167282294 Chordal Mysteries Revealed

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Gabelvision Productions ASCAPGenerated 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

Measures 1 - 4 is 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 degreeE is the major third G is the perfect fifth.

In measures 4 - 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 iscalled 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.

In measures 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 iscalled 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. HenceC/G. The numeric voicing would be 5 ,1 ,3 .

In measures 13 - 24 I give examples of the C major triads played on diffrent sets of strings in all the inversions consecutively. This isanother good way to practice them.

Measures 25 - 28 are examples of doubling.

THE SUSPENDED TRIAD

There are two types of sus chords: Sus2 and Sus4.To create a sus 2 lower the 3rd to the 2nd.Measures 30 - 32 C sus2 = CDG = 125

To create a sus 4 raise the 3rd of the chord to the fourth degree.Measures 33 - 35 C major Triad CEG = 135C sus4 = CFG = 145 THE MINOR TRIAD

To convert the major triad into the minor triad lower the third a half step. This is how you change C major into C minor.

C - E - G this is the major triad 1 - 3 - 5

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

Measures 36 - 38 is the Cm triad in all the inversions.

THE DIMINISHED TRIAD

To convert the major triad into the diminished triad lower the third a half step and the fifth a half step. This is how you change C major intoC diminished.C - E - G this is the major triad

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

Measures 39 - 41 is the C diminished triad in all the inversions.

THE AUGMENTED TRIAD

To convert the major triad into the augmented triad raise the fifth a half step. This is how you change C major into C augmented.


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TRIADIC CHORDS - Derryl Gabel Page 2 of 6

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

C - E - G this is the major triad 1 - 3 - 5

C - E - G# this is the minor triad. 1 - 3 - #5

Measures 42 - 44 is the C augmented triad in all the inversions.

TRIADIC CHORD SCALE

Measures 45 - 52 are triads built from every degree in the C major scale. Hence the term chord scale.

Measures 53 - 60 is a chord scale in the 2nd inversion.

Measures 61 - 68 is a chord scale using doubling. 1- C major2- D minor3- E minor4- F major5- G major6- A minor7- B diminished

I1

TAB

44Gtr I

CU

3

U

5

U

5

U

8

U

9

U

10

U

0

U

2

U

3

U

5

U

7

U

8

I5

TAB

C/EU8

U8

U

9

U1

U0

U2

U5

U

5

U

7

U

10

U

10

U

12

I9

TAB

C/GU0

U1

U

0

U

5

U

5

U

5

U

9

U

10

U

10

U

2

U

3

U

3






I13

TAB

CU3

U5

U5

C/EU8

U8

U9

C/GU12

U13

U

12

I16

TAB

C/EU1

U0

U2

C/GU5

U5

U

5

CU8

U

9

U

10

I19

TAB

CU0

U

2

U

3

C/EU

5

U

5

U

7

C/GU

9

U

10

U

10

I22

TAB

C/G

U

2

U

3

U

3

CU

5

U

7

U

8

C/EU

10

U

10

U

12

I25

TAB

CU3

U5

U

5

U3

U5

U

5

U

5

U3

U5

U

5

U

5

U

7

U3

U5

U

5

U

5

U

3

U8

U8

U

9

U

10

U

10

U

8






I30

TAB

Csus2U3

U3

U5

Csus2/EU8

U8

U7

Csus2/GU10

U13

U

12

I33

TAB

Csus4

U3

U6

U5

Csus4/EU8

U8

U

10

Csus4/GU13

U13

U

12

I36

TAB

CmU3

U4

U5

eCm/EÙ

8

U8

U8

eCm/GU

11

U13

U

12

e

I39

TAB

C°U2

U4

U5

eeC°/EÙ

8

U7

U8

eeC°/GÙ

11

U13

U

11

ee

I42

TAB

C+U4

U5

U5

g C+/EU8

U9

U9

g C+/GbU12

U13

U

13

g






I45

TAB

CU3

U5

U5

DmU5

U6

U7

EmU7

U8

U9

FU8

U10

U

10

I49

TAB

GU10

U12

U

12

AmU12

U13

U

14

B°U13

U

15

U

16

CU15

U

17

U

17

I53

TAB

C/GU5

U5

U5

Dm/AU6

U7

U

7

Em/BU8

U9

U

9

F/CU10

U

10

U

10

I57

TAB

G/DU12

U

12

U

12

Am/EU13

U

14

U

14

B/FU

15

U

16

U

15

C/GU

17

U

17

U

17

I61

TAB

CU5

U

5

U

5

U

3

DmU6

U

7

U

7

U

5

EmU8

U

9

U

9

U

7

FU

10

U

10

U

10

U

8






I1

TAB

GU12

U

12

U

12

U

10

AmU13

U

14

U

14

U

12

B°U

15

U

16

U

15

U

14

CU

17

U

17

U

17

U

15





SEVENTH CHORDSAs recorded by Derryl Gabel


Performance Notes

SEVENTH CHORDS

The major seventh chord is built off the 1st, 3rd, 5th, and 7th degreeof the major scale.

Measures 1 - 3 is the CM7 chord on diffrent sets of strings.

Measures 4 - 7 shows the diffrent inversions.

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.

By droping the second voicing we can gain more practicle chord forms that are easier to play.So you would go from CEGB to GCEB.

Measures 7 - 11 are the drop 2 chord voicings on the middle set of strings.CGBE = 1573EBCG = 3715GCEB = 5137BEGC = 7351

Measures 12 - 23 are all the inversions of the CM7 chord using the drop 2 chord form.

Measures 24 - 31 uses the drop 1 chord forms.

Measures 32 - 39 uses open chord voicings. This is where the intervals between the notes are very wide. This is done by taking the 2ndvoice and raising it to the higher octave.

Measures 40 - 59 are examples of other major 7 chord types.

Measures 60 - 71 are the Dominant and Altered Dominant Chords.

DominantsEssentially 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 DominantsAltered Dominants contain one or all of the following: b9 or #9, #5.

Measures 72 - 87 are the Minor 7 Chord Types

The Cm7 chord is also the same thing as an Eb major 6 chord.CEbGBb = Cm7EbGBbC = EbM6

Cm7b5 is the same chord as an Ebm6CEbGbBb = Cm7b5EbGbBbC = Ebm6

Measures 88 - 91 are Diminished 7th ChordsMeasures 92 - 95 are Minor 7 #5 ChordsMeasures 96 - 99 are Minor Major 7th Chords




SEVENTH CHORDS - Derryl Gabel Page 2 of 8


MULTIPLE ALTERATIONSMeasures 100 - 102Try 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 CM7/E.You can lower the 3rd to the 2nd and raise the 5th to the 6th.This will create a CM7sus2add6/E.

Measures 103 - 110 is a chord scale using the first inversion chord forms.

Measures 111 - 118 is a chord scale using the drop 1 chord forms. These are all 2nd inversions because the 5th of each chord is in thebass.

I1

TAB

44Gtr I

Cmaj7

U

0

U

0

U

2

U

3

U

4

U

5

U

7

U

8

U

7

U

8

U

9

U

10

I4

TAB

Cmaj7U0

U0

U

2

U

3

Cmaj7/EU1

U4

U

5

U

7

Cmaj7/GU5

U

5

U

9

U

10

Cmaj7/BU

8

U

9

U

10

U

14

I8

TAB

Cmaj7U5

U4

U

5

U

3

Cmaj7/EU

8

U

5

U

9

U

7

Cmaj7/GU

12

U

9

U

10

U

10

Cmaj7/BU

13

U

12

U

14

U

14

I12

TAB

Cmaj7/EU3

U1

U4

U2

Cmaj7/GU7

U5

U5

U

5

Cmaj7/BU8

U8

U

9

U

9

Cmaj7U12

U

12

U

12

U

10






I16

TAB

Cmaj7/B

U1

U0

U

2

U

2

Cmaj7U5

U

4

U

5

U

3

Cmaj7/EU

8

U

5

U

9

U

7

Cmaj7/GU

12

U

9

U

10

U

10

I20

TAB

Cmaj7/GU

4

U

2

U

3

U

3

Cmaj7/BU

5

U

5

U

7

U

7

Cmaj7U

9

U

9

U

10

U

8

Cmaj7/EU

12

U

10

U

14

U

12

I24

TAB

Cmaj7/G

U1

U

4

U

2

U

3

Cmaj7/BU

5

U

5

U

5

U

7

Cmaj7U

8

U

9

U

9

U

8

Cmaj7/EU

12

U

12

U

10

U

12

I28

TAB

Cmaj7U3

U5

U4

U

3

Cmaj7/EU7

U

8

U

5

U

7

Cmaj7/GU8

U

12

U

9

U

10

Cmaj7/BU

12

U

13

U

12

U

14

I32

TAB

Cmaj7U7

U5

U

5

U

3

Cmaj7/EU8

U

8

U

9

U

7

Cmaj7/GU

12

U

12

U

10

U

10

Cmaj7/BU

15

U

13

U

14

U

14






I36

TAB

Cmaj7/GU

5

U

4

U

3

U

3

Cmaj7/BU

8

U

5

U

7

U

7

Cmaj7U

12

U

9

U

10

U

8

Cmaj7/EU

12

U

12

U

14

U

12

I40

TAB

Cmaj7sus2/DU3

U1

U4

U0

Cmaj7sus2/GU7

U3

U5

U

5

Cmaj7sus2/BU8

U8

U

7

U

9

Cmaj7sus2U10

U

12

U

12

U

10

I44

TAB

Cmaj7sus4/F

U3

U1

U4

U3

Cmaj7sus4/GU7

U6

U5

U5

Cmaj7sus4/BU8

U8

U

10

U

9

Cmaj7sus4U13

U12

U

12

U

10

I48

TAB

U3

U1

U4

U4

g U7

U7

U5

U5

g U8

U8

U

11

U

9

g U14

U12

U

12

U

10

gCmaj7#4/BCmaj7#4/G Cmaj7#4Cmaj7#4/F#

I52

TAB

Cmaj7`5/EU2

U1

U4

U2

e Cmaj7`5/G`U7

U5

U5

U

4

eCmaj7`5/BU

8

U7

U

9

U

9

e Cmaj7`5U12

U

12

U

11

U

10

e






I56

TAB

Cmaj7+5/EU4

U1

U4

U2

g Cmaj7+5/GbU7

U5

U5

U

6

gCmaj7+5/BU

8

U9

U

9

U

9

g Cmaj7+5U12

U

12

U

13

U

10

g

I60

TAB

C7/EU3

U1

U3

U2

eC7/GU

6

U5

U5

U

5

e C7/BÙ8

U8

U

9

U

8

eC7U12

U

11

U

12

U

10

e

I64

TAB

C7`5/EU2

U1

U3

U2

eeC7`5/GÙ

6

U5

U5

U

4

eeC7`5/BÙ

8

U7

U

9

U

8

eeC7`5U

12

U

11

U

11

U

10

ee

I68

TAB

C7+5/EU4

U1

U3

U2

eeC7+5/GbU

6

U5

U5

U

6

egC7+5/BÙ

8

U9

U

9

U

8

eeC7+5U

12

U

11

U

13

U

10

ee

I72

TAB

Cm7/EÙ3

U1

U3

U1

eeCm7/GU

6

U4

U5

U

5

eeCm7/BÙ

8

U8

U

8

U

8

eeCm7U11

U

11

U

12

U

10

ee






I76

TAB

Cm7add2/DU3

U1

U3

U0

eCm7add2/GU

6

U3

U5

U

5

e Cm7add2/BÙ8

U8

U

7

U

8

eCm7add2U

10

U

11

U

12

U

10

e

I80

TAB

Cm7add4/F

U3

U1

U3

U3

eCm7add4/GU

6

U6

U5

U5

e Cm7add4/BÙ8

U8

U

10

U

8

eCm7add4U

13

U11

U

12

U

10

e

I84

TAB

Cm7`5/EÙ2

U1

U3

U1

eeeCm7`5/GÙ

6

U4

U5

U

4

eeeCm7`5/BÙ

8

U7

U

8

U

8

eeeCm7`5U

11

U

11

U

11

U

10

eee

I88

TAB

C°7/EÙ2

U1

U2

U1

eeC°7/GÙ

5

U4

U5

U

4

eeC°7/BÙ

8

U7

U

8

U

7

eeC°7U11

U10

U

11

U

10

ee

I92

TAB

Cm7+5/EÙ4

U1

U3

U1

eeeCm7+5/GbU

6

U4

U5

U

6

eegCm7+5/BU

8

U9

U

8

U

8

eeeCm7+5U

11

U

11

U

13

U

10

eee






I96

TAB

Cm/maj7/E`U3

U1

U4

U1

eCm/maj7/GU

7

U4

U5

U

5

eCm/maj7/BU

8

U8

U

8

U

9

eCm/maj7U

11

U

12

U

12

U

10

e

I100

TAB

Cmaj7/EU3

U1

U4

U2

Cmaj7sus2/DU3

U1

U4

U0

Cmaj7sus2add6/EU5

U1

U4

U0

I103

TAB

Cmaj7/EU3

U1

U4

U2

Dm7/FU5

U3

U5

U3

Em7/GU7

U5

U7

U

5

Fmaj7/AU8

U6

U

9

U

7

I107

TAB

G7/BU10

U8

U

10

U

9

Am7/CU12

U10

U

12

U

10

Bm7`5/EU13

U12

U

14

U

12

Cmaj7/EU15

U

13

U

16

U

14

I111

TAB

Cmaj7/GU1

U

4

U

2

U

3

Dm7/AU

3

U

5

U

3

U

5

Em7/BU

5

U

7

U

5

U

7

Fmaj7/CU

6

U

9

U

7

U

8






I1

TAB

G7/DU8

U

10

U

9

U

10

Am7/EU

10

U

12

U

10

U

12

Bm7`5/FU

12

U

14

U

12

U

13

Cmaj7/GU

13

U

16

U

14

U

15





NINTH CHORDSAs recorded by Derryl Gabel


Performance Notes

In this lesson I will cover the major 9 chord. Notice all the diffrent voicings. In measures 1 - 7 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 theinversions of E minor 7 while keeping C in the bass

Measures 9 - 16By lowering all the B notes to Bb you will create the Dominant 9.CEGBbD = C9 = Em7b5 over C

Measures 17 - 24If you take a Dominant 9 chord and raise the 9th a half step you will create a 7#9 ChordCEGBbD# = C7#9 = EmM7b5 over C

Measures 25 - 32If you take a Dominant 9 chord and lower the 9th a half step you will create a 7b9 ChordCEGBbDb = C7b9 = E dim7 over C

Measures 33 - 40By lowering the 3rd, E to Eb and the 7th, B to Bb you will create the minor 9.CEbGBbD = Cm9 = EbM7 over C

I1

TAB

44Gtr I

Cmaj9U

3

U

3

U

4

U

2

U

3

I3

TAB

U7

U5

U

7

U

5

U

8

I5

TAB

U10

U

8

U

9

U

9

U

8




NINTH CHORDS - Derryl Gabel Page 2 of 5


I7

TAB

U

12

U

12

U

12

U

12

U

8

I9

TAB

C9U3

U3

U3

U

2

U

3

e

I11

TAB

U6

U5

U

7

U

5

U

8

e

I13

TAB

U10

U

8

U

9

U

8

U

8

e

I15

TAB

U

12

U

11

U

12

U

12

U

8

e






I17

TAB

C7+9U3

U4

U3

U

2

U

3

ge

I19

TAB

U6

U5

U

8

U

5

U

8

eg

I21

TAB

U11

U

8

U

9

U

8

U

8

ge

I23

TAB

U

12

U

11

U

12

U

13

U

8

eg

I25

TAB

C7`9U3

U2

U3

U

2

U

3

ee






I27

TAB

U6

U5

U

6

U

5

U

8

ee

I29

TAB

U9

U

8

U

9

U

8

U

8

ee

I31

TAB

U12

U11

U

12

U

11

U

15

ee

I33

TAB

Cm9U3

U3

U3

U

1

U

3

ee

I35

TAB

U6

U4

U

7

U

5

U

3

ee






I37

TAB

U10

U

8

U

8

U

8

U

8

ee

I39

TAB

U

11

U

11

U

12

U

12

U

8

ee





ELEVENTH CHORDSAs recorded by Derryl Gabel


Performance Notes

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

The dominant 7 #11 chord can be made by simply raising the 11th or the F to F#CBDF# = CM7#11 = B minor over 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

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

I1

TAB

44Gtr I

Cmaj11U

1

U

3

U

4

U

3

I3

TAB

U7

U6

U

7

U

8

I5

TAB

U10

U

12

U

10

U

8




ELEVENTH CHORDS - Derryl Gabel Page 2 of 3


I7

TAB

Cmaj7+11U2

U3

U4

U

3

g

I9

TAB

U7

U7

U

7

U

8

g

I11

TAB

U10

U

12

U

11

U

8

g

I13

TAB

C11U1

U3

U3

U

3

e

I14

TAB

U6

U6

U

7

U

8

e




ELEVENTH CHORDS - Derryl Gabel Page 3 of 3


I15

TAB

U10

U

11

U

10

U

8

e

I16

TAB

Cm11U1

U4

U3

U

3

ee

I17

TAB

U6

U6

U

8

U

8

ee

I18

TAB

U

11

U

11

U

10

U

8

ee





THIRTEENTH CHORDSAs recorded by Derryl Gabel


Performance Notes

THIRTEENTH CHORDS

First lets spell out the make up of the dominant thirteenth.1-3-5-b7-9-11-13 or1-b7-9-10-13 or1-9-10-13 etc...

As a good rule of thumb try to keep the 3rd, 7th, and the13th in the chord.

Measures 1 - 10 is the CM13 chord.We are using a Em7sus4 over a C.This is giving us the 1, 3, 7, 9, 13

Measures 11 - 18 is also a major 13th chord but we are using a Bm7b5 over C.This is giving us the 1, 4 or 11th, 7, 9, 13

Measures 19 - 26 is the C13 chord.We are using a BbM7b5 chord over C.This gives us the 1, 3, b7, 9, 13.

Measures 27 - 34 is the Cm13 chord.We are using a BbM7#4 over C.This gives us the 1, b3, b7, 9, 13.

Measure 35 is a C13 or a BbM7b5 over C or BbM7b5/C.By lowering the 13 and the 9th we can create an altered dominant.Cb13b9. This can alson be thought of as a Bbm7b5/C.By raising the b9 up a whole step to the #9 we get a Cb13#9 or a EM7b5/C.

I1

TAB

44Gtr I

Cmaj13U

5

U

3

U

4

U

2

U

3

I3

TAB

U7

U5

U

7

U

7

U

8

U5

U5

U

7

U

9

U

8




THIRTEENTH CHORDS - Derryl Gabel Page 2 of 5


I5

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U10

U

10

U

9

U

9

U

8

I7

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U12

U12

U

14

U

12

U

15

I9

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U

12

U

12

U

14

U

12

U

15

U

12

U

10

U

12

U

12

U

8

I11

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U5

U3

U4

U

3

U

3

I13

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U7

U6

U

7

U

7

U

8






I15

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U10

U

10

U

10

U

9

U

8

I17

TAB

U13

U12

U

14

U

12

U

15

I19

TAB

C13U5

U3

U3

U

2

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3

e

I21

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U6

U5

U

7

U

7

U

8

e

I23

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U10

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10

U

9

U

8

U

8

e






I25

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U

12

U

11

U

14

U

12

U

8

e

I27

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Cm13U5

U3

U3

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1

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3

ee

I29

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U6

U4

U

7

U

7

U

8

ee

I31

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U10

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10

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8

U

8

U

8

ee

I33

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11

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11

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12

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ee






I1

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C13U10

U

10

U

9

U

8

U

8

eC7`13`9U

9

U

9

U

9

U

8

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8

eeeC7`13+9U

11

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8

gee





EXTRACTING INVERSIONSAs recorded by Derryl Gabel


Performance Notes

EXTRACTING INVERSIONS

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 scaleCDEFGABC = 1234567The chord is CEBD = 1379Now lets think of the 9 as the 2.1372 = CEBD2713 = DBCE3127 = ECDB7231 = BDEC

I1

TAB

44Gtr I

Cmaj9U

3

U

4

U

2

U

3

I3

TAB

Cmaj9/DU5

U5

U

9

U

5

I5

TAB

Cmaj9/EU

12

U7

U

10

U

7




EXTRACTING INVERSIONS - Derryl Gabel Page 2 of 2


I1

TAB

Cmaj9/BU

13

U9

U

12

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Gabelvision Productions ASCAP 2008Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

COMEONOVAAs recorded by Derryl Gabel

Music by Derryl Gabel Arranged by Derryl Gabel

B`maj7 6 fr.x xDm9 3 fr.x x

Fm9 6 fr.x xB`13 6 fr.x x

E`maj9 5 fr.x xD7+9 4 fr.x x

E`/Cb 8 fr.x xFbmaj9 8 fr.x x

Em7+5 7 fr.x xGmadd9 3 fr.x

B`7sus4 6 fr.x xCm7+5 8 fr.xx

Cm11 6 fr.x x

B7`5 6 fr.x xBmaj9 6 fr.xx

B`maj9 3 fr.x xDm9VI

6 fr.x xF7sus4add68 fr.x x

Csus2 7 fr.xx xGm7/B` 8 fr.xx

Dm7/A 6 fr.xxE`7/Cb 8 fr.xx x

Fbmaj7sus26 fr.x xB`maj7/D8 fr.x x

Cadd9/F 8 fr.xGbmaj7/C9 fr.xx

Cmaj9 9 fr.xxB`/C 6 fr.xx

F/Fbxx

Gmadd9/A3 fr.xxBàdd4 6 fr.xx

E`maj9VIII8 fr.x x

Em9 8 fr.x xCbmaj9/E 6̀ fr.x

Gbmaj7sus28 fr.x xFbmaj9VI

6 fr.x xC/D 8 fr.x x

Eàdd2/F 3 fr.xxF7`5 3 fr.xx

Dm7/A(type 2)6 fr.xx

Fmaj7/A 6 fr.xxGbmaj7/C(type 2)

9 fr.xxB`6 8 fr.xx

Gm7 5 fr.xxF/FbIV 4 fr.xx

E`/A` 3 fr.xxB`m7/F 2 fr.xx

Bàdd9 6 fr.xC/B 5 fr.xx x

Gbmaj7/G4 fr.xxGsus4 3 fr.xx x

Gm7/B`(type 2)8 fr.xx

Dm7/A(type 3)6 fr.xx

Gm9 8 fr.x xB`sus4/A`6 fr.xx

Gm7+5 10 fr.x xFmaj7/AX

10 fr.x xE`maj7/G8 fr.x x

E`/A`VIII8 fr.x x

Cbadd9x x

C/F 3 fr.xxB`sus4 6 fr.xx

E`sus2/A 6 fr.xx x

I1

TAB

44Gtr II

Gtr I

P = 160B`maj7^ _ _Dm9_ ^ Fm9^ _ _B`13_ ^

I5

TAB

E`maj9^ _ _D7+9_ ^ E`/Cb^ _ _Fbmaj9_ ^




COMEONOVA - Derryl Gabel Page 2 of 2


I9

TAB

B`maj7^ _ _Dm9_ ^ Fm9^ _ _Em7+5_ ^

I13

TAB

E`maj9^ _ _D7+9_ ^ Gmadd9^ _ _B`7sus4_ ^

I17

TAB

E`maj9^ _ _Dm9_ ^ E`/Cb^ _ _Cm7+5_ ^

I21

TAB

Fbmaj9^ _ _Em7+5_ ^ Cm11^ _ _B7`5_ ^

I25

TAB

B`maj7^




167282294 Chordal Mysteries Revealed

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Transcript of 167282294 Chordal Mysteries Revealed