
because of the complicated nature of chord scale relationships in the genre.
While you are working on playing all the major scales, practice writing them out too.
Scales, intervals, chords and arpeggios are all important to study. The good thing about theory is
that you don't necessarily need a guitar to work on it. You can do it on your morning commute or
while you are waiting in some line somewhere. Music theory will help you to glue together all the
five areas of practice into one broad musical landscape.
5. Your Ears
Figuring out songs and solos are important for developing you ears. I was fortunate to not
have all the resources that we have today. I was forced to get out the records and work everything
out using my ears. I think it is great that we have everything transcribed these days but try to use
the transcriptions as a tool to help you figure stuff out. Try to learn things first by using your ears.
If your ears are not yet well developed enough to figure songs out, you can start out by trying to
identify intervals and chords.
The Perfect Student
Before you become the perfect player try to become the perfect student. I personally
believe the keys to me becoming a somewhat successful guitarist was one; all the great teachers I
had along the way, and two; all the great students I have had. They both have been the source of
endless inspiration. When you find yourself a great teacher, keep him on his feet. Ask questions and
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challenge him from time to time. I drove my first teacher, Wayne Reese, nuts. I asked him some
questions he probably never heard before; "Mr. Reese, why does a blues scale work over both
dominant chords and minor chords?" and; "Why are all the strings on the guitar tuned in fourths
except the second string? Instead of a B string, shouldn't it be a C string?" and; "Why does a
melodic minor scale get played ascending one way and descending the other?" I bet he was
researching things all over the place before the next lesson. When I shipped off to California, Mr.
Reese told me that the lessons with me were fun and he learned some new things too. The student
teacher relationship is exactly that, a relationship. It shouldn't be a one sided thing at all.
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About this Book
The whole thing started around 2002. I started posting a new lesson on my site,
chrisjuergensen.com every month for free. I suppose it was my way of passing around the
enormous amount of priceless information that I have picked up from all of the talented musicians
I have been fortunate enough to have played or studied with over the years. They were more than
happy to spend some time to share what they knew for absolutely free of charge and I wanted to
do the same. I simply used my humble site as the tool. Soon enough I began getting over a
thousand hits a day and e-mails thanking me from all over the world. The one comment I heard
over and over again was; You should write a book. Finally a Japanese publisher asked me to
organize and rewrite the lessons from the site and they would translate it into Japanese and publish
it, which they did. The byproduct was a 266 page unpublished English version that I decided to
publish myself. The reason I decided to publish it myself is simple; I want everybody to be able to
afford it (as a matter of fact, the English version is half the price of the Japanese one).
This book is a compilation of what I have taught over the last twenty years. It is far from
complete, which is on purpose. The last thing I wanted to write was a syllabus of chords, scales and
sequences. I prefer to teach you the concepts behind these things and give you the opportunity to
discover the rest yourself. Thus the subtitle; The complete roadmap for exploring the boundless
contemporary guitar. This book is not the terrain itself but simply the roadmap. Whether you run,
walk or fly using the map as your guide is for you to decide yourself. I have always believed that
discovery is half the learning process so I designed this book to point you in the proper directions
and allow you to take the steps yourself.
To use this book properly, you may need to jump around from section to section. While
you learn about triads on page 19 and 20, you may want to jump to pages 66 and 67 and learn
about their inversions. To understand where these chords get their origins, go to page 113 and
learn about the major scale. While you are at it, spend some time learning how read on page 225.
Take things very slowly because there is a lifetime of information in this book, you might want to
spend a week on a single page if you are not that experienced. Do not get overwhelmed, if
something does not make sense to you, ask someone with more experience for help (e-mail me if
you want). As most instructional books cater to either beginners or experienced players, you will
find that this book was written for every level player, starting at the very basics and moving on, step
by step, to the very complex. Hopefully this book will be one that you can not only learn from but
teach from also.
-Chris Juergensen, March 5th, 2006
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About the Author
Native New Yorker, long time studio musician
and session guitarist Chris Juergensen is in constant
demand as a sideman, front man and clinician. He has
played sold out venues as intimate as the world
famous Blue Note and as large as the Long Beach
Auditorium. After teaching guitar for six years at the
prestigious Musicians Institute in Los Angeles along
side with Paul Gilbert (Mr. Big), Scott Henderson and
Joe Diorio, Chris left the states to become the Director
of Education at Tokyo School of Music in Japan
where he still resides. His first solo CD, Prospects has
been critically acclaimed throughout the world and his
newest release, Big Bad Sun" paints a completely new
portrait of him.
In 1995, for his efforts in promoting international
music education, Chris was made an honorary citizen of New Orleans by Marc H. Morial, the Mayor
of the city and more recently asked to perform on behalf of Japan at the Japanese embassy in Seoul
Korea in 2004. He currently writes a monthly column for the British magazine Music Maker and is
a guest writer for iBreathemusic.com.
He has performed, recorded or done something in one manner or another with such artists as
Lincoln Goines (Mike Stern), Richard Hartley and Soul Resurrection, Toss Panos (Steve Vai,
Mike Landau), Billy Sheehan (Mr. Big), Keith Wyatt (The Blasters), Ralph Humphrey
(Manhattan Transfer, Frank Zappa, Wayne Shorter), Kim Plainfield (Tania Maria, The Pointer
Sisters), Jay Dibbs (Vanessa Williams), Steve Bailey (The Rippingtons, Dizzy Gillespie), Jennifer
Batten (Jeff Beck, Michael Jackson), Mike Shapiro (Al Jarreau, Sergio Mendes), Jerry Watts
(Andy Summers, Billy Idol), Russel Ferante (Joni Mitchell, Yellowjackets), Kevyn Lettau,
Hussain Jiffry (Robben Ford, Michael MacDonald, Whitney Houston, Chaka Khan) and The
Hideous Sun Demons.
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Contacting the Author
E-mail: info@chrisjuergensen.com
Website: http://chrisjuergensen.com
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CHAPTER 2: THE SPIRIT OF THE GUITAR
To become a great guitarist, first you have to understand what the guitar is, where it came
from and what kind of person plays one. You first have to swim in its spirit and rejoice in its
romance.
Betty
My heart was beating as I waited outside the door of the little studio where I was about to
get my first lesson on the guitar at twelve years old. I prayed to God the night before; "I want to be
the greatest guitarist ever." My new teacher called me into the room and asked me to take out the
$50 guitar my parents bought me for Christmas. He asked me to take a good look at it. He then
asked me what I thought it looked like. I didn't know the answer. He said; "it's shaped kind of like
a girl don't you think?" "Kinda curvy," he said. He then told me to treat it like a girl. "Hold it gently,
treat it nice and don't let it get dirty." It's true when you think about it though. Nobody I know
names his or her guitar "Pete" or "Joe." They usually give it a girl's name, like "Lucille" or something.
My guitar's name is "Betty."
Keep on Moving
Why did the guitar get built in the first place? What makes the guitar different from all the
other instruments? I'll answer it for you. Unlike a piano, you can carry it around with you. That's
why the guitar got invented. Most historians would agree that it was born in or around the desert,
somewhere in the east, maybe around the Arabian Peninsula or the Persian Gulf. You see, people
had to move around a lot in those days; you went where the water or game was. They couldn't carry
a piano around on a camel (or whatever guys rode around on in those days) so they wired some gut
strings on a wooden thing with some holes in it to amplify the sound and carried it around with them.
Without a doubt they used it by itself or in a group to accompany themselves, probably singing
tunes about life and love and things like that. I must stress the word accompany. You can carry a
violin around with you, but you are going to look silly accompanying yourself singing a tune with it.
The polyphony of the guitar, which would develop over time, is what would eventually make the
guitar the most popular instrument on the planet. Those guitars weren't called guitars in those days
and didn't have six strings like guitars do today. And they probably looked different, although it was
basically the same thing that Jimmy Page played on "Whole Lotta Love" that made me want to play
the guitar in the first place. The romance of the guitar is found in its mobility. Even the first
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guitarists were rolling stones, travelers, playing under the stars.
Inroads to Europe
The guitar would eventually find its way into Spain and the Troubadours would carry it
around Europe singing the same songs celebrating life in different languages. The guitar would get
all its strings in Spain, become popular and eventually develop into the modern day guitar.
Appeal
One of the reasons the guitar is so accepted by the masses is that it is the true instrument
of the common man. The problem back in the old days was there was no electricity. These days, if
you wanted to throw a party and get all your friends over to dance, you would just plug in a radio
and go to it. A few hundred years ago, if you wanted to dance you had to hire an ensemble, since
there were no radios. If you didn't have any cash, you would have to make your own music. I
imagine all the neighborhood cats would bring their guitars down to the local watering hole and play
some tunes while the girls would dance and sing and generally have a good time. This tradition is
still alive in Flamenco music today. The guitar is a radio.
Spending Money
I'm going to have to go backwards here and give you a little history lesson. In the 1300s
all of a sudden, the European population got a middle class. It is for a reason you would probably
never imagine: The Plague. The plague killed off about a third of all Europeans back in those days.
Since all those people died, a labor shortage was born. Since there weren't enough workers, the
workers demanded better wages. Europes working class finally had some spending money and
they wanted to use it. Since they didn't have Gucci downtown they wanted silks from the Far East.
Also, since they didn't have electricity they didn't have refrigerators. Since they didn't have
refrigerators they also wanted spices from the Far East, China and India. Spices would help
preserve or, yes, cover up the taste of food that was getting a little too ripe. Spices were worth their
weight in gold. Ever wonder why food around the equator is real spicy? Anyway, this gave birth to
two things: the search for an all-water rout to Asia and to the African slave trade. I know, you're
asking what does this have to do with the guitar? I'm getting to it.
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Birth of a New Musical Era
To make a long story short, Columbus rather than going all the way around Africa, decided
to sail west. He knew the world was round rather than flat and figured he would sail into Asia using
a shortcut. He wanted to get there through the backdoor using an Atlantic route. He misjudged the
distance but in the process he discovered the South American continent. He never found out the
truth, and died thinking he found India. That's why Native Americans are known as Indians. Pretty
silly if you think about it.
Anyway, when the news got out, a bunch of people wanted to go. Who do you think raised
their hands? Remember that going in a boat to South America was most likely a real drag. It
probably took months to get there and once you got there all you had was a jungle. I can tell you
for sure that it wasn't rich people. Rich people weren't about to give up their big houses to go live
in the woods in a foreign land. It was the guys looking for a new life who went, and they brought
their guitars along with them.
Africans
That's right, it wasn't the rich, but the other guys who went. You need a lot of people to
build a New World, so at first the Europeans used the Native Americans as slaves. The only problem
with this idea was that besides being cruel and unethical, almost all of them died because they had
no resistance to the diseases that the Europeans brought over. That's why the scourge of mankind,
the slave trade, started. On the way over to the New World they stopped off in Africa and got
themselves cheap help.
To make a long story short (again), the Spanish and Portuguese workers brought over
their guitars (radios) with them, combined their musical ideas with the percussive skills of the
Africans and a new era of music was born. The Rumba would evolve in Cuba. Meringue starts up in
the Dominican Republic. Argentineans create the Tango. The Portuguese, trying to get around
Africa to East Asia, mistakenly ran into South America (pretty funny if you think about it) and since
nobody is around, they claim part of it and call it Brazil. The music they make is called the Bossa
Nova and the Samba. The Clave, the rhythm that can be found in all Latin music, is a present from
Africa. If you ever get a chance to hear some genuine African drum music, you will hear the same
Clave throughout. Even in Louisiana, blues players used the Clave to build rhythmic motifs. Check
out Bo Diddly's "Who do you Love" if you get the opportunity.
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Birth of the Blues in America
In the early nineteen hundreds, ex-slaves started carrying the guitar around the south
with them and playing blues music for mostly black audiences. The spirit of the guitar was still the
same. It was perfect to carry around and accompany oneself with. Robert Johnson would end up
making a name for himself before he dies at the tender age of twenty-seven in Mississippi. In 1948,
twenty-eight year old Muddy Waters moves up to Chicago from Mississippi, looking for a better life
away from the South. Once again, a man in search of a new life carrying a guitar with him. He finds
the clubs in Chicago overwhelmingly large. So he, like many of the guitarists started to do in those
days, jumps on the electric bandwagon and begins to pave the way for electric blues to become
musical force. Later on in the sixties Jimmy Page and Jimi Hendrix get into the old recordings of
Muddy Waters and Robert Johnson and make their own versions of their tunes, and I end up
listening to Jimmy and Jimi at twelve and get hooked. And that's why I find myself at twelve years
old at my first lesson. And keeping with the tradition, my teacher, on this sunny Saturday morning,
teaches me how to play a medium shuffle, twelve bar blues in G that I still play today with the same
feeling of adventure that I felt way back then.
Before You Do Anything
Before you start working on your scales and chords and all the other things you need to do
to become the greatest guitarist around, start by understanding the spirit of the guitar. Let's
review:
The Guitar is Like a Woman - Treat the guitar with respect. When I meet a new student for the
first time I always play his or her guitar before I do anything else. I check to see if the guitar is clean
and well cared for. It is a reflection of the student's attitude about guitar and music in general. If you
want to find out if the Sushi chef is good or not, check his knife.
The Guitar is a Radio - The guitar was built to move, not for you to play in your room. It was
designed for you to carry with you and tell your story with it. It was made so people could listen and
sing and dance and celebrate life. The guitar isn't about chops - it's about stories. Every time I
travel with my guitar, it makes me feel happy to know I'm carrying on in the tradition of the
Troubadours and blues musicians of the past. I don't care if the flight attendant is perturbed
because my guitar takes up all the room in my overhead compartment. I'm bringing it with me. And
when I get where I'm going, I'm going to tell someone a story with it.
13
The Guitar is About Adventure - The guitar was carried around the world by people looking for
new lives and new chances. All these people were risk takers, and their guitars were their best
friends. Don't ever be afraid to be a musician. No matter what bad luck and trouble comes to you
in life, you will always have the guitar to play, it will never split on you in times of turmoil. And don't
forget, one of the greatest joys in life there is, is the joy of making music, and you can do it your
whole life and the journey never ends. I would rather live as a poor, happy guitarist than a rich,
unhappy banker. Always follow your heart and you have nothing to fear.
14
CHAPTER 3: CHORDS AND THEIR SYMBOLS
Chord symbols and music theory in general is a subject that can bring us mild mannered
guitarist to fits of rage. For that exact reason, before we start, I feel I must explain a few certain
points. The notation of chord symbols varies slightly from player to player depending on what
circles he runs in and where he studied. My opinions are the direct result of my experiences as a
studio and session player in LA and also based on my educational experience. Music theory is not
written in stone and your ear is the final judge of what is right and wrong, there is nothing musically
illegal. Music theory is simply a guideline for what the ear generally accepts in respect to certain
genres, and as these genres evolve so will chord symbols and music theory in general. I personally
believe that harmonic theory should be studied and understood so that the very same guidelines
can be questioned and manipulated to ones liking. I don't think any two musicians can 100% agree
on this subject so it is important to do some more research on your own and keep an open mind.
Chord Symbols
The goal of the chord symbol is to simply tell the guy playing the chords exactly what you
want him to play, what he is allowed to include in the chord and what he is not. When dealing with
certain genres such as Jazz, a lot of liberties can be taken with the voicings. Not so with other
genres such as Pop and Rock, a C chord written in a rock chart generally means play a C chord,
while the same C chord written in a Jazz tune can be enhanced with a 9th, #11th, 13th or various
other extensions or combinations of extensions without much second thought. A good working
knowledge of music theory plus some experience is essential in making these decisions. The
melody line will also give you clues on what to include or exclude in chord voicings.
Writing Chord Symbols
You don't want to confuse the guy comping either. You'll realize this the first time you have
to read a chart in a dark, smoky bar or on some stage where the lighting is less than adequate
(which is the majority of the time). Chord symbols should be direct and to the point. The last chord
symbol I want to read is one that I have to think about for more than a millisecond, they should be
easy to read. I'll give you one example of a chord symbol that comes up from time to time and
makes me crazy: CM7. The reason I dislike it is because I have to look twice at it to make sure
whether it is major or minor. Especially when written by hand, CM7 and Cm7 can look a lot alike.
The other chord symbols that get used a lot are the simple minus mark to denote a minor chord and
15
triangle meaning major. These are widely accepted and they don't bother me but I prefer the simple,
easy to read symbols: Cmaj7 and Cmin7. Sometimes the symbols maj7 and min7, get replaced
with the shorter versions: ma7 and mi7. These are okay too but maj7 and min7 seem the best
choices to me, it's hard to confuse them on a gig.
These are some common ways to notate the same Cmaj7 chord. All are correct but some easier to
read than others:
Playing Chords
It is more important for you to understand how to build your own chords than to memorize
hundreds of chord shapes. For that reason I have only included the most common voicings or
voicings of particular interest, but suggest you spend more time experimenting and finding voicings
that suit your style and the style of the music you may be playing. You are free to leave out certain
notes also. I have included the roots, but if you are playing with a bassist they are not necessary to
include in the voicing. Fifths, unless altered, are also not necessary. The notes that determine the
quality of the chords are 3rds, 7ths and the upper extension if one is given in the chord symbol. The
voicing you use for a particular chord should be determined by the voicing for the chord that came
before and comes after.
Understanding the Notated Examples in this Chapter
All of the notated chords are written in the key of C. The numbers on the bottom show you
the intervals contained inside of the chord. These are only the theoretic voicings, the notes can be
doubled and/or stacked in any order. More so than the common chord voicings that I will give you,
it is more important for you to understand the rules of how to construct the chord and experiment
building your own chord voicings.
Using the previous guideline you would know this about the following chord:
The chord is a C major 7th chord and the chord symbol is commonly notated
as: Cmaj7. The major 7th chord contains a root, major 3rd, perfect 5th and
a major 7th but does not necessarily have to be voiced in that order.
16
Understanding the Chord Diagrams in this Chapter
The name written at the top of each chord diagram is the common name of the chord.
Strings are vertical and frets are horizontal.
If not in open position, the fret number will be next to the appropriate fret.
Fingering rule is as follows:
X = not to be played
0 = the string is to be played open
1 = index finger
2 = middle finger
3 = ring finger
4 = pinky
Black notes are roots
Below the diagram, the voicing is written out for your convenience.
17
Using the previous guidelines you would play this chord as follows:
Voicing: 1,5,7,3,5
6th string No note should be played as an X is placed above the string.
5th string Third fret, index finger. The note is black, advising you that this note is the root. If you
were to move the chord to the fifth fret, it would become a Dmaj7 chord. The voicing written under
the chord also tells you that this note is the root (1).
4th string Fifth fret, ring finger. The written voicing tells you that this note is the 5th.
3rd string Fourth fret, middle finger. The written voicing tells you that this note is the 7th.
2nd string Fifth fret, pinky. The written voicing tells you that this note is the 3rd.
1st string Third fret, index finger. The written voicing tells you that this note is the 5th.
Roman Numeral System

I will often describe chords and certain chord progressions by using the Roman numeral
system invented by a late- baroque French composer Jean-Phillipe Rameau. We still use this system
today to analyze chord progressions. If you are not familiar with the system, you may want to jump
to page 113 and learn about it before moving on.
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Triads - Three Note Chords
Triads are three note chords, Tri as in tricycle or tripod. While Jazz favors bigger chords
such as 7th and 9th chords, rock is based mostly (but not exclusively) on triads. These chord
symbols are the easiest to read and write. Nothing too confusing here, to notate a C major triad, a
simple C will work fine. For a C minor chord: min as in Cmin. A diminished chord generally gets
written as dim while an augmented triad gets notated as aug. Check the triads and their intervals
below:
Common Triad Voicings
The following shapes can be moved up and down the neck. After learning the shapes, try
moving them to different positions on the fingerboard:
6th string root forms
Voicing: 1,5,1,3,5,1 Voicing: 1,5,1,b3,5,1 Voicing: 1,b3,b5,1 Voicing: 1,1,3,#5,1
Voicing: 1,5,1,3 Voicing: 1,5,1,b3,1 Voicing: 1,b5,1,b3 Voicing: 1,3,#5,1
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Voicing: 1,5,1,3 Voicing: 1,5,1,b3 Voicing: 1,b5,1,b3 Voicing: 1,#5,1,3
Learning triad forms
Learning all the triad shapes is important no matter what style of music you play. They are
common in most genres and are the foundation for the big chords that we will get to later. Don't
settle only for the standard voicings Ive given above, learn every shape. When you get done
learning all the major shapes, see if you can figure out the minor, diminished and augmented ones
too:
20
Try the following chord progression using the major triads given. Notice how some notes stay the
same while others move up and down. This is called voice leading, a subject that I will cover at the
end of the section on harmony (page 97). Try playing the same chord progression somewhere else
on the fretboard. This use of triad voicings is what made Jimi Hendrix a genius at playing chords.
Dont worry if all the chords do not have the roots as the bass notes, the bassist takes care of that:
Points to remember about triads
1. Triads, especially the major triad, are used often in slash chords. A slash chord is simply a
chord over a specific bass note. For example, a C/E slash chord would mean a C triad played
over an E bass note. Some common slash chords: C/E, C/G, C/Bb, C/D (more on slash
chords on page 66).
2. Sometimes the diminished triad gets notated with a small circle as in Co and the augmented
triad with a plus mark as in C+.
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Sus chords
When the 3rd is omitted and replaced by a 4th the triad gets called a sus or sus4 chord
as in Csus or Csus4. Sometimes rather than the 4th replacing the 3rd, the 2nd replaces it. This
chord gets called a sus2 chord. Sus refers to either a suspension of the 4th above the 3rd or of the
2nd below the 3rd of the chord.
Common Sus4 and Sus2 Chord Voicings
Voicing: 1,1,4,5,1
Voicing: 1,5,1,4 Voicing: 1,5,1,2,5
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Voicing: 1,5,1,4 Voicing: 1,5,1,2
Sus4 and sus2 chords are often used together in this way:
23
Points to remember about sus chords
1. Sus indicates that something has happened to the 3rd. It has either been replaced by the 4th
or the 2nd (although these days the 3rd sometimes gets included in the voicing).
2. The chord symbol sus without a 4 or 2 after it is referring to the 4th and not the 2nd. You don't
need to write sus4 at all, just plain sus will do. If you mean sus2, you have to write it that way.
Remember: sus by itself means sus4.
3. The sus2 chord is a great replacement for a plain old major chord. While the suspended 4th in
the sus4 chord tends to beg for resolution, the suspended 2nd in the sus2 chord, being a
whole step below the 3rd, does not. The lack of the 3rd kind of neuters the chord giving it an
interesting, ambiguous, slightly modern quality. Matter of fact, the sus2 chord could
technically even be substituted in the place of a minor chord. Why not? No 3rd to complicate
things.
4. Since the symbol sus is indicating that one of the 3rds neighbors has replaced it, there can be
no other suspensions other than the 4th and 2nd. There is no such chord as a sus5, sus6 or
sus7 chord.
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7th chords - Four note chords
7th chords are also easy read and write, especially if they have no alterations (as in raised
or lowered 5ths and/or 9ths). Cmaj7, Cmin7, C7, Cdim7, Cmin(maj7) and C7sus are all
standard 7th chords. If the 5th is altered in the chord, you have to write it that way in the chord
symbol: Cmaj7#5, Cmin7b5, C7#5 or C7b5. Below are the theoretical voicings, you can place
the chord tones in any order or octave that you want:
Common 7th Chord Voicings
Voicing: 1,7,3,5 Voicing: 1,5,b7,3,5,1 Voicing: 1,5,b7,3,5,1 Voicing: 1,5,b7,4,5,1
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Voicing: 1,5,7,3,5 Voicing: 1,3,5,7,3 Voicing: 1,5,b7,b3,5 Voicing: 1,5,b7,3,5
Voicing: 1,3,b7,1 Voicing: 1,5,b7,4,5
Voicing: 1,5,7,3 Voicing: 1,3,5,7 Voicing: 1,5,b7,b3 Voicing: 1,5,b7,3 Voicing: 1,5,7,3
26
Don't be deceived
7th chords seem simple by nature, after all, there are only four notes, but if you use your
head a little and rearrange the four notes you'll be surprised with what you can come up with. Both
the chords below are simple Cmaj7 chords but the voicings are exquisite:
Voicing: 3,5,7,1 Voicing: 5,7,1,3
Coming up with your own voicings
As there are four notes in a 7th chord, you can technically make twenty-four different
voicings (at least according to my mathematical skills). Use the chart below to come up with your
own voicings. I tried every one myself and I'm pleased to inform you that they can technically all be
played although some sound better than others. You can skip strings, use open strings, play the
notes in any octave, and double notes if you want. When you get done with the maj7 voicings, go
on to all the other 7th chords. Try playing the following voicings left to right, Ex: 1357 - 3571 -
5713 - 7135. Now why do you think I would want you to do that?
Voicings
1357 3571 5713 7135
1375 3517 5731 7153
1537 3751 5173 7315
1573 3715 5137 7351
1735 3157 5371 7513
1753 3175 5317 7531
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Common min7(b5) Chord Voicings
As the name suggests, a minor 7th chord with a flatted 5th present:
Voicing: 1,b7,b3,b5
Voicing: 1,b7,b3,b5 Voicing: 1,b5,b7,b3
Voicing: 1,b5,b7,b3
The min7(b5) chord is commonly found in the minor iio V i chord progression:
28
Common 7#5, 7b5 chord Voicings
Dominant 7th chords with raised or lowered 5ths come from the whole tone scale or
altered mode from the melodic minor scale (page 171):
Voicing: 1,b7,3,#5,1 Voicing: 1,b7,3,b5
Voicing: 1,b7,3,#5 Voicing: 1,b7,3,b5
Dominant chords with altered fifths tend to resolve to the tonic chord as in the following iio V
I progression:
29
Common min(maj7) Chord Voicings
A minor triad with a major 7th added is called a min(maj7) chord. This chord is the tonic
or i chord from both the harmonized harmonic and melodic minor scale (pages 166 and 168):
Voicing: 1, 7,b3,5
Voicing: 1,5,7,b3
Voicing: 1,5,3,b3
30
As you have probably discovered, these chords sound a little strange by themselves. They generally
get played in progressions such as the following. Notice how the root of the Cmin chord on the
fourth string descends chromatically to the major 7th of the Cmin(maj7) chord and finally to the
minor 7th of the Cmin7 chord:
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Common dim7th Chord Voicings
All the notes in a dim7th chord are minor 3rds apart. Because of the symmetry of the
chord, any note can be the root, Ex: Bdim7 = Ddim7, Fdim7 or Abdim7:
Voicing: 1,bb7,b3,b5
Voicing: 1,b5,bb7,b3
Voicing: 1,b5,bb7,b3
32
Diminished chords are generally used to connect one chord to another as in the following chord
progression:
33
What You Can Leave Out
Unlike the piano, the guitar is limited by the amount of notes you can include in a chord.
In every chord there are important notes as well as notes that can be left out without anyone
missing them. If you are playing solo guitar, or as a duet with a vocalist, the root is important to
leave in the chord but if you are playing with a bassist, especially in a jazz setting, it can be left out.
Sometimes bassists will actually get angry with you if you include the bass notes in the voicings. He
is likely to say; "leave the bass notes to me, buddy." I personally make a habit of not playing roots.
The next note of least importance is the natural 5th. Since the natural 5th is present in major, minor
and dominant chords, it does not determine the harmonic quality of the chord. If the chord symbol
says that the 5th is to be lowered or raised, its best to include it in the chord voicing but otherwise
it doesn't count for much. The two most important notes are the 3rd and 7th. These two notes
determine everything. That's right, roots are roots and 5ths are 5ths but 3rds and 7ths are what
make a chord what it is, minor, major or dominant. Examine the ii - V - I chord progression below,
I voiced the chords using only 3rds and 7ths. It is important to play these voicings with someone
playing the bass notes. If you can't find a bass player, just include the roots yourself:
My first experience in a Jazz ensemble
When I first started playing Jazz, I thought you had to include everything in the chord
voicing. The guys in the ensemble told me to quit playing such big, bulky, square chords and play
some light airy voicings. The bassist told me; "for starters, leave out the notes on your 6th and 5th
strings, I'll take care of those." He then added; "Play from the 3rds up." I learned from that
experience that a few strategically placed chord tones work better than six note voicings especially
in a large jazz ensemble like a big band. When it comes to voicing your chords, it may help if you
just think: 3rd, 7th and the upper extension that is designated in the chord symbol (such as the 9th,
11th or 13th).
34
6th chords
Back when Jazz first got its start, 6th chords used to be more popular than 7th chords.
Both the 6 and min6 chord contain the major 6th in the chord. You can just think of a 6th chord as
a triad (minor or major) with the major 6th added into the chord. Compared to the min6 chord the
major version is definitely easy on the ears. Since 6th chords don't contain 7ths, the major 6th
chord can replace either a major or dominant chord:
Common 6 Chord Voicings
Learn the following voicings and move them to different locations on the fretboard:
Voicing: 1,6,3,5 Voicing: 1,1,3,6 Voicing: 1,6,b3,5
Voicing: 1,6,3,5 Voicing: 1,1,3,6 Voicing: 1,6,b3,5
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Voicing: 1,3,6,1 Voicing: 1,5,6,b3
Although the 6 and min6 chords can generally replace their maj7 and min7 chord counterparts,
the min6 chord sometimes gets used the following way. Notice the descending chromatic
movement that is taking place on second string:
36
Points to remember about 6th chords
1. Although the 6 chord can easily replace any major chord, it is important to remember that the
min6 chord, containing a major 6th interval can only replace a ii chord. You may want to think
of the min6 chord as a "dorian" family chord (page 142).
2. 6th chords can also be thought of as inverted 7th chords: C6 (C-E-G-A) = Amin7 (A-C-E-G),
Cmin6 (C-Eb-G-A) = Amin7b5 (A-C-Eb-G).
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9th chords 5 note chords
9th chords are quite common for all major, minor and dominant chords. The major and
minor 9th chords are usually notated as maj9 and min9, while the dominant 9th chord, when the
9th is unaltered (not raised or lowered), is notated with just a 9 as in C9. The 9sus chord is also
quite common, it can also be thought of and played as a slash chord: Bb/C or Gmin7/C:
Voicing: 1,7,3,5,9 Voicing: 1,5,b7,b3,5,9 Voicing: 1,b7,9,5 Voicing: 1,b7,9,4,b7
Voicing: 1,3,7,9 Voicing: 1,b3,b7,9 Voicing: 1,3,b7,9,5 Voicing: 1,b7,9,4
38
Voicing: 1,3,7,9 Voicing: 1,b3,b7,9 Voicing: 1,3,b7,9 Voicing: 1,4,b7,9
1. To be called a 9th chord, the voicing must contain a 7th.
2. Some other 9th chords that you may want to think about are the min9(maj7) chord from the
melodic minor scale (page 168) and the min9(b5) chord from the locrian #2 mode of the
melodic minor scale (page 176). See if you can construct them yourself.
3. There have been some adventurous musicians from time to time who lower the 9ths in major
and minor chords. Although not standard practice, if you chose to do so, notate these chords
the same way you would when notating altered dominant chords: Cmaj7b9, Cmin7b9.
39
Common 7#9, 7b9 chord Voicings
Both the 7#9 and 7b9 chords can be found in the harmonized half/whole diminished
scale (page 183). The 7b9 chord may also be found in the diatonic chords constructed from the
harmonic minor scale (page 166). Unlike altered dominant chords, these chords can, and often do,
contain a natural 5th:
Voicing: 1,b7,3,5,b9 Voicing: 1,b7,3,5,#9
Voicing: 1,3,b7,#9 Voicing: 1,3,b7,b9
Voicing: 1,3,b7,#9 Voicing: 1,3,b7,b9
40
Dominant chords with raised or lowered 9ths tend to resolve to tonic chords. Notice how Ive
included the natural 5th in the second chord, the A7b9:
41
Altered Dominant Chords
Sometimes the natural 9th in the dominant 9 chord is replaced by an altered (raised or
lowered) 9th. When the 9th is altered in the chord, it is notated as a 7th chord plus the altered
extension: C7#9, C7b9. When both the 9ths and 5ths are altered, the alterations must be included
in the chord symbol, often in parentheses: C7(#5,#9), C7(b9,b5), C7(#9,b5), C7(b9,#5). It is
quite common to notate the altered dominant chord with just the word alt. This is done when you
want the guy playing the chords to simply make his own decisions on how to alter the 5ths and 9ths,
Ex: C alt. Here are a few of altered dominant chords:
Common Altered Chord Voicings
I have included the roots in the voicings but some of them are not playable unless you use
your left hand thumb. If you are playing with a bassist, the root will not be necessary to include but
it is important to remember where they are located as a reference point:
Voicing: 1,b7,3,#5,b9 Voicing: 1,b7,3,#5,#9 Voicing: 1,b7,3,b5,b9 Voicing: 1,b7,3,b5,#9
Voicing: 1,3,b7,#9,#5 Voicing: 1,3,b7,b9,b5 Voicing: 1,3,b7,#9,b5 Voicing: 1,3,b7,b9,#5
42
The tension created by the altered extension begs for resolution. That is why the altered dominant
chord generally resolves to the tonic chord. You can commonly find them in ii V I chord
progressions:
Points to remember about altered dominant chords
1. Altered dominant chords are derived from the altered mode of the melodic minor scale (page
171).
2. It is not unusual for (altered) dominant chords to contain both the #9 and b9 as in C7(b9,#9).
3. It is not uncommon for the raised 5th to be notated as a b13th as in C7(b13).
43
Add9 Chords
These chords are just like 9th chords, but the 7th is excluded from the voicing. Having no
7th, the major version of the add9 chord works for both major and dominant chords. The minor
add9 chord is characteristically dark sounding. They are notated: add9 and min add9:
Common add9 Chord Voicings
Voicing: 1,5,9,3,5,1 Voicing: 1,5,9,b3,1
Voicing: 1,5,9,3,5 Voicing: 1,5,9,b3
44
Voicing: 1,3,5,9 Voicing: 1,b3,5,9
The simple addition of the 9th to the minor and major triad creates a warm open sounding chord.
Try the following progression first using triads and then add9 chords. You will be surprised what the
addition of one note to a simple triad can do. It may take you a little time to get used to the stretch,
but it is well worth the effort:
45
Points to remember about add9 chords
1. To be called an add9 chord, the voicing cannot contain a 7th.
2. You are not likely to run across any other "add" chords besides the add9 chord. The reason is
because the "add" means that there is no 7th in the chord and without a 7th a 13th chord
would simply become a 6 or min6 chord. The min add11 chord is questionable I guess but I
personally have never run across it myself in a chart, probably because the absence of the
min7th doesn't make much harmonic difference and for that reason, not important enough to
notate it as such. It's safe to assume that the only "add" chord you are going to run into is the
add9.
3. Sometimes the add9 chord gets notated with just a 9 in parenthesis: (9). Don't get confused
between a dominant 9th chord as in C9 and an add9 chord as in C(9). I personally don't like
the (9) chord symbol; it causes a second of unneeded contemplation.
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69 Chords
Like the add9 chords, these chords also contain no 7th. Along with the 9th, the major 6th
is also included in the voicing. When the intervals of the chord are voiced in a particular manner
(1-6-9-5-1), it creates a series of perfect 4th intervals that give the chord a modern, angular sound.
The chords are notated: 69 and min69:
Common 69 Chord Voicings
Voicing: 1,6,9,5,1 Voicing: 1,6,b3,5,9
Voicing: 1,3,6,9,5 Voicing: 1,b3,6,9,5
47
The 69 chord is a nice replacement for a maj7 or maj9 chord:
48
11th chords 6 note chords
Along with the 7th, the 11th is also added to the triad. There are a few basic guidelines to
remember here, as I mentioned before, regarding sus4 chords, major 3rds and 4ths are not
considered to get along so well. To fix this small problem, generally (and I stress the word
generally), the major 3rd either gets omitted or the 11th gets raised, a harmonic compromise in a
way. This does however create a few naming problems. By leaving the 3rd out of the voicing, we will
simply be making the chord into a sus4 chord. If we leave the 3rd in and raise the 11th, the chord
symbol needs to be written so. For these two reasons you don't run across major or dominant 11th
chords such as C11 very often. As far as the minor version goes, the minor 3rd and natural 11th get
along fine so there is no need to raise the 11th. Therefore, theoretically there are only three 11th
chords and they tend to be notated this way: Cmaj7#11, C7#11 and Cmin11:
Voicing: 1,7,3,#11,7 Voicing: 1,b7,b3,11,b7 Voicing: 1,b7,3,#11
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Voicing: 1,7,3,#11 Voicing: 1,b3,b7,9,11 Voicing: 1,b7,3,#11
The Lydian Chord: The maj7#11 chord is sometimes referred to as the Lydian chord. It is a
beautiful, modern sounding chord. Sometimes you may come across the word Lydian in a chart
rather than a chord symbol (more on the lydian mode on page 151). The composer is just telling
you to play a major family chord with a #11 somewhere in it. Try the following progression as an
exercise:
50
1. For the major and dominant versions, when the 3rd is desired in the 11th chord voicing, the
11th tends to get raised.
2. The 9th does not need to be included in the voicing but the 7th and 3rd do. Without the 3rd
present, the chord becomes a sus4 chord
3. Is there a dominant 11th chord? Yes and no. Technically a 3rd and 4th don't get put in the same
major or dominant chord so a dominant 11th chord doesn't generally show up in a chart. With
the 3rd removed, the 11th gets considered a 4th and that would just make the chord into a sus
chord. In reality, the (modern) ear accepts the 3rd and 4th in the same chord if voiced correctly
so the dominant 11th chord does get played from time to time, it just gets notated as a 9sus
chord and the 3rd is considered an option. You may from time to time run across an 11 chord
in a chart, but the composer most likely is telling you to play a 9sus chord (1-4-5-b7-9). Add
3rds at will but be careful.
4. What is the difference between a 7#11 and a 7(b5) chord? Hmm.. Not too much on the
surface but there are a few differences that need to be discussed. One thing that needs to be
considered is what liberties can be taken with the chord. Derived from the lydian dominant
mode of the melodic minor scale, the 7#11 chord can contain the natural 5th. The 9th, and
13th are also in the scale so they too can be added to the chord. Since the 7(b5) chord is most
likely coming from the altered mode of the melodic minor scale, altered 9ths can probably be
added without any complications. The 7#11 chord generally resolves down a half step, while
the 7(b5) chord generally resolves up a 4th to the tonic chord.
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Putting 9th and 11th Chords Into Practice
Keeping Things Simple
Notice how I've kept things simple in the following exercise by voicing all the chords with
only four notes each. Most of the chords simply include the root, 3rd, 7th and the extension
designated in the chord symbol. As I stated earlier, 5ths don't count for much so you are free to
leave them out if they are not altered.
52
13th Chords 7 Note Chords
13th chords technically can contain every scale tone, but since there are seven scale tones
in the major scale and only six strings on the guitar, it is a physical impossibility. There are certain
choices that have to be made when playing 13th chords. 9ths and 11th can be left out and as I said
before, the 5th isn't really necessary. If a bassist is present, you definitely don't need a root in the
voicing. If you were to leave out the 7th, what you would get is a 6 chord. The most important notes
are the 3rd, 7th, and 13th. As with our other major and dominant family chords, when the major
3rd is present, the 4th generally gets raised to a #11th (if you choose to include it in the chord). If
you eliminate the 3rd and leave in the natural 4th, the chord will become a sus chord as in
C13sus4.
Voicing: 1,7,9,3,13 Voicing: 1,b7,b3,9,13,1 Voicing: 1,b7,3,13,1 Voicing: 1,b7,4,13,1
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Voicing: 1,5,7,9,13 Voicing: 1,5,b7,b3,13 Voicing: 1,3,b7,9,13 Voicing: 1,5,b7,4,13
Points to remember about 13th chords:
1. For the major and dominant versions, when the 3rd is desired in the voicing, the 11th tends to
be raised.
2. The 9th and #11th do not need to be included in the voicing but the 7th and 3rd do. Without
the 7th included in the voicing the chord is considered a 6 chord.
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Dominant 13th Chords With Altered 9ths
The 13#9 and 13b9 chords are the chords derived from the symmetrical scale known as
the half/whole diminished scale (page 183). Unlike the altered dominant chords created by the
altered mode of the melodic minor scale, the chords made from the half/whole diminished scale
contain a natural 13th and an unaltered 5th. They generally resolve the same way altered chords do,
to the I chord. Because of the symmetrical structure of the diminished scale, the upper chord
shapes can be moved up or down in minor 3rds to create other dominant chords:
Common 13#9, 13b9 Chord Voicings
Voicing: 1,b7,3,13,#9 Voicing: 1,b7,3,13,b9
Voicing: 1,3,b7,#9,13 Voicing: 1,3,b7,b9,13
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The next example demonstrates how the dominant chord from the half/whole diminished scale
works. Notice how the G triad on the top three strings of the Emin11 chord moves down a half step
to a F# triad in the A13b9 chord:
Points to remember about 13th chords derived from the half/whole diminished scale
1. The #11th can also be though of as a b5th so sometimes the 13#11 chord shows up as a
13b5 chord in a chart, as in C13b5. Some possible chord symbols from this chord family:
C13b9, C13#9, C13(b5,#9), C13(b5,b9), C13(b9,#11), C13(#9,#11), etc..
2. Just remember: we've traded our raised 5th from the altered mode for a 13th.
56
Putting 13th Chords Into Practice
Jazz Blues
Although I have included the roots in the voicings, they are unnecessary to play when a
bassist is present. If you must play them, try to use your left hand thumb or sacrifice one of the
upper extensions to free up a finger:
57
Extensions and Diatonic Progressions
Know the extensions for each diatonic chord
Since the upper extensions for each diatonic chord is different, you will want to be
cautious when playing diatonic progressions. Play all the diatonic chords as add9 chords and you'll
understand what I mean, while the natural 9th works fine in the I, ii, IV, V and vi chords, the
addition of the natural 9th in the iii chord will make you cringe (the 9th is a iii chord is lowered).
Keep in mind, this is important only when dealing with very diatonic chord progressions. More
liberties can be taken with Jazz but you may need to exercise caution when playing other genres.
Use the chart below as a reference guide.
Diatonic Chord Extensions Notes
I 1, 3, 5, 7, 9, 11, 13 Avoid #11ths as in maj#11.
ii 1, b3, 5, b7, 9, 11, 13 Anything goes, use min6 chords at will.
iii 1, b3, 5, b7, b9, 11, b13 Avoid 9ths and 6ths (13ths) as in min9, min6 or min13.
IV 1, 3, 5, 7, 9, #11, 13 Avoid sus chords.
V 1, 3, 5, b7, 9, 11, 13 All natural extensions work fine.
vi 1, b3, 5, b7, 9, 11, b13 Avoid 6ths (13ths) as in min6 or min13.
viio 1, b3, b5, b7, b9, 11, b13 Avoid 9ths and 6ths (13ths) as in min9(b5).
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Upper Extension Chord Forms
Useful Shapes
I tend to use certain shapes or forms over various bass notes to get desired chords. This
not only makes things simpler because one shape can be turned into a half dozen chords but is also
a great aid in voice leading. Let's start with some shapes you may already be familiar with, here is
our first one:
Our first chord is a C9 chord. The important thing to take note of is the upper form (the white dots).
While keeping the same (C) root and moving the shape to a different location, we can make a new
chord, in this case a C7(#5,b9) chord. I've included the roots in black but I usually don't play
them:
voicing: 1,3,b7,9,5 voicing: 1,b7,3,#5,b9
Compare a G7(#5,b9) and Db9 chord using the previous voicings and you'll see why the Db9
chord works as a bV substitution for the V chord, G7. You will hear it better by comparing these two
chord progressions: Dmin7 - G7(#5,b9) - Cmaj7 and Dmin7 - Db9 - Cmaj7.
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Our next shape can be thought of as a half/whole diminished scale chord shape:
Next we'll turn a C7#9 chord into a C13b9 chord. If you absolutely have to play the bass note on
the C7#9 chord, use your thumb:
voicing: 1,3,b7,#9,5 voicing: 1,b7,3,13,b9
Our next shape:
We can turn this shape into a C7(#5,#9) and a C13 chord:
voicing: 1,3,b7,#5,#9 voicing: 1,b7,3,13,9
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Some more dominant shapes that come in handy:
C13 and C7(#5,#9):
voicing: 1,3,b7,9,13 voicing: 1,b7,3,#5,#9
Our next shape can also be thought of as a half/whole diminished scale chord voicing:
This shape gets turned into a C13(b9) and a C7(b9):
voicing: 1,b7,b9,3,13 voicing: 1,b9,3,5,1
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Major Scale Modal Shapes
While the last examples dealt primarily with dominant chords the next shape works quite
well for both major and minor sounds. This shape is built from the major scale. First, let's memorize
the shape:
These are all major scale modal family chords that can be made with the shape:
voicing: 1,5,1,2,5 voicing: 1,b7,b3,11,b7 voicing: 1,7,3,#11,7
voicing: 1,6,9,3,6 voicing: 1,1,4,5,1 voicing: 1,3,13,7,3
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Melodic Minor and Major Scale Modal Shapes
The next shape is also a very useful one. Unlike the previous shapes, you can use this
shape to make major, minor, dominant and altered dominant chords. This shape can be found in
both the major and melodic minor scales (page 168). First memorize the shape without the root:
Ive included the roots in black but I don't usually include them when playing the chords. I do
however use the roots as a reference to locate the chord. If you chose to think modally, all these
chords can be thought of as both major and melodic minor family shapes with the exception of the
C7(#5#9) chord which is strictly melodic minor (from the altered mode). Our first chord, C13 can
come from either the mixolydian or lydian dominant mode. Our second chord, Csus(b9) comes
from either the phrygian or dorian b2 mode. As I mentioned before, our third chord, C7(#5,#9) is
strictly altered. The fourth chord, Cmin69 comes from either the dorian mode or the melodic minor
scale. Our fifth chord, Cmin11(b5) can come from the locrian mode or the locrian #2 mode from
the melodic minor scale. And last but not least, our sixth chord, Cmaj7#11 comes from either the
lydian mode or the lydian augmented mode:
voicing: 1,b7,9,3,13 voicing: 1,b9,4,5,1 voicing: 1,3,#5,b7,#9
voicing: 1,b3,5,6,9 voicing: 1,b5,b7,1,11 voicing: 1,1,3,#11,7
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Strictly Melodic Minor Modal Shapes
The next shape is strictly melodic minor modal harmony. Memorize the shape before we
move on to the individual chords:
Our first chord below, a C13(#11) chord comes from the lydian dominant mode. The second chord,
the C13sus(b9) chord comes from the dorian b2 mode. Our third chord, the C7(#5,#9) chord is
derived from the altered mode. You won't be able to play the root in this voicing. I included it as a
reference but you'll have to leave it to your bassist. I had to think about how exactly to name our
next chord, the Cmin9(maj7) chord. It is a beautiful voicing derived from the melodic minor scale
itself. Our fifth chord, the Cmin11(b5) chord comes from the locrian #2 scale. This voicing
contains the natural 9th. There is no minor 3rd in the voicing but the minor harmony is implied so
strongly that it really makes no difference. Our last chord, the Cmaj7#5 chord comes from the
third mode of the melodic minor scale, the lydian augmented mode, it may help to think of it as an
E/C chord:
voicing: 1,b7,9,#11,13 voicing: 1,b9,4,13,1 voicing: 1,3,#5,1,#9
voicing: 1,b3,5,7,9 voicing: 1,b5,b7,9,11 voicing: 1,1,3,#5,7
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Putting the Shapes to use
I'm taking a lot of liberties with the voicings in this example. In a Jazz setting, this is okay
as long as the voicings don't clash with the melody. With minor chords, usually the upper
extensions with the exception of the 6th (13th) can be added to the chord without any conflict but
be careful with dominant chords, check where they are going before adding your extensions. Notice
how I used a Csus2 chord as a replacement for the final Cmin7 chord, as there is no 3rd present
in the chord it can function as either major or minor. I like the ambiguous quality of the chord used
in this manner, Im letting the listener decide if it is major or minor:
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CHAPTER 4: SLASH CHORDS
A slash is this: /, so a slash chord should have one of them in its name. These are all slash
chords: G/B, C/Bb, F/G, Cmaj7/E. The symbol on the left of the slash is a chord and the symbol
on the right is the bass note. So the slash chord G/B means that you have to play a G triad over a
B bass note. If I wanted you to play this chord, I would probably say; "Play G on B" or "play G over
B." There are basically two types of slash chords: one is an inversion of the chord itself, this makes
the bass note (notated on the right of the slash) the 3rd, 5th or 7th of the chord. In the other type
of slash chord, the bass note functions as the actual root of the chord. There is a gray area where
these two types of slash chords overlap.
Triad Inversions
The first type of slash chords we will deal with are just simple triad inversions. Simply by
voicing any triad with the 3rd or 5th in the bass will yield a slash chord. Ex: a common C major triad
voiced with the third, E as the bass note will yield a C/E slash chord, voiced with the 5th, G as the
bass note will yield a C/G slash chord. When the triad has as the bass the root, it is said to be in root
position. With the 3rd in the bass, 1st inversion and with the 5th in the bass, 2nd inversion.
Bass Note Inversion
1 root position
3 1st inversion
5 2nd inversion
Play each inversion below. The roots are in black for reference:
root position 1st inversion 2nd inversion
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The previous chord examples are just a few of the many triad voicings that can be
constructed, see if you can come up with some more voicings of major triads. After you figure some
more of the major voicings out, try to come up with the minor shapes also.
Why would you want to use the inversion anyways?
These kinds of slash chords are often used to simply create chromatic bass movements in
your chord progressions. Take a look at the chord progression below; all the chords are in root
position:
Although the bass movement works fine, we can create a smoother bassline by playing the first G
chord in 1st inversion. This will make the bassline for the first two chords descend chromatically.
The bassline will also descend through the diatonic scale for both measures:
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Lets take this concept a step further. Play the "before" version...
And now the "after" version. Check out how the bassline is completely chromatic for the first four
chords:
The first inversion major chord (3rd in the bass) is probably the most commonly used of the
inversions. While triads in root position and in their inversions are the rule in pop and rock, you
aren't likely to find triads in root position very often in Jazz, the 1st inversion major triad however
can be found from time to time as in the example below:
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Creating Contrary Motion
Im going to show you how we can use slash chords to create contrary motion. In the
chord progression below, the chords all descend in whole steps...
And once again the "after" version. While the chords descend in whole steps, the bassline ascends
creating some musical interest.
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Seventh Chord Inversions
Just as triads can be inverted, so can seventh chords. The 3rd, 5th and 7th can all be used
as the bass note. As seventh chords are four note chords, we get the choice of four notes for our
bass notes:
Bass Note Inversion
1 root position
3 1st inversion
5 2nd inversion
7 3rd inversion
Some of the inversions work better than others. While the maj7 chord in first and second
inversion sound beautiful, the 3rd inversion (7th in bass) sounds horrible. I couldn't even come up
with a decent example for this book (give it a shot anyways, you never know). While the 3rd
inversion for the maj7 chord sounds pathetic, the 3rd inversion of the dominant 7 chord (b7th in
the bass) is somewhat common. Generally the inversions of the maj7 and dominant 7 chords are
used more commonly than the inversions of the min7 chords, the min7 chord in first inversion
simply turns into a maj6 chord. Ex: Amin7/C = C6. Try out the chord progression below and you'll
hear how beautiful and spacious the maj7 chords in 1st and 2nd inversion sound. Oh yeah, I'll
explain the Bb/C chord a little later, try not to think about it too much for now:
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Creating complex harmony using slash chords
While the first kind of slash chords we worked with were simply inverted triads or 7th
chords used to create a desired bass movement, the next type are something all together different.
With triads and 7th chords, the bass note (on the right of the slash) is either the 3rd, 5th or 7th of
the chord, in the next examples all the bass notes will be the actual roots. Before we start making
some harmonically complex chords, let's first make some 7th chords by using the slash chord
technique we studied in the previous examples. Examine the following Amin7 chord. If you look
carefully you will find that the top three notes form a C major triad. Therefore you can think of an
Amin7 chord as a C triad simply placed over an A bass note, that's right, Amin7 = C/A:
Voicing: 1,b3,5,b7
I moved the bass an octave lower than it is notated so we can hear the actual C triad over the A bass
note.
Diatonic 7th chords notated as slash chords
As you discovered in the last example, 7th chords can be thought of as slash chords. I took
the diatonic 7th chords of the C major scale and notated them as slash chords. Above the chord is
the standard notated 7th chord name, below is the slash chord name:
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I wrote the last example just to simply show you that you've been playing slash chords all along and
might have never realized it. Before we move on to more complex harmony I need you to make
sure that you know all of the triad shapes. The shapes are going to get put on top of various bass
notes and open up into some fairly harmonically complex chords. Generally major triads get used
way more than minor triads for this kind of thing so I'm only going to cover them. First review all
the major triad shapes on page 20 before moving on to the next section.
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Major Family Slash Chords
There are basically three different major family slash chords. I tend to use these as my
first choice whenever I play any major family chord.
1. Major triad up a 5th - By placing the major triad a 5th above the bass note we can make a slash
chord that functions as a maj9 chord. Ex: To make a Cmaj9 chord using a slash chord, simply place
a G triad on a C bass note and you'll render a maj9 chord (without a 3rd). G is a 5th above C: G/C
= Cmaj9. Check the example below:
Voicing: 1,5,7,9
Rule: a major triad superimposed a perfect 5th above the bass note will render a slash chord that
sounds and functions as a maj9 chord.
Try it yourself: Try putting together the following slash chords using the triad shapes we learned
earlier: E/A, B/E, F#/B, D/G, A/D, G/C, C/F.
This slash chord pretty much replaces any major chord. Anywhere you would play a maj7 or maj9
chord, use this one instead. The following example just illustrates how this slash chord could
replace the standard I chord in a ii - V - I:
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2. Major triad up a 2nd - By placing the major triad a 2nd above the bass note we can make a
maj13#11 chord. Ex: To make a Cmaj13#11 chord using a slash chord, simply place a D triad on
a C bass note and you'll render a major chord that sounds and functions like a maj13#11 chord
(without the 3rd, 5th and 7th). D is a 2nd above C: D/C = Cmaj13#11. I tend to think of this slash
chord as the "lydian" slash chord because of the #11th. Check the example below:
Voicing: 1,13,9,#11
Rule: a major triad superimposed a major 2nd above the bass note will render a slash chord that
sounds and functions like a maj13#11 chord.
earlier: E/D, C/Bb, G/F, D/C, A/G.
You could argue about what this slash chord actually is; if you analyze it assuming the
bass note is the root it looks like a maj13#11 chord but it could also be argued that it is a dominant
7th chord in 3rd inversion (the bass note being the b7th of the chord). Both are correct. That's right
this slash chord could replace either a Cmaj7 chord or a D7 chord. This is one of the gray areas
regarding slash chords:
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In the example below, the second and last slash chords are our "lydian" slash chords while the
fourth chord in the sequence is a 2nd inversion Eb chord:
Analysis: Bb Bbmaj13#11 Bbmin7 Eb (2nd inversion) Bmaj13#11
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3. Major triad up a 3rd - By placing the major triad a 3rd above the bass note we can make a
maj7#5 chord. Ex: To make a Cmaj7#5 chord using a slash chord, simply place an E triad on a C
bass note and you'll render a maj7#5 chord. E is a 3rd above C: E/C = Cmaj7#5. Check the
example below:
Voicing: 1,7,3,#5
Rule: a major triad superimposed a major 3rd above the bass note will render a maj7#5 chord.
earlier: F/Db, C/Ab, G#/E, B/G, E/C.
Play the following chord progression; the slash chord in the third measure is our maj7#5 chord.
The first and last chord is the slash chord from the first example (maj9 functioning slash chords).
This example is similar to what Wayne Shorter does in his some of his compositions:
Analysis: Gmaj9 Amaj7#5 Bbmaj9
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Dominant Family Slash Chords
Both altered and unaltered dominant sounding chords can be created using slash chords.
Let's start with the unaltered type.
4. Major triad down a 2nd - By placing the major triad a 2nd below the bass note we can make
a dominant 9sus chord. Ex: To make a C9sus chord using a slash chord, simply place a Bb triad on
a C bass note and you'll render a 9sus chord. Bb is a 2nd below C: Bb/C = C9sus. Check the
example below:
Voicing: 1,b7,9,4,b7
Rule: a major triad superimposed a major 2nd below the bass note will render a slash chord that
sounds and functions as a dominant 9sus.
earlier: C/D, A/B, G/A, D/E, Eb/F.
This slash chord replaces any unaltered dominant chord. Anytime you run across a 9sus chord in a
chart, use this slash chord. The example below is somewhat similar to what Herbie Hancock may
have done in one of his compositions:
Analysis: Gmaj9 - G9sus - Gmaj13#11 - G9sus
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5. Major triad up a b5th - By placing the major triad a tritone (dim5th) above the bass note we
can make a dominant 7(b9,#11) chord. Ex: To make a B7(b9,#11) chord, simply place a F triad
on a B bass note and you'll render a slash chord that sounds and functions as a 7(b9,#11) chord.
F is a tritone above B: F/B = B13(b9,#11). Check the example below:
Voicing: 1,b9,#11,b7
Rule: a major triad superimposed a tritone (dim5th) above the bass note will render a slash chord
that sounds and functions as a 7(b9,#11) chord.
earlier: C/F#, A/Eb, D/Ab, F#/C, B/F.
This slash chord, like the example before, is also derived from the half/whole diminished scale. Try
the example below:
Analysis: Emin9 - A7(b9,#11) - Dmaj13#11
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6. Major triad up a 6th - By placing the major triad a maj6 above the bass note we can make a
dominant 13b9 chord. Ex: To make a C13b9 chord, simply place an A triad on a C bass note and
you'll a chord that sounds and functions as a 13b9 chord. A is a 6th above C: A/C = C13b9. Check
the example below:
Voicing: 1,3,13,b9
Rule: a major triad superimposed a major 6th above the bass note will render a slash chord that
sounds and functions as a dominant 13b9 chord.
earlier: B/D, A/C, F#/A, D/F, C/Eb.
This slash chord technically is derived from the half/whole diminished scale. Try the example below:
Analysis: Emin9 - A7(b9,#11) - A13b9 - Dmaj9 - Dmaj13#11
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Slash Chords and the Half/Whole Diminished Scale
Because of the symmetrical structure of the half/whole diminished scale, any chord that is
derived from it can be moved up or down in minor third intervals and will still function as some kind
of dominant chord. I know, if you are hearing this for the first time, you are scratching your head.
Ill give you a somewhat common example; when resolving a V chord to a I chord, you could do it
using slash chords. Lets say, for example, your V chord is B7, you could play a B triad. By
superimposing triads a minor 3rd over the B bass note, you would create these chords: B is simple
enough to understand, next, a triad placed a minor 3rd above B would make a D/B slash chord that
could be analyzed as a B7#9 chord. The next triad placed a minor 3rd above this one would be F/B,
analyzed as a B7(b9,#11) chord. The final slash chord would be a Ab/B analyzed as a B13b9
chord:
Analysis: B - B7#9 - B7(b9,#11) - B13b9 - Emin9
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Minor Family Slash Chords
Unlike major and dominant harmony, there arent any real groundbreaking things that
done with slash chords in regards to minor harmony. There are basically three shapes that I tend to
use.
7. Major triad up a b3rd - This example is the same one we looked at before, the plain old min7
chord. The only reason you may want to use this slash chord rather than a plain old min7th chord
is only to tie harmonic motifs together. In a series of slash chords it may help to think of an Amin7
as a C/A chord to keep the triad voicings moving in a congruent manner.
Voicing: 1,b3,5,b7
Rule: a major triad superimposed a minor 3rd above the bass note will render a plain old min7
chord.
earlier: E/C#, D/B, G/E, F/D, Eb/C.
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This slash chord simply makes a min7 chord. It helps to notate it as a slash chord if you want to
make sure the person playing the chords specifically voices it with a triad on top, by simply notating
the chord as a min7 chord, the person comping the changes may take the liberty of playing a min9,
min11 or min13 chord. The min7 chord notated as a slash chord will make sure the harmonic
motif stays uninterrupted.
Analysis: Bmin7 - B9sus - Bbmaj9 - Emaj9
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8. Major triad down a 2nd - We've also looked at this one before in Ex.4. As I mentioned before,
slash chords often don't have 3rds of 5ths present so they can be looked upon as either. This slash
chord works well as both. Consider it either a 9sus or a min11 chord:
Rule: a major triad superimposed a major 2nd below the bass note will render a slash chord that
functions as a min11 chord.
earlier: B/C#, A/B, E/F#, D/E, C/D.
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This slash chord in its minor form works well for any genre but it gets used quite often in a rock
setting. It tends to follow a min7th chord with the same root. It often gets used in the following
manner:
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Slash Chord Overview
There are way to many slash chords to describe in detail. Take a look at the chart below
and try each of the slash chords out. I simply superimposed each of the chromatic triads over a C
bass note. The second column simply describes the extensions created and the third column gives
some common progressions and the last column, some points to remember. Beware of enharmonic
notes:
Slash Chord Extensions Common Progressions Notes
C/C 1,3,5 - Just a plain old C chord
Db/C b9,4,b13 Cmin7-Db/C or Cmin7-D/C-Db/C-C Phrygian tonality
D/C 9,#11,13 C-D/C or Cmin7-D/C Lydian sounding, replacement for any major chord
Eb/C b3,5,b7 Eb/C-D/C-Db/C-C Plain old min7 chord
E/C 3,#5,7 - Maj7#5 chord, lydian augmented tonality
F/C 5,1,3 - Major triad in 2nd inversion
F#/C b7,b9,#11 Gmin9-F#/C-Fmaj9 half/whole diminished tonality
G/C 5,7,9 - Plain old maj9 chord
Ab/C 3,5,1 Db-Ab/C or Dbmin7-Ab/C Major triad in 1st inversion
A/C 3,b9,13 Gmin9-A/C-Fmaj9 half/whole diminished tonality
Bb/C 4,b7,9, - Plain old 9sus chord or min11 chord
B/C b3,b5,7 Dmin7-G(alt)-B/C Usually replaces a i chord. Diminished tonality
Try to experiment and have some fun. I've only described what can be done by superimposing
major triads over bass notes, see what you can do with augmented and minor triads. Also see what
happens when you superimpose 7th chords over various bass notes, Ex: Gmin7/C. A great
example illustrating the use of slash chords in a composition is Mahavishnu Orchestras Resolution
from the Birds of Fire CD.
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CHAPTER 5: INCORPORATING OPEN STRINGS IN YOUR VOICINGS
Making the Guitar Sound Like a Guitar
One of my personal philosophies regarding playing the guitar is; to make the guitar
sound like a guitar. What I mean is simple really. I try to incorporate all the techniques that can be
uniquely done (or almost uniquely done) on the guitar every chance I get. Lets think about it for a
minute first. Name a few things that you can do on the guitar that you cant do convincingly on most
other instruments? Here are a few examples:
Bending strings This technique is pretty difficult on other instruments. It can be

done rather convincingly on the trombone but most other instruments fall short on
this technique. I bend every possible chance I get.
Sliding The guitar is special because your fingers actually touch the guitar strings.
Sliding can be done on violins and other stringed instruments but lets face it, the
guitar is perfect for using this technique because of its long neck length and
commonly used amplification which enhances the effect. You can also use a slide like
guitar legend Duane Allman did.
Harmonics This is also a technique that reeks of the guitar. Pinched, natural and
tapped harmonics are very typical guitar techniques. Use them at will.
Open strings Using open strings in chords and scales is also very typical to the
guitar. I try to incorporate an open string or two every chance I get. Anytime a chord
or scale contains an E, A, D, G, and/or B note, an open string can be substituted for
the fretted one. This is exactly the subject that I will talk about in this chapter.
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Open String Chord Voicings
One of the things that makes the guitar different than other instruments is the fact that
you can incorporate open strings into chord voicings and scales creating rich, open sounds. Notice
how you can make a simple major scale sound more interesting just by replacing some of the notes
with the same notes played on the open strings. Let the notes ring as long as possible:
While the minor ii - Vs in the exercise below are perfect for Jazz, the other voicings will
work well for any style. Try the chords below and try to find ways to get them into your playing:
voicing: 1,b7,9,b3,b7 voicing: 1,5,9,3,#11 voicing: 1,1,3,9,5 voicing: 1,9,#11,9,5
voicing: 1,5,9,11,b7,b3 voicing: 1,5,9,#11,7,3 voicing: 1,b7,b3,b5,11 voicing: 1,3,b7,b9,1
voicing: 1,b7,b3,9,5 voicing: 1,6,b3,9,5 voicing: 1,b7,b3,11,b5 voicing: 1,3,b7,#9,b9
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CHAPTER 6: INCREASING YOUR CHORD VOCABULARY
Warning!
You have entered the realm of harmonic complexity here. If you are not well versed in
your chords, turn back now or skip it for the time being. Scales will also play an important part in
this chapter so you may want to jump ahead to chapters 8, 11, 14 and 15 before returning here.
This chapter may take a while to get through so be patient.
Increasing your Chord Vocabulary
Now that you have the tools to make countless voicings of any individual chord by
manipulating the intervals of the desired chord in the order that pleases your ear, we can take the
process a step further by harmonizing the chord through the scale of its origin. For examples sake,
lets say you like the sound of the following Aadd9(#11) chord:
Voicing: 1,#11,5,9
We will use the voicing as the base for six new voicings, all you will need to do is simply
move every chord tone in the chord voicing up by one scale step. Because the first chord contains
both a raised 11th and natural 5th, the only scale you can technically use is the lydian scale. More
so than the major scale, the lydian mode is a more balanced scale for creating major family
chords as the #11th and 3rd get along fine together and can show up in the same chord without any
complications. Use the following A lydian scale for your reference:
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Now lets harmonize the next chord from the scale. The B note (the 9th of the chord) on
the first string will move up to a C note while the E note on the second string (the 5th) will move up
to an F# note. The D# note on the third string (the #11th) will move up to a E note and the A note
on the fourth string (the root) moves up to a B. The reason I picked an A chord is because we can
leave the fifth string throughout for the whole process. This way you can hear what all the separate
upper chord voicings sound like over the root, the A note:
The next step is to move every chord tone in our new chord up a scale step to form our
new chord. The C# note on the first string moves up to a D# note. The F# note on the second string
moves up to a G# note. Next, the E note on the third string moves up to an F# note. Finally, the B
note on the fourth string moves up to a C# note. Our root on the fifth string stays the same
throughout the process:
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If we continue the process through the whole diatonic lydian scale, we will get a set of
seven lydian family chords:
Things to try:
1. Change the root to make other modal family chords in the same key. By changing the root in
the previous exercise from A to F#, you will get seven F# dorian family voicings. G# = G#
phrygian, C# = C# aolian, B = B mixolydian, etc..
2. Arrange the intervals of the first chord to accommodate a different mode based on the same
root. Ex: change the first chord voicing from the current (1-1-#11-5-9) to (1-1-11-5-9) and
harmonize the next six chords using the A dorian mode (G major scale). Change the first
voicing to (1-1-11-5-b9) and harmonize the next six chords using the A phrygian mode (F
major scale), etc..
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If we do the same thing using the half/whole diminished scale we get interesting results.
The symmetrical structure of the scale will only yield two different repeating shapes. First, the
chord we will use:
The half/whole diminished scale that we will now use to create a new set of chords (keep
in mind; where as the major scale is a seven note scale, the half/whole diminished scale is an eight
note scale yielding eight chords rather than seven):
The chords we get by harmonizing our original chord through the scale:
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Putting this Concept to use
Ive incorporated what we have been working on in the following example. There are a lot
of chords to play so this technique works best in slow or medium tempo applications:
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More Voicings to try
The following chords blossom into spectacular voicings. See if you can harmonize six more
voicings from the following chord using the A dorian mode.
Voicing: 1,9,b3,b7,11
The A dorian mode to use for harmonizing the next six chords:
Write your six new voicings in the blank diagrams using a pencil (in case you make a
mistake):
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Harmonize six more voicings from the following chord using from the A dorian (G major
scale) mode:
Voicing: 1,b7,b3,11,9
The A dorian mode to use for harmonizing the next six chords:
Write your new voicings in the blank diagrams using a pencil (in case you make a
mistake):
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Harmonize six more voicings from the following chord using from the A lydian mode (E
major scale):
Voicing: 1,7,9,3,13
The A lydian mode to use for harmonizing the next six chords:
mistake):
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Harmonize six new voicings from the same chord, this time using from the A lydian
augmented mode (F# melodic minor scale). The A lydian augmented mode to use for harmonizing
the next six chords:
mistake):
Use this technique to harmonize new chords from voicings that you like the sound of. Not
only will you increase your chord vocabulary but it will also force you to use your head a bit.
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CHAPTER 7: VOICE LEADING
I'm going to walk you through some of the basics of voice leading in this lesson. When
playing through the examples, try to use your fingers rather than a pick. Using your fingers will help
separate the notes and help you to hear the individual notes in the chords. Classical genius Segovia
once said in an interview that to play with a pick robs the guitar of its polyphony. So give it a shot!
Contrapuntal Motions
The lessons I learned about voice leading while studying classical music in college haven't
change since Bach. We have learned to stretch harmony, melody and rhythm but voice leading still
generally works the same way. The four types of contrapuntal motions:
1. Parallel motion - Both voices move in the same direction the exact same distance. This
is an example of parallel major 3rds:
2. Similar motion - Both voices move in the same direction any distance. An interval of a major
3rd moves up to an interval of a minor 3rd in the example below:
3. Contrary motion - Both voices move in opposite directions. In the next example, both voices
are moving in opposite directions to form a perfect 5th.
4. Oblique motion - One voice stays the same while the voice moves in one direction or the
other. This example of oblique motion demonstrates how one voice stays the same while the
upper voice moves up to form a perfect 4th.
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So far we have only dealt with two notes at a time. The same principles hold true for chords also.
Chords
The first thing you start working on in your music theory class in college is four part
harmony. You start by analyzing and writing Bach Chorales. Although it is four part harmony
(chords with four voices), it is mostly triads with one of the notes doubled somewhere in each of the
chords. Bach was adventurous compared to his predecessors; he used a dominant 7th chord as a
V chord from time to time. A dominant 7th chord has a tritone (diminished 5th) inside of it that kind
of scared musicians back in those days so Bach may have been considered a rebel amongst his
peers, Ex: G7 = G - B - D - F, the tritone is B - F. Play the interval and see if it scares you. Bach was
also a master of counterpoint, the art of writing two melodies on top of each other.
Dominant chords usually got resolved to the tonic chord this way back in Bach's days. At least I had
to resolve them this way or my Theory II teacher would get angry with me and threaten to call the
Baroque police:
Some rules or at least some standard practices for the *Baroque period (Key:C):
1. The b7 in the V chord (F) moves down to the 3rd of the I chord (E)
2. The root of the V chord (G) stays as the common tone (if possible) in the I chord (G)
3. The 3rd of the V chord (B) moves up to the root in the I chord (C)
4. The 5th of the V chord (D) moves either up to the 3rd (E) or down to the root (C) of the I chord
*Most of music historians tend to believe that the Baroque period ended with the death of Bach.
Another famous Baroque period composer was Vivaldi (an Italian). Before the Baroque period we
had the Renaissance. The Classic period begins with Bach's death and pretty much gets going with
Mozart. While both Bach and Vivaldi wrote sacred music (for the church), Mozart started writing
music for the common people (operas) in German (so people could understand what the hell was
going on). The classic period ends with the death of another great German composer, Beethoven.
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After that we get into the Romantic period. Tchaikovsky and Wagner are some names associated
with this period. After the Romantic period we move into the 20th century, which we left behind
recently.
What this means to us in the 21st. century
Our chords have become way more harmonically advanced since the Baroque period, for
this reason the way we resolve our chords has also changed. Many of the chord voicings we use
these days don't even contain 5ths or even roots for that matter. Regardless, the four types of
contrapuntal motion remain the same. The concept of "keeping the common tone" still plays an
important part in voice leading.
Parallel 5ths
Parallel motion wasn't really considered cool back in the Baroque days. Especially parallel
5ths and Octaves. Other intervallic parallel motion such as 3rds or 2nds, etc. was considered okay.
The reason that parallel motion wasn't cool is simple, the separate notes in the moving chords
should move around in different directions or at least not the exact same distances to create a
sense of melody inside the harmony or at least to create some musical interest. Everything moving
in identical intervals is boring to the ear. These days parallel 5ths and octaves are standard
procedure for some genres of music such as hard rock, but for now let's concentrate on the more
traditional form of voice leading.
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What is proper voice leading?
Probably, when a chord changes to the next one, one voice should stay the same (if it is
present in both chords); you might say; "keep the common tone." Another voice moves up and
another down. This is an example of what I think is pure perfection when it comes to voice leading:
a standard blues turnaround. Check out how the top voice stays the same, the note on the second
string moves up in half steps and the note on the fourth string moves down in half steps.
A blues turnaround like the one in the last example probably came into fashion in the
1930's or so. Funny how some blues cats made a musical statement that would have made Bach
proud. Muddy Waters or Robert Johnson definitely didn't study music theory in college, did they? I
guess it's safe to assume that all these music theory rules are really universal musical laws already
known by the ear.
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The Four Contrapuntal Motions in Action
Let's take a look at the different kinds of motion in action. What kind of motion is taking
place in the following examples? Check the answers at the end of the chapter:
1. Only one kind of motion going on here, what is it?
2. Only one kind here also, what kind of motion do you think it is? Compare the sound of this one
to the last example:
3. Two types of motion going on here, what are they? Hint: look at the top note in both chords and
then the ones below:
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4. Two types here too, what are they?
Examples of Good Voice Leading
Check what the separate voices in the chords are doing. Are they all moving in the same
direction? Are some voices moving while others are staying put as common tones?
Notice in the first two chords how the notes on the fourth and third string slide down a half
step while the note on the second string stays where it is. In the Bbmaj7#11 chord, is there any
common tones carried over from the previous F7#5?
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The next example is similar to the previous one except I included notes on the first string.
Feel free to leave off the notes on the sixth and fifth strings when playing with a bassist.
The voicing for the Bbmin11 chord is worth the stretch. Avoid the roots for these chords
when playing in an ensemble situation. If you have to play the roots, you'll have to use your thumb
on the first one. The root on the Abmaj9 chord is on the fourth string so it is probably safe to leave
in when playing with a bassist because it is in a high enough register.
Test Answers for page 101:
1. Parallel motion
2. Similar motion
3. Oblique and parallel motion
4. Oblique and contrary motion
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Chord Construction Formulas
Although most of the following information has already been presented to you, you can
use this section as a quick reference chord guide. The following construction rules should help you
to learn how to build any chord you want. Simply write out a C major scale and stack and alter the
extensions to create any of the chords you desire. Remember the order is not mandatory; you don't
have to stack the chords in 3rds. Ex: stacked in thirds: maj7#11 (1-3-5-7-#11), stacked
randomly: maj7#11 (1-5-3-#11-7). Experiment with different voicings and have fun finding new
sounds. Extensions written in parenthesis can be omitted freely.
triads
5 5 b5 #5
3 b3 b3 3
1 1 1 1
maj min dim aug
Triads: Triads are three note chords (a music theory text book will probably state that a chord must
have at least three notes to be considered a chord). Any of the notes can be repeated and the order
of the notes makes no difference. Triads are often played above a bass note that is not present in
the triad itself. This technique creates what is known as a slash chord because a slash mark is used
in the chord symbol. Ex: G/A (a G triad placed over an A bass note).
sus chords
5 5
4 2
1 1
sus4 sus2
Sus chords: In sus chords the 3rd is replaced with a 4th or a 2nd. Although this is the general rule,
these days some musicians voice the chord with the natural 3rd included also. Best to be careful
when including the 3rd with the 4th, they kind of rub together causing a dissonance but good
voice-leading can make it work.
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7th chords
7 7 7 b7 b7 7 b7 b7 b7 b7 bb7
5 #5 b5 5 b5 5 5 5 #5 b5 b5
3 3 3 b3 b3 b3 3 4 3 3 b3
1 1 1 1 1 1 1 1 1 1 1
maj7 maj7#5 maj7b5 min7 min7b5 min/maj7 7 7sus 7#5 7b5 dim7
7th chords: 7th chords are four note chords. It may help you to think of them as triads with the
extension of the 7th added on. You may want to figure out what triad the top three notes of a 7th
chord make. Ex: C maj7#5 (C-E-G#-B) = E/C (E triad over an C note).
6th chords
6 6
5 5
3 b3
1 1
6 min6
6th chords: A triad with an added major 6th. Since the 6th chord doesn't contain a 7th interval,
this chord can function as either a major or a dominant chord. The only other thing you may want
to keep in mind about the 6th chord is that if you rearrange the order of notes, it turns into a min7th
chord. Ex: C6 (C-E-G-A) = Amin7 (A-C-E-G). The notes of the min6 chord can be rearranged to
make a min7b5 chord. Ex: Amin6 (A-C-E-F#) = F#min7b5 (F#-A-C-E). For this reason, the min6
chord is a common substitution for a min7b5 chord. Try it yourself, any time a min7b5 chord shows
up in a song, play a min6 chord a min3 above it. Ex: F#min7b5 = Amin6, Bmin7b5 = Dmin6,
etc..
Rule: a 6 and a 13 are the same note, so what's the difference between a 6th chord and a 13th
chord? Simple; a 6th chord contains no 7th while a 13th chord contains a 7th. Some textbooks may
state that where the 6th is placed also makes a difference (placed above the octave makes it a
13th) but I don't buy it.
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9th chords
9 9 9 9 b9 #9 b9 #9 b9 #9 9 b9
7 b7 b7 b7 b7 b7 b7 b7 b7 b7 b7 b7
5 5 b5 5 5 5 b5 b5 #5 #5 5 5
3 b3 b3 3 3 3 3 3 3 3 4 4
1 1 1 1 1 1 1 1 1 1 1 1
maj9 min9 min9b5 9 7b9 7#9 7(b5,b9) 7(b5,#9) 7(#5,b9) 7(#5,#9) 9sus sus b9
9th chords: I've included chords with and without altered extensions.
Remember: 9ths are the same as 2nds. Also, you may from time to time run into a chord with both
a raised and lowered 9th. Ex: E7(b9,#9).
Add9 chords
9 9
- -
5 5
3 b3
1 1
add9 minadd9
add9 chords: A triad with the 9th added, no 7th allowed here.
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69 chords
9 9
6 6
5 5
3 b3
1 1
69 min69
69 chords: A minor or major triad with both the major 6th and 9th interval included, no 7th.
11th chords
#11 11 #11
(9) (9) (9)
7 b7 b7
5 5 5
3 b3 3
1 1 1
maj7#11 min11 7#11
11th chords: When chords get this big you may have to leave some notes out. An 11th chord
doesn't need a 9th. After that the 5th will not change the quality of the chord so it can technically
be left out. If you are playing with a bassist you won't need to play the root (some bass players
actually get mad at you if you play roots at all).
Remember: 11ths are the same as 4ths.
Rule: technically a major 3rd and natural 11th (4th) cannot be included in the same chord (They
kind of rub together being so close and all). For this reason, when a major 3rd is present in the
chord the 11th gets raised to a #11th. The 3rd can also be omitted; this will however turn the chord
into a sus4 chord (when a 3rd is not present, the 11th is considered a 4th). Ex: 7#11
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(1-3-5-b7-#11), 7sus4 (1-4-5-b7). For this reason I consider the lydian mode the perfect major
scale, simply because the raised 11th doesn't rub against anything (same in regards to the lydian
dominant mode). When dealing with the major scale you have to be careful of the natural 4th, but
by building chords using the lydian mode, anything goes. The rule about 4ths don't apply to minor
chords, the min 3rd doesn't get in the way of anything so don't even worry about it.
Breaking the Rules: Although the natural 3rd and 4th technically can't be included in the same
major or dominant chord, you can pull it off by placing the 4th in a different octave, either above or
below the 3rd and it will keep them from rubbing together. It will create a few naming problems but
it still can be done. Try these voicings from the 5th string and you'll see what I mean: Cadd4
(C-F-G-C-E) or B7#9(11) (B-D#-A-D-E). Your ear is the final judge on these matters.
13th chords
13 13 13 13 13 13
(#11) (11) (#11) (#11) (#11) -
(9) (9) (9) b9 #9 (9)
7 b7 b7 b7 b7 b7
5 5 5 5 5 5
3 b3 3 3 3 4
1 1 1 1 1 1
maj13 min13 13 13b9 13#9 13sus
13th chords: The biggest of all the chords. All scale notes are included. Feel free to omit the 11ths,
9ths, 5ths and roots (when a bassist is present).
Remember: 13ths are the same as 6ths.
Rule: As I stated before, without a 7th present, the 13th is considered a 6th.
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CHAPTER 8: THE MAJOR SCALE (THE INONIAN MODE)
The Major Scale
No matter what genre you're into, it is essential to get the major scale under your fingers.
There are basically two reasons: first, all western harmony is born from it, Jazz, Rock, Classical, Pop,
you name it, its harmony came from the simple major scale. And second, If you want to get your
chops together, your going to have to work on your scale playing daily and the major scale is the
best place to start. We guitarists tend to learn how to play the chords for songs we're into first and
then somewhere down the road realize that we have no technique. It's because we tend not to work
on our technique first. Most other musicians start off working on and practicing scales and
arpeggios routinely before they get into playing actual music. So I'm assuming you are at the
crossroads, you have a few tunes under your belt but have come to the conclusion that if you want
to get your playing together, you're going to have to learn how to play and use some scales. Let's
start with the standard C major scale.
What is the Major Scale Anyway?
As I mentioned before, it is the mother of western harmony. Even if you are not familiar
with it, you know it but didn't know that you did. It is the Do-Re-Mi-Fa-Sol-La-Ti-Do scale. Like
any other scale, it is based on an unchangeable series of half and whole steps (a half step equals
one fret or note while a whole step equals two). The C major scale and its series of half and whole
steps:
The first two notes C and D are two notes apart so it is considered a "whole step," the
same for the second and third notes D and E. But the third and fourth notes E and F are only one
note apart therefore considered a "half step." The order of "steps" will never change for the major
scale (even if the key does). The order: W-W-H-W-W-W-H. If you remember the order of steps,
you can construct a major scale starting on any note.
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Other Keys
Try to write out the major scale in other keys. If you stick to the pattern of half and whole
steps, you should be able to figure out all the major scales. Fill in the blanks and have one of your
teachers check the answers for you:
W W H W W W H
C D E F G A B C
G A ? C D E F# G
D E F# ? A B C# D
A ? C# D# ? F# G# A
E F# G# ? B C# ? E
B C# ? E ? G# A# B
F# ? A# B C# ? E# F#
C# ? E# ? G# A# B# C#
Cb Db Eb Fb Gb Ab Bb Cb
Gb Ab ? Cb ? Eb F G
? Eb F Gb Ab Bb C ?
Ab Bb ? ? ? F G A
Eb ? ? ? ? ? D Eb
Bb C ? ? F G A Bb
F G A ? C D ? F
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Playing the Scale
Before we get going on major scale harmony, let's get you playing the scale so you can get
used to the sound of it. Below is one of the five major scale patterns. The black dots are the roots
(in this case C). The horizontal bottom line is the sixth string and the top, the first string. The
vertical lines are the frets. Lets start by playing root to root from the sixth string to the first string.
To do this, place your middle finger on the black note on the sixth string. Play the next note, which
will be on the tenth fret, sixth string with your pinky. Now you are ready to move on to the fifth
string. The first note you will play on the fifth string will be on the seventh fret with your index finger.
The next two notes with your middle finger followed by your pinky. Keep going till you get to the
black note on the first string. If you get confused about what fingers to use, just remember this:
Any note on the seventh fret will be played with your first finger, any note on the eighth fret, with
your middle finger, any note on the ninth fret with your ring finger and any note on the tenth fret
with your pinky (don't cheat, get used to using your pinky):
Use your ears
You should be able to here the Do-Re-Mi-Fa-Sol-La-Ti-Do thing going on here. If you
don't, reread the instructions above and try it again. Try to get uses to the sound of the scale; this
is not just for your fingers but for your ears too. Play it up and down and try to pick out some
melodies from the scale if you can.
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About Picking
There a basically three different ways to pick:
1. Alternate - This is the most standard way to pick. Simply play everything with a down stroke
followed by an up stroke. Down, up, down, up.................
2. Economy - Shredders use this picking technique quite often. You simply take the quickest
route to the next string. Using the C major scale that we have been working with as an
example, if you were to start on the lowest note on the sixth string (7th fret, index finger), you
would pick: (sixth string) down stroke, up stroke, down stroke, (fifth string) down stroke, up
stroke, down stroke, (fourth string) down stroke, up stroke, down stroke, etc.. Players who use
this technique tend to play scale patterns that have three notes per string. If you get this
technique down you can achieve light speed.
3. Legato - You would only pick one time per string. Using the same example as above (from the
lowest note on the sixth string): (sixth string) down stroke, hammer on, hammer on, (fifth
string) down stroke, hammer on, hammer on, etc..
I would suggest you work first on the alternate picking and try the other two later on. They are all
useful techniques and the combination of them will lead to spectacular results.
Practicing the scale
You can practice your scales while watching TV if want to just want to improve your
technique. You don't have to play the notes of the scale in any particular order and you should try
to work out mathematical sequences if you can. But if you really want to become a great soloist you
will have to practice improvising over chord changes. You can use a sequencer or make yourself a
backing track or get together with one of your guitar pals. The problem is; what chords do you make
the chord progressions with? We'll have to get into major scale harmony here.
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Harmonizing the Major Scale
Chords are born from scales. When you stack the first, third and fifth note in the C major
scale on top of each other, you get a chord, a C chord. Since this chord is built on the first note of
the major scale we can call it the "one" (I) chord. Check out the example below.
A Family of Diatonic Chords
We can do the same thing for all the notes of the major scale. Let's do the same thing for
the second note, D in the C major scale. We'll just stack every other note on top of each other and
we'll get a D minor chord. Since this chord is built on the second note of the major scale it gets
named the "two" (ii) chord:
The Whole Diatonic Triad Family
If we do the same thing for each note of the C major scale, we will get seven chords, one
for each note of the scale. These chords are called triads because they only contain three notes
("tri" as in triangle or tripod). The roman numerals below denote the quality of the chord, large case
meaning major (I, IV, V), small case meaning minor (ii, iii, vi) and small case with the small circle
after it (viio) means diminished:
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Harmonized as 7th Chords
Looking at the last previous example it is interesting to see that when harmonizing the
major scale as triads, there are only three different chord types; major, minor and diminished. By
taking the harmonization process one step further and harmonizing the scale in 7th chords, we get
four different chord types:
Things to consider
What would happen if you harmonized the scale in 9th, 11th or 13th chords? If you were
to harmonize each chord to its full potential, you would get seven completely different chords, what
would they be?
Common Diatonic Chord Progressions
The previous chords are the chords that work with the C major scale, any one or any
combination of them can be used as a backing chord or chord progression. Anything goes but the
following are some common progressions using the diatonic chords from the C major scale. Record
them and practice improvising with the major scale pattern that you just learned. Feel free to add
any extensions to the chords that you may have learned about in chapter 3. Be sure to check the
chart on page 58 if you are not sure which extensions you can use without complications:
Ex.1)
Ex.2)
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Ex.3)
Ex.4)
More Major Scale Patterns
Major Scale Patterns
When you get the one pattern of the C major scale under your fingers, try moving on to
the other four. They will all work over the same chord progressions Ive given above. The black
notes will all be C. I'll point you in the right direction just in case: For pattern 1, the black note on
the fifth string will be on the 15th fret (pinky). For pattern 2, the black note on the fifth string will
be on the 3rd fret (middle finger). For pattern 3, the black note on the sixth string will be on the 8th
fret (pinky). For pattern 4 the black note on the sixth string will be on the 8th fret (you already know
this one). For pattern 5 the black note on the fourth string will be on the 10th fret (middle finger).
Practice playing the following patterns over some of the previous chord progressions or make up
your own using any of the diatonic chords in the key:
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
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Other keys
When you have the C major scale down you can try to move to other keys. All five patterns
will stay the same only the frets will change:
G major
E major
Bb major
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The Changing Diatonic Chords
Of course when you change scales, the diatonic chords for the key will also change. For the
proper chords, use the chart below. Try to transpose some of the chord progressions that you
learned or make up your own and improvise using all five patterns of the major scale in various
keys:
Diatonic Triads in the Harmonized Major Scale
Key I ii iii IV V vi viio
C C D E F G A B
G G A B C D E F#
D D E F# G A B C#
A A B C# D E F# G#
E E F# G# A B C# D#
B B C# D# E F# G# A#
F# F# G# A# B C# D# E#
C# C# D# E# F# G# A# B#
Cb Cb Db Eb Fb Gb Ab Bb
Gb Gb Ab Bb Cb Db Eb F
Db Db Eb F Gb Ab Bb C
Ab Ab Bb C Db Eb F G
Eb Eb F G Ab Bb C D
Bb Bb C D Eb F G A
F F G A Bb C D E
maj min min maj maj min dim
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CHAPTER 9: SEQUENCES
Building Technique
Now that you have the major scale under your fingers, it's time to move on to the next
step, which is to start building technique. We will do this by working on various sequences and
patterns until they become effortless. I must admit, sequences are and sound very mathematical
which, by the way, is exactly what good improvisation shouldn't sound like. But by learning and
practicing the various sequences I'm about to show you, you should eventually be able to forget
them while retaining a high level of technique that will allow you to play practically anything your
ear tells you to. Each sequence you learn will pose a different technical challenge and that is where
true learning begins. The ultimate goal of this section is to gain technical fluidity.
What exactly is a sequence?
It is a musical equation or formula in a sense, one that generally repeats it self from each
of the consecutive notes of a scale. It is math, musical math. Although there are various variations
and combinations, there are basically two different types of sequences: the "intervallic" and "group
of" sequence.
"Intervallic" Sequences - This type of sequence jumps directly from the starting note of the scale
(C, in the example below) to the designated interval without sounding the notes in between (in the
example given below, a 4th). We then play the next note of the scale (in this case a D note) and
jump to the diatonic 4th of that note (G in the example). The process continues from every
consecutive note in the scale. The example given below is an ascending intervallic 4ths sequence:
"Group of" Sequences - "Group of" sequences rather than jumping directly to the interval, the
player plays the diatonic notes between the starting note and the interval in question (4ths in this
example). The process continues from every consecutive note in the scale. The example below is an
ascending group of 4 sequence:
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How to practice these sequences
All the sequences I've written out are written out using only one scale pattern and in one
key (C major scale, pattern 4), the simplest rhythmic notation and ascending only. What you need
to do:
1. Practice them in using all scale patterns and in all keys.
2. Practice them using different rhythmic figures such as triplets, sixteenth notes and various
combinations.
3. Figure them out descending as well. Just do the same thing in reverse, high to low rather than
low to high.
4. Practice them to backing tracks as much as you can or with a friend.
5. When you have the major scales under your fingers, move on to the other scales such as the
harmonic and melodic minor scales.
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Diatonic 3rds
1. Intervallic 3rds sequence - No real technical problems here except for the F to A interval on
the third to second string (third measure, third beat). You'll have to use your pinky to play both
notes but since there is no jumping over strings, it doesn't pose too much difficulty. What we are
basically doing with this sequence is simple; we play the first note of the scale (C in this case) and
then play the note that is up a diatonic third from it, not playing any of the notes in between. We
then do the same with the next note of the scale (in this case, from D):
2. Group of 3 sequence - No real technical difficulties with this one either. As it is a "group of 3"
sequence it may sound more natural using triplets, I've simply notated it using eighth notes to
make it as simple as possible. It actually "rubs" a little bit played this way, which is to my liking:
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Diatonic 4ths
I'm going to get into specific variations with the 4ths section only. The last two sequences
were just to get you warmed up so now I'm going to show you some different variations of the
different sequences. I'm only going to do this here with the 4ths and not with the other intervals for
two reasons: one, it's way to much work to transcribe them all and it will take me forever. But the
most important reason is because I want you to use your head. The only way you are really going
to learn these things are by figuring them out for yourself. I'll only help you here with the 4ths;
you'll have to figure out how to do the same things with the other intervals yourself.
3. Intervallic 4ths sequence - This is one of my favorite sequences and it poses a lot of problems.
Because 4ths generally fall on the same fret of the adjacent string, you'll have to use a lot of the
same fingers for corresponding notes. You'll also get your first taste of string skipping. The F and B
notes (third measure, third beat) fall on the third and first string which means you'll have to jump
over the second string to get there. We are doing the same thing as in the our first sequence only
this time using 4ths rather than 3rds:
4. Intervallic 4ths sequence (variation 1) - I just simply reversed the intervals:
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5. Intervallic 4ths sequence (variation 2) - A combination of the previous two sequences:
6. Intervallic 4ths sequence (variation 3) - Rather than playing the root followed by a diatonic
4th and continuing the intervallic jump from each consecutive note in the scale, the next sequence
starts with the root followed by two diatonic 4ths:
7. Group of 4 sequence - No real road blocks here. To create interest you might want to play this
sequence using triplets:
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Diatonic 5ths
8. Intervallic 5ths sequence - Tons of string skipping going on in this intervallic 5ths sequence:
9. Intervallic 5ths sequence (variation 1) - Same as sequence no.5, utilizing 5ths rather than
4ths:
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10. Intervallic 5ths sequence (variation 2) - root followed by a diatonic 5th, but rather than
continuing the pattern from next consecutive note (D in this case) we skip the note and play the
interval from the third note (E) before returning to the second note (D):
11. Group of 5 sequence - The first five notes of the scale followed by the next five. You will notice
that the "group of 5" sequence played using eighth notes will rub rhythmically against the common
time meter of most songs. Again, something I like:
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12. Group of 5 sequence (rhythmic variation) - Sometimes the "group of sequences work
best applied using the same rhythmic figure as the number in the group. Since the notes are
grouped in fives, see if you can play each group of five notes over one beat. This is difficult to do so
it may help to verbalize the rhythm by verbalizing a five-syllable word. One I use for five is;
"opportunity" OP-POR-TU-NI-TY. Just tap your foot and say opportunity to each beat and you'll be
verbalizing a 5 over 1 rhythm. As the following sequence is basically the same as the previous one
using a different rhythm, I've only notated one measure:
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Diatonic 6ths
13. Intervallic 6ths sequence - The string-skipping thing is getting out of hand:
14. Group of 6 sequence - The most natural way to play this sequence would be using triplets but
any rhythmic figure will work fine:
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Diatonic 7ths
15. Intervallic 7ths sequence - You have a big jump on the last beat of the second measure, over
two strings:
16. Group of 7 sequence - If your tempo is slow enough, try this sequence using seven notes per
beat:
Make these and the other sequences you come up with part of your everyday practice routine. They
are a must for developing technique.
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CHAPTER 10: ARPEGGIOS
Scales vs. Arpeggios

There are basically two different methods of improvisation, one employs the use of scales
over a given chord or chord progression, the other, the use of arpeggios. Many players adhere to
either one method or the other but to become a great improviser, you should become an expert of
them both. It is however, much easier to outline the chord changes in songs with fast tempos and
many key changes such as in Bebop using arpeggios. The important thing to remember is that
arpeggios are born from scales, just as the diatonic chords. They can all be found in the diatonic
scale and it is beneficial to be learned from that standpoint. Lets take a look at the arpeggios that
can be found in the pattern 4 major scale that we have been working on. All examples (unless
otherwise stated) will be given using the diatonic arpeggios in the proper order (C, Dmin, Emin, F,
G, Amin, Bdim) Lets start with the diatonic triad arpeggios:
diatonic one-octave triad arpeggios
C Dmin Emin F G Amin Bdim
1. Diatonic one-octave triad arpeggio sequence Although the trick to using arpeggios is to
use them over the proper chord, in other words, a C arpeggio over a C chord, a D minor arpeggio
over a D minor chord and so forth, this sequence is a good exercise to get you started:
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diatonic open-voiced triad arpeggios
C Dmin Emin F G Amin Bdim
2. Diatonic open-voiced triad arpeggio sequence - Similar in theory as the previous exercise
except the 3rd is placed last and an octave above the 5th, Ex: 1 - 5 - 3. This technique is sometimes
called octave displacement. These triad arpeggios are similar to the type Eric Johnson uses:
diatonic one octave 7th arpeggios
Cmaj7 Dmin7 Emin7 Fmaj7 G7 Amin7 Bmin7(b5)
3. Diatonic one-octave 7th arpeggio sequence 7th arpeggios only contain four notes and
should be practiced in every possible combination. There are twenty-four different combinations
(use the chart on page 27 for a reference). There are too many to give individual exampled for them
all but I will give you a few starting with the most simple: 1-3-5-7:
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4. Diatonic one-octave 7th arpeggio sequence (variation 2) 7th arpeggios in this order of
intervals: 1-5-3-7:
intervals: 1-7-5-3:
intervals: 3-1-7-5:
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intervals: 7-3-5-1:
diatonic one-octave add9 arpeggios
Cadd9 Dmin add9 Emin add(b9) Fadd9 Gadd9 Amin add9 Bdim add(b9)
8. Diatonic add9 arpeggio sequence - If we include the diatonic passing tone between the root
and 3rd before playing the 5th, we get an add9 arpeggio that John Coltrane used quite often. The
order of intervals: 1-2-3-5:
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Practicing over Chord Progressions
When using arpeggios rather than scales as an improvisational tool, the point is to play
the same arpeggio as the chord. It takes a bit of practice but is an important part of being a good
soloist. First lets try to apply the proper arpeggios to a diatonic chord progression:
This technique will come in handy when playing over chords that are not completely related and at
a tempo where using scales may not be practical. The following example changes keys several
times:
Practice using arpeggios over various chord progressions both diatonic and not. Try to make the
arpeggios sound musical by varying the order of intervals and using various rhythmic figures. When
you are familiar with all the arpeggio shapes, you can move on the next section that deals with
superimposing them.
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Arpeggio Substitutions
A substitution is a simple way to create upper extensions by superimposing specific
arpeggios over a chord. So far we have practiced using arpeggios over the same chord, for example
a Cmaj7 arpeggio over a Cmaj7 chord but other arpeggios can be superimposed to create more
musical interest. Ill give some of the more common ones as examples but the possibilities are
endless.
Common Arpeggio Substitutions for Major Chords
1. Min7 arpeggio played on the 3rd degree of a Major Chord For demonstrative purposes,
lets say that the major chord in question is a Cmaj7 chord. The 3rd of the chord is E, so the
substitution would be an Emin7 arpeggio. Take a look at the analysis below and you will understand
why. The Emin7 arpeggio simply creates a Cmaj9 tonality so rather than playing a Cmaj7
arpeggio over a Cmaj7 chord, an Emin7 arpeggio is another alternative:
In the following example, an Emin7 arpeggio is being superimposed over a Cmaj7 chord:
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2. Min7 arpeggio played on the 6th degree of a Major Chord Again, by studying the analysis
below we can see that the Amin7 arpeggio played over a C major chord implies a C6 tonality:
In this example, I superimpose both an Amin7 and Emin7 arpeggio over the Cmaj7 chord:
What other arpeggios could you superimpose over a Cmaj7 chord? Try these: Gmaj7, D. What
extensions would they create?
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Common Arpeggio Substitutions for Minor Chords
1. Maj7 arpeggio played on the b3rd degree of a Minor Chord For demonstrative purposes,
lets say that the minor chord in question is Cmin7. The b3rd would be Eb, so the arpeggio to be
played would be a Ebmaj7 arpeggio. The maj7 arpeggio superimposed this way, creates a min9
tonality:
In this example, Ive superimposed an Ebmaj7 arpeggio over the Cmin7 chord and combine both
a Dmin7 and Bbmaj7 arpeggio for the Bbmaj7 chord:
What other arpeggios could you superimpose over a Cmin7 chord? Try these: Amin7(b5), Gmin7.
What extensions would they create?
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Common Arpeggio Substitutions for Dominant Chords
1. Dim7 arpeggio played on the 3rd degree of a Dominant chord Another common
substitution that creates the sound of a 7b9 chord:
In this example, the Edim7 arpeggio played over the C7 chord creates a 7b9 tonality:
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2. Dominant 7 arpeggio played on the b5th degree of a Dominant chord This is a very
common substitution used to create an altered tonality. Examine the analysis below:
And in this last example, the F#7 arpeggio superimposed over the C7b9 chord creates a
C7(b5,b9) tonality:
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Arpeggio Overview
The following charts should give you some insight on what arpeggios can be
superimposed over specific chord types. Along with the ones we have covered previously in this
chapter, I have also included other possibilities. Some of these will work better over vamps but
regardless, feel free to experiment. Starting with major family chords:
Possible Arpeggios that can be Superimposed over Major Family Chords
arpeggio degree to be played on chord/scale tones created comments
major triad 1 1,3,5
major triad 2 9,#11,13 lydian tonality
major triad 5 5,7,9
major triad 3 3,#5,7 lydian augmented tonality
min7 3 3,5,7,9 standard substitution
min7 6 1,3,5,6 standard substitution
maj7 5 5,7,9,#11 lydian tonality
min7b5 #4 1,3,#11,13 lydian tonality
min(maj7) 6 1,3,#5,13 lydian augmented tonality
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For minor family chords:
Possible Arpeggios that can be Superimposed over Minor Family Chords
augmented triad b3 b3,5,7 melodic minor tonality
augmented triad 5 b3,5,7 melodic minor tonality
augmented triad 7 b3,5,7 melodic minor tonality
major triad b3 b3,5,b7
major triad 4 1,11,13
major triad 5 5,7,9 melodic minor tonality
major triad b7 b7,9,11
major triad 7 b3,b5,7
major triad 2 b5,9,13
maj7 b3 b3,5,b7,9
min7b5 6 1,b3,5,13
For min7(b5) chords:
Possible Arpeggios that can be Superimposed over min7(b5) Chords
augmented triad 2 b5,b7,9 locrian #2 tonality
augmented triad b5 b5,b7,9 locrian #2 tonality
augmented triad b7 b5,b7,9 locrian #2 tonality
min(maj7) b3 b3,b5,b7,9 locrian #2 tonality
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For unaltered dominant chords:
Possible Arpeggios that can be Superimposed over Unaltered Dominant Chords
augmented triad 2 b7,9,#11 lydian dominant tonality
augmented triad b5 b7,9,#11 lydian dominant tonality
augmented triad b7 b7,9,#11 lydian dominant tonality
major triad 2 9,#11,13 lydian dominant tonality
min7b5 3 3,5,b7,9
min7b5 #4 1,3,6,#11 lydian dominant tonality
min(maj7) 5 5,7,9,#11 lydian dominant tonality
For sus chords:
Possible Arpeggios that can be Superimposed over sus Chords
maj7 b7 4,b7,9,13
major triad 4 1,4,6
major triad b7 4,b7,9
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For altered dominant chords:
Possible Arpeggios that can be Superimposed over Altered Dominant Chords
dim7 3 3,5,b7,b9 diminished tonality
dim7 5 3,5,b7,b9 diminished tonality
dim7 b7 3,5,b7,b9 diminished tonality
diminished triad b2 3,5,b7,b9 diminished tonality
augmented triad 1 1,3,#5 altered tonality
augmented triad 3 1,3,#5 altered tonality
augmented triad #5 1,3,#5 altered tonality
major triad b3 5,b7,#9 diminished tonality
major triad b5 b5,b7,b9 altered tonality
major triad 6 3,b9,13 diminished tonality
major triad b6 1,#5,#9 altered tonality
min7b5 b7 3,#5,b7,b9 altered tonality
min(maj7) b2 1,3,#5,b9 altered tonality
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CHAPTER 11: INTRODUCING THE MODES OF THE MAJOR SCALE
The Modes
Now we can go on to the modes of the major scale. If you are new to using these modes
you should work on each mode one at a time until you have it under your fingers. You must be
completely familiar with the major scale before starting. If you are ready, start by memorizing the
names and order. This is the basic formula; if we take a major scale (let's say a C major scale) and
write it from the root to the root (C) we will get the ionian mode. Write it from the 2nd degree, D
to D in this case, we'll get the dorian mode. E to E, the phrygian mode. F to F, the lydian mode. G
to G, the mixolydian mode. A to A, the aolian mode. And last but not least, B to B will give you the
locrian mode. I used the C major scale as an example but it works the same for all the major scales.
1. Ionian (the major scale)
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aolian (the natural minor scale)
7. Locrian
The order of the modes will never change even when the key does. Examine the chart below. By
checking the very bottom column of the chart you can find out what chord the mode works over. Ex.
the D dorian mode is the same as the C major scale and works over an Dmin7 chord.
Key ionian dorian phrygian lydian mixolydian aolian locrian
C C D E F G A B
G G A B C D E F#
D D E F# G A B C#
A A B C# D E F# G#
E E F# G# A B C# D#
Chord maj7 min7 min7 maj7 7 min7 min7b5
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Warning!
This is where a lot of players get confused. They ask; "How come when I play the D dorian
scale it sounds the same as the C major scale?" Of course it does, cause it is! It's not the scale; it's
the chord that counts. If you play a C major scale, D to D, over a C major chord, it's going to sound
like a C major scale because that's what it is. You have to use the mode over the appropriate chord
to get the modal effect. In this case, you have to play the D dorian mode over a D minor chord.
Matter of fact, you don't even have to play it D to D, you just have to play a C major scale over a D
minor chord to get the dorian sound.
Remember: It isn't where you start and stop in the major scale; it's the chord or chord progression
you play over. The C major scale played over a D minor chord is a D dorian scale whether you start
on the C note or not.
Analyzing the Dorian Mode

Now we are going to get into the dorian mode; how to find it and how to use it. First of all,
let's examine it closely. If we compare it to the D major scale below it we can see the difference. It
looks like the major scale with a minor third and a minor seventh. As it also contains the major 6th,
it has more of a bright sound compared to it's minor brothers the aolian and the phrygian mode,
which both contain the minor 6th making them sound darker.
D dorian scale
D major scale
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Harmonizing the Dorian Mode
If we start making chords from the scale, by stacking it by the root, third, and fifth we first
get a minor triad. If we add the seventh, we get a Dmin7th chord. If we continue, a min9th and
min11th chord. This is the important thing to remember; the 6th (or 13th) is major. Therefore we
get a min13th and/or min6th chord. Remember this too; a min6 chord has a major sixth not a
minor one: 1-b3-5-6. Same with a min13 chord: 1-b3-5-b7-13. The only difference between a
min6 and min13 chord is, a min13 chord contains a seventh (b7) while the min6 chord doesnt.
No other minor mode from the major scale contains a major 6th, therefore, if you run into a min6
or min13 chord in a chart, your only mode choice is really the dorian mode.
Chords from the dorian mode: min, min6, min7, min9, min69, min11, min13
Playing the Dorian Mode
Playing the Dorian Mode
The next step here is to get you to be able to play any dorian scale anytime you want
quickly. The point is; to figure out on the spot what major scale you need to be playing. Remember
what I said before; it's not where you start or stop, it's what chord you are playing over that counts.
Let's say you're jammin' with these guys and it's your turn to take a solo. You look down at the chart
where it has written "guitar solo" and it's got a big Dmin7 chord symbol sitting there for eight
measures. You decide you are going to go for that big jazz sound and use the D dorian scale. All you
have to do is determine what major scale you have to play. This is what you do; you use the dorian
mode rule which is: dorian mode = major scale down a major 2nd. What does that mean? It
may help you to remember what a major 2nd interval looks like; it is simply the interval two frets
above or below another note on your fretboard. D is on the tenth fret on the 6th string, C is a major
second down (two frets below) from that note. All you have to do is play a C major scale over the
D minor chord and everything will work out ok.
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One of the most common chord progressions for the dorian mode is the typical ii - V.
Carlos Santana does it all the time. You will need to play a D dorian scale over the chord progression
below. Once again, what major scale is the same as the D dorian scale? Remember our rule? The
major scale that is a major 2nd below D is the name of the major scale we will need to play. C is a
major 2nd below D, so C major is the major scale that we are looking for. Play a D dorian scale (C
major scale) over the following chord progression. Oh yeah, a hint: try mixing up a D minor
pentatonic scale with the dorian scale to get a Santana type vibe:
Now that you should be able to play the dorian scale at the drop of a hat, it's time to get you
improvising over some different chord progressions. The first four bars are all D minor. What major
scale are you going to play to get the D dorian mode? Remember you need to play the major scale
that is down a major 2nd from D. The answer is? C major. How about the next four bars of F#
minor? The major scale that is a major 2nd down from F# is? E. You'll need to play an E major scale
over the F# minor chord. When you become comfortable improvising over the following progression,
try to make up some chord progressions of your own using two or more unrelated minor chords:
Making Music
The goal is to make music. Simply by playing the proper major scale over the modal chord,
although theoretically correct, will not necessarily make your solo musical. You must use your ears
and pay close attention to the strong notes in the chord you are playing over. Try to think of your
solo as a separate composition all together, a song inside a song.
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The Phrygian Mode
If you have the dorian mode down, you are ready to move on to the phrygian mode. Like
the dorian mode, the phrygian mode is minor. While the dorian mode is bright sounding, the
phrygian mode is dark and exotic. While the dorian mode is easy to understand and apply, the
phrygian mode has its challenges.
By using the chart below you can determine what major scale to play to get the mode you are
looking for and what chord the mode works over, Ex: the C phrygian mode is the same as the Ab
major scale and works over a Cmin7 chord.
Db Db Eb F Gb Ab Bb C
Ab Ab Bb C Db Eb F G
Eb Eb F G Ab Bb C D
Bb Bb C D Eb F G A
F F G A Bb C D E
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Analyzing the Phrygian Mode
First of all, let's examine it closely. If we compare it to the C major and C dorian scale
below it we can see the difference. It looks a lot different than both scales. Right off the bat, it has
a minor 2nd. After that it has a minor third. Like both the major scale and dorian mode it has a
natural 11th and 5th. The 6th is minor making it different than both the major scale and dorian
mode and giving it its super minor sound. The 7th is minor. I think the combination of the minor 6th
and 2nd is what gives this mode its exotic flavor.
C phrygian mode
C dorian mode
C major scale
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Harmonizing the Phrygian Mode
If we start making chords from the phrygian mode, by stacking it by the root, third, and
fifth we first get a minor triad. If we add the seventh, we get a min7th chord. If we continue, we'll
get some pretty strange chords; a min7b9 chord and to be honest, you don't come across one of
them to often. Besides working over a static minor chord, this mode also works over a iii - IV chord
progression very well. Ex: Cmin7-Dbmaj7. A lot of heavy metal players like to use this chord
progression to go crazy with the phrygian mode.
Chords from the phrygian mode: min7, min7b9, 7susb9, sus(b9), min11(b9)
The Phrygian Chord
More often than minor chords, the phrygian mode gets used over sus4 chords. The
reason is because sus chords don't contain 3rds, the min3rd of the scale gets naturalized in a way.
You may want to even consider the min 3rd as an augmented 9th which makes it seem compatible
with dominant chords. Jazz guys like Wayne Shorter and Herbie Hancock used to like to use the
phrygian mode over a sus(b9) chord.
The sus(b9) chord, sometimes known as the "Phrygian" chord:
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Playing the Phrygian Mode
The next step here is to get you to be able to play any phrygian scale anytime you want
quickly. The point is; just like the dorian mode, to figure out on the spot what major scale you need
to be playing. Remember what I said before; it's not where you start or stop, it's what chord you are
playing over that counts. On the chart you are reading, it tells you that you have to play a solo over
a Csus(b9) chord (a typical "phrygian" chord). All you have to do is determine what major scale
you have to play to get the phrygian mode. This is what you do; you use the phrygian mode rule
which is: phrygian mode = major scale down a major 3rd. Remember how this works? Ab is a
minor 3rd down from C so all you have to do is play a Ab major scale over the Csus(b9) chord and
you'll be playing the phrygian mode.
Now that you should be able to find and play the phrygian mode anytime you want, it's
time to get you improvising over some different chord progressions. The C phrygian mode can be
used over the whole twelve bars. What major scale are you going to play to get the C phrygian
mode? Remember you need to play the major scale that is down a major 3rd from C. The answer
is? Ab major:
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This mode also lends itself well to Neo-Classical hard rock. You may want to try playing over a Cmin
- Db chord progression with a hard rock feel, if that is the kind of music you are into. By the way,
the king of the ancient kingdom of Phrygia (somewhere in what is now known as modern Turkey I
believe) was King Midas, who by legend could turn anything he touched into gold. Maybe the
phrygian mode is the golden scale!
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The Lydian Mode
The last two lessons dealt with the first two modes of the major scale, the dorian and the
phrygian modes. Both these minor modes lead us to the first major mode of the major scale, the
lydian mode. As we'll discover, the lydian mode contains a raised 4th giving it a harmonic and
melodic sense of momentum (speaking of momentum, In biblical times, Lydian warriors from the
ancient kingdom of Lydia were famous for their archery).
For demonstrational purposes, let's take C lydian as an example. As you can see in the chart below,
the C lydian mode is the same as the G major scale and works over a Cmaj7 chord.
C C D E F G A B
G G A B C D E F#
D D E F# G A B C#
A A B C# D E F# G#
E E F# G# A B C# D#
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Analyzing the Lydian Mode
If we compare it to the C major and C lydian scale below it we can see the difference. It
looks a lot like the major scale with the exception of the raised 4th. Like I said before, the raised 4th
gives the ear the sensation of momentum. This mode sounds super modern.
get a major triad. If we add the seventh, we get a maj7th chord. If we continue, we'll get a major
9th chord, and that's where the similarities end with the major scale. The raised 11th makes a
maj7#11th chord. After that, a major 13th chord. A rule to remember; a maj13th chord has to have
either a #11th or no 11th at all, a natural 11th (same as a 4th) tends to rub against the 3rd, giving
an unpleasant effect. A natural 11th can only be included if the 3rd is omitted, making the chord a
sus chord. In this case the 11th would be considered a 4th rather than an 11th. This mode usually
gets used against a maj7, maj9, or maj7#11 chord but sometimes gets used against a IV - V
chord progression, in this case a C - D chord progression.
C lydian mode
C major scale
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Harmonizing the Lydian Mode
If we start making chords from the lydian mode, by stacking it by the root, third, and fifth,
just like with the ionian mode (the major scale) we first get a major triad. If we add the seventh, we
get a maj7th chord. The difference between this scale and the major scale is the maj7#11 chord
it creates.
Chords from the lydian mode: maj7, maj9, maj7#11, maj13, add9, 69
Playing the Lydian Mode
Just like the previous two modes, the point is to figure out on the spot what major scale
you need to be playing. Let's say you are playing with your friends Bob and Pete and the chart they
give you says you have to play a solo over a Gmaj7#11 vamp. You need to figure out what major
scale you need to be playing so you just remember your lydian scale mode rule which is: lydian
mode = major scale up a perfect 5th. Remember how this works? D is a perfect 5th from G. All
you have to do is play a D major scale over the Gmaj7#11 chord and you'll be playing the lydian
mode.
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Try playing over the following progression. Use an A lydian scale over the first chord.
Remember our rule: a perfect fifth above A is E so just play an E major scale over the chord and
everything will work out ok. For the other two chords in the progression: C lydian = G major, E
lydian = B major:
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The Mixolydian Mode
Up to now the only modes we've discussed have been either minor or major (dorian,
phrygian and lydian). This lesson will deal with the mixolydian mode, which is the only dominant
mode of the major scale.
For demonstrational purposes, let's take C mixolydian as an example. As you can see in the chart
below, the C mixolydian mode is the same as the F major scale and works over a C7 chord.
Eb Eb F G Ab Bb C D
Bb Bb C D Eb F G A
F F G A Bb C D E
C C D E F G A B
G G A B C D E F#
Analyzing the Mixolydian Mode
If we compare it to the C major and C mixolydian mode below it we can see the difference.
It looks a lot like the major scale with the exception of the minor 7th. There are many different
dominant modes (from the melodic minor, harmonic minor, half/whole diminished and whole tone
scale) but the mixolydian mode is the simplest harmonically. It contains no alterations.
C mixolydian mode
C major
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Harmonizing the Mixolydian Mode
get a major triad. If we add the seventh, we get a C7 chord. After that, all the unaltered extensions.
The only thing you may want to be careful of: try not to include both the major 3rd and the natural
4th in the same chord (at least theoretically).
Chords from the mixolydian mode: 7, 9, 7sus4, 13
Playing the Mixolydian Mode
Just like the previous two modes, to figure out on the spot what major scale you need to
be playing. Let's say you are playing with your band mates and the chart they give you says you
have to play a solo over an A7 vamp. You need to figure out what major scale you need to be
playing so you just remember your mixolydian scale mode rule which is: mixolydian mode =
major scale up a perfect 4th. Remember how this works? D is a perfect fourth from A. All you
have to do is play a D major scale over the A7 chord and you'll find yourself playing the mixolydian
mode.
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Try playing over the chord progression below. Use an F# dorian scale (major scale down
a major 2nd = E major) over the F#min7 chord and a D mixolydian scale (major scale up a perfect
4th = G major) over the D9 chord.
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The Aolian Mode (The Natural Minor Scale)
The final mode we will discuss is the aolian mode. Ive saved it for last because you will
need to understand it before moving on to the harmonic and melodic minor scales.
For demonstrational purposes, let's take C aolian as an example. As you can see in the chart below,
the C aolian mode is the same as the Eb major scale and works over a Cmin7 chord.
Ab Ab Bb C D Eb F G
Eb Eb F G Ab Bb C D
Bb Bb C D Eb F G A
F F G A Bb C D E
C C D E F G A B
Analyzing the Aolian Mode
If we compare it to the C aolian mode and C dorian mode below it we can see the
difference. It looks a lot like the dorian scale except it contains a minor 6th rather than a major 6th.
C aolian mode
C dorian mode
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Harmonizing the Aolian Mode
When we harmonize the aolian mode, the chord we get look a lot like the same chord we
get from the dorian mode until we add in the 6th. The 6th, being minor, no min6 or min13 chord
is possible as both these chords contain a major 6th. Therefore a typical aolian chord would be a
minb6 or min7b13 chord.
Chords from the aolian mode: min7, min9, min11, minb6, min7b13
The Aolian (Natural Minor) Chord Family The aolian mode is important because its chord
family has been used to write and harmonize music for centuries. Unlike the other modes, which are
generally used to play over static modal chords, the aolian mode and its inherent chords have been
the foundation of minor harmony. As progressions are more common with this mode, take some
time and familiar yourself with its family of chords. This will be important as well for understanding
the harmonic and melodic minor scale which both are based on this scale. As you did with the
diatonic chords of the major scale, try to come up with some chord progressions using the diatonic
chords from the natural minor scale and use the aolian mode to improvise with.
Hundreds of years ago, composers had problems dealing with the minor v chord, it does not want
to resolve to the tonic chord like the major or dominant 7th V chord in major keys. They came up
with an interesting way to solve this problem that we will discuss later.
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Playing the Aolian Mode
Like all the other modes, if you know your major scales and know the rule to apply the
major scale in a modal context you will be fine. The rule for the aolian mode is: aolian mode =
major scale up a minor 3rd. If you need to play a C aolian scale, play the major scale that is a
minor 3rd above C and you will get it (Eb).
As I stated previously, unlike the other modes, the aolian mode is generally used in chord
progressions rather than over isolated modal chords. The aolian mode or natural minor scale is
very popular for rock. Play E aolian (G major) over the entire following chord progression:
I'll end the lessons on the modes of the major scale here with the aolian mode. The locrian mode
works over a min7(b5) chord but the locrian #2 mode from the melodic minor is a better choice
(page 176) .
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CHAPTER 12: THE PENTATONIC SCALES
The Major Pentatonic Scale
"Penta" simply means five. That's why a five-sided shape is called a pentagram and a
five-pointed star is called a pentacle. Have you ever seen the Pentagon building from above? As you
know, it is a five-sided building. Therefore, you would be correct in assuming that pentatonic scales
are five note scales. Pentatonic scales are as old as dirt, ancient. They are the foundation for most
African and Asian music. The major scale is an infant in comparison (Although someone recently
found an ancient Neanderthal bone flute segment, estimated at about 43,000 up to 82,000 years
old that supposedly plays some of the notes of the major scale). Probably any five note scale could
be describes as a pentatonic scale but the ones that we generally play in western music are the
major pentatonic and minor pentatonic scales.
If we were to stack all the notes of the major pentatonic scale on top of each other what you would
basically get is a C69 chord. If you haven't yet started doing this type of analysis, it is a good time
to start. Try to look at scales not just horizontally but vertically as well. That's right, chords are
scales and scales are chords just depending on how you place the notes in time. As I said before,
pentatonic scales only contain five notes and because of that they don't sound nearly as "scalular"
as regular seven note scales and sound somewhat like arpeggios. Some musicians find it easier to
sound more musical using the pentatonic scale.
Analyzing the Major Pentatonic Scale
If we compare the major pentatonic scale to the major scale it would appear to a major
scale minus the 4th and 7th.
C major pentatonic
C major scale
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Major Pentatonic Scale Patterns
Pretty much anywhere you would normally use a major scale, you can also use the major
pentatonic scale. Used in combination can yield good results. Here are the five patterns:
Use in combination both the A major pentatonic and A major scales over the following
chord progression. Both the scale patterns are given below for your convenience:
A major scale/major pentatonic scale patterns
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The Minor Pentatonic Scale
This is usually the first scale that we learn as guitarists so it probably doesnt need much
explanation. If you were to make a chord from all the notes in the scale, the minor pentatonic scale
would yield a min7(11) chord. As with the major pentatonic scale, the minor version works well in
conjunction with other scales.
Analyzing the Major Pentatonic Scale
If we compare the minor pentatonic scale to the aolian (natural minor) and dorian mode
it looks like the aolian or dorian mode minus a 2nd and 6th.
C minor pentatonic
C aolian mode (natural minor)
C dorian mode
Minor Pentatonic Scale Patterns
Pretty much anywhere you would normally use an aolian or dorian scale, you can also use
the minor pentatonic scale. These are the patterns:
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Use in combination both the C minor pentatonic and C aolian scales over the following
chord progression. I have notated the aolian mode (natural minor) with the roots in black:
C aolian mode (natural minor)/minor pentatonic scale patterns
Use in combination both the C minor pentatonic and C dorian scales over the following chord
progression. The dorian scale patterns are notated with the dorian modal roots in black:
C dorian mode/minor pentatonic scale patterns
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The Pentatonic Scale and the Blues
Both the major pentatonic and minor pentatonic scale work well against the blues chord
progression and used together can yield great results. The use of the major pentatonic scale
against a dominant chord can be explained theoretically but the use of the minor pentatonic scale
against the same chord defies logic. The minor third should technically clash with the major 3rd of
the dominant chord but in all reality works very well. I suppose the minor third is functioning like a
sharp 9th, a common extension found in dominant chords. It may help to lay out both the major
pentatonic and minor pentatonic scales out side by side until you get the hang of using them in
conjunction with each other.
Use in combination both the A major and minor pentatonic scales for the following blues
chord progression:
A major/minor pentatonic scale patterns
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CHAPTER 13: THE HARMONIC MINOR SCALE
The Modes from the Harmonic Minor Scale
Although the modes of the harmonic minor scale are not as commonly used as the modes
of the melodic minor scale, it is still a fairly commonly used scale and important to know and use.
It is most commonly used over a V chord or iio V in a minor key.
Analyzing the Harmonic Minor Scale
The harmonic minor scale is constructed by raising the 7th of the natural minor scale
(aolian mode). The reason this was done was to simply create a dominant V chord rather than the
minor one present in the diatonic chords created from the natural minor scale:
C harmonic minor mode
C aolian mode (natural minor)
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The Harmonic Minor Chord Family
The raised 7th in the harmonic minor scale gave composers the benefit of the major V
chord compared to the minor one from the natural minor scale. Compare the diatonic chords from
both the natural minor scale and harmonic minor scale. If you harmonize the harmonic minor scale
as 7th chords, you will find the V chord becomes a dominant 7th chord:
diatonic triads of the C harmonic minor scale
diatonic triads of the C natural minor scale (aolian mode)
Harmonic Minor Scale Patterns
Pattern 1 Pattern 2 Pattern 3 Pattern 4

The harmonic minor scale gets used mostly over the iio V of a minor iio V i. Use an
A harmonic minor scale over both the Bmin7(b5) and E7b9 chord. Over the Amin7 chord use the
A dorian or aolian mode:
In a rock context, the harmonic minor scale gets used quite often over a major V chord in a minor
progression. Ex: Amin G F E. For a progression like this you would use an A aolian mode over
the first three chords and an A harmonic minor scale over the E chord.
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CHAPTER 14: INTRODUCING THE MODES OF THE MELODIC MINOR SCALE
The Modes from the Melodic Minor Scale
Knowledge of the melodic minor scale and its modes are a necessity if you want to play
serious jazz or fusion. Just like the modes of the major scale, each mode of the melodic minor scale
has a distinct personality.
To be able to use and understand the melodic minor scale modes, it is important to know
all five of the scale patterns. Take some time and learn the patterns if you are not already familiar
with them. Oh yeah, I need to warn you about something here; this scale may sound wrong to you.
I first learned about it when I got into jazz in my early twenties and I could not get this scale to work
for me. No matter how I played it, it sounded awful to my virgin ears. Don't give up, take my word
for it, when you get it together, it will become one of the most, if not the most important scale you
will know. You might want to get your ear going ahead of time by buying a John Scofield CD like;
"Still Warm" or something similar.
Melodic Minor Scale Patterns
History Lesson
The melodic minor scale is built by raising the 6th and 7th degrees of the natural minor
scale (the aolian mode). In the old days the rule of this scale was that while ascending you raised
the 6th and 7th scale degrees but when descending you lowered them back to the natural pitches.
Why do you think they did this? I have heard different theories, one being that the scale is simply
easier to sing that way, and also that passages that ascend tend to favor the raised pitches while
descending passages favor the natural pitches, but regardless, the final result is a whole new set of
diatonic chords to work with. As I described in Chapter 13, about a few hundred years ago, the
composers didn't like the way the minor v chord sounded (from the natural minor scale), it doesnt
resolve strongly to the tonic or i chord. So they just added a G sharp (raised 7th) note to the A
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minor scale and everyone was happy because they all of a sudden got a dominant V chord. That's
how the harmonic minor scale came in to existence. After a while maybe they just wanted more
chord choices than the harmonic minor scale could give so they and added the raised 6th to match
the already raised 7th. With the creation of the melodic minor scale, a whole new set of diatonic
chords came into being.
Harmonizing the Melodic Minor Scale
Don't let this ascending, descending thing confuse you; nobody plays it like that anymore.
Nowadays, musicians are more interested in the upper chord extensions we get from the melodic
minor scale and the modal choices it supplies. When used for improvisation it would be pointless to
play it differently ascending and descending. Some musicians call it the Jazz Melodic Minor scale
to differentiate it from the melodic minor scale used in a classical setting. Anyway, check out all the
interesting 7th chords we get when we harmonize the scale:
If you were to harmonize the diatonic chords as 9th, 11th and 13th chords from the scale
you would see why the melodic minor scale becomes of particular interest to the modern day
musician and composer.
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The Modes of the Melodic Minor Scale
Now we can go on to the modes of the melodic minor scale. Memorize the names and order.
This is the basic formula; if we take a melodic minor scale (let's say an A melodic minor scale) and
write it from the root to the root, we will get the melodic minor scale. Write it from the 2nd degree,
B to B in this case, we'll get the dorian b2 mode. C to C, the lydian augmented mode. D to D, the
lydian dominant mode. E to E, the mixolydian b6 mode. F# to F#, the locrian #2 mode. And last but
not least, G# to G# will give you the altered mode (sometimes referred to as the super locrian
mode). I used the A melodic minor scale as an example but it works the same for all the melodic
minor scales.
1. Melodic Minor
2. Dorian b2 Mode
3. Lydian Augmented Mode
4. Lydian Dominant Mode
5. Mixolydian b6 Mode
6. Locrian #2 Mode
7. Altered Mode (Super Locrian Mode)
The Answer is in the Name
While the names may seem intimidating, they are easier to understand than you may
think. If you remember the terms, the meaning and use of the individual modes will fall into place:
Lydian refers to a raised 4th or 11th.

Augmented A raised 5th.
Dominant refers to a lowered 7th.
Altered refers to altered (raised and/or lowered) 5ths and 9ths.
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The Altered Mode
Let's start with one of the most popular modes of the melodic minor scale, the altered
mode. The altered mode is based on seventh degree of the melodic minor scale and is dominant by
nature. If we compare the altered mode below to the mixolydian mode from the major scale, we
can see that the altered mode contains both the altered 5ths and altered 9ths. If you stack all the
notes in thirds to make chords you will find quite a wide variety of altered dominant chords.
Analyzing the Altered Mode
By comparing the mixolydian mode to the altered mode below we can see that while the
mixolydian mode basically contains no alterations, the altered mode contains all of them. I have
notated the altered mode using all enharmonic notes for comparative purposes:
C altered mode
C mixolydian mode
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Harmonizing the Altered Mode
Just as we did with the modes of the major scale, we must harmonize the altered mode to
find out what kind of chords can be made from it. As you can see from the analysis below, all altered
extensions available using this scale. Keep in mind; #11ths and b5ths are the same as well as
b13ths and #5ths.
Chords from the altered mode: 7b5, 7#5, 7b13, 7b9, 7#9, 7(b5,b9), 7(#5,b9), 7(b5,#9), 7(#5,#9), 7(b9,#9),
7(b5,#5), 7(b5,#5,b9,#9), or any other combination of altered extensions.
Playing the Altered Mode
Anytime you run into an altered dominant chord; any dominant chord with an altered 5th
and/or 9th, use the altered mode. Remember the altered mode rule: altered mode = melodic
minor scale up a minor 2nd. What does that mean? Just play the melodic minor scale that is up
one fret.
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Before you get going on the chord progression below, you might want to start by just
improvising over the E altered chord for a while to get used to the sound of the melodic minor scale.
When you are ready, just play the appropriate dorian scales over the minor chords and play an E
altered scale for the E altered chord. All you have to do is play the melodic minor scale that is a
minor 2nd (one fret) above E:
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The Lydian Dominant Mode
This mode of the melodic minor scale will help you get a bit more of a jagged vibe when
playing over unaltered dominant chords.
Analyzing the Lydian Dominant Mode
The use of this scale is given away by it's name; Lydian = #11, dominant = b7. This scale
creates unaltered dominant chords but keep in mind it, unlike the mixolydian mode, contains a
raised 11th. Compare the mixolydian mode to the lydian dominant mode below and check out the
differences.
C lydian dominant mode
C mixolydian mode
Harmonizing the Lydian Dominant Mode
If we start making chords from the lydian dominant mode we first get a 7 chord followed
in order by a dominant 9, 7, 7#11 and 13 chord. Remember: no 7sus4 chords found anywhere in
the vicinity of this scale.
Chords from the Lydian dominant mode: 7, 9, 7#11, 13
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Playing the Lydian Dominant Mode
Anytime you run into an unaltered dominant chord, you can use the lydian dominant
mode. Remember the lydian dominant mode rule: lydian dominant = melodic minor scale up
a perfect 5th.
This scale can be used as a replacement for the mixolydian mode over just about any
dominant chord (except a sus4 chord). Use the C dorian mode (Bb major) over the Cmin7 chord,
the Ab lydian dominant mode (Eb melodic minor) over the Ab13 chord. For the final measure, play
the G altered mode (Ab melodic minor scale).
One big giveaway for this scale is when a bV sub pops up in a ii - V - I. Check out the
example below. Play C dorian (Bb major) over the Cmin11 chord, B lydian dominant (F# melodic
minor) over the bV sub, the B7#11 chord. Play Bb lydian (F major) over the Bbmaj7 chord.
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The Locrian #2 Mode
This mode works perfect against a min7(b5) chord. The combination of both the locrian
#2 and altered mode work well over the minor iio - V.
Analyzing the Locrian #2 Mode
Once again, the name tells you exactly what the scale is: a locrian scale with a raised 2nd.
Compare the two:
C locrian mode
C locrian #2 mode
Harmonizing the Locrian #2 Mode
If we start making chords from the locrian #2 mode, the 7th chord we get is a min7(b5)
chord, continuing on to the 9th chord, we get a very interesting chord indeed and characteristic of
this mode, a min9(b5) chord.
Chords from the locrian #2 mode: min7(b5), min9(b5), min11(b5)
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Playing the Locrian #2 Mode
This mode of the melodic minor scale will work well over any min7b5 chord. It is
important to remember the locrian #2 mode rule: locrian #2 = melodic minor scale up a minor
3rd.
The combination of both the locrian #2 and altered mode work together quite effectively
for the minor iio - V. Work on the following exercise slowly and gradually bring it up to the desired
tempo. Practice it in all positions and keys. Remember: B locrian = D melodic minor (melodic
minor up a minor 3rd), E altered = F melodic minor (melodic minor up a minor 2nd) and A
dorian = G major (major scale down a major 2nd). You can also try using an A melodic minor scale
over the Amin7 chord. The major seventh in the scale works fine as a passing tone:
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For the following exercise, use a C dorian (Bb major) scale over the Cmin7 chord, the F# locrian #2
mode (A melodic minor) over the F#min7(b5) chord, F dorian mode (Eb major scale) for the
Fmin7 chord and finally the Db lydian dominant mode (Ab melodic minor scale) for the Db9 chord:
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The Lydian Augmented Mode
Once again, the name tells you what it is: a lydian scale with a raised 5th. This mode is the
scale choice for a maj7#5 chord but can also be used effectively over a maj7 chord if you dont
mind bending the rules a little and are confident in your playing.
Analyzing the Lydian Augmented Mode
If we compare the lydian augmented mode to the lydian mode from the major scale, we
can see that the only difference is the augmented 5th interval:
C lydian augmented mode
C lydian mode
Harmonizing the Lydian Augmented Mode
By harmonizing the lydian augmented mode, we come up with a variety of augmented
major chords. The maj7#5 chord can also be thought of as a slash chord, Ex: Cmaj7#5 = E/C.
Chords from the lydian augmented mode: maj7#5, maj9#5, maj7(#5,#11), maj13#5
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Playing the Lydian Augmented Mode
This mode of the melodic minor scale works best over a maj7#5 chord but can also be
used creatively over any major family chord. It is important to remember the lydian augmented
mode rule: lydian augmented mode = melodic minor scale down a minor 3rd.
You have found yourself within the realms of very complex harmony so you may want to
take this one as slow as you can. Use E dorian (D major) over the Emin9 chord, A lydian
augmented (F# melodic minor) for the Amaj7#5 chord, Bb lydian (F major) over the following
Bbmaj13 chord and finally B altered over the B7(#5,#9) chord. Take it slowly, this chord
progression sounds best as a ballad:
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The Dorian b2 Mode
As the name suggests, the dorian b2 mode is basically a dorian scale with a flatted 2nd.
Even though dorian is included in its name, it is generally not a replacement for the dorian mode but
is mostly applied like the phrygian mode, used against a sus(b9) chord.
Analyzing the Dorian b2 Mode
Comparing the dorian b2 mode to both the phrygian and dorian mode, we can see that it
is simply a phrygian scale with a major 6th or a dorian scale with a minor 2nd:
C dorian b2 mode
C phrygian mode
C dorian mode
Harmonizing the Dorian b2 Mode

Unlike the phrygian mode from the major scale, the dorian b2 mode of the melodic minor
scale contains a major 6th so you can construct a 13sus(b9) chord from the scale:
Chords from the dorian b2 mode: min7, min11, min13, sus(b9). 13sus(b9)
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The Dorian b2 Chord
Just as the phrygian mode from the major scale can be harmonized to build a sus(b9)
chord, the dorian b2 mode yields a very exotic sounding sus chord also, the 13sus(b9) chord.
The 13sus(b9) chord:
Playing the Dorian b2 Mode
This mode of the melodic minor scale works best over a sus(b9) or 13sus(b9) chord. It
is important to remember the dorian b2 mode rule: dorian b2 mode = melodic minor scale
down a major 2nd.

Use the C dorian b2 mode (Bb melodic minor) over the following C13sus(b9) vamp:
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CHAPTER 15: THE HALF/WHOLE DIMINISHED SCALE
The Half Step/Whole Step-Diminished Scale
The half/whole diminished scale is what we call a symmetrical scale, meaning it is based
on a repeating pattern of specific intervals. In the case of this scale, a 1/2 step interval followed by
a whole step interval.
Half Step/Whole Step-Diminished Scale Patterns
Because of the half/whole diminished scale's symmetrical structure, by remembering one
pattern of the scale, you are actually remembering four. You can play any pattern of the scale up or
down a minor 3rd and still be playing the same diminished scale. Let's take the last pattern we just
learned and move it down a minor 3rd. It is still a C half/whole diminished scale:
By looking at the complete half/whole diminished scale diagram below you can see that it
is the same pattern repeated over and over again:
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Analyzing the half/whole diminished scale
Unlike most scales, which generally contain seven notes, the half/whole diminished scale
is an eight-note scale. Basically there are two scales that are used for improvising over and
harmonizing altered dominant chords. One being, the subject of this lesson, the half/whole
diminished scale and the other, the altered scale (the seventh mode of the melodic minor scale).
Let's take a look at and compare the two of them. By comparing them you will find that while both
scales offer the raised and lowered 9ths, only the half/whole diminished scale contains a 13th. As
a trade off for the 13th, the altered scale offers both the raised and lowered 5ths:
C half/whole diminished
C altered mode
C mixolydian mode
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Harmonizing the half/whole-diminished scale
As you can see below, the 7th chord that this scale makes is a simple dominant 7th chord
but what makes the half/whole diminished scale special is the extensions it creates for the chord.
If we add in the 9ths, we get the option of adding either a b9 or a #9 or both. We also have the
option of a #11th (or if you think enharmonically, a b5th). The altered scale will also give the same
three extension options but the one extension that the altered scale will not give you is the natural
13th. The only scale that gives you both the altered 9ths plus a natural 13th is the half/whole
diminished scale.
Chords from the half/whole diminished scale: C7, C7b5, C13, C7#9, C7b9, C7, C7(b5,#9),
C7(b5,b9), C7(b9,#9), C13(b9), C13(#9), etc.
You will find that the half/whole diminished scale looks and sounds similar to the blues
scale. For this reason it works well over a simple dominant vamp. You can create interesting effects
by trading between the two. Play the blues scale over the following C7#9 vamp and step out by
using the half/whole diminished scale. John Scofield is a master of this technique. Check out his
classic tune, "Techno" from his "Still Warm" CD.
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The half/whole diminished scale also works well over the V chord in a ii - V - I chord
progression. Just remember: no raised 5ths are allowed in the chord if you want to use this scale.
For the progression below, use a G dorian scale (F major) over the Gmin9 chord, a C half/whole
diminished scale over the C13b9 chord , a F lydian scale (C major) over the F69 chord and finally
a D half/whole diminished scale over the D13b9 chord:
CHAPTER 13: SUPERIMPOSING THE PENTATONIC SCALE
Another commonly used symmetrical scale is the whole tone scale. The whole tone scale is a
six-note scale based on a series of whole steps. The chords that come from the scale are dominant
chords with altered 5ths only.
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CHAPTER 16: INTERVALIC APPROACH TO IMPROVISATION
Breaking the tertian paradigm
Western Music is based on what we call Tertian harmony. This basically means that the
chords we use are built by stacking 3rds on top of each other. Because of this, our brains are wired
to hear and accept 3rds over all other intervals and that is why, even when we improvise, we tend
to use 3rds as our interval of choice. This lesson will help you break out of restraints of Tertian
harmony and at the same time help you break away from using the standard scale shapes that have
become ingrained in your brain. You see, intervals larger than 3rds create technical problems on the
guitar and the scale patterns that we use aren't designed for the task either. In this lesson I will
introduce to you various intervallic ideas and to play and use them effectively, you will find that you
will have to throw away all the scale patterns you have gotten used to, which I believe is the first
step in realizing improvisational freedom. You will have to think in intervals rather than in scale
steps.
How to use the ideas in this chapter
Unless otherwise described, most of the examples in this lesson have been made using
the diatonic C major scale. This means that any modal application will work fine. Each example can
be used effectively over an Fmaj7 (lydian), Dmin7 (dorian), G7 (mixolydian), or any of the other
modal type chords. Moving them around to other keys and expanding on each concept is up to you.
I don't want to rob you of the opportunity to use your creative mind so I'll only be transcribing the
examples in the most minimal manner. Take the next step yourself. You can always e-mail me if you
need help.
Why 4ths and 5ths?
4ths and 5ths are angular and modern sounding, making various sequences using these
two particular intervals perfect for the applications described in this lesson. It is also important to
remember 4ths inverted are 5ths and vice versa. The "major/minor" type intervals (2nds, 7ths,
3rds and 6ths) are more organic sounding by nature and used in similar applications sound less
effective.
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Diatonic 4ths
1. Intervallic 4ths - Perfect 4ths are difficult to play on the guitar because they usually fall on the
next adjacent string on the same fret, which means you are forced to use the same finger. This is
fine when you only want to play the 4th interval once but if you want to play a line utilizing a series
of 4ths it becomes quite difficult to play the line smoothly. Although it is quite a stretch, I found that
rather than playing the 4th on the adjacent string it is possible to play it on the same string. For me,
doing this using a legato style of playing works great. Check out the line:
2. Intervallic 4ths (variation 1) - This example is simply expanding on the last one:
3. Intervallic 4ths (variation 2) - This example runs through the whole series of 4ths in the C
major scale. Take notice of the one augmented 4th (F - B). I also jump down an octave twice to
accommodate the line:
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4. Intervallic 4ths used over chord changes - Next I'm going to use the same intervallic idea
to play through a ii - V - I in the key of C:
Diatonic 5ths
5. Intervallic 5ths - In order to get you used to playing and hearing 5ths, I'm going to get you to
play through the major scale using them. You are already familiar with the shape of the 5th interval;
it looks like a simple power chord. The only exception is the B - F interval which is a diminished 5th:
6. Intervallic 5ths (variation 1) - I'm stacking 5ths on top of each other for this example. Notice
how every note in the C diatonic scale gets used:
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7. Intervallic 5ths (variation 2) - A variation on the last example using pull offs and slides. Play
the intervallic 5th, pull-off to the diatonic note below, slide up to the 5th again with your first finger
and repeat the process:
8. Intervallic 5ths used to make arpeggios - You can make some very wide sounding arpeggios
by using stacked 5ths. These can be sweep-picked for a spectacular effect:
To explore this subject further, see if you can find the book "Intervallic Designs" by Joe Diorio. It is
probably the most concise book on the subject but may be difficult to get a hold of. You can also try
to pick up one of Joes cds. He is the master of this kind of thing. Another guitarist who uses
intervallic lines quite often is Jennifer Batten.
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CHAPTER 17: REDISCOVERING THE MINOR PENTATONIC SCALE
Like most guitarists, probably the first scale that I learned was the pentatonic scale, the
minor pentatonic scale for that matter. I didn't even bother learning another scale for the next few
years. It was easy to remember and easy to use. As the years went on I slowly but surely picked up
the "other" scales. The major scale and its modes, the harmonic minor scale, the melodic minor
scale and its modes and the symmetrical scales (the diminished and whole tone scales) all became
part of my vocabulary and the minor pentatonic scale kind of got tossed aside so I could
concentrate on using my new and exciting friends. Once I started playing Jazz and Fusion I would
only pull out the minor pentatonic scale for a fleeting moment during a Jazz or minor blues and left
it at that. I still used it in Rock and traditional Blues but that was about it. Fortunately, several years
ago I realized that my old friend, the minor pentatonic scale can be used in the most interesting
ways. It can be superimposed over almost any major, minor or dominant chord to create complex
modal harmony. These new uses of the pentatonic scale I'm about to describe has changed the way
I approach improvisation and has become one of the most valuable tools that I know.
The Minor Pentatonic Scale
The applications I'm about to introduce to you are all based on the minor pentatonic scale.
The reason that I base all of the following improvisational techniques on the minor pentatonic scale
rather than the major pentatonic scale is simple and selfish, being the first scale that I learned, I'm
way more comfortable with it. If you are more familiar with its counterpart the major pentatonic
scale, simply change the formulas to correspond to the proper major pentatonic scale. If you are
not an expert at playing the minor pentatonic scale yet, take some time and review the five patterns
on page 163.
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Sequences
The same blues licks that you always play may or may not work in these new applications
that I'm about to teach you so you may want to break away from your usual pentatonic phrases.
The pentatonic scale is full of 4ths and 5ths intervals, try to take advantage of them as much as you
can. Not that sequences should be relied on too much but these are some sequences that I tend to
use, starting with an intervallic 4th sequence.
1. Intervallic 4ths sequence:
2. Intervallic 4ths sequence (variation 1) - A variation on the last sequence:
3. Intervallic 5ths sequence:
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Play the previous sequences descending as well as ascending. There are also dozens of
other sequences you should try to discover on your own. Sequences are great tools when used
tastefully but if you over do it, you'll sound like a computer.
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Minor pentatonic scales over major chords
I'm going to get us started on using the minor pentatonic scale over major family chords.
For demonstrational purposes, let's pretend that the major chord that we need to improvise over is
a Cmaj7 type chord. Here is the basic formula to remember:
Over a major chord, you can play a minor pentatonic scale based on the 7th, 3rd and 6th
of the chord.
1. Minor pentatonic played on the 7th degree of a major chord - Yes it's true, on the 7th. This
means that you first need to locate the 7th of your maj7th chord, in this case, Cmaj7. What is it?
That's right, the major 7th of Cmaj7 is B. So, you can play a B minor pentatonic scale against the
Cmaj7 chord. I know it seems strange but check out the analysis below and you'll see why it works:
The first thing that might strike you as odd is that there is no root present in the scale.
Don't worry about it, roots are not a necessity in scales when used for improvisation. When I
realized the fact that roots don't need to be present, it opened up thousands of new scale/chord
relationship possibilities. It may be helpful to think of this pentatonic scale as "lydian" because of
the #11 present in the scale. As the scale played over a C major chord contains all the upper
extensions (9, #11, 13) it may work better over a chord with the same or some of the same
extensions (Cmaj7#11, Cmaj13, etc.) but it functions well over simple maj7 and maj9 chords as
well.
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2. Minor pentatonic played on the 3rd degree of the chord A minor pentatonic played on the
3rd degree yields us another nice choice. The 3rd of C is E, so all we need to do is play an E minor
pentatonic scale. Check the chord tones we get below:
As in the previous example, we also do not have a root present in the scale. Unlike the
common major pentatonic scale, we get the nice addition of the major 7th. We are kind of trading
our root we get in the major pentatonic scale for a major 7th in this one.
3. Minor pentatonic played on the 6th degree of a major chord - The 6th of C is A, so we need
to play an A minor pentatonic scale to give us our next possibility. Check the scale tones we get with
this choice:
If you know your theory, you know that the A minor pentatonic and C major pentatonic
scale are one in the same. So nothing new and exciting here but it will still come in handy later.
Formula Chart
Here is the handy-dandy formula chart for applying the minor pentatonic scale to major
chords:
minor pentatonic scales/major chords
degree to be played on chord/scale tones created
7 2,3,#4,6,7
3 2,3,5,6,7
6 1,2,3,5,6
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Practicing Over Chord Progressions
Let's start by using what we have learned over an all-major chord progression. It is a
simple three-chord progression made up of Amaj9, Cmaj9 and Emaj9 chords for four bars each.
I tend to make a mental (sometimes a physical) chart of the minor pentatonic scale possibilities and
find the ones that are a fret or so apart. This way it becomes very easy to connect lines and motifs.
In the example below, I would probably tend to choose:
chord minor pentatonic chord minor pentatonic
Amaj9 G# Amaj9 C#
or maybe...
Cmaj9 A Cmaj9 B
Emaj9 G# Emaj9 C#
Record the changes and experiment with all possible pentatonic scales:
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The reason I picked these pentatonic scales is because for the Cmaj9 chord all I have to
do is move the G# minor pentatonic scale up a half step to an A minor pentatonic scale. Not so
much for a lack of effort but because it is a great way to connect a motif over the barline. Check out
how I use this intervallic 4ths and 5ths pattern to do so:
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Minor pentatonic scales over minor chords
Next we are going to do the same thing but this time we'll be using minor pentatonic
scales to improvise over minor chords. The formula to learn:
Over a minor chord, you can play a minor pentatonic scale based on the root, 2nd and 5th
of the chord.
1. Minor pentatonic played on the 1st degree (root) of the chord - This scale over this chord
is most likely how you've been using it anyway so I'm not going to get into much detail here. Before
you move on to the next examples at least check what chord tones we get with the most common
application of the minor pentatonic scale:
2. Minor pentatonic played on the 2nd degree of the chord - You can play a minor pentatonic
scale a whole step up from a minor chord. Check out why:
This application of the minor pentatonic scale played on the 2nd of the minor chord will
give you the major sixth which is "dorian" by nature so I tend to think of this scale used in this
context as the "dorian" pentatonic. Superimposed this way, the minor pentatonic scale contains all
the upper extensions of the minor chord (9th, 11th, 13th) and works nicely over a min6 or min13
chord.
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3. Minor pentatonic played on the 5th degree of the chord - This is another nice alternative
for the plain old minor pentatonic. Played up a fifth you will get the following chord tones:
Unlike the straight minor pentatonic scale, you get the nice addition of the 9th when
played in this context. You will also be losing your b3rd, which gives the scale more of an ambiguous
tonality, which I personally like.
Formula Chart
Once again the formula chart, this time for applying the minor pentatonic scale to minor
chords:
minor pentatonic scales/minor chords
1 1,b3,4,5,b7
2 1,2,4,5,6
5 1,2,4,5,b7
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Let's start by using what we have learned over an all minor chord progression. This chord
progression is a simple two-chord vamp of a Cmin9 and Emin9 chord for four bars each. Again, I
tend to pick the pentatonic scales that are close to each other so I can connect motifs over the
barlines:
Cmin9 C or maybe... Cmin9 G
Emin9 B Emin9 F#
Record the changes and experiment:
This is an intervallic 5th sequence played over the barline:
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Minor pentatonic scales over altered dominant chords
Next we are going to do the same thing but this time we'll be using minor pentatonic
scales to improvise over altered dominant chords. The formula to learn:
Over an altered dominant chord, you can play a minor pentatonic scale based on the
b3rd, 4th and b7th of the chord.
1. Minor pentatonic played on the b3rd degree of the chord - The b3rd or #9th of C is Eb so
that is the minor pentatonic scale we will play here. Check out what we will get:
What more could you ask for here? You get all four of the altered extensions (b5,#5,b9,#9).
2. Minor pentatonic played on the 4th degree of the chord - In the case of C7(alt), a F minor
pentatonic scale:
Maybe not the best choice for a 7(b9,b5) chord but a great match for a C7(#5,#9) chord.
You will have to be a little careful in your handling of the natural 4th but because the pentatonic
scales have so many perfect 4th intervals anyway, it doesn't seem to bother the ear too much.
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3. Minor pentatonic played on the b7th degree of the chord - In the case of C7(alt), a Bb
minor pentatonic scale:
As with the previous example, you'll need to exercise a little caution with the 4th but other
than the b5 you get all the other extensions for the altered dominant chord (#5, b9, #9).
Formula Chart
Once again the formula chart, this time for applying the minor pentatonic scale to altered
dominant chords:
minor pentatonic scales/alt chords
b3 b5,#5,b7,b9,#9
4 1,4,#5,b7,#9
b7 4,#5,b7,b9,#9
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Let's finish by using what we have learned over a ii - V - I chord progression. As I
mentioned in the previous examples, I tend to look for the scales that are a half step apart. Out of
the three pentatonic choices we get for each chord, these are probably the scales I would pick:
Dmin7 A Dmin7 E
or maybe...
G7(alt) Bb G7(alt) F
Cmaj7 B Cmaj7 E
Record the changes and experiment:
Notice how in this example I simply move the pentatonic scale up half steps to
accommodate each chord:
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Using the same pentatonic scales over a two chord per measure ii - V - I chord
progression in the same key:
In this example I use the same intervallic motif as our first example but this time starting
on an E minor pentatonic scale, moving up a half step for the G7(alt) chord and resolving it by
moving back to the E minor pentatonic scale:
It is still important to learn all your scales and arpeggios but the various applications of the
minor pentatonic scale we covered in this lesson are just one improvisational tool that you can keep
up your sleeve.
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Scale Overview
The following charts should give you some insight on what scales can be superimposed
over specific chord types. Starting with major family chords:
Possible Scales that can be Superimposed over Major Chords
scale degree to be played on chord/scale tones created Comments
major 1 1,2,3,4,5,6,7 ionian mode
major 5 1,2,3,#4,5,6,7 lydian mode
minor pentatonic 7 2,3,#4,6,7 No root present
minor pentatonic 3 2,3,5,6,7 No root present
minor pentatonic 6 1,2,3,5,6 major pentatonic scale
melodic minor 6 1,2,3,#4,#5,6,7 lydian augmented scale
For minor family chords:
Possible Scales that can be Superimposed over Minor Chords
major b3 1,2,b3,4,5,b6,b7 aolian mode
major b6 1,b2,b3,4,5,b6,b7 phrygian mode
major b7 1,2,b3,4,5,6,b7 dorian mode
minor pentatonic 1 1,b3,4,5,b7 minor pentatonic
minor pentatonic 2 1,2,4,5,6
minor pentatonic 5 1,2,4,5,b7
melodic minor 1 1,2,b3,4,5,6,7 melodic minor
melodic minor b5 b2,b3,4,b5,b6,6,7 a little from all minor modes
whole tone 7 b2,b3,4,5,6,7 no root present
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For min7(5) chords:
Possible Scales that can be Superimposed over Min7(b5) Chords
major b2 1,b2,b3,4,b5,b6,b7 locrian mode
melodic minor b3 1,2,b3,4,b5,b6,b7 locrian#2 mode
For unaltered dominant chords:
Possible Scales that can be Superimposed over Unaltered Dominant Chords
major 4 1,2,3,4,5,6,b7 mixolydian mode
melodic minor 5 1,2,3#,4,5,6,b7 lydian dominant mode
minor pentatonic 1 1,4,5,b7,#9 blues tonality
minor pentatonic 6 1,2,3,5,6 major pentatonic scale
For sus chords:
Possible Scales that can be Superimposed over Sus Chords
major 4 1,2,3,4,5,6,b7 mixolydian mode
major b6 1,b2,#2,4,5,b6,b7 phrygian (for susb9 chords)
melodic minor b7 1,b2,#2,4,5,6,b7 dorian b2 mode (for susb9 chords)
minor pentatonic 2 1,2,4,5,6
minor pentatonic 5 1,2,4,5,b7
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For altered dominant chords:
Possible Scales that can be Superimposed over Altered Dominant Chords
half/whole diminished 1 1,b2,#2,3,#4,5,6,b7
whole tone 1 1,2,3,b5,#5,b7
melodic minor b2 1,b2,#2,3,#4,#5,b7 altered mode
minor pentatonic 1 1,4,5,b7,#9
minor pentatonic b3 b5,#5,b7,b9,#9 altered tonality
minor pentatonic 4 1,4,#5,b7,#9
minor pentatonic b7 4,#5,b7,b9,#9
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CHAPTER 18: COMPOSITION AND HARMONIZATION
Art or Science
This lesson is going to walk you through the basics of song writing. One thing you have to
remember: writing a song is more of an art than a science. There is no one correct way to write
music, all composers use different methods and various combinations of those methods to come up
with the finished product. In order to study composition, you will also have to study some theory.
A good understanding of music theory is not completely necessary to write good music but it is
essential to analyze well-written music and to conceptualize various compositional techniques. A
word of advice: if you have little experience writing songs and/or you don't have some basic theory
under your belt, this lesson is going take you a while to get through. Take your time; there is no
need to rush. If you have some writing experience and/or some theory knowledge, the first half of
this lesson will give you a chance to review before moving on to some advanced ideas in the second
half.
Working With Triads and Diatonic Harmony
First we will need to learn how to compose in one key. Later on I'll explain a completely
different method of composition, one based on a method of complete harmonic freedom, but first
let's work within the perimeters of one major scale. If you are not yet familiar with the major scale
and the diatonic chord system, take this opportunity to become so by reviewing page 113. You have
to have a good understanding of this before you move on so make sure you have it.
The chicken or the egg, a short history of monophony
Which came first, scales or chords? I'm not a music historian so I'm guessing, but I think
that several hundred years ago, probably in Europe, guys used to sit around and sing melodies from
the major (or some similar) scale in unison. I bet they got real bored of doing this and to make the
whole thing a little more fun, someone decided to experiment. One guy probably said to another
guy; "Hey, this is lame, instead of me and you singing the same exact thing in unison, let's try
singing different notes!" His friend then replied; "Okay, when you sing the first note of the scale C,
I'll sing the fifth note G." After trying that for a while they got another guy to sing the third note E,
and three-part harmony was born. They then continued on, building a three-part chord for every
note in the diatonic major scale. That is most likely how the diatonic chords were born (it was
actually called Organum and developed during the twelfth and thirteenth centuries in Paris).
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The numbering system
These chords need to be numbered so we can analyze written music and so we can
communicate our musical ideas. There may be some argument on how to notate the numbers for
each chord but nobody will argue the order or harmonic quality of the chords; The "one" chord in
the key of C major is a C major chord no matter how you notate the number 1. This is how the
numbers usually get notated:
As I stated on page 113, large case Roman numeral (I, IV, V) refers to major quality chords while
small case Roman numerals (ii, iii, vi) refer to minor quality chords. Small case Roman numerals
followed by the small circle (viio) stand for diminished quality chords.
Speaking the language of musicians
Remembering the order is important so that you can communicate with other musicians.
Rather than telling the guys in the band that the changes for the new tune you wrote are; C major,
A minor, F major and G major, it is a lot simpler just to say; "Play a one - six - four - five in C."
Voicings
It makes no difference how we stack the three notes. C, E and G stacked in any order and
doubled as many times as the person voicing the chord pleases will not change the fact that it is still
a C chord, the "I" chord in the key of C. Play every C major chord voicing you know and you'll see
what I mean, each one is made up of only C, E, and G notes. Check out the example below, each
chord below is a C chord:
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Analysis 1 - OK, time to get you going on harmonic analysis. Try to figure out what the chords are
below. We are looking for both the chord name (above) and the Roman numeral below. Check your
answers at the end of the lesson.
Composing and Harmonization
Sorry it took so long. Finally I'm going to talk about the actual writing process. First of all,
what exactly is a song? A song basically consists of two main components; chords and notes. You
may prefer to think of them as harmony and melody. Sometimes the melody is sung using lyrics,
other times it is played on a musical instrument. The idea is really rather simple. You either have to
find a chord for your melody note or a melody note for your chord. Let's say we're going to write a
song in the key of C and our melody note is a C note. What chord do we chose as its partner? The
important thing to remember is this: the melody note should be included in the chord
somewhere. The trick here is to find the chord or chords that contain a C note, our melody note.
Look at the example below:
These three chords are the only chords in the key of C that contain a C note, so they are (for now)
our only choices. Our melody note, C is the root of a C major chord, the 3rd of an A minor chord and
the 5th of an F major chord. Try to sing the C note and play each of the chords. Although you may
prefer one over the others, you should find that all three chords are all pretty good matches.
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Melodic Analysis
I need to have you do a different type of analysis, melodic analysis. In the last exercise we
tried to determine what chords we were looking at. In this exercise we will try to determine what
chord tone the melody note is. The rules for triads are as follows:
triad chord tone
major 1 3 5
minor 1 b3 5
dim 1 b3 b5
Analysis 2 - Try to figure out what chord tone each melody note is. Check your answers at the end
of the chapter.
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Getting started
Writing a song is just a series of decisions, choosing the right chord for each note of your
melody is the objective. Let's try it out on a super simple melody. The melody below is as simple as
they come, a descending C major scale.
Let's try to pick some chords for our melody. As I said earlier, this is more of an art than
a science so there are no real rules that you have to worry about breaking but there are a few
guidelines that you might want to keep in mind: Try to think of the diatonic chord family as a
neighborhood:
Mr. Roger's Diatonic Neighborhood
I Think of this chord as home, you may want to start and end here
A transit chord, like the park. You may stroll through here on your way somewhere else but you
ii
probably don't want to sleep here.
iii Another transit chord, the 7/11. Pass through on your way to better things.
Strong tonality, this is the bank. You may want to go back home after here especially if you just
IV
withdrew a bunch of cash. You also may go somewhere else.
This is the super market. You just bought ice cream and a fish so you want to get home. If you went
V
to the bank before coming here, you really might want to be heading home.
Grandma's house. You could actually hang around here for a while. You may even want to make this
vi
your new home.
Your local criminal's house. If you pass by here after the bank and super market you'll shoot home like
viio
a rocket.
212
I've written out all the possible chord choices above each melody note. The Roman
numerals are also written below the staff. Try each chord and try to come up with a chord
progression that you like. I would also suggest that you sing the melody note while you try out each
of the three chords choices:
Harmonization 1 - I've written a pretty standard chord progression for the same melody. This
chord progression is similar to the one *Pachelbel used for "Pachelbel's Canon" written about three
hundred years ago. Remember, there is no correct or incorrect here, what ever pleases your ear is
the right choice.
*Pachelbel was this German Cat who made his debut in the late 1600s. He used to hang around
with Bach's father, Ambrosius who asked him to teach one of his sons, Johann Christoph how to
write and play music. Johann Christoph would later teach his younger brother Johann Sebastian
(the famous Bach) music. It's funny how the whole thing fits together.
213
Song writing time
You should be ready to compose your own song now. Granted, a simple diatonic song but
never the less a song. There are a ton of songs written within the exact same parameters that have
sold millions. "Stand by me" (I - vi - IV - V), "Let It Be" (I -V - vi - IV - I - V - IV - I), just to name
a few. I usually come up with the first few melody notes and then find the chords that please my
ears. Work a measure or two at a time. I find that using this method, the song seems to write its self.
Go on, get out some staff paper and get to work. After you get the hang of it, I'll move on to some
more complex compositional techniques. Take a day, week, however much time you need. Come
back to this page when you're ready....
214
Expanding Harmony by Using 7th Chords
What we've learned so far is the method that musicians starting using hundreds of years
ago. We still compose music the same way today. We have learned to stretch harmony a bit but the
basic idea is the same. At first the composers of that period were mostly limited to either roots,
thirds or fifths as their melody notes but, as with all art, things began to change. Probably Bach and
some other cats around that period (the Baroque period) started to include 7th chords in their
harmonizations. They mostly made the V chord into V7 chord and left the other chords as triads. I
would guess that what happened is this: since the V chord and viio chord both resolve to the I
chord so strongly, the viio chord often followed the V chord before resolving to the I chord. Play it
and you'll see.
Take a good look at the G major and B diminished triad above and you will realize that the B
diminished triad looks a lot like a G7 chord without a root:
The G7 chord probably started replacing the G and Bdim chord progression. They sort of got
combined.
The Diatonic Seventh Chords
As the years went by, musicians started taking Bach's lead and expanding harmony by
using seventh chords. As you first learned on page 114, when you harmonize the diatonic scale in
7th chords, you get a new set of chords. While the I, IV and V chords were all simple major chords
when we harmonized the scale in triads, when we harmonize the scale in 7th chords we find that the
I and IV chords are maj7th chords while the V chord becomes a dominant 7th chord. The viio chord
becomes a min7b5 chord
215
Choices
Creating a series of 7th chords simply gave them one more choice for their melody note.
Besides the root, 3rd and 5th, they got to use the 7th of the chord as a melody note. Instead of
three chord choices per melody note, they got four. Previously we only had the choice of three
chords for our C melody note, now we also get the addition of the Dmin7 chord:
Melodic Analysis - Let's try the melodic analysis thing again. This time we'll be checking our
melody note against the diatonic 7th chords. Here are the rules:
7th chord chord tone
maj7 1 3 5 7
min7 1 b3 5 b7
min7b5 1 b3 b5 b7
7 1 3 5 b7
Analysis 3 - Try to figure out what chord tone each melody note is. I've included a few of the
answers already: for our first chord, the melody note is a C, which is the b7th (minor 7th) of the
Dmin7 chord. Try it yourself, answers at the end of the chapter:
216
Harmonization 2 - Using 7th chords will give you a very adult sound. Sometimes the addition of
just one 7th chord in a sea of triads will do wonders for one of your compositions. As far as melody
notes go, roots, 3rds and 5th are very strong tonally. Generally using a 7th as a melody note will
give you more of an ambiguous sound but sometimes ambiguity works very well. Check out the
example below. Again, try to sing the melody while you play the chords. Try to determine what
chord tone the melody note is in each individual chord. Oh yeah, forgot to mention, I took some
liberties with both the V chords. Think about it a little and you'll figure out what I did:
Song writing time
I would suggest that you take some time here and write some simple songs using the methods
we've studied. Here are the basic guidelines:
1. Write your melody from the major scale.
2. Choose your chords from the same harmonized scale.
3. Make sure your melody note can be found in the chord somewhere (1,3,5 or 7).
4. Try to have some fun.
217
Momentary Key Changes Using Secondary Dominant Chords
Secondary Dominant Chords
You can place a dominant chord in front of most of the diatonic chords in the key you're
working in. It just creates a momentary key change. The secondary dominant chord is simply the
V chord of one of the diatonic chords in question. The only diatonic chords that do not have
secondary dominants are the I and viio chord. The reasons are simple: the I chord already has its
own dominant chord, the V chord of the key you are in, and the viio chord being neither major or
minor does not have a key (never heard of the key of B diminished have you?) so it doesn't get its
own V chord. When I first started studying theory I found it difficult to locate the secondary
dominants so I did it this way: I just thought of the fifth string root of the diatonic chord and then
mentally located the note on the same fret on the sixth string. That note is the root of the secondary
dominant chord. Ex: the ii chord is Dmin, D is on the fifth string fifth fret, the fifth fret note on the
sixth string is A so A7 is the V/ii (five of two) chord.
Try to become familiar with the chart below:
Diatonic Triads, 7th Chords and Secondary Dominant Chords in the Key of C
I ii iii IV V vi viio
Diatonic Chords C Dmin Emin F G Amin Bdim
Cmaj7 Dmin7 Emin7 Fmaj7 G7 Amin7 Bmin7b5
- V/ii V/iii V/IV V/V V/vi -

- A7 B7 C7 D7 E7 -
Harmonization 3 - I took our song and reharmonized it using secondary dominant chords where
the melody permits.
218
Jazz
Secondary dominants are used in just about all styles of music, from the Baroque period
to Blues and Jazz. Jazz musicians also tend to stick, not only the V, but both the ii and V before the
chord being led up to. For example, in the previous harmonization you might put a Bmin7 before
the E7 chord and a Gmin7 before the C7.
The Star Spangled Banner
Just being patriotic here. Check out how secondary dominant chords are used in the
American anthem. This is actually the song the professor at my local community college, Dr. Hinkle
used to explain secondary dominant chords. It is a good song for simple analysis, all the melody
notes are chord tones.
Key of G Test - See if you can fill in the appropriate chords in the graph below. Answers at the end:
Diatonic Triads, 7th Chords and Secondary Dominant Chords in the Key of G
Diatonic Chords G ? ? ? ? ? ?
Gmaj7 ? ? ? ? ? ?

- ? ? ? ? ? -
Song writing time
If you are ready, see if you can come up with a simple song using the tricks we've learned
so far. There is no rush, take your time and come back when you are ready....
219
Borrowed chords
Borrowing from the minor scale
To expand our chord choices, we can borrow from the diatonic chords of the minor scale.
First we will have to figure out the diatonic chords of the minor scale. To save you the work, I did it
for you. Before you go on, make sure you understand what I did. Make yourself familiar with the
chart below. Take special notice of the III, VI and VII chord.
Diatonic Triads in the Harmonized C Natural Minor Scale
i iio III iv v VI VII
Key: Cmin C D Eb F G Ab Bb
min dim maj min min maj maj
If this is getting difficult to understand read this explanation very slowly: the III, VI and
VII chord in the chart above are all flatted compared to the chords in the parallel major key (C
major). The iii, vi and viio chords from the major scale are all built on natural pitches and because
of this, when we export the three chords from the C minor scale to C major we have to notate them
with flats: the iii chord in C major is an E minor chord while the III chord in C minor is an Eb major
chord thus notated bIII when imported into the major key. The i chord does not get borrowed as
it would simply change the key to its minor counterpoint. The most common borrowed chords are
the bIII, iv, bVI and bVII chords:
Diatonic Triads, 7th Chords, Secondary Dominant and Borrowed Chords in the Key of C
Diatonic Chords C Dmin Emin F G Amin Bdim
Cmaj7 Dmin7 Emin7 Fmaj7 G7 Amin7 Bmin7b5

- A7 B7 C7 D7 E7 -
- iio bIII iv v bVI bVII

Borrowed Chords
- Ddim Eb Fmin Gmin Ab Bb
220
Try making up some chord progressions using some of the borrowed chords. The following
chord progressions are just a few that I came up with for you to try out. The borrowed chords are
bold:
I vi iii iv I
I V ii vi bVII IV I
I vi IV bVI bVII I
Harmonization 4 - Once again I took our song and reharmonized it using secondary dominant and
borrowed chords. I took the liberty of flatting the E note in the third measure so I could use the
borrowed Ab chord. When you are writing, feel free to change the melody as needed.
Song writing time again
Take some time and see what kind of song you can come up with using the borrowed
chords weve been studying. Take your time....
221
Complete Harmonic Freedom
Chromatic Harmony
There is another method of composition, one completely without rules of any sort,
complete harmonic freedom. The concept is simple: use any chord you want. It starts the same way,
decide on a melody note and find a chord for it. Your melody note also does not have to be limited
by a scale. This might seem simple but it is not. You will have to know a lot of chord voicings to
make this method successful for you. Up to this point we limited ourselves to roots, 3rds, 5ths and
7ths as our melody notes but now we will dispose of those restrictions. As you will see the choices
we have now become limitless. Let's take the same melody note as before, a C note and try to come
up with as many chords as we can:
C melody note as the: chord choices
root C, Cmin, Cdim, Csus, Cmin7, Cmaj7, C7, C7sus, Cmin7b5, etc..
3 Ab, Abmaj7, Ab7, etc..
b3 Amin, Amin7, Amin7b5, etc..
5 F, Fmin, Fsus, Fmin7, Fmaj7, F7, etc..
b5 F#min7b5, F#7b5, etc..
#5 E7#5, Emaj7#5, etc..
7 Dbmaj7, Dbmin(maj7), etc..
b7 Dmin7, D7, Dmin7b5, etc..
9 Bbmaj9, Bbadd9, Bbmin9, Bbminadd9, Bb9, etc..
b9 B7b9, Bsus(b9), etc..
#9 A7#9, A7(#5,#9), etc..
4 (11) Gsus, G7sus, G9sus, Gmin11, Gsus(b9), etc..
#11 F#maj7#11, F#7#11, etc..
6 (13) Eb6, Eb69, Ebmin6, Ebmin69, Eb13, Ebmaj13, Eb13b9, Eb13#9, etc..
b6 (b13) Eminb6, Emin7(b13), etc..
222
Your melody note in relation to the chord
The important thing to remember when using this method is that the melody note should
be included in the chord voicing somewhere. Let's say that you decide that you want your C melody
note to get matched up with a F# major chord, technically this is fine because the C note can be
analyzed as a #11th but if you don't include it in your chord somewhere it will sound plain wrong.
Therefore rather than choosing an F#maj7 you will be a lot better off picking an F#maj7#11.
When I use this method of composition (which is most of the time) I voice the chord with the
melody note on top (on the first or second string). I have my favorites, For melody notes I tend to
go with 7ths and #11ths for major chords and 9ths and 11ths for minor chords, #9ths and #5th for
dominant chords but I don't limit myself to these choices. In the example below check out how I use
four mostly unrelated chords to place under our C melody note. Sing the note and play the chords:
Harmonization 5 - Let's go back to our previous simple descending C major scale melody and I'll
give you an example of some of the chord changes I might come up with. Using this method will
render the Roman numeral system obsolete.
223
Who to check out
If you are interested in checking out some great composers who use this technique, buy
yourself any of the Miles Davis CDs featuring Wayne Shorter. Wayne Shorter in my opinion is one of
the greatest modern day composers. You should also check out the solo stuff he released and any
of the Weather Report CDs. Also pick up yourself some Mike Stern, John Scofield and Herbie
Hancock.
Song Writing Advice
One time I asked Mike Stern to give me some tips on writing music. I think he is a brilliant
composer and I wanted some advice. I was looking for some theoretic pointers, you know; this
melody note against this chord sounds great kind of thing. But instead he gave me much better
advice. He told me that the most important thing about writing a song is to finish it. He said that
when you write a song you are likely to become discouraged because you cant write the B section
or chorus or you cant find the right chord. You get tired of listening to the song over and over again
and end up hating it. Regardless, no matter what you do, write it to the end and then decide if it is
good or not. Finishing what you start is the key to becoming a great composer.
Test Answers:
C Amin Emin F G C
Analysis 1:
I vi iii IV V I
Analysis 2: 1 5 5 b3 3 b3 b3 3 3 b5
Analysis 3: b7 1 b7 b5 7 1 b7 5
Diatonic Triads, 7th Chords and Secondary Dominant Chords in the Key of G
Diatonic Chords G Amin Bmin C D Emin F#dim
Gmaj7 Amin7 Bmin7 Cmaj7 D7 Emin7 F#min7b5
Secondary Dominant - V/ii V/iii V/IV V/V V/vi -

Chords
- E7 F#7 G7 A7 B7 -
224
CHAPTER 19: READING STANDARD NOTATION
Introduction to reading standard notation
Although there are many great guitarists that cant read music, it definitely comes in
handy if you want to communicate musically with other musicians. It also is useful for writing down
musical ideas and compositions so you dont forget them later on. Tablature is very popular and
sometimes helpful when you need to learn specific fingerings but standard notation is more precise
and is understood by all musicians, not just guitarists. You will also find that being a good reader
will open many doors for you as far as musical employment.
Practicing the examples in this chapter
Practice the rhythmic exercises by clapping your hands, tapping your fingers (when you
are on the train), or by playing notes or chords. Where chords are not given for the reading
exercises, see if you can harmonize them using the techniques you learned in the last chapter. They
are mostly diatonic so it should be an easy and fun way to get your composing skills together. Ive
also written most of the reading exercises as duets so you dont have to practice them alone.
Notes and Rests
Notes tell you what pitch to play and how long to play it. Rests tell you how long to not play.
The big round note below is a whole note and it lasts for four beats. Tap your foot and count to four,
keep counting and tapping and play a chord and let it last the whole four beats. A half note, as you
may have grasped by its name, gets two beats a piece. A quarter note gets one beat each; so each
time you tap your foot, play a chord on each beat. The pattern continues with eighth notes,
sixteenth notes, thirty-second notes, sixty-fourth notes, and so on, each type of note being half the
length of the previous type.
Whole note Half Note Quarter Note Eighth Note
(1 2 3 4) (1 2) (3 4) (1) (2) (3) (4) (1)(+)(2)(+)(3)(+)(4)(+)
Whole Rest Half Rest Quarter Rest Eighth Rest
225
Rhythmic Exercises - Play or clap the following rhythms. Remember, it is important to look ahead
while reading. If you find the examples simple, turn the page upside down and read them again:
Ex.1)
Ex.2)
Ex.3)
Ex.4)
226
Ex5.)
Ex.6)
Ex.7)
Ex.8)
Ex.9)
227
Ex.10)
228
The notes in open position on the first and second string
(Keep in mind, music written for guitar is played an octave lower than written)
Reading Exercises Play the following exercises in a tempo comfortable for you. Use a
metronome and try looking ahead. Record the chord changes or have someone accompany you:
Ex.1)
Ex.2)
Ex.3)
229
Tied Notes Tied notes are written with a curved line connecting each note. Notes of any length
may be tied together, and more than two notes may be tied together. The two tied notes will sound
like one note of the combined lengths. Although dotted notes can be used to produce the same
results, tying notes is the only method to lengthen notes over bar lines.
(1 2 3) (4) (1 2) (3 4 1) (2 3 4)
Ex.1)
Ex.2)
Ex.3)
230
Ex.4)
Ex.5)
231
The notes in open position on the third and fourth string
Ex.1)
Ex.2)
232
The notes in open position on the fifth string
Ex.1)
Ex.2)
233
Dotted Notes A dot placed next to a note or rest increases its value by exactly half.
(1 2 3) (4) (1 + 2) (+) (3 + 4) (+) (1 2 3) (4)
Ex.1)
Ex.2)
Ex.3)
234
Ex.4)
Ex.5)
235
The notes in open position on the sixth string
Reading Exercises Play the following exercises in a tempo comfortable for you. Play each as a
duet with another guitarist or try to play both parts together as a fingerstyle piece:
Ex.1)
Ex.2)
236
Rhythmic Exercises - So far all the songs and exercises we have practiced so far have been in
common time or 4/4. The following rhythmic exercises will introduce 3/4 time meaning that there
will be three beats per measure rather than four:
Ex1.)
Ex.2)
Ex.3)
237
Reading Exercises Play the following exercise in a tempo comfortable for you. Play it as a duet
with an other guitarist or try to play both parts together as a fingerstyle piece:
Ex.1)
238
The notes in second position in the key of C major
duet with another guitarist or try to play both parts together as a fingerstyle piece:
Ex.1)
239
Ex.2)
240
Ex.3)
241
Triplets a triplet sub-divides one note into equal thirds. When you tap your foot, you should
play three notes per one beat.
(1) (2) (tri ple et) (4) (1) (tri ple et) (3) (4)
Ex.1)
Ex.2)
Ex.3)
242
Ex.4)
243
with another guitarist or try to play both parts together as a fingerstyle piece:
Ex.1)
244
The notes in second position in the key of G major
245
with another guitarist or try to play both parts together as a fingerstyle piece. Remember, the key
signature is telling you that all F notes are to be played raised:
Ex.1)
246
Sixteenth Notes One note is sub-divided into four equal parts.
(1) (2) (3)(e)(+)(a) (4) (1) (2)(e)(+)(a) (3) (4) (+)
Rhythmic Exercises - Play or clap the following rhythms. If you play the rhythms using chords, try
to pick from your wrist:
Ex.1)
Ex.2)
Ex.3)
247
Ex.4)
Ex.5)
Ex.6)
Ex.7)
248
with another guitarist or try to play both parts together as a fingerstyle piece:
Ex.1)
249
The notes in second position in the key of F major
duet with another guitarist or try to play both parts together as a fingerstyle piece. Dont forget,
every B note will be flatted except where otherwise noted. Beware of accidentals in exercise 2 (the
B natural and G sharp in measure six) and in exercise 3 (the B natural in measure ten that you will
have to play twice):
Ex.1)
250
Ex.2)
251
Ex.3)
252
The notes in fourth position in the key of C major
duet with another guitarist or try to play both parts together as a fingerstyle piece. Beware of
accidentals:
Ex.1)
253
Ex.2)
254
The notes in second position in the key of D major
duet with another guitarist or try to play both parts together as a fingerstyle piece. Play all F and C
notes raised except where otherwise noted. Beware of the accidental in the ninth measure:
Ex.1)
255
CHAPTER 20: EARS
So, I'm sitting in the car with this beautiful girl, minding my own business and all of a
sudden, out of the blue, this horrible sound starts blaring out of nowhere. My heart starts to race.
I'm thinking that a fire has broken out and an alarm is going off. Or maybe a bank has been robbed
and someone has sounded the alarm! Escaped prisoners! Mayhem, hysteria, what's going on here?
I turn to the cute brunette sitting next to me and I ask her; "What's that hideous sound?" She turns
to me with eyes wide open, her perfect lips part and she answers; "B flat."
Perfect Pitch
There are certain musicians who have the uncanny ability of being able to identify any
pitch you throw at them. That means that if you played a B flat on your instrument, they could tell
you what it was immediately with little or no hesitation. Because of this, if they develop this
interesting ability to its full extent, they can also learn to listen to something and play it back
without much effort. Some musicians using this strange and bewildering musical sixth sense can
even transcribe stuff without even using their instruments to help them along the way. Pretty cool,
don't you think? I know this bassist who not only has perfect pitch; he also has a photographic
memory, the ability to look at something and kind of take a mental photo of it, and recall it perfectly.
Just like looking at a photo for reference, a digital camera in his brain. He can just look at a chart
of anything, take a mental snapshot of it and play it back without having to look at the chart again.
Jeez, I can hardly even read a chart!
How to get it
Unfortunately, if you don't have it now and you're old enough to be reading this without
the help of your Mom or Dad, it's probably going to take a little work. Most of the musicians who
have perfect pitch developed it as kids. I would assume it's because they started learning music
while their brains where developing and their brains got wired for sound better then the rest of us.
Guitarists generally don't have perfect pitch. I think the reason for this is simple: we guitarists tend
to start playing later in life. Pianists often get started by their parents really early in life, some as
young as four or five.
256
Colors
Some musicians who have it, describe the sounds of certain notes as colors. There are
some courses and programs to develop perfect pitch. I don't know if they work or not but I have an
open mind. You may want to try one of the programs out for yourself. If it works out, let me know
and I'll do it too.
Not Exactly Perfect
I don't have perfect pitch; I have what we call relative pitch (I'll get to it later). If God
came out of the heavens and asked me if I wanted perfect pitch I would say; "Sure, God." But if he
only gave me one wish, I would pick world peace over perfect pitch. Perfect pitch would come
somewhere between free strings for life and a complete ban on whale hunting.
Will Perfect Pitch Make You the Greatest Guitarist in the Universe?
I'm not sure, but it can't hurt. I know a lot of musicians, some of them have perfect pitch
but most of them don't. One thing I do know for sure, perfect pitch or not, all the really great
players I personally know have good ears. It is important to develop your ear. I know one musician
with perfect pitch, a pianist. He can tell you what any note is, figure out any phrase in half the time
it takes me, listen to song once and play it back for you. But you know what? He really isn't that hot
a player. Because of his gifted ear he could definitely be a better player than me but I don't think he
really works on all the other stuff that I did. He doesn't write well, doesn't understand scale/chord
relationships and doesn't seem to practice very much. I would love to have his ear but I wouldn't
trade it for the other things that I have as a player.
Relative Pitch
Relative pitch is a little different than perfect pitch. People who have relative pitch have
the ability of recognizing what one pitch is in relation to another. I know I just confused you, sorry.
I'll give you an example: If you play one note and tell me that it is an E note and then play, let's say,
a B flat note without telling me that it is a B flat note, I would know what it is because my ear tells
me that the interval between the first note (E) and the second note (B flat) is a diminished 5th. I
just know the sound of a diminished 5th interval and because I know my music theory, I know that
the note that is a diminished 5th from E is B flat. The cute girl sitting next to me in the car on that
day in Studio City would know the B flat without having to hear the E note first.
257
E Note on the Brain
To be honest, I've been playing guitar long enough that I have a built-in E note in my head.
The reason is because the first thing I play when I pick the guitar up every day is the sixth string,
which as you know, is an E note. After 30 years, it just kind of got engrained in my brain. For that
reason, half the time I can usually tell what any single note is by itself even without the first note
to compare it to. It is still relative pitch because I'm still mentally comparing the note in question to
an E note, the E note stuck in my brain. Someone with perfect pitch doesn't have to compare one
note to any other note (even a mentally created one) to know what it is. By the way, a Diminished
5th is the interval that starts off the Jimi Hendrix song, "Purple Haze." In the case of "Purple Haze,"
a B flat and an E note, try it. I know the sound of "Purple Haze's" intro so I know the sound of a
Diminished 5th interval.
Developing Relative Pitch
You can develop relative pitch with a little practice. Take a look at the intervals below.
Memorize what they look and sound like one by one. I also included some song names that will help
you to remember what the intervals sound like. After you get used to the sounds of all the intervals,
have one of your guitar player buddies test you on 'em. I'll start with the easier intervals first:
Perfect 4th - Song examples: "Here Comes the Bride", "Amazing Grace."
Perfect 5th - Song examples: "Twinkle Twinkle Little Star," Theme to "Star Wars."
Major 3rd - Song examples: "When the Saints Go Marching In", "On Top of Old Smoky."
258
Major 6th - Song examples: "My Bonnie Lies Over the Ocean," "My Way."
Diminished 5th (Augmented 4th) - Song examples: "Purple Haze" intro, "Maria" from
West Side Story.
Major 2nd - "Happy Birthday."
Minor 3rd - "Greensleeves," "Smoke on the Water."
Minor 2nd - "Jaws."
Minor 6th - "Love Story" (in reverse).
259
Minor 7th - "Star Trek" Theme
Major 7th It is hard to come up with a song that jumps directly to a major 7th interval but Over
the Rainbow is a decent example. The melody is an octave followed by a major 7th interval.
Get used to the sounds and shapes of all the intervals. Move them up and down the
fingerboard and on to other strings. You will find the shapes will stay the same till you get to the
fourth and third strings. Get together with a guitar friend and test yourselves: have him play an
interval and see if you can tell what it is by its sound. You'll find your ears improving a little
everyday and before you know it, you won't need a beautiful brunette to tell the names of various
daily pitches anymore.
260

The Infinite Guitar

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THE INFINITE GUITAR

The complete roadmap for exploring the boundless contemporary guitar

All Rights Reserved

The Art of Practicing1

CHAPTER 2: THE SPIRIT OF THE GUITAR

CHAPTER 3: CHORDS AND THEIR SYMBOLS

The Chord Symbol15

CHAPTER 5: INCORPORATING OPEN STRINGS IN YOUR VOICINGS

Open String Chord Voicings86

CHAPTER 6: INCREASING YOUR CHORD VOCABULARY

Increasing your chord vocabulary88

CHAPTER 7: VOICE LEADING

CHAPTER 8: THE MAJOR SCALE

What is the Major Scale?109

CHAPTER 10: ARPEGGIOS

Scales vs. Arpeggios/Diatonic Triad Arpeggios128

CHAPTER 12: THE PENTATONIC SCALES

The Major Pentatonic Scale161

CHAPTER 13: THE HARMONIC MINOR SCALE

CHAPTER 14: THE MODES OF THE MELODIC MINOR SCALE

Melodi c Min or Scal e Pattern s/History Lesson 16 8

CHAPTER 15: THE HALF/WHOLE DIMINISHED SCALE

The Half/Whole Diminished Scale183

CHAPTER 16: INTERVALIC APPROACH TO IMPROVISATION

Breaking the Tertian Paradigm187

CHAPTER 17: REDISCOVERING THE PENTATONIC SCALE

Rediscovering the Minor Pentatonic Scale191

Working With Triads208

CHAPTER 19: READING STANDARD NOTATION

Introducti on to Reading Stan dard Notation 225

CHAPTER 20: EARS

Playing vs. Practicing

it turning into something you hate to do."

to get the tunes together for.

that I was destined to be the fastest guitarist in the universe.

Some Practice Advise

It won't help your harmonic ear.

1. Single Note Studies (Scales, Arpeggios and General Technique)

2. Harmony (Chords and Rhythm Playing)

little choice but to use a pick.

4. Theory (Brain Power)

because of the complicated nature of chord scale relationships in the genre.

five areas of practice into one broad musical landscape.

identify intervals and chords.

The Perfect Student

and allow you to take the steps yourself.

teach from also.

-Chris Juergensen, March 5th, 2006

Native New Yorker, long time studio musician

and session guitarist Chris Juergensen is in constant

demand as a sideman, front man and clinician. He has

played sold out venues as intimate as the world

famous Blue Note and as large as the Long Beach

Auditorium. After teaching guitar for six years at the

prestigious Musicians Institute in Los Angeles along

side with Paul Gilbert (Mr. Big), Scott Henderson and

Joe Diorio, Chris left the states to become the Director

of Education at Tokyo School of Music in Japan

where he still resides. His first solo CD, Prospects has

been critically acclaimed throughout the world and his

newest release, Big Bad Sun" paints a completely new

In 1995, for his efforts in promoting international

a guest writer for iBreathemusic.com.

Hideous Sun Demons.