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Fretboard HarMonY
For SeriouSly
SeriouS
GuitariStS!
TYPES OF VOICE-LEADING FIGURE 1 parallel motion
major thirds 5 5 6 6 5 5 4 4 5 5 5 5 8 8 5 5 3 3 5 5 2 2 5 5 9 8 11 11 14 14 11 11 8 8 5 5 perfect fifths minor sixths major 10ths 5 8 6 9 7 10 6 9 5 8 5 8 7 10 9 12 10 13 12 15 10 13 9 12 7 10 5 8 9 8 7 6 9 8 10 12 8 10 10 12
FIGURE 2 similar and parallel motion
interval: M3 similar m3 parallel m3 similar M3 parallel M3 similar m3 parallel m3 similar M3
NOTE: play this and all similarly-formatted examples both “forwards” and “backwards” (ascending and descending)
5 5 7 6 9 8 10 10 12 12 14 13 16 15 17 17
FIGURE 3 oblique motion
interval:M3 P4 M3 C Csus4 P5 m6 P5
FIGURE 4 contrary motion
interval: M3 tritone M3 5 5 5 6 5 5 3 5 5 5 3 5 5 6 3 5 5 5 5 3 4 3 5 3 5 5 4 6 5 5
FIGURE 5 contrary motion chord progression A G7 F7 E7 D9 C9#11 B7 ¨9 #5 A7
alternate voicings for last two chords
B7 #9 #5 A9 54 2 2 3 5 3 4 1 3 1 2 1 0 2 2 1 3 5 4 5 5 3 2 3 3 2 2 1 2 1 3 5 7 5 6 5 5 2 1 2 3 3 0 5 4 2 5 HEXATONIC SCALES FIGURE 6 C major hexatonic
scale degree: r 2 3 4 5 6 (r) 5 7 5 6 8 5 8 5 7 5 6 8 5 8 5 8 6 5 7 5 7 5 8 7 5 8
FIGURE 7 C major hexatonic harmonized in 3rds and 4ths
8va 5 5 7 6 9 8 10 10 88 1010 1312 1513 1715 1715 15 13 13 12 14 15 12 13 10 10 9 8 7 6 5 5 7 7 5 5 3 2 2 0 5 3 3 2
FIGURE 8 C major hexatonic scale harmonized in triads C Dm C Dm C Dm C C Dm C Dm C Dm C
FIGURE 9 alternating C and Dm triad inversions up the neck
let each chord ring C Dm C Dm C Dm C 3 3 3 3 3 3 3 5 5 3 7 6 5 9 8 7 10 10 10 12 13 12 14 15 13 17 17 15 5 5 3 2 3 1 0 1 0 3 2 3 2 0 1 5 3 2 3 2 0 3 2 0 5 3 2 7 5 5 8 7 7 1010 9 1212 10 1514 12
FIGURE 10 A major hexatonic scale
scale degree: 1 2 3 4 5 6 1 A harmonized Bm A Bm A Bm A
FIGURE 11 harmonized A major hexatonic melody, à la “Jessica”
A Bm A Bm A Bm A Bm A Bm A 2 4 2 3 5 2 5 2 2 0 4 3 2 6 5 5 7 7 7 9 109 11 12 10 14 14 12 76 5 6 5 5 9 109 11 12 10 14 14 12 11 12 10 9 109 6 5 5 7 6 5 4 4 3 2 2 2 4 4 3 7 6 5 9 7 7 7 6 5
FIGURE 12 D minor hexatonic scale harmonized in triads
Dm
C Dm C 8vaDm C Dm
FIGURE 13 D minor hexatonic scale
1 2 ¨3 4 5 ¨7 1 1 octave lower ¨7 5 4 ¨3 2 1 7 6 5 9 8 8 10 10 10 12 13 12 14 15 13 17 17 15 19 18 17 7 9 10 8 10 8 10 10 8 10 8 10 9 7 7 5 7 5 8 7 5
FIGURE 14 D minor hexatonic scale harmonized in thirds and fourths
53 75 87 5 5 7 7 55 76 9 8 10 10 88 1010 1312 1513 13 12 14 15 12 13 10 10 9 8 7 6 5 5 7 7 5 5 8 7 7 5 5 3
FIGURE 15 C major hexatonic
scale degree:1 2 3 4 5 6 1 2 3 4 5 6 1
FIGURE 16 D minor hexatonic
scale degree: 1 2 ¨3 4 5 ¨7 1 2 ¨3 4 5 ¨7 1 8 10 7 8 10 7 10 7 9 10 8 10 8 10 7 8 10 7 10 7 9 10 8 10 8 10
FIGURE 17 D Lydian hexatonic (a.k.a. “wonder” scale) harmonized in triads
D
let ring throughout
E/D
D E/D D E/D D E/D D
FIGURE 18 D Lydian hexatonic
scale degree: 8va 1 2 3 #4 5 6 1 1 6 5 #4 3 2 1 02 3 2 4 5 4 7 7 5 9 9 7 11 10 10 13 12 12 14 15 14 16 17 16 19 19 17 7 9 7 9 10 7 10 10 7 10 9 7 9 7 7 4 7 6 4 7 5 5 7 4 6 7 4 7 9 7 9 10 7 10 7 10 9 7 9 7 9 7 6 9 7 5
FIGURE 19 D Lydian hexatonic open-voiced triads hybrid picking D E/B 8va D/A E/G# D/F# E D D/A E/B D E D/F# 3 3 3 3 3 3 3 3 3 3 3 3 12 14 14 9 9 12 7 7 10 6 5 7 4 3 5 2 4 4 0 2 2 0 4 3 2 1 0 5 2 2 7 4 4 9 7 10 E/G# D/A D/A E/B D E D 8va
FIGURE 20 E Mixolydian hexatonic alternating triad inversions
let ring throughout
E D E D E D E 3 3 3 3 3 3 3 11 9 12 7 7 5 7 7 10 9 9 12 12 1014 14 12 16 16 1517 0 1 0 0 2 3 2 4 5 4 7 7 5 9 9 7 11 10 11 13 12 12
FIGURE 21 E Mixolydian hexatonic scale
scale degree: 1 2 3 4 5 ¨7 1 9 11 9 10 12 10 12 9 11 9 10 12 10 12 10 12 10 9 11 9 7 9 7 6 9 7 7 9 6 7 9 7 9 11 9 10 12 10 12 10 12 10 9 11 9 12 9 12 11 9 12
FIGURE 22 E Mixolydian E 8va E Mixolydian hexatonic E 8va scale degree: 1 9 2 11 3 9 4 10 5 12 6 9 ¨7 10 1 12 1 9 2 11 3 9 4 10 5 12 ¨7 10 1 12
FIGURE 23 D Lydian hexatonic run
5 7 4 6 7 4 7 4 7 6 4 7 5 7 4 6 7 4 7 9 7 9 10 7 10 7 10 9 7 9 7
FIGURE 24 A major hexatonic scale
harmonized in thirds and fourths (w/pick and finger)
7 9 6 7 9 7 10 7 9 7 6 9 7 9 7 10 9 7 5 5 4 7 5 9 7 109 7 7 9 9 76 97 119 1211 9 10 11 12 109 1210 1412 1514 1412 1210 109 11 12 9 10 7 7 6 5 9 7 7 6 4 4 2 2 5 4 4 2 2 0 5 4 2 2 0 0
FIGURE 25 E Mixolydian hexatonic scale
(w/pick and fingers)
E D/E E N.C.(E) (D/E) (E) (D/E) (E)
let low E string ring throughout
0 4 5 4 2 3 2 4 5 4 4 5 4 7 4 7 5 7 3 7 5 4 5 4 5 4 7 3 2 3 2 5 0 (D/E) (E) (D/E) (E) (D/E) E 7 4 5 4 7 5 7 5 10 5 12 9 7 12 7 10 10 7 7 5 9 6 6 9 7 7 7 7 9 9 9
FIGURE 26 C “sentimental” scale harmonized in triads
8va throughout C Dº C/E Dº/F C/G Dº/A¨ C
FIGURE 27 C “sentimental” scale
5 5 3 7 6 4 9 8 8 109 10 12 13 12 13 15 13 17 17 15 scale degree: 1 5 2 7 3 5 4 6 5 8 ¨6 4 1 8 ¨6 4 5 8 4 6 3 5 2 7 1 5
FIGURE 28 comparing two parallel hexatonic scales/tonalities
let ring
D major hexatonic scale
D “sentimental” scale scale degree: 0 1 2 3 7 9 4 5 7 8 6 1 10 7 6 5 10 7 4 3 10 8 2 1 7 9 7 1 2 3 7 9 4 5 7 8 b6 1 10 6 ¨6 5 10 6 4 3 10 8 2 1 7 9 7 0
FIGURE 29 D “sentimental” scale alternating triad inversions D Eº D/F# Eº/G D/A Eº/Bb D Eº D/F# Eº/G D/A 8va 5 4 2 7 5 3 9 7 7 10 8 9 7 7 7 8 9 8 12 11 10 14 12 11 11 10 10 12 11 12 14 15 14 Eº/B¨
D/A Eº/G D/F# Eº
D
8va Eº/B¨
D/A Eº/G D/F# Eº
D Eº/B¨ D/A Eº/G D/F# 15 17 15 14 15 14 12 11 12 11 10 10 9 8 6 7 7 5 8 9 8 7 7 7 5 3 5 4 2 3 7 5 3 5 4 2 1 2 0 5 5 4 3 1 2 2 0 0
FIGURE 30 same thing on strings 3-5 D/F#
Eº/G
D/AF Eº/B¨ D Eº D/F#
FIGURE 31 A “sentimental” scale
let ring A B° 42 3 5 3 5 7 7 7 8 9 8 12 11 10 14 12 11 16 14 15 0 1 2 2 4 3 2 4 3 5 5 ¨6 1 1 5 2 2 0 4 3 1
FIGURE 32 A “sentimental” scale in triads on strings 1-3 A
let ring
Bº/A
A Bº/A A Bº/A A 8vaBº/A A 0 2 2 0 4 3 1 6 5 5 7 6 7 9 109 10 12 10 14 14 12 16 15 13 18 17 17
FIGURE 33 A “sentimental” scale in thirds and fourths
let ring 8va 0 2 2 43 65 76 5 5 6 7 109 1210 1412 1513 1717 1513 1412 1210 109 10 12 9 10 7 6 6 5 9 7 7 6 3 4 2 2
FIGURE 34 A “odyssey” scale alternating triads
let ring A E¨/A A E¨/A A E¨/A A 3 3 3 3 3 3 3 0 2 2 0 3 4 3 6 5 5 8 8 6 9 10 9 12 11 11 14 14 12
FIGURE 35 A “odyssey” scale in triads and sixths/fifths A E¨/A A * E¨/A A E¨/A A E¨/A A E¨/A A
FIGURE 36 A “odyssey” scale
02 2 2 0 5 3 4 0 7 6 5
* tremolo pick top note of chord or interval
0 8 8 8 0 119 10 8 8 6 9 109 118 1012 1116 1417 2 3 2 4 5 3 5
FIGURE 37 A “odyssey” scale single-note runs
let ring 3 3 3 3 3 3 3 3 3 3 5 3 5 4 2 3 2 3 2 4 5 3 5 3 5 4 2 3 2 3 2 4 5 3 5 3 5 4 2 3 2 0 7 8 6 8 5 8 5 6 9 11 12 11 12 11 9 11 9 11 10 0 8 10 11 3 9 11 9 11 10 8 10 8 9 8 9 8 6 8 7 0
FIGURE 38 A “odyssey” scale in thirds and fourths
let ring A E¨/A A E¨/A A E¨/A A
FIGURE 39 A “odyssey” scale in “mandolin” sixths
let ring 8va 0 2 2 3 4 6 5 8 8 55 86 109 0 2 5 4 6 5 9 8 12 10 12 11 15 14 17 FIGURE 40 E¨/G
w/pick and fingers
A/E
E¨ A/C# E¨/B¨ A E¨/G A/E E¨ A/C# E¨/B¨ A 3 3 3 3 3 3 3 3 3 3 3 3 12 11 11 9 10 9 8 8 6 6 5 5 8 8 8 7 6 5 5 3 4 2 2 2 6 5 3 4 2 2 1 1 0 5 4 2
FIGURE 41 A “odyssey” scale in open-voiced triad inversions
A E¨/B¨ A/C# E¨ A E¨/G A E¨/B¨ A/C# E¨ A/E E¨/G
play each inversion again in reverse order
A 8va 3 3 3 3 3 3 3 3 0 2 2 6 5 4 4 2 5 6 8 8 7 6 5 5 4 6 7 5 9 8 8 11 11 10 12 13 11 15 14 14 17 17 16 18 19 17 21
FIGURE 42 alternating C and Gb arpeggios
C G¨ C G¨
FIGURE 43 alternating C and Gb triad inversions
C G¨/D¨ C/E G¨ C/G G¨/B¨ C G¨/D¨ C/E G¨ (play in reverse order) C/G 8va 3 3 3 3 3 2 5 4 3 6 5 5 8 7 6 9 3 2 0 4 4 3 7 5 5 9 8 6 10 109 86 7 109 8 11 11 11 9 8 8 11 119 12 13 12
FIGURE 44 alternating Am and Ebm triad arpeggio inversions
Am Eb/Bb Am/C Ebm Am/E Ebm/Gb Am 8va 3 3 3 3 3 3 3 2 1 0 3 4 2 5 5 5 8 7 6 9 10 8 11 11 11 14 13 12
FIGURE 45 A “dungeon” scale (Am and Ebm triads combined)
let ring 0 2 3 5 4 5 2 5 2 5 4 5 3 2
FIGURE 46 Am and Ebm inversions
Am/C E¨m Am/E E¨m/G¨ Am E¨m/B¨ Am/C E¨m Am/E E¨m/G¨ Am E¨m/B¨ 8va 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 6 4 3 7 7 5 9 8 8 12 10 9 13 13 11 15 14 14 18 16 15 14 14 13 16 15 16 14 13 12 15 16 14 Am/C 8va 3 17 17 17 4 1 4 3 4 17 14 17 16 2 4 1 4 17 15 14 11 3 1 4 4 14 13 10 13 1 4 3 1 12 9 12 11 1 1 8 6 5
FIGURE 47 combining A and Bb triads A B¨ A 2 2 0 3 3 1 2 2 0 2 3 2 3 5 1 5 1 5 3 2 3 2 3 2 0 4 1 0
FIGURE 48 Bb triad arpeggio with lower neighbors
7 8 6 7 5 6 5 6 5 6 6 7 7 8 7 8 4 5 5 6
FIGURE 49 creating a hexatonic scale with A and Bb triads
A 5 6 4 5 7 8 7 8 6 7 5 6 5 6 5 6 5 7 6 8 7 76 5 5
SEVENTH CHORD QUALITIES FIGURE 50 * Cmaj7 FIGURE 51 C7 FIGURE 52 Cm7 FIGURE 53 Cm7¨5 FIGURE 54 Cdim7 * arpeggiate from low to high109
8 7 109 8 6 108 8 6 108 7 6 108 7 5
FIGURE 55 Cmaj7¨5
FIGURE 56 Cmaj7 b5 arpeggio
3 3 109 7 7 10 9 7 7 7 9 10 9 10 9 11 12 13 12 14 12 13 12 11 9 10 9 FIGURE 57 Cmaj7#5
FIGURE 58 Cmaj7 #5 arpeggio 119 9 7 10 9 13 12 13 12 16 12 13 12 13 9 10 FIGURE 59 C7¨5
FIGURE 60 synonymous/interchangable chords
C7¨5 G¨7¨5 C7¨5 FIGURE 61 C7¨5 109 7 6 109 7 6 9 8 5 5 109 7 6 8 7 9 8 FIGURE 62 G¨7¨5 FIGURE 63 C7b5, or Gb7b5, arpeggio 9 8 10 9 8 7 9 8 10 9 11 11 13 12 14 12 13 11 11 9 10 8 9 7 8 let ring FIGURE 64 C7#5 3 3 10 9 9 6 9 9 10 8 7 11 8 10 9 9 11 8 FIGURE 65 C7 C7#5 F C7#5 F FIGURE 66 C7sus4 C7 C7sus4 109 8 6 109 9 6 8 10 10 10 109 9 6 8 10 10 10 1010 8 6 109 8 6 10 108 6
FIGURE 67 Cm(maj7) FIGURE 68 Dsus2 let ring D 9 6 Dm(maj7) 108 8 7 0 7 5 7 5 5 7 5 0 9 7 9 7 7 9 7 0 10 10 10 9 10 10 10
FIGURE 69 C major seven chord inversions, open voicings, on the A, D, G and B strings Cmaj7 Cmaj7/E Cmaj7/G Cmaj7/B Cmaj7 8va 5fr 1 4 4 4 Cmaj7
FIGURE 70 C major seven inversions on the top four strings
13fr 2 4 1 3 Cmaj7/E 3 5 4 5 2 4 1 3 Cmaj7/E 17fr 1 1 1 4 Cmaj7/G 7 9 5 8 5fr 1 1 1 4 Cmaj7/G 8fr 2 3 1 1 Cmaj7/B 10 10 9 12 14 14 12 13 15 17 16 17 8fr 1 4 2 3 Cmaj7
FIGURE 71 C major seven inversions on the bottom four strings
FIGURE 72 C 10fr 2 4 1 3 Cmaj7/E 14fr 2 3 1 4 Cmaj7/G Cmaj7/B 2 3 1 4 Cmaj7/C 5fr 3 4 1 1 Cmaj7/B C7/B¨ F/A 8 7 5 5 8 7 7 5 5 7 6 7 5 5 6 5 8 7 5
FIGURE 73 C7 inversions on the middle four strings C7 C7/E C7/G C7/B¨ C7 8va C7/B¨ C7/G C7/E C7 C7/B¨ C7 35 3 5 7 8 5 8 10 109 11 13 14 12 13 15 17 15 17 13 14 12 13 10 109 11 7 8 5 8 3 5 3 5 1 2 0 1 3 5 3 5
FIGURE 74 C7 inversions on the top four strings
FIGURE 76 G7 inversions on the top four strings FIGURE 75 C7 inversions on the bottom four strings
G7 10fr 1 3 2 4 C7 8fr 1 3 1 2 C7 G7/B 10fr 2 4 1 3 C7/E 13fr 2 3 1 4 C7/E G7/D 14fr 2 3 1 4 C7/G 17fr 1 1 1 2 C7/G G7/F C7/B¨ C7/B¨ 17fr 2 3 1 1 8fr 1 3 1 1 5fr 2 3 1 1 5fr 1 1 1 3 C7/G G7 G7/F C7/B¨ G7/D 8va G7/B 2 3 1 4 C7/G 2 3 1 4 C7/E G7 G7/F G7/D G7/F G7
FIGURE 77 G7 inversions on the middle four strings 5 7 6 7 9 108 10 12 12 12 13 15 16 15 15 17 19 18 19 15 16 15 15 12 12 12 13 9 108 10 5 7 8 7 3 4 3 3 0 0 0 1 3 4 3 3 5 7 6 7
FIGURE 78 G7 inversions on the bottom four strings
FIGURE 79 Cmaj7 inversions drill Cmaj7 10fr 1 3 1 4 G7 1 3 1 2 G7 Cmaj7/E 12fr 2 3 1 4 G7/B 5fr 2 4 1 3 G7/B Cmaj7/G 16fr 2 3 1 4 G7/D 9fr 2 3 1 4 G7/D Cmaj7/B 19fr 2 4 1 3 G7/F 12fr 2 3 1 1 G7/F Cmaj7 7fr 2 4 1 3 G7/F 15fr 1 3 1 2 G7 Cmaj7/B 1 3 G7/F 4fr 2 3 1 4 G7/D Cmaj7/G 2 3 4 G7/B Cmaj7 35 4 5 7 9 5 8 10 109 12 14 14 12 13 15 17 16 17 14 14 12 13 10 109 12 7 9 5 8 3 5 4 5
FIGURE 80 C7 inversions drill C7 C7/E C7/G C7/B¨ C7 C7/B¨ C7/G C7/E C7 35 3 5 7 8 5 8 10 109 11 13 14 12 13 15 17 15 17 13 14 12 13 10 109 11 7 8 5 8 3 5 3 5
FIGURE 81 Cm7 inversions drill Cm7 Cm7/E¨ Cm7/G Cm7/B¨ Cm7 Cm7/B¨ Cm7/G Cm7/E¨ Cm7 32 3 4 6 8 5 8 10 108 11 13 13 12 13 15 17 15 16 13 13 12 13 10 108 11 6 8 5 8 3 5 3 4
FIGURE 82 Cm7b5 inversions drill Cm7¨5 Cm7¨5/E¨ Cm7¨5/G¨ Cm7¨5/B¨ Cm7¨5 Cm7¨5/B¨ Cm7¨5/G¨ Cm7¨5/E¨ Cm7¨5 34 3 4 6 8 5 7 9 108 11 13 13 11 13 15 16 15 16 13 13 11 13 9 108 11 6 8 5 7 3 4 3 4
FIGURE 83 C7sus4 inversions drill C7sus4 C7sus4/F C7sus4/G C7sus4/B¨ C7sus4 C7sus4/B¨ C7sus4/G C7sus4/F C7sus4 35 3 6 8 8 5 8 10 10 10 11 13 15 12 13 15 17 15 18 13 15 12 13 10 10 10 11 8 8 5 8 3 5 3 6
FIGURE 84 Cmaj7b5 inversions drill Cmaj7¨5 Cmaj7¨5/E Cmaj7¨5/G¨ Cmaj7¨5/B Cmaj7¨5 Cmaj7¨5/B
Cmaj7¨5/G¨ Cmaj7¨5/E Cmaj7¨5 34 4 5 7 9 5 7 9 109 12 14 14 11 13 15 16 16 17 14 14 11 13 9 109 12 7 9 5 7 3 4 4 5
FIGURE 85 Cmaj7#5 inversions drill Cmaj7#5 Cmaj7#5/E Cmaj7#5/G# Cmaj7#5/B Cmaj7#5 Cmaj7#5/B
Cmaj7#5/G# Cmaj7#5/E Cmaj7#5 36 4 5 7 9 5 9 11 109 12 14 14 13 13 15 18 16 17 14 14 13 13 11 109 12 7 9 5 9 3 6 4 5
FIGURE 86 C7b5 inversions drill C7¨5 C7¨5/E C7¨5/G¨ C7¨5/B¨ C7¨5 C7¨5/B¨ C7¨5/G C7¨5/E C7¨5 34 3 5 7 8 5 7 9 109 11 13 14 11 13 15 16 15 17 13 14 11 13 9 109 11 7 8 5 7 3 4 3 5
FIGURE 87 C7#5 inversions drill C7#5 C7#5/E C7#5/G# C7#5/B¨ C7#5 C7#5/B¨ C7#5/G C7#5/E C7#5 36 3 5 7 8 7 9 11 109 11 13 14 13 13 15 18 15 17 13 14 13 13 11 109 11 7 8 7 9 3 6 3 5
FIGURE 88 Cm(maj7) inversions drill Cm(maj7) Cm(maj7)/E¨ Cm(maj7)/G Cm(maj7)/B Cm(maj7) Cm(maj7)/B
Cm(maj7)/G Cm(maj7)/E¨ Cm(maj7) 35 4 4 6 9 5 8 10 108 12 14 13 12 13 15 17 16 16 14 13 12 13 10 108 12 6 9 5 8 3 5 4 4 Med. Swing
SIXTH CHORD QUALITIES FIGURE 89 C6 FIGURE 90 C6 B6 C6 B6 C6 B6 C6 C6 109 8 5 10 9 8 5 109 108 9 8 9 7 109 108 9 8 9 7 109 108 9 8 9 7 109 108 109 108 109 108 109 108 109 108 109 108 109 108
FIGURE 91 C6 inversions drill C6 C6/E C6/G C6/A C6 C6/A C6/G C6/E C6
FIGURE 92 Am7 inversions on the middle four strings
3 2 Am7 3 5 2 5 2 3 1 4 Am7/C 7 7 5 8 5fr 2 3 1 4 Am7/E 10 109 10 9fr 2 3 1 4 Am7/G 12 14 12 13 12fr 1 3 1 2 Am7 15 17 14 17 14fr 2 3 1 4 Am7/C 12 14 12 13 10 109 10 7 7 5 8 3 5 2 5
FIGURE 93 C6 arpeggio
FIGURE 94 Am7 arpeggio
8 7 10 7 10 7 10 7 8 5 8 7 5 7 5 7 8 5
FIGURE 95 overlapping arpeggios Am7 C6 7 10 9 8 9 10 7 10 9 8 9 10 7 10 9 8 10 8 9 10 9 8 10 8 9 10
FIGURE 96 Am7 arpeggio and chord
5 8 7 5 7 5 5 8 5 8 5 5 7 5 7 8 5 57 5 5 5 5 let ring
FIGURE 97 C6 arpeggio and chord
FIGURE 98 Cm6 8 7 10 7 10 9 8 10 8 10 8 9 10 7 10 7 8 X8 109 108 10 8 8 5 108 8 5
FIGURE 99 C Dorian mode
FIGURE 100 let ring Cm6 10 7 8 10 8 10 6 8 6 10 8 10 8 7 10 3 5 2 4
FIGURE 101 Cm6 inversions drill
35 2 4 6 7 5 8 10 108 10 12 13 12 13 15 17 14 16 12 13 12 13 10 108 10 6 7 5 8 3 5 2 4
FIGURE 102 Cm6 inversions on the top four strings
FIGURE 103 mutating chord qualities Cmaj7 10fr 1 3 1 2 Cm6 Cm6/E¨ 13fr 1 2 1 4 C7 16fr 2 3 1 4 Cm6/G Cm7 19fr 1 3 3 3 Cm6/A 7fr 1 3 3 3 Cm6/A Cm6 Cm6/E¨ 4fr 2 3 1 4 Cm6/G 1 2 1 4 Cmaj7 C7 Cm7 Cm6 1012 12 12 10 12 11 12 10 12 11 11 10 12 10 11 2 4 1 3 2 3 1 3 1 3 1 3 1 2 1 3
FIGURE 104 overlapping relative arpeggios Cm6 Am7¨5 3 6 5 7 3 6 5 7 5 6 3 5 8 6 5
DIATONIC SEVENTH CHORD SCALES IN INVERSIONS FIGURE 105 synonymous chords
FIGURE 106 root-position diatonic seventh chords in C major, middle four strings Am7¨5 Cm6/A Cmaj7 3 4 Am7¨5/CCm6 Dm7 2 4 1 3 5fr 2 3 1 4
Am7¨5/E¨Cm6/E¨ Am7¨5/GCm6/G
Em7 8fr 2 3 1 4 Cm6/A Am7¨5 Fmaj7 12fr 1 3 2 4 Am7¨5/CCm6 14fr 2 4 1 3 G7 Am7 Bm7¨5 Cmaj7 35 4 5 5 7 5 6 7 9 7 8 8 109 10 10 12 10 12 12 14 12 13 14 15 14 15 15 17 16 17
FIGURE 107 first-inversion diatonic seventh chords in C major, middle four strings Cmaj7/E Dm7/F Em7/G Fmaj7/A G7/B Am7/C Bm7¨5/D Cmaj7/E Bm7¨5/D Am7/C G7/B
(play in reverse order)
79 5 8 8 107 10 10 129 12 12 14 10 13 14 15 12 15 15 17 14 17 17 19 16 18 19 21 17 19 5 7 4 6 3 5 2 5 2 3 0 3
FIGURE 108 second-inversion diatonic seventh chords in C major, middle four strings Cmaj7/G Dm7/A Em7/B Fmaj7/G G7/D Am7/E 8va Bm7¨5/F Am7/E G7/D Fmaj7/C
(play in reverse order)
Em7/B 1010 9 12 12 12 10 13 14 14 12 15 15 15 14 17 17 17 16 18 19 19 17 20 8 9 7 10 7 7 5 8 5 5 4 6 3 3 2 5 2 2 0 3
FIGURE 109 third-inversion diatonic seventh chords in C major, middle four strings Cmaj7/B Dm7/C Em7/D
Fmaj7/E G7/F Am7/G Bm7¨5/A Cmaj7/B Dm7/C Em7/D 22 0 1 3 3 2 3 5 5 4 5 7 7 5 6 8 9 7 8 10 109 10 12 12 10 12 14 14 12 13 15 15 14 15 17 17 16 17
FIGURE 110 chord progression in C using diatonic seventh chord inversions G let ring G7/F C/E G7/D Cmaj7 To To
FIGURE 111 root-position diationic seventh chords in G major, top four strings
FIGURE 112 first-inversion diationic seventh chords in G major, top four strings
FIGURE 113 second-inversion diationic seventh chords in G major, top four strings
1 4 4 4 Gmaj7 2 Gmaj7/D 8fr 2 4 1 3 Gmaj7/B 10fr 1 3 1 4 Am7/C 7fr 1 4 2 3 Am7 1 3 2 4 Am7/E Bm7/F# 12fr 1 3 1 4 Bm7/D 9fr 1 4 2 3 Bm7 1 3 2 4 10 9 7 8 13fr 2 4 1 3 Cmaj7/E D7/F# 10fr 1 4 4 4 Cmaj7 5fr 1 1 1 4 Cmaj7/G 8 9 7 8 15fr 2 3 1 4 7fr 1 1 1 3 D7/A 12fr 1 3 2 4 D7 F#m7¨5/A 17fr 1 3 2 4 Em7/G 14fr 1 4 2 3 Em7 8fr 1 3 2 4 Em7/B F#m7¨5/C 19fr 1 3 1 2 7 5 5 8 F#m7¨5 10fr 1 2 1 4 16fr 1 3 3 3 F#m7¨5/A 8fr 2 4 1 3 Gmaj7/B 12fr 1 1 1 4 Gmaj7/D 17fr 1 3 3 3 Gmaj7 5 5 4 6 13fr 2 3 1 4 Am7/E 7fr 1 3 1 2 5fr 1 4 4 4 Gmaj7 Bm7/F# F#m7¨5 D7/F# 5fr 1 3 2 4 Em7/G 15fr 2 3 1 4 4fr 1 3 3 3 1 4 2 3 Em7 17fr 1 1 1 4 Cmaj7/G 3fr 2 3 1 4 3 5 4 5 2 4 1 3 Cmaj7/E 19fr 1 1 1 3 D7/A 2 1 3 D7 2 3 Bm7/D 2 3 1 1 5fr 1 1 1 1 Am7/G
FIGURE 114 third-inversion diatonic seventh chords in G major, top four strings Gmaj7/F# 7fr 1 1 1 1 Bm7/A 8fr 2 3 1 1 Cmaj7/B 10fr 1 3 1 1 D7/C 12fr 1 1 1 1 Em7/D F#m7¨5/E 12fr 2 3 1 4 Gmaj7/F# 15fr 2 3 1 1 17fr 1 1 1 1 Am7/G o 19fr 1 1 1 1 Bm7/A Gmaj7/F# 3fr 2 3 1 1 F#m7¨5/E 2 3 1 4 Em7/D
FIGURE 115 A harmonic minor diatonic seventh chords, close-position voicings on top four strings HARMONIC MINOR DIATONIC SEVENTH CHORDS
Am(maj7) Bm7¨5 Cmaj7#5 Dm7 E7 Fmaj7 G# 7 o Am((maj7) Am(maj7) G# 7 o Fmaj7 75 5 4 9 7 6 5 109 9 7 12 10 108 14 13 12 10 15 14 13 12 18 16 15 13 19 17 17 16 7 5 5 4 6 4 3 1 3 2 1 0
FIGURE 116 root-position A harmonic minor diatonic seventh chords, raise-two voicings on top four strings Am(maj7) Bm7¨5 Cmaj7#5 Dm7 E7 Fmaj7 G# 7 o Am((maj7) 8va Am(maj7) G# 7 o Fmaj7 E7 Dm7 79 9 8 9 10 10 10 10 13 12 12 12 14 13 13 14 16 15 16 15 17 17 17 18 19 18 19 19 21 21 20 7 9 9 8 6 7 6 7 3 5 5 5 2 4 3 4 0 2 1 1
FIGURE 117 Am(maj7) arpeggio
FIGURE 118 E harmonic minor scale
Em 5 3 7 6 7 5 5 4 5 2 4 5 2 4 5 4 5 5 4 5 4 2 5 4 2 5 4 2 1 2 0 2 2 0 0 0
FIGURE 119 E harmonic minor diatonic seventh chords, root-position raise-two voicings on top four strings Em(maj7) F#m7¨5 Gmaj7(#5) Am7 B7 Cmaj7 D# 7 o Em(maj7) Em(maj7) D# 7 o
FIGURE 120 first-inversion E harmonic minor diatonic seventh chords on top four strings 2 4 4 3 4 5 5 5 Em(maj7)/G D# 7/F#o 5fr 1 4 1 3 16fr 1 3 2 4 5 8 7 7 Em(maj7)/G F#m7¨5/A 17fr 1 4 1 3 7fr 1 3 1 2 7 9 8 8 Gmaj7(#5)/B Em(maj7)/G 8fr 2 3 1 4 5fr 1 4 1 3 9 11 10 11 D# 7/F#o 10fr 1 3 1 4 Am7/C 4fr 1 3 2 4 10 12 12 12 12fr 2 3 1 4 2 4 1 3 Cmaj7/E 12 14 13 14 B7/D# 14 16 16 15 B7/D# 13fr 2 4 1 3 Cmaj7/E 1 3 4 2 4 4 3 1 2 1 2
scale degree: 1
FIGURE 121 A melodic minor scale
MELODIC MINOR DIATONIC TRIADS AND SEVENTH CHORDS
2 b3 4 5
6 7 1 degree:scale
FIGURE 122 A harmonic minor scale
1 2 b3 4 5 b6 7 1 2 4 5 3 5 2 4 5 2 4 5 3 5 1 4 5
FIGURE 123 A melodic minor root-position diatonic triads on the top three strings Am Bm C+ D E F# o G# o Am Bm C+ D E 8va 2 1 0 4 3 2 5 5 4 7 7 5 9 9 7 11 108 13 12 10 14 13 12 16 15 14 17 17 16 19 19 17 21 21 19
FIGURE 124 A melodic minor first-inversions diatonic triads on the top three strings Am/C
Bm/D C+/E D/F# E/G#8va F# /Ao G# /Bo Am/C Bm/D C+/E Am/C G# /B o F# /Ao E/G# 5 5 5 7 7 7 9 9 8 11 10 10 13 12 12 14 13 14 16 15 16 17 17 17 19 19 19 21 21 20 5 5 5 4 3 4 2 1 2 1 0 0
FIGURE 125 A melodic minor second-inversion diatonic triads on the top three strings Am/E
Bm/F# C+/G# D/A8va E/B F#º/C G#º/D Am/E
G#º/D F#º/C E/B D/A C+/G# 9 108 11 12 10 13 13 12 14 15 14 16 17 16 17 19 17 19 21 19 9 108 7 9 7 5 7 5 4 5 4 2 3 2 1 1 0
FIGURE 126 symmetrical inversions C+ C+/E C+/G#8va C+ C+ C+/G# G#+ C+ E+ G#+8va C+ 5 5 4 9 9 8 13 13 12 17 17 16 5 5 4 1 1 0 1 1 0 5 5 4 9 9 8 12 13 12 17 17 16
INTERVALS IN MELODIC MINOR FIGURE 127 E melodic minor scale
FIGURE 128 E melodic minor scale in fourths on the top two strings
let ring 8va 0 2 3 5 7 9 11 12 0 0 0 2 2 4 3 5 5 7 7 8 9 10 11 12 12 14 14 16 15 17 17 19 19 20 21
FIGURE 129 A melodic minor scale in fourths on the top two strings
let ring 8va 0 5 5 7 7 9 8 10 10 12 12 13 14 15 16 17 17 19 19 21 20 5 5 3 4 1 2 0 0
FIGURE 130 E melodic minor in sixths on the G and high E strings
let ring 8va 0 0 0 2 2 4 3 6 5 8 7 9 9 11 11 12 12 14 14 16 15 18 17 21 19 21 20
FIGURE 131 A melodic minor in sixths on the G and high E strings
let ring 8va 0 5 5 7 7 9 8 11 10 13 12 14 14 16 16 17 17 19 19 21 20 5 5 4 4 2 2 1 0
FIGURE 132 E melodic minor in 10ths on the low E and G strings
FIGURE 133 E melodic minor in 10ths on the D and high E strings
8va 0 0 2 2 3 4 5 6 7 8 9 9 11 11 12 12 14 14 15 16 17 18 19 20 20 21 2 3 4 5 5 7 7 9 9 11 11 12 13 14 14 15 16 17 17 19 19 21 2 3 1 2
FIGURE 134 E melodic minor in 10ths on the A and B strings
FIGURE 135 A melodic minor 10ths on the low E and G strings
7 8 9 10 10 12 12 14 14 16 16 17 18 19 19 20 21 22 7 8 6 7 4 5 2 4 0 2 5 5 7 7 8 9 10 11 12 13 14 14 16 16 17 17 19 19 20 21 5 5 4 4 2 2 0 1
FIGURE 136 A melodic minor scale 10ths on the A and B string
FIGURE 137 A melodic minor 10ths on the D and high E strings
8va 0 1 2 3 3 5 5 7 7 9 9 10 11 12 12 13 14 15 15 17 17 19 19 21 21 22 7 8 9 10 10 12 12 14 14 16 16 17 18 19 19 20 21 22 7 8 6 7 4 5 2 4 0 2
FIGURE 138 A melodic minor open-voiced triads on the A, D and B strings
Am Bm C+ D E F#º G#º Am Bm C+ D E 8va 3 3 3 3 3 3 3 3 3 3 3 3 0 2 1 2 4 3 3 6 5 5 7 7 7 9 9 9 10 10 11 12 12 12 14 13 14 16 15 15 18 17 17 19 19 19 19 20
FIGURE 139 A melodic minor open-voiced triads on the D, G and high E strings Am Bm C+ D E F#º G#º Am 8va
FIGURE 140 A melodic minor diatonic seventh chords on the middle four strings 7 9 8 9 11 10 10 13 12 12 14 14 14 16 16 16 17 17 18 19 19 19 21 20 Am(maj7) Bm7 Cmaj7#5 D7 E7 F#m7¨5 G#m7¨5 Am(maj7) Bm7 Cmaj7#5 D7 E7 8va 7fr 1 3 4 2 Am(maj7)
FIGURE 141 A melodic minor diatonic seventh chords on the top four strings 0 2 1 1 9fr 1 4 2 3 Bm7 2 4 2 3 10fr 1 4 2 3 Cmaj7#5 3 6 4 5 12fr 1 3 2 4 D7 5 7 5 7 14fr 1 3 2 4 E7 7 9 7 9 16fr 1 3 3 3 F#m7b5 9 109 10 18fr 1 3 3 3 G#m7b5 11 12 11 12 19fr 1 3 4 2 Am(maj7) 12 14 13 13 7fr 1 3 4 2 Am(maj7) 14 16 14 15 6fr 1 3 3 3 G#m7b5 15 18 16 17 4fr 1 3 3 3 F#m7b5 17 19 17 19 1 3 2 4 E7 19 21 19 21 2 3 4 D7
FIGURE 142 A melodic minor scale
MELODIC MINOR’S MOST APPEALING USEFUL MODES
FIGURE 143 D Lydian-dominant mode
2 4 5 3 5 2 4 5 7 4 5 7 5 7 4 5 5 7 4 6 7 4 5 7 Medium Swing =3
FIGURE 144 vamp and improvised solo using D Lydian-dominant D7 10 10 11 10 10 10 11 10 10 10 11 10 10 10 11 10 10 10 11 10 10 12 9 11 12 9 10 12 9 11 9 10 12 8 10 12 10 8 12 10 9 11 9 12 10 D7 3 3 9 12 11 12 9 1012 9 11 13 10 12 13 10 12 14 10 12 131013 12 10 13 9 10 5 4 5 3 5 3 5 3 X 5 3 4 5 4 5 3 5 4 5 3 5 7 4 3 6 7 4 5 4 5 4 7 6 4 6 7 4 5 7 5 7 9 9 7 8 5 7 8 7 5 9 5 5 4 6 7 4 5 7 5 7 9 5 7 8 10 8 7 9 9 10 9 7 6 9 7 5 3 7 5 4 5 7 3 7 5 7 4 7 3 6 7 4 7 5 7 5 6 7 5 4 7 6 4 7 5 5 4 5 3 5 4 5 3 4 5 3 4 5 3 7 8 7 5 4 0
FIGURE 145 A7
E melodic minor scale
5 7 5 5 5 5 6 5 7 4 5 7 4 6 4 5 4 6 4 7 5 4 7
FIGURE 146 A Lydian-dominant mode
5 7 9 6 7 9 5 7 9 6 8 9 7 8 5 0 7 9 6 8 9 7 8 10 8 7 9 8 6 9 7 0
FIGURE 147 A Lydian-dominant improvised line
let ring 0 7 9 6 8 9 7 8 7 9 8 9 7 8 5 7 8 5 7 9 11 1211 1/2 3 3 7 11 9 7 10 8 8 7 9 8 6 4 6 4 7 5 4 5 4 2 1 2 0 2 1 2 4 1/2 1/2 3 3 5 2 5 2 4 2 4 5 2 3 53 5 7 8 7 5 4 5 7 7 54 4 6 4 7 5 5 4 1/2 1/2
