Mastering Chords and Harmony

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Gabelvision ASCAP 2012

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TRIADIC CHORDS

As recorded by Derryl Gabel

Transcribed by Derryl Gabel Music by Derryl Gabel

Performance Notes

The definition of a chord is every other note in the scale played together. In this lesson we will examine the triad. A triad is a three note chord. It is built off the first, third , and fifth degrees of the scale.

THE MAJOR TRIAD

Examples 1 - 4 are the C major triad. The notes come from the C major scale.

The notes in the C major triad are C , E , and G. Numerically you can think of this as a I , 3 , 5 , voicing.

C is the root or first degree E is the major third G is the perfect fifth.

Examples 5 - 8 we have the C major triad inverted. In this case E is in the bass . As a rule when the third of a chord is in the bass it is called the first inversion. So this chord is called the C major triad in the first inversion. It can also be refered to as C over E. Hence C/E. The numeric voicing would be 3 ,5, 1.

Examples 9 - 12 we have the C major triad inverted. In this case G is in the bass . As a rule when the fifth of a chord is in the bass it is called the second inversion. So this chord is called the C major triad in the second inversion. It can also be refered to as C over G. Hence C/G. The numeric voicing would be 5 ,1 ,3 .

Examples 13 - 17 are examples of doubling. This simply means to an a duplicate not an octave higher or lower which will create a fuller sound.

THE SUSPENDED TRIAD

Examples 18 - 23 are two types of sus chords: Sus2 and Sus4. To create a sus 2 lower the 3rd to the 2nd.

C sus2 = CDG = 125

To create a sus 4 raise the 3rd of the chord to the fourth degree. C sus4 = CFG = 145

LYDIAN TRIADS

Examples 23 - 29 are types of Lydian Triads

Raising the 4th to the #4 or b5 (F# or Gb) will give a lydian sound. This chord would come from the C lydian scale C D E F# G A B C.

Now try taking a C major triad, C,E,G and lowering the G a half step to Gb. This to will give a lydian sound as well.

THE MINOR TRIAD

To convert the major triad into the minor triad lower the third a half step. C - E - G this is the major triad 1 - 3 - 5

C - Eb - G this is the minor triad. 1 - flat3 - 5

Examples 30 - 32 are the Cm triads in all the inversions. ADD 4

Examples 33 - 35 are C minor add4 chords. To create these chords from minor just lower the 5th to the 4th.

Examples 36 - 38 are C major add4 chords. To create the chords from the major form just lower the 5th to the 4th. Using add4 chords gives a more modern sound like the sus2 and sus 4.

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TRIADIC CHORDS - Derryl Gabel Page 2 of 8

Examples 39 - 41 are the C diminished triad in all the inversions.

The diminished triad comes from the Locrian mode which is the seventh mode of the major scale. To convert the minor triad into the diminished triad just lower the fifth a half step.

C - Eb - Gb this is the C diminished triad 1 - b3 - b5 THE AUGMENTED TRIAD

Examples 42 - 44 are the C augmented triad in all the inversions.

The augmented triad comes from the Lydian Augmented and Whole Tone scale. To convert the major triad into the augmented triad raise the fifth a half step. C - E - G# this is the augmented triad. 1 - 3 - #5

TRIADIC CHORD SCALE

Examples 45 - 51 are triads built from each degree or mode in the C major scale. Hence the term chord scale. Triad - Mode Major - Ionian Minor - Dorian Minor - Phrygian Major - Lydian Major - Mixolydian Minor - Aeolian Diminished - Locrian OPEN CHORD VOICINGS

So far we have been using closed chord voicings which are when all the notes used are within one octave. To create an open voicing raise or lower one of the notes an octave.

Examples 52 - 60 are open voicings using the C major triad. PRACTICING CHORD SCALES

Example 61 is a chord scale in the first inversion from the key of C. Example 62 is a chord scale in the second inversion from the key of C. Practice the chord scales in each inversion on all string sets.

String Sets 123 234 345 456

Example 63 is a chord scale using doubling. These chord shapes are often referred to as bar chords because of using the "barring" technique to fret multiple notes with a single finger.

Try playing the bar chords on the D,G,B,E set of strings and the E,A,D,G strings.

Example 64 is the chord scale in first position using open strings and doubling. These voicings are used often in pop and folk songs. Try changing the voicings to sus 2, sus4, from major to minor, and minor to major.

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I

1

T

A

B

44

Gtr I

C

U

3 U

5 U

8 U

9 U

10 U

0 U

2 U

3 U

5 U

7 U

8 EX 1 - 4

I

5

T

A

B

C/E

U

8 U

9 U

1 U

0 U

2 U

5 U

7 U

10 U

12 EX 5 - 8

I

9

T

A

B

C/G

U

12 U

13 U

12 U

5 U

9 U

10 U

2 U

3 U

3 EX 9 - 12

I

13

T

A

B

C

U

3 U

5 U

3 U

5 U

3 U

5 U

7 U

3 U

5 U

3 U

8 U

9 U

10 U

8 EX 13 - 17

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I

18

T

A

B

Csus2

U

3 U

5 Csus2/E

U

8 U

7 Csus2/G

U

10 U

13 U

12 EX 18 - 20

I

21

T

A

B

Csus4

U

3 U

6 U

5 Csus4/E

U

8 U

10 Csus4/G

U

13 U

12 EX 21 - 23

I

24

T

A

B

C

U

3 U

7 U

5 g

C

U

8 U

11 g

C

U

14 U

13 U

12 g

#4

EX 24 - 26

#4/F#

#4/G

I

27

T

A

B

C

`

5 U

2 U

6 U

5 e

C

`

5/E

U

8 U

7 U

9 e

C/G

U

`

12 U

13 U

11 e

EX 27 - 29

I

30

T

A

Cm

U

3 U

4 U

5 e

Cm/E

`

U

8 U

8 e

Cm/G

U

11 U

13 U

12 e

EX 30 - 32

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I

33

T

A

B

Cmadd4

U

1 U

4 U

5 e

Cmadd4/E

U

8 U

6 U

8 e

Cmadd4/F

U

11 U

13 U

10 e

EX 33 - 35

I

36

T

A

B

Cadd4

U

1 U

5 U

5 Cadd4/E

U

8 U

6 U

9 Cadd4/F

U

12 U

13 U

10 EX 36 - 38

I

39

T

A

B

C°

U

2 U

4 U

5 ee

C°/E

U

`

8 U

7 U

8 ee

C°/G

U

`

11 U

13 U

11 ee

EX 39 - 41

I

42

T

A

B

C+

U

4 U

5 U

5 g

C+/E

U

8 U

9 U

9 g

C+/G

b

U

12 U

13 U

13 g

EX 42 - 44

I

45

T

A

B

C

U

3 U

5 U

5 Dm

U

5 U

6 U

7 Em

U

7 U

8 U

9 F

U

8 U

10 U

10 EX 45 - 51

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I

49

T

A

B

G

U

10 U

12 U

12 Am

U

12 U

13 U

14 B°

U

13 U

15 U

16 I

52

T

A

B

C/G

U

5 U

3 C

U

8 U

9 U

8 C/E

U

13 U

12 U

12 EX 52 -54

I

55

T

A

B

C/E

U

3 U

5 U

7 C/G

U

8 U

9 U

10 C

U

12 U

15 EX 55 - 57

I

58

T

A

B

C

U

5 U

8 C/E

U

8 U

10 U

12 C/G

U

13 U

14 U

15 EX 58 - 60

I

61

T

A

Em

U

0 U

0 F

U

1 U

2 G

U

3 U

4 Am

U

5 U

5 EX 61

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I

65

T

A

B

B°

U

7 U

6 U

7 C

U

8 U

9 Dm

U

10 U

10 Em

U

12 U

12 I

69

T

A

B

C/G

U

0 U

1 U

0 D/A

U

1 U

3 U

2 Em/B

U

3 U

5 U

4 F/C

U

5 U

6 U

5 EX 62

I

73

T

A

B

G/D

U

7 U

8 U

7 Am/E

U

8 U

10 U

9 B°/F

U

10 U

12 U

10 C/G

U

12 U

13 U

12 I

77

T

A

B

C

U

5 U

3 Dm

U

6 U

7 U

5 Em

U

8 U

9 U

7 F

U

10 U

8 EX 63

I

81

T

A

B

G

U

12 U

10 Am

U

13 U

14 U

12 B°

U

15 U

16 U

15 U

14 C

U

17 U

15

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I

85

T

A

B

C

U

0 U

1 U

0 U

2 U

3 Dm

U

1 U

3 U

2 U

0 Em

U

0 U

2 U

0 F

U

1 U

2 U

3 U

1 EX 64

I

89

T

A

B

G

U

3 U

0 U

2 U

3 Am

U

0 U

1 U

2 U

0 B°

U

1 U

0 U

2 U

3 U

2 C

U

0 U

1 U

0 U

2 U

3

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SEVENTH CHORDS

As recorded by Derryl Gabel

SEVENTH CHORDS

The major seventh chord is built off the 1st, 3rd, 5th, and 7th degree of the major scale / Ionian mode as well as the Lydian mode. Examples 1 - 3 is the Cmaj7 chord on diffrent sets of strings.

Examples 4 - 6 shows the diffrent inversions generated from a 1,3,5,7 voicing. The root form has C in the bass which is the root

The first inversion has E in the bass which is the major 3rd The second inversion has G in the bass which is the perfect 5th The third inversion has B in the bass which is the major 7th.

If we looked at each note as a "voice" it would be, from high to low, voice one through four. 7 voice 1

5 voice 2 3 voice 3 1 voice 4

By dropping the second voice we can gain more practicle chord forms that are easier to play on guitar.

So you would go from CEGB to GCEB. Now, if we use the rules for inverting with this drop 2 voicing we can create more guitar friendly voicings.

Examples 7 - 18 are the drop 2 chord voicings on each set of strings. Examples 19 - 26 uses the drop 3 chord forms.

Examples 27 - 34 uses open chord voicings. One way to do this is by taking the 2nd voice and raising it an octave higher. Examples 35 - 54 are examples of other major 7 chord types.

Here are the modes or scales that generate each chord type. Chord - Mode or Scale

Maj7sus2 - Ionian, Lydian Maj7sus4 - Ionian

Major7#4 - Lydian, Lydian#2 Major7b5 - Lydian, Lydian#2

Maj7#5 - Lydian Augmented, Ionian Augmented

Examples 55 - 66 are the Dominant and Altered Dominant Chords. Dominants

Essentially there are two types of unaltered dominant chords. They contain one or all of the following: 9th, 5th or a b5th.

Dominant sus4 or Dominant 11 chords, functioning as a five chord in a major key, contain the 4th or an 11th instead of the third. Lydian Dominant chords, functioning as a four chord in melodic minor, contains a b5 instead of a 5.

Altered Dominants

Altered Dominants contain one or all of the following: b9 or #9, #5. Here are the modes or scales that generate each chord type. Chord - Mode or Scale

7 - Mixolydian, Lydian Dominant, Mixolydianb6 7sus2 - Mixolydian, Lydian Dominant, Mixolydianb6 7sus4 - Mixolydian, Lydian, Mixolydianb6

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SEVENTH CHORDS - Derryl Gabel Page 2 of 10

7#5 - Mixolydianb6, Phrygian Major, Whole Tone Examples 67 - 82 are the Minor 7 Chord Types

The Cm7 chord is also the same thing as an Eb major 6 chord. CEbGBb = Cm7

EbGBbC = Ebmaj6 Please note:

Examples 71 - 78 are Cm7sus2 and sus4 respectively. They are also the same notes as C7sus2 and sus4. It is actually more common to call these C7sus2 and sus4 except when the chord is functioning as the ii or vi chords.

The "m" in Cm7 typically refers to the 3rd but in this case the m7 refers to the b7 because the third in both the sus2 and 4 have replaced the third.

Cm7b5 is the same chord as an Ebm6 CEbGbBb = Cm7b5

EbGbBbC = Ebm6

Here are the modes or scales that generate each chord type. Chord - Mode or Scale

m7 - Dorian, Phrygian, Aeolian, Dorianb2, Dorian#4 m7sus2 - Dorian, Aeolian, Dorian#4

m7sus4 - Dorian, Phrygian, Aeolian, Dorianb2

m7b5 - Locrian, Super Locrian, Aeolianb5, Dorian#4, HW Diminished m7#5 - Phrygian, Aeolian, Locrian, Aeolianb5

m/maj7 - Melodic and Harmonic Minor

The diminished 7th chord can be created from the minor7b5 by lowering the 7th a half step. You can also creat this chord by raising the root of the dominant chord up a half step. Diminished 7th comes from the half whole diminished scale and the altered scale which is the seventh mode of harmonic minor.

Examples 83 - 86 are Diminished 7th Chords Examples 87 - 94 continue with minor 7 types. Experimenting

Try taking the chords I have shown you and make more than one alteration to them and see what you can come up with. Take this Cmaj7/E.

You can lower the 3rd to the 2nd and raise the 5th to the 6th. This will create a Cmaj7sus2add6/E.

Examples 95 -98 show the process of changing each inversion into a Cmaj7sus2add6 by making multiple alterations. Example 99 is a chord scale using the root form.

Example 100 is a chord scale using the first inversion chord forms.

Example 101 is a chord scale using the drop 3 chord forms. These are all 2nd inversions because the 5th of each chord is in the bass.

I

1

T

A

B

44

Gtr I

Cmaj7

U

0 U

2 U

3 U

7 U

8 U

9 U

10 U

4 U

5 U

7 U

8 EX 1 - 3

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I

4

T

A

B

Cmaj7/E

U

1 U

4 U

5 U

7 Cmaj7/G

U

5 U

9 U

10 Cmaj7/B

U

8 U

9 U

10 U

14 EX 4 - 6

I

7

T

A

B

Cmaj7/G

U

4 U

2 U

3 U

3 Cmaj7/B

U

5 U

7 U

7 Cmaj7

U

9 U

10 U

8 C/E

U

12 U

10 U

14 U

12 EX 7 - 10

I

11

T

A

B

Cmaj7/B

U

1 U

0 U

2 U

2 Cmaj7

U

5 U

4 U

5 U

3 Cmaj7/E

U

8 U

5 U

9 U

7 Cmaj7/G

U

12 U

9 U

10 U

10 EX 11 - 14

I

15

T

A

B

Cmaj7/E

U

3 U

1 U

4 U

2 Cmaj7/G

U

7 U

5 U

5 Cmaj7/B

U

8 U

9 U

9 Cmaj7

U

12 U

10 EX 15 - 18

I

19

T

A

B

Cmaj7/G

U

1 U

4 U

2 U

3 Cmaj7/B

U

5 U

7 Cmaj7

U

8 U

9 U

8 Cmaj7/E

U

12 U

10 U

12 EX 19 - 22

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I

23

T

A

B

Cmaj7

U

3 U

5 U

4 U

3 Cmaj7/E

U

7 U

8 U

5 U

7 Cmaj7/G

U

8 U

12 U

9 U

10 Cmaj7/B

U

12 U

13 U

12 U

14 EX 23 - 26

I

27

T

A

B

Cmaj7

U

7 U

5 U

3 Cmaj7/E

U

8 U

9 U

7 Cmaj7/G

U

12 U

10 U

10 Cmaj7/B

U

15 U

13 U

14 U

14 EX 27 - 30

I

31

T

A

B

Cmaj7/G

U

5 U

4 U

3 U

3 Cmaj7/B

U

8 U

5 U

7 U

7 Cmaj7

U

12 U

9 U

10 U

8 Cmaj7/E

U

12 U

14 U

12 EX 31 - 34

I

35

T

A

B

Cmaj7sus2

U

3 U

4 U

5 U

3 Cmaj7sus2/E

U

8 U

5 U

9 U

5 Cmaj7sus2/G

U

12 U

7 U

10 U

10 Cmaj7sus2/B

U

13 U

12 U

14 EX 35 - 38

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I

39

T

A

B

Cmaj7sus4

U

6 U

4 U

5 U

3 Cmaj7sus4/E

U

8 U

5 U

9 U

8 Cmaj7sus4/G

U

12 U

10 U

10 Cmaj7sus4/B

U

13 U

12 U

13 U

14 e

EX 39 - 42

I

43

T

A

B

Cmaj7+11

U

7 U

4 U

5 U

3 g

Cmaj7+11/F

U

b

8 U

5 U

9 U

9 g

Cmaj7+11/G

U

12 U

11 U

10 U

10 g

Cmaj7+11/B

U

13 U

12 U

14 U

14 EX 43 - 46

I

47

T

A

B

Cmaj7

`

5 U

4 U

3 e

Cmaj7

`

5/E

U

7 U

5 U

9 U

7 e

Cmaj7

U

`

5/G

12 U

9 U

10 U

9 e

Cmaj7

`

5/B

U

13 U

11 U

14 U

14 e

EX 47 - 50

I

51

T

A

B

Cmaj7+5

U

5 U

4 U

6 U

3 g

Cmaj7+5/E

U

9 U

5 U

9 U

7 g

Cmaj7+5/G

U

b

12 U

9 U

10 U

11 g

Cmaj7+5/B

U

13 U

14 U

14 g

EX 51 - 54

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I

55

T

A

B

C7

U

5 U

3 U

5 U

3 e

C7/E

U

8 U

5 U

8 U

7 e

C7/G

U

11 U

9 U

10 U

10 e

C7/B

U

`

13 U

12 U

14 U

13 e

EX 55 - 58

I

59

T

A

B

C7

`

5 U

3 U

4 U

3 ee

C7

`

5/E

U

7 U

5 U

8 U

7 ee

C7

`

5/G

U

`

11 U

9 U

10 U

9 e

e

C7

`

5/B

`

U

13 U

11 U

14 U

13 ee

EX 59 - 62

I

63

T

A

B

C7+5/E

U

5 U

3 U

6 U

3 ee

C7+5/G

b

U

9 U

5 U

8 U

7 ge

C7+5/B

U

`

11 U

9 U

10 U

11 e

e

C7+5

U

13 U

14 U

13 ee

EX 63 - 66

I

67

T

A

B

Cm7

U

4 U

3 U

5 U

3 ee

Cm7/E

`

U

8 U

5 U

8 U

6 ee

Cm7/G

U

11 U

8 U

10 U

10 ee

Cm7/B

U

`

13 U

12 U

13 U

13 ee

EX 67 - 70

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I

71

T

A

B

Cm7

U

3 U

5 U

3 e

Cm7

U

8 U

5 U

8 U

5 e

Cm7

U

11 U

7 U

10 U

10 e

Cm7

U

13 U

12 U

13 e

sus2/D

sus2/G

sus2/Bb

sus2

EX 71 - 74

I

75

T

A

B

Cm7

U

6 U

3 U

5 U

3 e

Cm7

U

8 U

5 U

8 U

8 e

Cm7

U

11 U

10 U

10 e

Cm7

U

13 U

12 U

15 U

13 e

sus4

sus4/F

sus4/G

sus4/Bb

EX 75 - 78

I

79

T

A

B

Cm7

`

5 U

4 U

3 U

4 U

3 eee

Cm7

`

5/E

`

U

7 U

5 U

8 U

6 ee

e

Cm7

`

5/G

`

U

11 U

8 U

10 U

9 ee

e

Cm7

`

5/B

`

U

13 U

11 U

13 U

13 eee

EX 79 - 82

I

83

T

A

B

C°7

U

4 U

2 U

4 U

3 ee

C°7/E

`

U

7 U

5 U

7 U

6 e

e

C°7/G

`

U

10 U

8 U

10 U

9 ee

C°7/A

U

13 U

11 U

13 U

12 ee

EX 83 - 86

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I

87

T

A

B

Cm7+5

U

4 U

3 U

6 U

3 eee

Cm7+5/E

`

U

9 U

5 U

8 U

6 ee

e

Cm7+5/G

b

U

11 U

8 U

10 U

11 ee

g

Cm7+5/B

`

U

13 U

11 U

13 U

13 g

ee

EX 87 - 90

I

91

T

A

B

Cm/maj7

U

5 U

4 U

5 U

3 Cm/maj7/E

`

U

8 U

5 U

9 U

7 Cm/maj7/G

U

12 U

9 U

10 U

10 Cm/maj7

U

13 U

12 U

14 U

14 EX 91 - 94

I

95

T

A

B

Cmaj7/E

U

3 U

1 U

4 U

2 Cmaj7sus2/D

U

3 U

1 U

4 U

0 Cmaj7sus2add6/E

U

5 U

1 U

4 U

0 EX 95

I

98

T

A

B

Cmaj7/G

U

7 U

5 U

5 Cmaj7sus2/G

U

7 U

3 U

5 U

5 Cmaj7sus2add6/A

U

7 U

3 U

5 U

7 EX 96

I

101

T

A

Cmaj7/B

U

8 U

9 U

9 Cmaj7sus2/B

U

8 U

7 U

9 Cmaj7sus2add6/B

U

8 U

10 U

7 U

9 EX 97

(19)

I

104

T

A

B

Cmaj7

U

12 U

10 Cmaj7sus2

U

10 U

12 U

10 Cmaj9add6

U

10 U

12 U

14 U

10 EX 98

I

107

T

A

B

Cmaj7

U

5 U

4 U

5 U

3 Dm7

U

6 U

5 U

7 U

5 Em7

U

8 U

7 U

9 U

7 Fmaj7

U

10 U

9 U

10 U

8 EX 99

I

111

T

A

B

G7

U

12 U

10 U

12 U

10 Am7

U

13 U

12 U

14 U

12 Bm7

`

5 U

15 U

14 U

15 U

14 Cmaj7

U

17 U

16 U

17 U

15 I

115

T

A

B

Cmaj7/E

U

3 U

1 U

4 U

2 Dm7/F

U

5 U

3 U

5 U

3 Em7/G

U

7 U

5 U

7 U

5 Fmaj7/A

U

8 U

6 U

9 U

7 EX 100

I

119

T

A

B

G7/B

U

10 U

8 U

10 U

9 Am7/C

U

12 U

10 U

12 U

10 Bm7

`

5/E

U

13 U

12 U

14 U

12 Cmaj7/E

U

15 U

13 U

16 U

14

(20)

I

123

T

A

B

Cmaj7/G

U

1 U

4 U

2 U

3 Dm7/A

U

3 U

5 U

3 U

5 Em7/B

U

5 U

7 U

5 U

7 Fmaj7/C

U

6 U

9 U

7 U

8 EX 101

I

127

T

A

B

G7/D

U

8 U

10 U

9 U

10 Am7/E

U

10 U

12 U

10 U

12 Bm7

`

5/F

U

12 U

14 U

12 U

13 Cmaj7/G

U

13 U

16 U

14 U

15

(21)

NINTH CHORDS

As recorded by Derryl Gabel

NINTH CHORDS

Examples 1 - 5 are Cmaj9 chords. These chords come from the Ionian and Lydian modes. To create these chords I am using the notes C-E-G-B-D which could be thought of as an E minor 7 over C. I'm basically playing all the inversions of E minor 7 while keeping C in the bass.

Examples 6 - 10

The Dominant 9th chord comes from the Mixolydian mode as well as the Lydian Dominant and the Mixolydianb6 modes. By lowering all the B notes to Bb you will create the Dominant 9.

CEGBbD = C9 = Em7b5 over C Examples 11 - 15

The dominant7#9 chord comes from the Super Locrian and Half Whole Diminished Scales. If you take a Dominant 9 chord and raise the 9th a half step you will create a 7#9 Chord CEGBbD# = C7#9 = EmM7b5 over C

Examples 16 - 20

Dominant7b9 comes from the Super Locrian, Half Whole Diminished, and Phrygian Major scales. If you take a Dominant 9 chord and lower the 9th a half step you will create a 7b9 Chord

CEGBbDb = C7b9 = E dim7 over C Examples 21 - 26

The minor9 chord comes from the Dorian and Aeolian modes. By lowering the 3rd, of the C9 chord you will create the minor 9. CEbGBbD = Cm9 = EbM7 over C

Examples 27 - 30

Here's another way to create maj9 and sus2 voicings.

To extract inversions from a voicing you like you simply take the chord tones and follow them in the order that they appear in the scale. Take this Cmaj9 for example. This comes from the C major scale

CDEFGABC = 1234567 The chord is CEBD = 1379 Now lets think of the 9 as the 2. 1372 = CEBD 2713 = DBCE 3127 = ECDB 7231 = BDEC

I

1

T

A

B

Gtr I

Cmaj9

U

3 U

4 U

2 U

3 U

7 U

5 U

7 U

5 U

8 U

10 U

8 U

9 U

8 U

12 U

8 U

5 U

7 U

9 U

8 EX 1 - 5

(22)

NINTH CHORDS - Derryl Gabel Page 2 of 3

I

6

T

A

B

C9

U

3 U

2 U

3 e

U

6 U

5 U

7 U

5 U

8 e

U

10 U

8 U

9 U

8 U

8 e

U

12 U

11 U

12 U

8 e

_U

5 U

7 U

8 U

8 e

EX 6 - 10

I

11

T

A

B

C7+9

U

3 U

4 U

3 U

2 U

3 ge

U

6 U

5 U

8 U

5 U

8 eg

U

11 U

8 U

9 U

8 U

8 g

e

U

12 U

11 U

12 U

13 U

8 eg

U

5 U

8 U

8 ge

EX 11 - 15

I

16

T

A

B

C7

`

9 U

3 U

2 U

3 U

2 U

3 ee

U

6 U

5 U

6 U

5 U

8 ee

U

9 U

8 U

9 U

8 U

8 e

e

U

12 U

11 U

12 U

11 U

8 ee

U

5 U

6 U

8 U

8 ee

EX 16 - 20

I

21

T

A

B

Cm9

U

3 U

1 U

3 ee

U

6 U

4 U

7 U

5 U

3 ee

Cmadd9

U

4 U

7 U

5 U

3 e

EX 21 - 26

(23)

NINTH CHORDS - Derryl Gabel Page 3 of 3

I

24

T

A

B

Cm9

U

10 U

8 U

8 ee

U

11 U

12 U

8 ee

_U

4 U

7 U

8 U

8 ee

I

27

T

A

B

Cmaj9

U

3 U

4 U

2 U

3 Cmaj7sus2/D

U

5 U

9 U

5 Cmaj7sus2/E

U

12 U

7 U

10 U

7 Cmaj7sus2/B

U

13 U

9 U

12 U

14 EX 27 - 30

(24)

ELEVENTH CHORDS

As recorded by Derryl Gabel

ELEVENTH CHORDS

The major 11th chord can be thought of as a B diminished triad with C in the bass. CBDF = Cmaj11 = B diminished over C

You can also play a G7 over C CGBDF

This chord comes from the Ionian.

Examples 1 - 3 are Cmaj11 chords using B diminished/C.

Measures 4 - 6 are additional chords not shown in the video. These are using G7/C. The maj7 #11 chord can be made by simply raising the 11th or the F to F#

CBDF# = CM7#11 = B minor over C You can also play a Gmaj7 over C CGBDF#

These chords come from the Lydian mode.

Examples 4 - 6 are the maj7#11 chords using Bm/C.

Measures 10 - 12 are additional chords not shown in the video. These are using Gmaj7/C. The dominant 11 chord can be made by taking the C major 11th and lowering the 7th or B to Bb. CBbDF = C11 = Bb major over C.

It can aslo be created by playing a Gm7/C CGBbDF

This chord comes from the Mixolydian and Mixolydian b6 modes. Examples 7 - 9 are the C11 chords using Bb/C.

Measures 16 - 18 are additional chords not shown in the video. These are using Gm7/C.

The minor 11th chord can be made from the C11 chord by simply raising the 9th or D to Eb the minor 3rd. CBbEbF = Cm11 = Bbsus2 over C

This chord comes from the Dorian, Phrygian, Aeolian, and Locrian modes. It can also be found in Dorianb2 and Aeolianb5.

I

1

T

A

B

44

Gtr I

Cmaj11

U

1 U

3 U

4 U

3 U

7 U

6 U

7 U

8 U

10 U

12 U

10 U

8 EX 1 - 3

I

4

T

A

Cmaj11

U

7 U

6 U

7 U

5 U

U

10 U

12 U

10 U

9 U

U

13 U

12 U

(25)

ELEVENTH CHORDS - Derryl Gabel Page 2 of 3

I

7

T

A

B

Cmaj7+11

U

2 U

3 U

4 U

3 g

U

7 U

8 g

U

10 U

12 U

11 U

8 g

EX 4 - 6

I

10

T

A

B

Cmaj7+11

U

7 U

5 U

8 g

U

10 U

8 U

11 U

9 U

8 g

U

14 U

12 U

8 g

ADDITIONAL CHORDS NOT SHOWN IN VIDEO

I

13

T

A

B

C11

U

1 U

3 U

3 e

U

6 U

7 U

8 e

U

10 U

11 U

10 U

8 e

EX 7 - 9

I

16

T

A

B

C11

U

6 U

7 U

5 U

8 e

U

10 U

8 U

10 U

8 U

8 e

U

13 U

11 U

12 U

8 e

(26)

ELEVENTH CHORDS - Derryl Gabel Page 3 of 3

I

1

T

A

B

Cm11

U

1 U

4 U

3 U

3 ee

U

6 U

8 U

8 ee

U

11 U

10 U

8 ee

EX 10 - 12

(27)

THIRTEENTH CHORDS

As recorded by Derryl Gabel

THIRTEENTH CHORDS

The major thiteenth chord comes from the Ionian mode. Lets spell out the make up of this chord.

1-3-5-7-9-11-13

This is every note in the scale but it is not necessary to use every note. Examples 1 - 4 are maj13th chords constructed by using a Bm7b5/C. This is giving us the 1, 4 or 11th, 7, 9, 13

Examples 5 - 9 is the maj13 chord using an Em7sus4/C. This is gives us the 1, 3, 7, 9, 13

Examples 10 - 13 is the maj13 using an Am7sus4/C. This gives us the 1, 3, 5, 6 or 13, 9

Examples 14 - 17 is the dominant 13 chord. This comes from the Mixolydian mode. We are using a Bbmaj7b5/C.

This gives us the 1, 3, b7, 9, 13.

Examples 18 - 21 is the dominant 13b9 chord.

This is from the HW Diminished and the Super Locrian mode. We are using a Bbm/maj7b5/C.

This gives us the 1, 3, b7, b9, 13

Examples 22 - 25 is the dominant b13#9 chord. This is from the Super Locrian mode.

We are using a Emaj7b5/C. This gives us the 1, 3, b7, #9, b13 Examples 26 - 29 is the minor 13 chord. We are using a Ebmaj7#4/C.

This gives us the 1, b3, b7, 9, 13.

Examples 30 - 33 is the minor 7b13 chord. We are using a Ebmaj7sus4/C.

This gives us the 1, b3, b7, 9, b13.

I

1

T

A

B

44

Gtr I

Cmaj13sus4

U

5 U

3 U

4 U

3 U

3 Cmaj9add6

U

7 U

6 U

7 U

8 Cmaj13

U

10 U

9 U

8 Cmaj11sus2add6

U

13 U

12 U

14 U

12 U

15 EX 1 - 4

(28)

THIRTEENTH CHORDS - Derryl Gabel Page 2 of 3

I

5

T

A

B

Cmaj13

U

5 U

3 U

4 U

2 U

3 C6add9

U

7 U

5 U

7 U

8 Cmaj13

U

5 U

7 U

9 U

8 EX 5 - 9

I

8

T

A

B

Cmaj13

U

10 U

9 U

8 Cmaj7sus2add6

U

12 U

14 U

12 U

15 I

10

T

A

B

C6add9

U

3 U

2 U

3 Cmaj13

U

5 U

7 U

5 U

8 C6add9

U

10 U

8 U

9 U

7 U

8 Cmaj13

U

12 U

10 U

12 U

8 EX 10 - 13

I

14

T

A

B

C13

U

5 U

3 U

2 U

3 e

C9add6

U

6 U

5 U

7 U

8 e

C13

U

10 U

9 U

8 U

8 e

C13

U

12 U

11 U

14 U

12 U

8 e

EX 14 - 17

I

18

T

A

C13

`

9 U

5 U

2 U

3 U

2 U

ee

C7add6

`

9 U

6 U

5 U

6 U

7 U

ee

C13

U

`

9

9 U

10 U

9 U

8 U

e

C7add6

`

9 U

12 U

11 U

14 U

11 U

ee

EX 18 - 21

(29)

THIRTEENTH CHORDS - Derryl Gabel Page 3 of 3

I

22

T

A

B

C7

`

13+9

U

4 U

3 U

2 U

3 ege

C7+9+5

U

6 U

5 U

8 U

6 U

3 ege

C7

`

13+9

U

11 U

9 U

8 U

8 ge

_e

C7

`

13+9

U

12 U

11 U

13 U

8 eeg

EX 22 - 25

I

26

T

A

B

Cm13

U

5 U

3 U

1 U

3 ee

Cm13

U

6 U

4 U

7 U

8 ee

Cm13

U

10 U

8 U

8 ee

Cm7add2add6

U

11 U

14 U

12 U

15 ee

EX 26 - 29

I

30

T

A

B

Cm7

`

13 U

4 U

3 U

1 U

3 ee

e

Cm7

`

13 U

4 U

7 U

8 U

8 eee

Cm7

U

`

13

10 U

9 U

8 U

8 eee

Cm7

U

`

13

11 U

13 U

12 U

8 eee

EX 30 - 33

(30)

IMAGES

As recorded by Derryl Gabel

Music by Derryl Gabel Arranged by Derryl Gabel

B

`

_{maj7 6 fr.}

x x xDm9x3 fr. xFm9x6 fr. xB

`

13x6 fr. xE

`

maj9 5 fr.x xD7+9 4 fr.x xE

`

/D

`

x8 fr. xG

`

maj9 8 fr.x xEm7+5 7 fr.x Gmadd9 3 fr.x Bx

`

7sus4 6 fr.x Cm7+5 8 fr.x x Cm11 6 fr.x x B7

`

5 _{6 fr.}

x x Bx

`

maj9 3 fr.x Dm9

VI

6 fr.

x x F7sus4add68 fr.x x x xCsus2 7 fr.x x xGm7/B

`

8 fr. x xDm7/A 6 fr. x xE

`

7/D

`

x8 fr.Gx

`

maj7sus26 fr.x B

`

xmaj7/D8 fr.x xCadd9/F 8 fr.Ax x

`

maj7/C9 fr. x xCmaj9 9 fr. B

`

/C _{6 fr.}

x x x xF/G

`

Gmadd9/A3 fr.x x E

`

maj7add2/Bx x 6 fr.

`

E

`

maj9

VIII

8 fr.

x x xEm9x8 fr. xD

`

maj9 6 fr.Ax

`

maj7sus28 fr.x G

`

maj9

VI 6 fr. x x xC/Dx8 fr. Ex x

`

add2/F 3 fr. x xF7

`

5 3 fr.Dm7/A (type 2) 6 fr. x x Fmaj7/A 6 fr. x x A

`

maj7/C

`

(type 2) 9 fr. x x x xB

`

6 8 fr. x xGm7 5 fr. F/G

`

IV 4 fr.

x x x xE

`

/A

`

3 fr. x xB

`

m7/F 2 fr. B

`

add9 6 fr.x x xAm/B 5 fr.x Ax x

`

maj7/G4 fr. x xGsus4 3 fr.x Gm7/B

`

(type 2) 8 fr. x x Dm7/A (type 3) 6 fr. x x Gm9 _{8 fr.} x x Bx x

`

sus4/A

`

6 fr. xGm7+5 10 fr.x Fmaj7/A X 10 fr. x x Ex

`

maj7/G8 fr.x E

`

/A

`

VIII 8 fr.

x x x xD

`

add9 x xFmaj9 3 fr. x xB

`

sus4 6 fr. Ex x

`

sus2/A 6 fr.x

I

1

T

A

B

44

Gtr II Gtr I

P

= 160

B

`

maj7

^

_ _

Dm9

_ ^

Fm9

^

_ _

B

_ ^

`

13 I

5

T

A

B

E

`

maj9

^

_ _

D7+9

_ ^

E

^

`

/D

`

_ _

G

`

_ ^

maj9

(31)

IMAGES - Derryl Gabel Page 2 of 2

I

9

T

A

B

`

maj7

^

_ _

Dm9

_ ^

Fm9

^

_ _

Em7+5

_ ^

I

13

T

A

B

E

`

maj9

^

_ _

D7+9

_ ^

Gmadd9

^

_ _

B

`

7sus4

_ ^

I

17

T

A

B

E

`

maj9

^

_ _

Dm9

_ ^

E

^

`

/D

`

_ _

Cm7+5

_ ^

I

21

T

A

B

G

`

maj9

^

_ _

Em7+5

_ ^

Cm11

^

_ _

B7

_ ^

`

5 I

25

T

A

B

`

maj7

^