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Chord Connections

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501 views113 pages

Chord Connections

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Francisco Reyes Santana
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cers ATTRAC ee A COMPREHENSIVE GUIDE TO GUITAR CHORDS AND HARMONY a Se eee eRe ep a OA UE acu Rp a Runa a eee een tn ete Scere en Expand your knowledge of harmony SY rea mo Rat ice} ROBERT NS EVo YN) Pal 4 * A COMPREHENSIVE GUIDE TO GUITAR CHORDS AND HARMONY Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop. ROBERT ern Pe BROWN "© MCMXCV' by Allred Publishing Co, ne Alege reserved, Pringed in USA odes Cara Kae ad Togs Chord Connections Table of Contents How to Read Chord Diagrams .. Open Position Chord Forms nnn Barre Chord Forms Basic Theory Triad String Set #1. ‘The Chord Connection ‘Triad Chord Connections.. Diatonic Triads. 26 ‘Triad String Set #2.. ‘Triad Sering Set #3. 7 ‘Triad String Set #4 snrnnnnnnensnnse 28 6ths and 10ths .. 29 ‘Triads in Spread Voicing, 30 ‘Complex Chords Chord Symbol Notation wsnnsnnsnnnennn Tth Chord Inversions .. The Five Four-Note String Sets FourNote String Set #1 FounNote String Set #2... Four-Note String Set #3. Four-Note String Set #4 Four-Note String Set #5... Other Chords You Should Know. Chords of the Harmonic Minor Seal Chords of the Melodic Minor Seal Quartal Harmony 1103 Chords With More Than One Name. 109 Chord Connections Chord Index This isa quick reference chart for most ofthe mevable chords n a ins ° this book, There are many other oth oe oe oe asttae oat chords inside for you to explore. opt os oo oe a a a Chord PP OP o Major IEEE CEH ice Eb Eee beet eee Minor 7% 7 we * ¢ © 2 & Diminished 7a Pant 96 Hehe tHe Het the Ht ecHee. Triad String Sets ‘Augmented 7% 27 wo fe 8 fe fF sung soins Major 7 > ee 7 sos 4 39 si oz 71 at ® Minor 7 eos fe + 39 Si oe 7 Bi Mt UU Minor 7'5 of 39 set fete Diminished 7 oot 8 39 st 71 al - — Major 9 ees te 7 7 7 et 8 oi say 57 677 Minor 9 oss 8 47 57 7 77 aoe Minor 95 oes 8 wy 7 oF Four-Note String Sets 9 oe es ay se) 7 * seen stm seingse Major 1 se 8 48 58 68 788 ul ee ee u's soe sf 48 58 68 78 ef u se 8 8 48 58 68 788 Major 13 cos tt 49 59 69 79 «89 1B oe fe 8 49 59 69 79 89 —— —— B sos + 49 59 69 79 89 Major 6 oss + 91 on nok on * Minor 6 oe fe ft 9 9 9 92 92 foams 619 ss 5 F933 9s Minor 7 SHOE HEP EP Sett Oa HAHA EE hosed Augmented 7 coe fe 8 5 95 5 95S 79 ee 79 ee) ee TS Ce ee ee ee) 7519 7... ew eww mG ps9 “7. eww ee + + 95 7. ew ew ww ee 139 ee. eww ew we eH 4 Chord Connections Introduction Chord Connections will show you how the many different types of chords are formed, how they relate to each other and how to get from one chord to the next in a smooth, logical manner, Each type of chord will be looked at in terms of; 1. Notes - What are the individual notes in the chord. 2. Quality = Is the chord major, minor, dominant, or another type. 3. Inversion - Which is the lowest note played, 4, String Set - Which strings are used to finger the chord. 5. Exercises. - Study material to help you fully understand the chord. We will start by looking at open-position and barre chord forms, some of which you probably already know. Then, we will move on to triads: theory, inversions and where to find them on all the possible sets of three strings on the guitar. Next, we'll move on to four-note voicings of 7h, 9th, [1th and 13th chords in all cheir qualities. As you will soon learn, there are five qualities of 7th and 9th chords, four qualities of | Ith chords, and three qualities of 13th chords, and each of these can be played four different ways and on five different sets of strings! That's (5+ 5+ 4+ 3 [= I7] x 4 [= 68] x 5 =) 340 simple voicings! Furthermore, each chord can be played in any of 12 keys. That's (340 x 12 =) 4,080 different chordst Don’t panic! The approach in this book is quite logical and easy to follow. It will take hours of practice and study to master, but all this material is presented in a step-by-step fashion. All the chords shown are fingered on the neck, and there are plenty of exercises to help you get them under your fingers. ‘We will look at special types of chords and where to play them in all their inversions on all sets of strings. Then, its on to Harmonic Minor and Meladic Minor chords and the theory behind them. And, finally, we will study quartal harmony, where chords are stacked up in 4ths instead of in 3rds As you will see, Chord Connections is comprehensive. Studying it will be demanding and rewarding. If you go through each lesson, do all the exercises, study the theory, and get a thorough understanding of each concept you will Be able to play any chord, in any inversion, on any set of strings in any key. Know all the notes that make up each chord. Know where all the notes are located on the neck of the guitar. Know how chords relate to each other. Know all the qualities of triads, four-note chords and other more specialized chords Understand chord scales Understand quartal harmony. Now een Much more than a chord dictionary, Chord Connections is a new approach co under- standing chords and harmony on the guitar. It will become an invaluable tool and a staple of your library. Robert Brown is the author of many books published by the National Guitar Workshop and Alfred, including Jazz for the Rock Guitarist, Stand Alone Tracks: Blues and Stand Alone Tracks: Funk, among others. Chord Connections 5 How to Read Chord Diagrams There are hundreds of chord diagrams to read in this book, so it is a good idea to take a moment to familiarize yourself with how they will appear. The vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets. Mute or Chord name a7 440 not pay this string Leftchand fingers ———>|_ 312 x x4 — oe | v<——Fret number e [Fes Rowan Nunenn. Review Here is a quick review of Roman numerals and their Arabic equivalents. Pei Vi VI VT Xi hee WO XM MTB XVID anv ne 16 Wei 2 Vivvo VIN vi B XP ai ME XIV xiv I XVI xvii. 17 MEH 3 VI vi 6 IX XM ai IZ XW kV IS XVI xviii. 18 Basic Crono Nav Asgrevenons Here is a short list of abbreviations used to identify the various chord types. For a com- plete listing, see page 36. This list will get you started. For purposes of demonstration, this list assumes a root of °C." C sane © Major Cming.... € Minor 6 CMaj7_.... C Major 7 Csus4 un € Suspended 4 Comin aoe © Minor Csus2..... € Suspended 2 Cimin7..... € Minor 7 CMaj9..... C Major 9 CT sesnse € Dominant 7 Cadd9.... € Major add? CF sons € Dominant 9 Chord Connections Open Position Chord Forms This lesson may be a review for you, but it is a good idea to go over all the chords that fall in open position before moving on to more difficult chords. A chord is in open position if it hhas open strings as an integral part of its make-up. nex Pasirox O Cuonas Let's start by looking at the chords with D as the root. If you are unclear about the definitions or spellings of some of these chords, don’t worry! You can jump ahead to pages 16,32 and 33 for an explanations of the different types of chords, or just wait till we get there! Play the chords below, reading across the page from left to right. Pay attention co the sound of each one and how it is different from those before and after, Memorize all of them. Finally, devise your own exercise with these chords by playing them in random ‘orders until you can play them all perfectly and easily. As you practice moving from one chord to the next, make sure you place all your fingers down at the same time. Also, look for guide fingers. A guide finger can stay on its string during a chord change because that string and finger are common to both chords, Some- times, a guide finger plays the exact same note in both chords. Sometimes it moves up or down on its string to a new note. It is very important to look for guide fingers because they minimize the amount of physical movement needed to change chords, and the less movement your hand has to do, the better D DMaj7 D6 Dadd9 xx0132 xx01 xx0203 xx0141 oon eee eo en eo 6 . i i e Dmmin Dming Dsus4 Dsus2 xx0231 xx0201} xx0134 xx0130 Tee. T f eon etn foe tn fe cu ° ' ee . Disus4 DiFs Dmin/F xx0214 Leo23x 1x023x ° c ¢ en ee ee ee ee ee Chord Connections 7 Opeu Posivow A Cxoros The A is the open Sth string and it should be played along with the other notes in the chord. Notice that there are two voicings of A, AMaj7 and A7. Spend some time becom- ing familiar with the sound of each individual chord on this page. Play the chords, reading across the page from left to right. A AMaj7 AT Amin Amin7 xO1230 x02130 x02039 02310 x02010 EF Pree pecan eH eer eee ee oe) oe . AMaj7 AG Amin6 xOlLI14 = xOtli3 sori xO2314 Pa = = eee eee | eeee eo . . Asus Asus? Aadd9 AMaj9 01230 , roe erajon Gb'b crane © : = 4 enon Gg otrmicn Kea OE — cunor PDP | err : . ctmajor iyf SE armor Fichct otal a! chmajor Geo ay 8 ee Ko ae doe vedo wexodcr Tae Cecue or 4x3 Chord Connections 15 Ic is important to learn co recognize each key and also to be able to explain and derive each key in order. The order for keys is called the cycle of 4ths. This is because each key follows its predecessor by the interval of a perfect 4th We start with the key of C Major. This key has no sharps or flats—easy to remember! The next key,a 4th away from Major Keys C, is F Major. The F Major scale,and therefore the key of A Tine F Major. is spelled F-G-A-B’-C-D-£. Notice the B. 7 & There must be one flat in the key of a8’. The next key is gh e Be a perfect 4th away from Rand just happens tobe B This @ BEA key is spelled BY-C.-D-E'-F-G-A. Notice that there + F ate alo are two flats now, B’ and E’. So, there are two flats inthe pt B BLE AR DL Gt key of B. Go up a 4th from B’ and you get E',the next key Gb P Bt eA Ghc in the cycle. You can see that each successive flat key adds another flat that is up a 4th from the last flat, and that the keys themselves are a 4th apart. Of course, this is also true for the minor keys, as the table on the right illustrates. If we continued on this way, the next key would be C— with seven flats! In order to avoid this, we can enharmoni- Major Key Minor Key Sharps cally spell C’ and call it B. If you study the chart on page B ¢ FC! Gt DEAR 14, you will see that B is a sharp key and that sharp keys E a FL Ch Gt Dt are derived in order from C in a cycle of Sths, Each keyis = A. FR Fi ch Gt a perfect Sth away from the previous one, and each sharp B FACE that is added is a Sth away from the previous one. How. G E A ever, since popular music more often follows the cycle of © A none 4ths, we will continue by moving around the cycle from B. This diagram shows the entire cycle of 4chs, and the cycle of Sths,as well MAJOR KEYS 4ths ' ' Sths F D E 2 Db? G Number 3. Eb MINOR KEYS FE A 2? Number Flats F A Bb Ai oF sharps 16 Chord Connections Tonas A triad Is a three-note chord built with the Ist, 3rd and Sth scale degrees. There are four different types, or qualities, of triads: Triad type Scale Degrees Major (Maj) T 3 5 Minor (min) ' 13 5 Diminished (dim) ' 3 5 Augmented (aug) i 3 Ss Ihversins Each type of triad can be played three different ways depending on which of the three notes is on the bottom of the triad. If the root is on the bottom, the triad is in root position. If the 3rd is on the bottom, the triad is in Ist inversion. ifthe Sth is on the bottom, the triad is in 2nd inversion. Root Position Ist Inversion 2nd Inversion C Major C Minor ot C Diminished e C Augmented ‘Triad String Set #1 Chord Connections 17 The first set of triads you need to learn are the ones on the top three strings, which we call Triad String Set #1 Read across first, from left to right, then down. As you read across the page the qualities change, Each chord to the right of the major triad has one or two notes changed, which changes its quality. Listen to the incredible difference even one note makes. The gray arrows will help you identify the notes that have been changed from the major triad, As you read down each column, the triads change inversions. Get famil- lar with the sound of each of these inversions, and learn the fingerings. C Major C Minor xxx231 xxx321 Inversions RP. ou io em i tLe] o¢ oF R35 R35 xxx2il xxx Ist @ ovr | @@ovnl e piper] 35R BSR Ind C Diminished xxx32/ ° en C Augmented xxx231 ew oe R35 | ee RP. @ = This note been raised or lowered Root Position cone half step from its position in che major criad to create a triad of a different quality 18 Chord Connections The Chord Connection The chord connection exercises in this book will Kelp you learn all the chords in all their inversions on ail string sets. the cycle of 4ths, and increase your knowledge of the guitar fingerboard. The first thing you have to know is the location of the three inversions of each triad. Here is a neck diagram of the three inversions of the major triad on String Set #1 ¢ Major Root Position Ist Inversion 2nd Inversion ° * e ° e z e o uw v vil x xi xv lee Sing les a good idea to visualize each string indi- vidvally to learn the location of the root in : eee ae aaa w each inversion. You'll see that the triad is ‘outlined on each string up the neck. ded Seg . ‘. . ‘ dean \ ; ‘. bil Here are the minor, diminished and Root Position IstInversion 2nd Inversion augmented triads on the finger. “le, e os board. Try to visualize each string ben e le individually, as you did with the major triads, uw v vu x xu xv iminished Root Position _Ist Inversion Ind Inversion e . ° ° e " . . e | " v wu x su xv C Augmented Root Position Ist Inversion 2nd Inversion e * e e un v vu x Te Exenose Chord Connections 19 The chord connection exercise, which will be used throughout this book for many chord types, works as follows: 1) Starting with a C chord in the lowest position possible. play up the fingerboard through all the inversions of the chord. 2) Find the inversion of an F chord that is nearest the last Inversion of the C chord, Beginning on that inversion of the F chord, come back down the neck, playing through all the inversions of the chord in F, until you, have reached the lowest position possible. 3) Find the BY chord inversion nearest there, and play back up the fingerboard through all the inversions of the B” chord. 4) Find the inversion of an E chord that is nearest the last inversion of the BY chord. Beginning on that inversion of the E chord, come back down the neck, playing through all the inversions of the chord in E’, until you have reached the lowest position possible, you know which string has the root in each inversion, finding each inversion is simply a mat- ter of finding the root note ‘on the appropriate string. For instance, the Ist inversion of a major triad has the root on the Ist string. So to find a Ist inversion C Major triad, you need only find a C note on the Ist string, and then play the Ist inversion triad there. Continue this way through the cycle of 4ths. When you have completed this exercise and can do it without looking at any chord diagrams, you will actually have learned not only all the inversions of the chord in every key, but also, the notes that make up each of those triads! Upin Rect Poston Int version 2nd Inversion Here is a full fingerboard view of how the . : ° chord connection exercise works using Major : we . the major triad and its inversions, start- ing in C and ending in E’. « . “ x w Down in F The following section of the’book will take Iuenwersion 2ndiversion Root Position you through this entire process with the . . major, minar, diminished and augmented Pua | te Ps : triads UpinB oct Postion tlnversion 2nd Inversion cat . B Major| iS . . Down in € oe 3 . . E-Major| 20 Chord Connections iad Chord Connections Read down the left column, chen up the next, then down the next, etc., across the two pages. The inversions are marked to the right of each diagram, under the fret number. c F Be & A D> —| = = ~ en oe eou © en eow en eS ° ao é . oe nas sao ask Sra 35k sas eacEi| pesd$| seeit sumEOi uuuti® wal) aa =eeee, meei3? xxdd! evn evn : ou evn ew . ° oe oe oe 35k nas saa has spa aos mexibh Gehl | (MARE! ee ex @ ox OXI 6 lic . i | | oe | saa ask nas 35k nas a5, Miwon Trians Cmin Fmin Brmin Emin Amin. Dmin exeEhT gestS] amxSS! gggge) SELL! X99 8! dat estat peadt) eeetat een . ow ile n on eeow ew o> . . } ‘ + ° 6 ; 6 $ ROS SR R35 SRD 35K R35 . ‘ | 35k Aas 35R nhs sa 35h Meehit nentts xee2gt qegtit agagzt gaazt ee ox ex @eoxr : ex ex . * : . 6 ° 6 : SRB 35R 5 Ra 35R RS 5R3 Chord Connections 21 RP = Root Position Ist = Ist inversion 2nd = 2nd inversion Maur Trnas, cowrnuen B D G xxx 221 wewta2 xxx2l ou ow eon eon 6 . 1oe | a5R Ras SaR a5R 5R3 a5k ele evn eo ox 8 fi? 4 4 oe ore see ma 5Ra nas saa see23t ceethe peett peetey peed! ends ° . oe oe nos saa dsr ae ase nas Nwon Taimns, conrwuen G'min Bmin Emin Amin Dmin Gmin oon on en | epoy eon e . | ° ° | ° 35R R35 SRD 35 R ROS 35 R Pe eeow evn ° ei ° 9 SRS ase RBs : ‘ 4 & Ras SR3 22 Chord Connections Dvwsueo Trias Caim xxxg2l ew . ° Ras xxx213 338 xxx eeu Alvcexteo Treas Caug xaxx2il 25 R x44231 ex a3 xxx32 ew RBS xed 3 eo 35R Foug xex23 Sisk xxxi3l xex321 exii Ra's Baug wend en E'dim geet een Brug xxx? 5R3 xxx2il evn x2 on oe 35R Adin xxx? 3 xxx 32 Aaug xxx 23 Didim xxx321 erat ex eo BRS Divwsnea Trias, cowrwuen Gidim Bdim og mene eon n . 25k aa Chord Connections 23 need?! next evn e ex . ° ° R35 SR Alvcrewreo Tas, covrmuen Glaug Baug xxx231 xxx23) on ew oe oe 358 R35 xxx2321 0 xxx23t ov ov oe BRO 35k ee “ne Ddim Gdim meet 3t xex323 0 xxx2I13 Tao . w ow © ol ° . ° Bos Ra's 35k mxxt3} xxx213 0 xxxl3l oem ew ow eo ° 3 33k SR'S weed?) exxtil xex32) oxi oe enn ox ° . ° Ra's SRY RaS Daug Gaug wex23)0 0 xxx23! xxx231 ou om eo ee 34k 5 R3 2458 xxx23) en ov ev eo RR Ra BR exit R35 25k R345 24 Chord Connections ‘Diatonic Triads ‘onic triads are the triads that are directly related to a particular key. The notes used to make up each diatonic triad are taken from the major scale of the key. and che quality of each triad is the same in every key. The diatonic triads are built by stacking 3rds on each note of the major scale. These triads are che harmonies for that key. Scale degree THREE Ear Crest octet Harmony 1 i i Wovo ow ove Triad Type Maj min min Maj Maj min dim Notice that upper case Roman numerals are used for major harmonies, and that lower case Roman numerals are used for minor and diminished harmonies. C Mazon Ditowe Theos CMa Dain Emin Foy) GMs Amin Bo The following fingerings show the diatonic triads in C going up the neck from the first Position to the twelfth position on String Set #1. Here is a hint to help you: from the Dmin triad on up, keep your 3rd finger on the neck at all times. This is your guide finger and will help you to move smoothly from one fingering to another. 2nd Inversion Triads oma min Ema Fa) ta, Chord Connections F Mador Diaronc Trnas Notice that the diatonic triad qualities remain the same regardless of the key. Fm Gmin Amin Bla CMa) Dmin Edm The following fingerings show the diatonic triads in F going up the neck from the first position to the twelfth position on String Set #1 Ist Inversion Triads F — 8 Mason Duron Tas Just for fun, let's take one more step through the cycle of 4ths and take a look at the diatonic triads in B' on String Set #1 Root Position Triads 25 26 Chord Connections ‘Triad String Set #2 Below are the triads for Triad String Set #2, which includes the 2nd, 3rd and 4th strings. Play down the page to hear the inversions of each quality, and across the page to compare the four different qualities. Each row is ina higher position than the last. As you read across each row, you will be playing through the different qualities: major, minor, diminished and augmented. The gray arrows show which note has been changed from the last chord to make the new quality. This is very important! [t will help you learn how the different chord qualities relate to one another. CMal Cmin Caug RP = Root Position Imersions x x TL Lx xx23 ix xx2lix = ae, Ist = Ist inversion na ee ety ecieety ey 2nd = 2nd inversion : . 5R3 sah ‘sri SR3 mx32tx xxdlixn wx42tx xx21ix Ha Slee] near aE RP ow eo ee vi vu . oe ° ° ° ° R35 R35 R35 R345 Me3t2e verde xer2i3sx xx2iix eT Ise eo xu ex xin x ° eo e 6 eo . . 35R sr 55k 25R Each column in the chart above is the potential first column of a chord connection exercise such as the ones found on pages 20 - 23. For instance, read down the second column, the minor triads in C on String Set #2. Then find the nearest F Minor triad on the fingerboard on String Sec #2 and play through them down the finger- board. Then play up through the B! Minor triads on String Set #2 and so on. Go to it! Use the cycle of 4ths icon in the upper right hand corner of the page as a guide. Here are the diatonic triads in Ist inversion for Triad String Set #2. Find them in the root position and 2nd inversion, cha, Dain Emin rs rt nin ean cM, we 1 a $F Fra Tw Chord Connections 27 fiad String Set #3 Triad String Set #3 uses the 3rd, 4th, and Sth strings. Play down the page to compare inversions, and across the page to compare the different qualities. Each column can begin a chord connections exercise through the cycle of ths. CMa Cmin G Caug Wwersions x 3 TIxx x2tixx x3t2ex x32Ixx = = . Ise . v eo fy oly oy . . . e | ° 35R 35 RK ‘3°-5R 3 45R x23ixx x23ixx x23hxx x32I1Kx and vin eo fle vm vn . . . eo eo 20 ° I e SRG SRB 'SR3 RI x43 1 xx x421xx RP ex oom R35 R35 Here are the diatonic triads for String Set #3 in root position. Find them in Ist and 2nd inversion cma Dain ra ame Bins cms 28 Chord Connections ‘Trad String Set #4 a ‘Triad String Set #4 uses the 4th, Sth and 6th strings. Play down the page to ail hear the inversions, and across the page to hear the qualities. Play each quality in a chord connections cycle of 4ths. > ao qa Maj min Imersons 3 4 2 x xx B41 xxx ery and e u you eo eo |) 5R3 5R3 4dixxx 42ixxx 42ixxx 32ixnex ea tt, ee eee RP ° v eo lyy pea v ig olay i ° | be. | 7@ | | e ! ° oy ° RBS R35 R36 Bi2dxxx 32ixxx Isc x to x ‘velox e se | ¢ j ! | | | 35R 's5R 345k Here are the diatonic triads for String Set #4 in 2nd inversion. Find the fingerings for root position and Ist inversion. ct) Dmin Chord Connections 29 iGths and 10ths Another way to play diatonically through a key is to play intervals of 6ths and | Ochs adding 4 root pedal tone. A pedal tone is a repeated or sustained note that remains unchanged as the chords change above, below or around it. Here are two diatonic scales in 6ths with pedal tones in D and A, and a third with 1Oths in G. This idea works well for any key where the root can be played on an open string: £,A. DG and B. = Alla breve whole note. Twice the value of a whole note. Gris w eee EEE m1 y vt R xi XV xt Xv 30 Chord Connections Triads in Spread Voicing Another way to play triads is to spread out the notes so that the distance from the bot- tom note to the top is greater than one octave. This is called spread. or open voicing and it creates a big, open sound. Root position diatonic triads in C in spread voicing. Dmin Emin é 6 Amin c Notice the slash marks (/) in the next example, The note on the right side of the slash is the lowest note being played in the chord. This is a very useful way to indicate the specific inversion for a chord. For instance, C/G is a C Major chord with a G in the bass—a second inversion major chord. To learn more about slash chords, see page 98. 2nd inversion diatonic triads in C in spread voi 1g Dmiva Fmd Chord Connections 31 Ist inversion diatonic triads in C in spread voicing. ce DmaiF EminG FA oe BD ce I . SHEE ; eet eg nat ten ———— 7 —= 1 . 1S wo sai Ist inversion diatonic triads in C in spread voicing an octave higher. ‘Pp! S iz! 32 Chord Connections Complex Chords Tru Cuon0s ‘Complex chords have four or more different notes. The five basic types of the complex chords are all 7th chords: major 7, dominant 7, minor 7, minor 7°5 ('5 means to lower the 5 one half step), and diminished 7. Ina 7th chord, an additional 3rd is stacked above a triad. Here are the chord formulas for the five basic 7th chords: Major 7 Dominant 7 cmi7 Minor 7 Minor 75 i fg bs iy No matter what key you are playing in, no matter what the root of the chord is, these formulas, or spellings, are always the same. Be sure to memorize them. Exrennen ano Aureneo Cannas Extended chords include 9ths, | ths and |3ths. These numbers simply indicate that addi- tional 3rds have been stacked above a 7th chord to create compound intervals —intervals that exceed the span of an octave. The list below shows how the compound intervals are found: it’s as simple as adding an octave to a familiar simple interval (see page 13). 9h = 2nd + an octave Ith = 4th + an octave 13th = 6th + an octave So, making an extended chord is easy. For instance, if you add one additional 3rd above a (CMaj7 chord (C - E- G - B), you get a D, which is an interval of a $th above the root. The new chord (C - £ - G- B - D) is called CMaj9. ‘Often, the extensions are altered in the same way the 5 is altered in min?’ chord you learned in the section above. For instance, in a C chord, the 9 is D, so a *9 would be Df As you become more experienced at chord playing, you will find that any extension can be altered with a flat or a sharp, and that virtually any combination of alterations is possible {for example: 13°94 1), Chord Connections 33 Tue Tanee Carneonis oF Conecex Cuonns: Magor, Maxon avo Conant We can divide the types of complex chords into just three categories: major, minor, and dominant 7. Major complex chords are based on major triads (1-3 -5), minor complex chords are based on minor triads (123 -5},and dominant chords have a major 3rd (3) and a minor 7th (’7). The next few pages contain reference charts that show the formulas for many complex chords. There are three charts, one for major type chords, one for the minor type chords and one for the dominant type chords. From left to right, each chart gives you the chord type, the formula (the scale degrees that are in the chord), a common guitar voicing in numbers and in standard notation (in C) and the correct chord symbol. Various fingerings for che chords will be given throughout the rest of this book. u CHORD = FORMULA GUITARVOICING SYMBOL J Major 6 1-3-5-6 1-6-3-5 cs °° R Cc Major 7 1-3-5-7 1.72365 cMai7 ° M P L Major 9 1-3-5-7-9 1-3-7-9 cMai9 E x © Major 11 1-3-5-7-9-11 1-7-1165 email H ° R D_ Major 13 1-3-5.7-9 1-7-3-13 mail 3 Ss HB Add 9 1-3-5-9 1-5-9-3 Cadd9 619 1-3-5-6-9 1-3-6-9-5 coy Major 71 1-3-5 -7-#11 13-41 -7 CMa71 | Suspended 4th 1-4-5-8 1-4-5-8 Csus4 Suspended 2nd | -2-5-8 1-2-5-8 Csusd 34 Chord Connections wMOROIN XmrvzION POZ- XZ CHORD Minor 6 Minor 7 Minor 97 Minor 7° fhaif-dimiished Minor 9 Minor I {minor Psus4} Minor 13 FORMULA 1-93-5-6 1.3.5.7 1-3-5-7 1-3-5-7-9-41 1.325.729 ne 13 GUITAR VOICING 1-6-'3-5 1-'7-3-5 1-7-43.5 1-17-3295 1-13-4729 17-8. SYMBOL Cminé Cmin7 Cmin'7 Cmin7', ming Cmintt Cmint3 wO7OIN Xmrvz0ON AZYZ—-Z00 CHORD 7's 47 augmented) 79 79 os Tsus4 i) Ws FORMULA GUITAR VOICING lukiSs® 1-'7-3-5 123295257 127-3255 1-7-4. 1-7 -5-% 1-3-5-'7-°9 123-1729 1-3.5.'7.19 1-32°7-19 7-9 1.3-7-9 1-3-55.7-9 1-3-7-9 1-4-5-7 1-'7-4-5 1-3-5-7-11) 1-711 s 1-3-5-'7.9. 1-7-3213 He Chord Connections 35 SYMBOL ford c7s oy c79 crs oc co's C7sus4 cus C13 36 Chord Connections Chord Symbol Notation There are many different ways to write chord symbols. The following chart shows the many variations in chord symbol notation, This book uses those in the far left column, They are precise. If you write your chord symbols this way, no one will ever need to ask what you mean. Learn all the others, though, because you will see them! The chart shows them all with Cas the root. Suggested Variations c cM. cma) cm sew € (add A) fod oor : aim, G .- Caug.7 CTH C7 (add F) -€7(3) Cot cs CM conser CMH CMT ose COMI Cmin'7 Cmin (Maj) CMINAT nee Cin? s.Cmnin(+7) Cmin?'s cv tC snramennnnn C27 ('S) CMINI ene CF surnnnnnnne 19) CMT caemn nin’ COT snrannnins CF renner nnn HD craj9 CF an CMA}. T(9) ss OF CAKd9 nnn C5US2, CHI CH2 vensnmnmnene (add D) C619 nnnine C6 (Add 9) sre 13 (n0 Teh) .. CB (add D) o C109) sessnn 749, C7 (add D) CU enenenne Ca. 7 +4 sean C744 c7+I1 C7 (add F) CMaj7411 or OMEN cccsie CFA cI. C9 (13) srnnne 7 (24d 6) osm C7 Coin 3 TF (6) ener min. T#13 “Sometimes the "+" is used as a way to indicate “f;" or augmented, and other times it is used as another way to say “add.” For instance, sometimes 7+9 could mean "7 sometimes it could mean “7 add9.” To avoid this ambiguity, this book uses this symbol for only one chord: the augmented 7 chord. For instance, a C augmented 7 chord would be indicated C+7. This is the most common symbol for this chord. Chord Connections 37 7th Chord \nversions As with the triads, it is possible to play 7th chords in inversion. In other words, the lowest note in the chord need not be the root. Root Position The root is the lowest note Ist Inversion The 3rd is the lowest note 2nd Inversion The Sth is the lowest note 3rd Inversion The 7th is the lowest note The following chart shows the five types of 7th chords in all of their inversions. Root Position Ist Inversion 2nd Inversion 3rd Inversion C Major 7 } C Minor 7 2 ¢ Minor 7'5 C Diminished 7 38 Chord Connections The Five Four-Note String Sets In the first pare of this book, we dealt with the four triad string sets. All four of the string sets involved adjacent strings. Now that we are working with more complex chords, the string sets will have four strings, and they are not always adjacent. String Set #1 String Set #2 String Set #3 6th 4th 3rd 2nd Sth 4th 3rd 2nd Sch 3rd 2nd Ist String Set #4 String Set #5 4th 3rd 2nd Ist 6th Sth 4th 3rd Chord Connections 39 Four-Note String Set #I Four-Note String Set #1 Try Cuonas Here is the first set of four-note 7th chords for you to learn. The notes are on the 6th, Ath, 3rd and 2nd strings. They are all shown with C as the root. Mute the Sth string with the flesh of whatever finger is playing the note on the 6th string,and don't play the Ist string, Start by playing across the page to hear each quality of 7th chord, Notice that one note changes with each new chord (the gray arrows will help point chis out) ‘Chord Change Formula Change Note Change In C Maj? to C7 707 B to BY 7 to Cmin7 3 103 E to & Coin? to Cmin7's 5 t0'S Goo Cmin?'5 to C°7 707 Bi to BF RP = Root Position Play down each column to hear each quality of chord in its different inversions, CMaj7 a Cmin7 Cmin75 c?7 Bxd4aix dx24tx axlaix eisix xi3ix meron Ayo Or 5] P| =r and u ° 1 eo Tne Te a e e e [foci i me +4 : 5 37R 5 397R 5 BTR 5 37R 5 '347R 4x23ie Bel2ix rxi3ix eo! o ° eoue aed eo- ° eee tae oo oe! | 7 SRB 7 5 R3 7 5R3 y srs 7 SRS Ve333% Ax34tx Lxt3ix -— ee RP Oo gee vm of eg) vm oO Te vi | i R 74s R 735 &t ws rei 34x 2xi3ix fa Ise 2 x 0 @{x oue . ee ' a RS? 4 237 40 Chord Connections Four-Note String Set #1 Exercise #1 — Aurezvmnne ho Ives eno Root Paso Teanse Te Crusoe 4s: Pes This book provides an exercise routine for each of the five string sets. The exercises are devised to help you master the chords and the fingerboard. The first one involves playing 7th chords descending from the upper positions in a cycle of 4ths, This is a great way to learn not only the chords and their inversions, but also the notes that make them up! As you go through the cycle down the fingerboard, alternate between 2nd inversion and root position: CMaj7 in 2nd inversion - FMaj7 in root position - B'Maj7 in 2nd inversion - EMaj7 in root position, etc, The exercise is shown here with Maj7 chords, but should also be done with 7th, min?, min7’S and °7 chords. Also, notice that slash notation is used as another way of showing when a chord is in inversion. For instance, CMaj7 in 2nd inversion is notated CMaj7/G, since G (the 5th) is the lowest note played Leave your 4th finger down on the 3rd string between chords as a guide finger. and read across the two pages. To avoid confusion when reading these exercises, remem- ber that the Roman numeral showing the fret for the chord is always on the right side of the CMaj7/G FMaj7 BMaj7/F EMaj7 AMaj7/E Lxratx Lxa42x 3x24ix Leaazx 3x241x : Oo xO ex oxo, en o Kx . ee ei ee . . . i . . . o Exercise #2 — Acrennennc 1st avo Seo Invensions Tanoucw re Cycue oF 4: 714s This second exercise is very much like the first, but it uses the Ist inversion of the 7th chords alternating with the 3rd inversion in the cycle of ths. This time, leave your Ist finger down as your guide finger as you play across the two pages. When you have mas- tered this exercise with Maj7 chords, do it with 7th, min7, min7'S, and °7 chords! CM aie FMaj7/E BIMaj7/D BMai7/D AMaj7/C Zet34x Sxitix wiaax Bxitix Lxiaax Eocene gece meee eee — ° x eoe x Oo | jvm eo0 vi 19 vl eo ee el ee . ! D'Maj7 Legare ° . D'Maj7ic Bxtirx eoe xt vl Chord Connections 41 Four-Note String Set #1 Exercise #1 Continued GMaj7/D! BMaj7 EMaj7/B AMaj7 DMaj7/A GMaj7_ BeQaix bxad2x axzain Lxad2x ax2tix Leatze | i6'me vu ovo ey om 9 eu yi \ . oe . oo . . ieee . Exercise #2 Continued ‘@Maj7/B° BMaj7/A* EMaj7/Gt AMaj7/G? DMaj7/F4 GMaj7/FE 2x i z4x Battin Vx tz4x Julitz 2x 03 4x 2x O000x ue) eeune u ° v 42 Chord Connections Four-Note String Set #1 Exerose #73 — Crono Comecrons: 71Hs Read this exercise across these two pages. It is che main chord connection exercise for this string set. Starting with CMaj7, play down the page (up the fingerboard) in the four inversions of CMaj7, then turn around and play back up the page (down the fingerboard) in the four inversions of FMaj7. Follow the arrows up and down the neck through the cycle of Aths. When you have finished this exercise, do the same thing with the 7eh, min7, min7’S and °7 chords coal FMai7 BMaj7 EMai7 AIM ai? DMaj7 Lxdtix Me342t dette axtiax axttix ixzeix © 6 7 = —sT_ woe . 0 oot eoe 0 “ ° . o ee . . . . . . Dei34x Lxa4r2e xr24in Lxe3a2e Betiix y ° mo ow ow 6 ew eoe wu ee . ee . . . . . Legare dxrsix eleax Getiix xtasx Legare ° eon ow ° vin eoe vil ° uo 8 ex oe . ee ° . oe °. ° oe . dxzaix Chord Connections 43 Four-Note String Set #1 Exercise #3 Continued Maj? BMaj7 EMaj7 AMai7 DMaj7 GMaj7 Le342x Getiix et34x axtiix axrzeix Lxaary ° en ooo w ° a eoen om oO ew oe . oe . oe . . . Deigax txaerx ayrsix tesserae Gettix rxisax ° woo eon ovo ey eoe vu ° v oe . eo ° ee . . . . Bezaix 2eisax Gxtite 2retaay deraix ov ° % coe x ° vi o um . . . . . o 6 . . . Detitxy dered Legare Bertie rUetaae Bate eoe w ox 0 eo ox ° xu coe ° oe . . . . . . 44 Chord Connections Four-Note String Sot #1 Exenoise #4 — Stexonno Choro Prosaessin: 714s In this last exercise, you get to play a standard chord progression (I- vi-ii- V) in four positions using the inversions you have learned, Study this one thor- ‘oughly and learn to recognize each note in the chord as you change from one to another, When you can play this progression in all four positions with ease, transpose it in the cycle of 4ths to all keys. ‘CMaj7 aaa ae ‘Starts in 2nd e n cont . aver warn hoe . | Leer ee eee a ee Heer Legars Leieay txaeix axaeix Sarts in O e ‘vn ° VIL e Xx ! % VIL eee ee ooo + : ote enn feck § 9 tx Chord Connections 45 Four-Note String Set #1 Dieronc 714 Cronos If we add another 3rd above each one of the diatonic triads, we will have diatonic 7th chords, These are all four-note 7th chords, but they vary in type according to the inter- vals that result from stacking 3rds on each note of the scale. The best thing is that the quality of these 7th chords remains the same no matter what key you are in. These chords define the harmony of the key. In other words. if you are in the key of C, there are only seven possible 7th chords that you can use. Each of these has a function in the major key. If there is a chord in the song that doesn’t fit the profile of any of the 7th chords in the key of C, then you are no longer in the key of C! This is more true for jazz than it is for rock and blues, where it is likely, for instance, to find a dominant 7th type chord being played on a I chord, or a IV chord, as well as the more “correct” V chord. SCALE DEGREE I a 3 4 5 6 7 HARMONY 1 ii iii Iv i vi vil 7th CHORD Maj? min? min? Maj7_7 min? mins Here are the diatonic 7th chords in the key of C Major: cmy7 min? Emin? Foai7 G7 Amin? Bmin?’S v ii? iii? Wr v7 vi vii So,no matter what major key you are in, the diatonic 7th chords are always as follows: Tand 1V are always Maj7.. won - 3-5 7 ii, iii and vi are always min? wd 13-5 .17 V is always a dominant 7. 1.3.5.7 Vii is always min7’5. 1 83.t5 47 Play through these root position diatonic 7th chords in C. sce se oe ESE ate or | | i | Now play through therm in F. Oh, SM, MLS, OTe + [eee i fee] This will get you started. You should learn these in all twelve keys, going through the cycle of 4ths, It is a good idea to write out the diatonic 7th chords in C in the other three inversions, and then play each of them through the cycle of 4ths. 46 Chord Connections Four-Note String Set #1 Dierowe Extensions As you learned on page 32, the upper extension notes—9, || and 13—can be added to 7th chords. To remain diatonic (in the key) however, only certain notes can be added as extensions. To the TonninMAjT wnuenn YOu €an add 9.1113 To the ii ee MINT saree YOU CAN AUC cssene BH AB To the iii...... min? you can add 'g, 49, 11,513 To the IV... Maj7 YOU CAN AEM rersrone WALD, 1B To the V.....7 ses YOU CN ABD see 9 LLB TO the Vi eae MINT vnann YOU CAM 24K vrwinee B Hy 13 To the Vii... MIN FS sewn YOU CAN Add eennnee 9, HEI3 The example on the right illustrates the diatonic 7th chords in the key of C Major, and the proper diatonic extensions for each. iit © iii?) e wr Amin? Chord Connections 47 Four-Note String Set #tl Sas — Exeroses #41 - #4 In order to create the 9th chords, we take our 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that there is no root! The 9th chords are comprised of 3, 5,7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and down to compare inversions. CMajo co Cmin9 mind's co Del4a3x Qei34ex 2el34e Uxiday Ixi3ax versions fe ° ¢ Ind . " . uy ne ne @ 0 . . eo 68 eo 0 ee ie ce T 5 379 5 379 5 379 5 379 5 3°79 Bxlarx 2xiaix 3x24ix Bulsix xl4atx = —- — .e ve 3rd eey eev ie v vy @ v . ° . oe . i; le . . I 7 $93 7 593 7 59 7 '593 7 39% Bxtiix 4e231x% 4ut20x ——o eee es vin vn eee vm eet vn vm oo | . 9 735 9 7935 3s 485 9 nals 2edaax rx341x Lx423x% 2x431x Ise a KI (ex eo) ee ue ew o eee 06 jes . 30957 30957 30987 39'S" 3 9 sl Exercise #1: Maj9 chords descending, alternating Exercise #3: Maj9 chord connections in four 2nd inversion and root position in the cycle of inversions up and down the fingerboard in the 4ths as per Exercise #1 on pages 40 - 41. Then do. cycle of ths as per Exercise #3 on pages 42 - 43, the same with 9, min9, min9'5's and 9 chords. Then do the same with 9, min9, min9’S and 9 chords. Exercise #2: Maj9 chords descending, alternating Exercise #4: Play through this standard chord Ist inversion and 3rd inversion in the cycle of progression in four different positions as per Ex- 4ths as per Exercise #2 on page 40- 41. Then do ercise #4 on page 44, starting on a different in- the same with 9, min9, min9’S and 9 chords. version each time: CMaj9 - Amin9 - Dmin9'5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths 48 Chord Connections Four-Note String Set #1 This — Exercises #4] - #44 To form I Ith chords, we move 3 to 4 (or ||), so there is no 3rd in any 11th chord! These Ith chords are comprised of 1.5.7 and 1, Minor 11 chords are extremely rare be- cause, in a four-note I Ith chord, there is no 3rd! Mail | cil cis cu De3ain A2xzZHix 234i x re4arx Iversons orl Elenco tee reeeetoet and 0 fn o | ue ¢@ 4 ee 0 te eee: jet . : | 5 NTR 5 TR 7k Sle Smti2s Betiie GRIl24~x 2x 134ix . 7 3rd eo eo ly +O tv @) 6] vy baie iitiis@tt tttet it einai iio . ; | 7 5Rt y sri 7 5RU 7 SRA Lea4r2e Ler4ae rxasix relaix eer ———?- eS Rp O ew 6 ee wm 4 vw of vi . . | e . + tte R 7S R718 R Wis RTI's 4x tdi, 4xiarx 4xtr2ix 4xtzix Ise ° x le x 10 x Oe ° ° Ue eo . tT . . . . noRS7 noRS7 RST WR S*7 Exercise #1: Majl| chords descending, alternat- ing 2nd inversion and root position in the cycle of Aths as per Exercise #1 on pages 40 - 41. Then do the same with 11, 11'S and “I chords Exercise #2: Maj chords descending, alternat- ing Ist inversion and 3rd inversion in the cycle of ths as per Exercise #1 on pages 40 - 41. Then do the same with 11, I1’S and “I chords. Exercise #3: Majl | chord connections in four in- versions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 42 - 43. Then do the same with 11, 11°S and “I chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer~ cise #4 on page 44, starting on a different inversion each time: CMajl1 ~All - DIL'S - G°lL, Then, transpose this chord progression to all the other keys, through the cycle of 4ths. V3ins ~ Exennses #4] - #84 To form 13th chords we start with 7th chords and move § to 6 (or 13). So,in four-note 13th chords, there is no Sth; there is only 1,3,7 and 13. Mail 3 C3 4x23iy 4xzdix and ®t ol i . i . e 3°°37R 13 347R aediix rxaitx ge a OR oe fat Peet heeled ee fle 7 Ra 7 R3 x23 4x Lx234x« RPO I vin Oo @ oe fe le . Ro7313 8 738 2eiasx ixtarx r] 1? Ise | jx | e . t! e| e. lel 3 RB? 3 RT Exercise #1: Majl3 chords descending, alternat- ing 2nd inversion and root position in the cycle of 4ths as per Exercise #1 on pages 40-41. Then do the same with 13 and min!3 chords. Exercise #2: Majl3 chords descending, alternat- ing Ist inversion and 3rd inversion in the cycle of 4ths as per Exercise #1 on pages 40 - 41, Then do the same with 13 and minl3 chords. Chord Connections Four-Note String Set # vin xi Exercise #3: Maj!3 chord connections in four in- versions up and down the fingerboard in the cycle of dths as per Exercise #3 on pages 42 - 43.Then do the same with 13 and min!3 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exercise #4 on page 44, starting on a different inversion each time: CMaj13 - Amin13 - Dmin!3 = G13. Then, transpose this chord progression to all the other keys, through the cycle of 4ths 50 Chord Connections Four-Note String Set #1 Conawarion Cuono Procaession Here is a chord progression designed to make you think about what notes make up each type of chord, and which inversions to use. It includes 9th, | th and 13th chords. Read across the page for the chord progression. Each row is another set of inversions, or another place to play on the fingerboard, Majo Letsax ‘Starts im e 0 terion ° ° 5 379 Stans in “vd 7593 i Sars in Poison 2.) 2 735 2x333x sarin @ @ @@ XIE 30957 5 479 HoR'S7 Chord Connections $1 Four-Note String Set #2 Fout-Note String Set #2 Ts Four-Note String Set #2 uses the 5th, 4th, 3rd and 2nd strings. Don't play either the 6th or the Ist strings. Read across the page to hear how the quality of each chord changes, and then read down the page to hear the four inversions of each quality. CMaj7 c7 Cmin7 x13 24x Bax xl3iax ee ee | | ' | | | RS73 RS ‘73 R573 R373 R bs Marg K23i4e x23i4x x24tax x2314% ° is re, lal BTR 'S x2al4x 2nd. SRONT we ote eo on i m0 52. Chord Connections Four-Note String Set #2 Ereanse #1 — Arervarnc Roor Posmon axa Guo lnvension Tanouey Tae Cece oF 474s. Use your 4th finger as a guide finger as you change from chord to chord. Also do this exercise using 7, min7, min7’S and °7 chords. Read across the two pages. CMaj7_ FMaj7/C BMaj7 BMaj7/e AMaj7 D'Maj7/A> eiliaia Wivelilsiaiailaigl teliaa delle 3 qagedalt a aa ellie at ania Sil ow Pica op law x 6 x efx o. | 5.06] Blt te ‘ #0 - ~ eye oe 19 : i¢ 124 ieee ealaeeee ° i Loe | eal Exenuses #2 — Alreratic 1st axa Sao lavensons Tenouc nae Cycu oF 414. Your Ist finger is your guide finger. Also do this exercise using 7, min?, min7'S and °7 chords. Read across the two pages. GMaj7/B CMaj7/B FMaj7/A BMaj7/A EMaj7/G AMaj7/G x24tax x34izx x2413% x34t2x x2413x x34l2« o 3 du a =n G : Be lo o xm box Chord Connections 53 Four-Note String Set #2 Exercise #1! Continued GiMaj7 BMaj7/Ft EMaj7 xi324x% x2alsx x1324x It wn fete est | DMaj7 GMal7/D x32 4x x23 14x tt dolce i \@ 1 e ee 4 Ii eta ee Exercise #2 Continued DiMaj7/e GMai7/F BMaj7/D# EMaj7/DE AMmaj7/Ct Majic Als. nS 42 eA eae 224 ae esas 54 Chord Connections Four-Note String Set #2 Exerose #3 — Cuoro Cowecnons Read this exercise across these two pages. It is the main chord connection exercise for this string set, Starting with CMaj7, play down the page (up the fingerboard) in the four inversions of CMaj7, then turn around and play back up the page (down the fingerboard) in the four inversions of FMaj7. Follow the arrows up and down the neck through the cycle of Aths. When you have finished this exercise, do the same thing with the 7, min7, min7'5 and °7 chords. CMaj7 FMaj7 BiMaj7 BMaj7 Almaz x1324x x2atax xiazax xadiax xi4iax Se SSeS a SS ° u eon u . eo. \ . ee . . . x24iax xasire x1324e x23lak SSF a a ao t ar le} ul ey . ° . eo . ee jee . | i e e234 ciarax x2aisx x24tax xa4i2x —T fo Seite eee eg te cee « eM ee eo ° ° oe : . oe . fel ive x42 x24i3x yaeiax e234 xa24x Pore © 1 T eM x! ex e) fo x ° ° ° eo! . oe . oe, oe x2413« . . . x23 14» ° eo! . vu Chord Connections 55 Four-Note String Set # Exercise #3 Continued Mai BMaj7 EMaj7 AMajz DMai7 GMai7 x23 4x x3 2Ax x23i4x e2hlax xa4lax x23 14x eee 7 FE errrOrecry eee -eerrreeare ee ore em 8 n ceo)! m en ew eo . crit ° i 6 eo ee . . ee . ' . . xB4i2x x24i3x xa4ei2e x3412x ew UE ew ew ° el ° ° ee ‘ oe . mU32sx e2aldy ctarax eGaizy x24iax wares Tien ° x em oo vit ow vi 8 x . eo . ye . ae ee oe . . . jan ‘ m24iax e34i2e e24iax etadte eDaily) v2413y o To o xi eo x 16 xi eos i . 9 . . eo . . ee . ee . 56 Chord Connections Four-Note String Set #2 Ereacse #4 — Srevonna Cuoro Prosgession The chord progression appears in four positions. Read across the page. Each row is ina different position CMaj7 Amin7 Dmin7's G7 x1324x x23Rl4x x2R14x x2304% pte ie me OA er Lm fy Oyen o! rosson | | By 2 ee ty ’ ee ele x24i3e% x2at4x x1324K x2314x 7 ~ ; oy Sorts It hw i vy ioje' y eo ly is ge, ihe Fe pe t 9) eo | i i . ' pe Vi 1 i x234x pia bee Sere in x Ind Soren dd | @ | XI Ditowe 774 coonos wn C, Root Postion Pees te eet we a Sl Oe Chord Connections 57 Four-Note String Set #2 Sus — Exercises #41 - #44 In order to create the 9th chords, we take our 7th chords and move the | st scale degree to the 2nd scale degree. In other words, | is replaced by 2 (or 9). The result is that chere is no root! The 9th chords are comprised of 3, 5,7 and 9. Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and down to compare inversions. cMai9 oo Cimin9 Cmind'5 co x23 14x 234% x34i2x x42i3xK xA2I3x inversions 2 Saale Eee RP m eon uu em }oom . . ,lee oe (eee eo ee ie .- 9573 95°73 9578 91573 9's 73 x1423% «1324 x x1 324e% xt423% xL3RRK as ; te 1 Om .— ie OTS wn eet iw Pte. lun bee w ooo e oe ee e . af | i | 3795 3795 a'795 3795 3795 x23 14x x24i3% x24i3x x24i3x “x24lix eae ea . —e Te and eK ex Ke | xX oe x ._ . | . | ; |e ce . jo? ee e . e e 5937 5934 593% soa 59133 by x2a04e «2314e x2a14x ard x ex} xn xn ' af jee oe jrel | 4 . | . . 7359 7359 359 Exercise #1: Maj9 chords descending, alternating Exercise #3: Maj9 chord connections in four in- 2nd inversion and root position in the cycle of versions up and down the fingerboard in the cycle 4ths as por Exercise #1 on pages 52 - 53. Then do of Aths as per Exercise #3 on pages 53 - 54. Then the same with 9, min9, min9’5's and 9 chords. do the same with 9, min9, min#5 and 9 chords. Exercise #2: Maj9 chords descending, alternating Exercise #4: Play through this standard chord pro- Ist inversion and 3rd inversion in the cycle of gression in four different positions as per Exer- 4ths as per Exercise #2 on page 52-53. Then do cise #4 on page 56, starting on a different inver- the same with 9, min9, min9'S and 9 chords, sion each time: CMaj9 - Amin9 - Dmin9°5 - G9. Then, transpose this chord progression to all the other keys, through the cycle of 4ths. 58 Chord Connections FourNote Sering Sec #2 This — Exercises #4] - #44 To form | Ith chords. we move 3 to 4 (or I1),s0 there is no 3rd ina four-note I Ith chord! Four-note | Ith chords are comprised of 1,5,7 and I. Minor I chords are exceedingly rare because, in a four-note I Ith chord, there is no 3rd, Maj! 1 cil Cis ci xUg24% xtsi4e idiax x2alax RP MW fom (904 ta e e Hl z i . e ; e RS7I1I 5/711 RST x2413x x2314% et Ist riow iw ee eee é : TRS WT RS mobi2, gizaax xtaaae ear ro 2nd x ece x x oee x i : jel ree . : | sR SRT SRT sR mB4idx e24iae gratin v24iay Sree te rere —— ard eo ox oom ey oxn le XI ° error uitierte Po 6 . : e . ° TUSR THSR Tus Re TINS R Exercise #1: Majl| chords descending, alternat- ing 2nd inversion and root position in the cycle of chs as per Exercise #1 on pages 52- $3. Then do the same with I, 11'5 and °I1 chords. Exercise #2: Majl| chords descending, alternat- ing Ist inversion and 3rd inversion in the cycle of 4ths as per Exercise #1 on pages 52-53. Then do the same with 11, 1’5 and I chords. Exercise #3: Maj! chord connections in four in- versions up and down the fingerboard in the cycle of 4ths as per Exercise #3 on pages 54 - $5. Then do the same with I, 11'5 and “II chords. Exercise #4: Play through this standard chord progression in four different positions as per Exer- cise #4 on page 56, starting on a different inversion each time: CMajI1 ~All - DINS - GH. Then, transpose this chord progression to all the other keys, through the cycle of 4ths. Chord Connections 59 Four-Note String Set # T3ins ~ Exercises #1 - #44 To form 13th chords we will start with 7th chords and move 5 to 6 (or 13). So, in these 13th chords, there is no Sth; there is only 1,3, 7 and 13. CM aj13 C13 Cminl3 m1324x xi4i3x xt4i2x Inversions ~O H oe of} RP i" ey iv 2 Ww ew . e 74 . le . R137 3 R13'73 R37 3 x23i4x x23l4x x23l4x o o o Ise vi wile vl é im . . ‘ . ° . 37 RB 37 RB BTR x32i4x x4213% «42 l ax eh Fee . and e iw ej x el ix ° ° ° e e e e e $ e I3R37 3R 357 13R 130-7 x234ix x1342x x1243% are ox oe 6 xm ee 0 XM “ee . 731RR 73 1aR 7313R Exercise #1: Maji3 chords descending, alternat- Exercise #3: Majl3 chord connections in four it ing 2nd inversion and root position in the cycle of Aths as per Exercise #1 on pages 52-53. Then do the same with 13 and min13 chords Exercise #2: Majl3 chords descending, alternat- ing Ist inversion and 3rd inversion in the cycle of Achs as per Exercise ##! on pages 52-53.Then do the same with 13 and min13 chords. versions up and down the fingerboard in the cycle of aths as per Exercise #3 on pages 54-55. Then do the same with 13 and min!3 chords. Exercise #4: Play through this standard chord progression in four different positions as per Exercise #4 on page 56, starting on a different inversion each time: CMaj13 -Amin13 - Dmin!3 - G13. Then, transpose this chord progression to all the other keys, through the cycle of 4ths. 60 Chord Connections Four-Note String Set #2 Covawarion Chora Procression Here is a chord progression designed to make you think about what notes make up each type of chord, and which inversions to use. It includes 9th, I Ith and 13th chords. Read across the page for the chord progression. Each row is another set of inversions, or another place to play on the fingerboard, CMajl3 Amin7 Dmin?5 Gl arte yet atgesetne Lanse gaits ee . *| e e RI373 37 R 5 ested ee cea sete teeta eee ea ESE = SeME ES =r tii2x sarin wo izvel iv v oe} v vate . : be + Fle e 5 R37 95773 SRI ne x3214% x23i4x xL423x x 24i3x 3214s x23idx wen ice we fete bpm oe on tnd ° ee e eo . | |e terion ? e e i R37 TASR 3 ross TUSR x2341x x24 1ix Sears in oO | xin o xl i Inversion ie ' 2 fF e Chord Connections 61 Four-Note String Set #3 THs Four-Note String Set #3 uses the Sth, 3rd, 2nd and Ist strings. Don't play the 6th string, and mute the 4th string with the flesh of whatever finger is playing on the Sth scring. Play across the rows to compare the different qualities of 7th chord, and play down the col- ums to compare the inversions of each quality. Maj? cr Cmin7 Cmin?'5 xix3 42 tx243 x1x243 42x34) Invern Pea Fee: ° en |o # em 0 @ om RPO} en Ise ade oer ilia ats to cL Coes i tt ate iat ° a ° eo ana POL mw eT Tw rx oe x el pee es! [ebb . e bore hol | ' 5 37R 5 37K 5 BITR 's 347R eaetat oe ard Four-Note String Set # c7 x2x 131 R773 '5 $2. Chord Connections “our-Note String Set #3 Exeacse #1 — Arenas Root Posmmow avo cea ivenson Tarouca rae Cycue oF 474. Use your 4th finger as a guide finger as you change from chord to chord. Also do this exercise using 7, min7, min7'S and “7 chords. Read across the two pages. cMmaj7 FMai7/C BMal7 EMai7/B° AMaj7 m1e342 xae24t cox d4? 25x24) x13 42 epee 0 err oee rer erreOceree eee ° oxy exw 0 enn ox 6 oxi ° ° e e ° e e e ° e Excacses #2 — Arennern Sao ano Isr Ivensiovs Tanouen tHe Cyeue oF 4148. Your Ist finger is your guide finger. Also do this exercise using 7, min7, min7’S and 7 chords. Read across the two pages. CMaj7/B FMaj7/A BMaj7/A. EMaj7/G AMMaj7/G Set) x2ei43 x3xi2t x2x143) wax 121 — o ae — ee) exit xt eo lex is oe en O° eile 6! eo te ° DiMaj7/Ab 13x24) DMaj7/F aoa? 3 wet . Chord Connections 63 Four-Note String Set #3 Exercise #1 Continued Mai? BMaj7/F EMaj7 ‘AMaj7IE DMaj7 GMaj7/D mixed 4? xaux2sl xin3d 42 xax24t xix34?2? 3x24! “3 © 6 on ° evn ew} ev ew e . . . . . ° | iL | i .; : . ie . Exercise #2 Continued GMaj7iF BMaj7/Dt EMaj7/D# AMaj7/Ct DMaj7/C# GMaj7/B xaxt2) x2xt43 x3xt2) x2xi43 x3x121 424043 = o i — o f = ee j ew a) een ¢@ en Lo e ek | * | ie ;° e e 64 Chord Connections Four-Note String Set #3 Exenose #3 — Cuoro Conwecrans Read this exercise across these two pages. It is the main chord connection exercise for this string set. Starting with CMaj7, play down the page (up the fingerboard) in the four inversions of CMaj7, then turn around and play back up the page (down the fingerboard) in the four inversions of FMaj7. Follow the arrows up and down the neck through the cycle of Aths. When you have finished this exercise, do the same thing with the 7th, min7,min7’S and °7 chords. CMaj7 FMaj7 BMai7 DMaj7 mte342 x3x241 xtx34? x3x121 o oe ° eu eon . ° . . . . . . m2eN4d Geta uae 4d ctxd4d? an24t win 4d ov ow oom 0 1 ° ° . . . . . . . . . . . . eBx24i einat? eaxret xdeiad cdet2! want a; Por cee ere eco — ew 0 evn ew om eeu ° . . . ° . . . . . . . . . x24 o 8 . . Chord Connections 65 Four-Note String Set #3 Exercise #3 Continued GMaj7 BMaj7 EMaj7 AMajz DMaj7 GMaj7 wax24l mbx342 edxl2s y2eias xixd4? xax241 a eS a 4 ee itt a ou |e ew o uw j6 . ew . ° 9 ey ° . ecu] . . . . : . . etd) x2et4d che3 de? eax2st cael 43 xaxt2 a CREEP eee eH Cr ere realig see ei cr reeregeeeeeet cere oe ow 0 emf ef ow blo ow oe ew ° . le > ° . . . . | i . . . . . . e342 dest xed xan) isa? ° ox on ol oK olen eo 0 ox . . ° . . . . . . . . x2u143 eb rtd cat eat pe Sica eee = rare o om oe ox 6 oxi oe exw 6. Nt ° . . . 66 Chord Connections Four-Note String Set #3 Exencise #4 — Sravnnna Chora Procnession The chord progressions appears in four positions. Read across the page. Each row is ina different position CMaj7 Amin7 Dmin7’s G7 mixddi pieies santa | nase at a ERM aMiecerks ° SS 0 em oon "6 0 . ee eo . . . reer eer eran wat kwon oy e ov om . e e e e . . . wee2e) cans) panes eae sarsin aa | Peat os cies ew eK o ow eo . 2 %o wie 8 M0 le . | Moett) giet4? eae ces tea = hte, @ ex Oe ex © ox 6 @ ex ° e e 4 . . . Diarovc 7r4canans w C, Root Posmow Bin coy Sas — Exernses #4] - #44 In order to create 9th chords, we take 7th chords and move the Ist scale degree to the 2nd scale degree. In other words, | is replaced by 2 {or 9). The result is that there is no root! Four-note 9th chords are comprised of 3, 5,7 and 9, Study these chord forms and then apply the four exercises described below. Read across to compare qualities, and down to compare inversions. Chord Connections 67 Four-Note String Set #3 Majo oc Cmind Cmin9's co x3x241 xaxi4 x3x12 x4x23 4x13) ——— Inversions = — oe RP ° een oe eu ecm } ot e . . . ee ee <8 . . 9 735 9 9735 8 as 9 73's 9 rats x1x243 x2x341 xix342 xix342 x2xi4l cee . Ise vl eve evi oe owe ivi eee ee . ee oe . . . $ 3957 395% boosh 3957 3 9157 x2x143 M2143) x2x143 x2x143 x2x134 . . and ew ew Beem ee He: ne 1x . . . . . . . oe . . e . 5 379 5 ame 5 G89 5s 379 5 3'79 x3xi4l x24 x3x4al x2xi4t — — oe ve ard ee ex © ex xl xu xl e . : . e e . . . 7 593 593 7 595 7 W593 S93 Exercise #1: Maj9 chords descending. alternating, Exercise #3: Maj9 chord connections in four in- root position and 2nd inversion in the cycle of ths as per Exercise #1 on pages 52 - 53. Then do the same with 9, min9, min’ and 9 chords. Exercise #2: Maj9 chords descending, alternating Ist inversion and 3rd inversion in the cycle of 4ths as per Exercise #2 on page 52-53. Then do the same with 9, min9, min9S and 9 chords. versions up and down the fingerboard in the cycle of Aths as per Exercise #3 on pages 53 - 54. Then do the same with 9, min9, min¥’S and 9 chords. Exercise #4: Play through this standard chord pro- gression in four different positions as per Exer- cise #4 on page 56, starting on a different inver- sion each time: CMaj9 - Amin? - Dmin9’5 - G9. Then. cranspose this chord progression to all the other keys, through the cycle of 4ths. 68 Chord Connections Four-Note String Set #3 This — Exenoses #4] - #44 To form 11th chords, we move 3 to 4 (or I), so there is no 3rd in a four-note Hth chord! Four-note 1th chords are comprised of 1, 5,7 and I. Minor HI chords are exceedingly rare because, in a four-note | Ith chord, there is no 3rd. ‘CMajlt cll cis ci eie2dt eta — we ot) om /° Then ae i | . Ro 7S R its 5 N7R x4xi230 0 x2e134 x2e134 x2x134 a ee aoa 3rd eo | xu too ie xi jj 8 cs foo” alles ied ‘ i : ! | ae 7 sRit 4 sri 7 SRA 7 SR Exercise #1: Majl chords descending, alternat- Exercise #3: Majl| chord connections in four ing root position and 2nd inversion in the cycle of inversions up and down the fingerboard in the 4ths as per Exercise #1 on pages 52-53. Then do cycle of Aths as per Exercise #3 on pages 54 - 55, the same with If, 11'S and °l1 chords. Then do the same with I1, 11'S and °I chords. Exercise #2: Majl| chords descending, alternat- Exercise #4: Play through this standard chord ing I st inversion and 3rd inversion in the cycle of progression in four different positions as per Aths as per Exercise #t! on pages 52-53.Then do Exercise #4 on page 56, starting on a different the same with 11, 11'5 and °I chords. inversion each time: CMaj!| -ALL-DII'S-G°IL Then, transpose this chord progression to all the other keys, through the cycle of 4ths Chord Connections 69 Four-Note String Set #3 T3ins ~ Exercises #41 - #44 To form 13th chords we start with 7th chords and move § to 6 (or 13). So,in four-note 13th chords, there is no Sth; there is only 1, 3,7 and 13. CMajl3 lieeeeons (ote RP x2x143 (Feo Ist ; vi . . ox 3 RIT K3x241 2nd oe | x j | II ele 1B 3 7R xax42i x2x43h 1 | 3rd |.) ext j ° . je @ ‘ 7 13R3 " Exercise #1: Majl3 chords descending, aternat- Exercise #3: Majl3 chord connections in four in- ing root position and 2nd inversion in the cycle versions up and down the fingerboard in the cycle ‘of 4ths as per Exercise #1 on pages 52-53. Then of Aths as per Exercise #3 on pages 54 - 55.Then do the same with |3 and minI3 chords. do the same with 13 and minl3 chords. Exercise #2: Majl3 chords descending, alternat- Exercise #4: Play through this standard chord ing Ist inversion and 3rd inversion in the cycle of progression in four different positions as per Ex- chs as per Exercise #1 on pages 52-53. Then do ercise #4 on page 56, starting on a different in- the same with 13 and min13 chords. version each time: CMaj13 - Amin13 - Dmin 13 - G13. Then, transpose this chord progression to all the other keys, through the cycle of 4ths. 70 Chord Connections Four-Note String Set #3 Covetwamon Crono Prosressin Here is a chord progression designed to make you think about what notes make up each type of chord, and which inversions to use. It includes 9th, I Ith and (3th chords. Read across the page for the chord progression. Each row is another set of inversions, or another place to play on the fingerboard CMajl3 Amin? DINS wiedo¢) 0 gieta2 waeega ‘Starts in ° e eo Posten e eniae . R 7313 1 859 7 isSRu 30957 maetss caer? Starts in vi e * inann @ ° en ale . . s a9 % 3 RR? w2eo4t nae) nts? ett 3 ° a eet o fw om | een inthe . . pe : e e . e . Boa7R 7 $95 Ree 7 593 aese) caee ene ech exe ax on - os é . . peel : ; aie . 7 BRB 9 735 5 TR 9° 735 Chord Connections 71 Four-Note String Set #14 Four-Note String Set #4 Tus Four-Note String Set #4 uses the 4th, 3rd, 2nd and Ist strings. Don’t play either the 6th or the Sth strings. Read across the page to hear how the quality of each chord changes. and then read down the page to hear the four inversions of each quality CMaj7 Cmin7 Cmin7'5 xx2413 xxt314 xxt3l?2 lowers = > Ise rt " eu . ee . i. ' 37RS 37RS 37RS I7RS 3°7R'S xx tiia xxl214 — ve and eoe y 6. oy oe . ® 1 SRI7 gaa AGT PRIZ 'sR3 7 me23tt xx 2tt met unas wears Te —— Ta ee .. Bed e@ ov e@ eo e@eeo ee ov e ov ee . TIUSR 7TI5R 735R 73°5R "TRS xx1333) extb324 xxl 423 xeb333 cet324 RP ° x ° se ° x oY oe x a e ee eee ee wee ove . 72. Chord Connections Four-Note String Set #4 Etencse #] — Alreanatne oor Poston avo Guo Invasion Tanouc Tae Cyc oF 474s. Use your Ist finger as a guide finger as you change from chord to chord. Also do this exercise using 7, min7, min7'5 and °7 chords. Read across the two pages. Maj7 FMaj7/C BMaj7 EMaj7/Br AMaj7 Domaj7/Ab Oo in Le | ee id 4 | ! i Exercises #2 — fren Ist avo Seo Invensions Tenover tae Cus or 4148, Your 2nd finger is your guide finger, Also do this exercise using 7, min7, min7’5 and °7 chords. Read across the two pages. CMai7/E FMaj7IE BiMaj7/D BMai7/D AMai7/C DiMajvic e240 xe2G xx24ls wera xx24i3 xx23tt 9 xin | @ oni om eo o ix 1 edn eo] oe ! . je ee ! ? 2 ‘fi ,¢ i . | . eo) I Chord Connections 73 Four-Note String Set #4 Exercise #1 Continued Gai BMai7/F* EMai7 AMaj7IE DMaj7 GMaj7/D met 333 tA xetdad celta xx0333) xx0003 fee Py secs eee eee ec Sreeere er mo ge gn fee Exercise #2 Continued GMaj7i —BMai7/At EMa7IGt—AMai7IG# DMaj7/Ft Goaizie! mx2AT3 xe23it ex24i3 xx2ait xx24i3 ex2ait Te pw “EP oben a TS gti “tt bbw 4 : iS den oon ° . be , lee $° | ‘ee i-e:'s t jth | | . i e| e 74 Chord Connections Four-Note String Set #4 Exercise #3 — Choma Comecnions Read this exercise across these two pages. It is the main chord connection exercise for this string set. Starting with CMaj7, play down the page (up the fingerboard) in the four inversions of CMaj7, then turn around and play back up the page (down the fingerboard) in the four inversions of FMaj7. Follow the arrows up and down che neck through the cycle of Aths. When you have finished this exercise, do the same thing with the 7th, min7.min7’S and °7 chords. cMai7 BMaj7 EMaj7 Aimai7 xx2413 eeltis xx2413 xx2300 Fee ae — eee . 0 eoe wm ow wow . . ee . . . . wets 33s 2a xx1333 ooo, ° im eou oe vm oo m1 423 we243 xxt333 eoun ow ° vu ee . . eee . eerste net333 extiis ox ° sm eoe wm . . eee . xt Exercise #3 Continued BMaj7 xxl eoe xxl} fou oe EMaj7 xx1333 AMal7 Chord Connections 75 DMaj7 xt Four-Note String Set #4 eon pores ow 76 Chord Connections Four-Note String Set #4 Exercise #4 — Sravoano Crono Procressin The chord progressions appears in four positions, Read across the page. Each row is in a different position. CMaj7 Amin? Dmin?'s G7 sons Ts oO] Poston @ 4 ai” pull lpcaef ry xx2412 xx2314 xx1312 xxt2it | xxtiia heath Sars in nd | nepal

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