jazz guitar handbook

7/29/2019 jazz guitar handbook

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John' Musical bio...Page 3

1. Blues and Variations ...Page 12

2. Chord Chart ...Page 373. Chord Theory and application...Page7

4. Chord, scale, arpeggio

connection....Page 31

5. Coltrane harmony...Page 41

6. Quartal Harmony...Page 107

7. Convert to Minor ...Page 45

8. Functional Harmony ...Page 51

9. Gateway Pattern ...Page 66

10. Managing Pentatonic scales...Page 97

11. Modal Harmonic Devices ...Page 69

12. Moveable Chords ...Page 83

13. Musicians Quotes...Page 188

14. Pentatonic Scales...Page 97

15The ".Bonus" section...Older worksheets Page 332

16. Triad Superimposing ...Page 184

17. Scales, Ragas, and Rif fs ...Page 112

18. Scale Mode Structures...Page 404

19. Scale Morphing ...Page 500

20.

Scales, Intervals, and Compass ...Page 9421. Teaching diagrams...Page 126-157

22. Three note per string scale..Page158

23.Tonal Pivots ...Page 174

24. Arrangements

All Blues

All the Things You Ar e

Autumn Leaves

Blue In Green

Cherokee

Chitlin’s con CarneFour on Six

Georgia On My Mind

Giant Steps

Goodbye Porkpie Hat

Green Dolphin Street

Impressions

Killer Joe

Norwegian Wood

Nuages

‘Round Midnight

Satin Doll

Shiny StockingsSkydive

Take Five

Twisted Blues

West Coast Blues



Musical History and Influences

1944-BORN Chicago...I don't remember much music at this stage!

1946 Early experiencesI would cry when hearing a violinist play the theme to "Morton Downey Radio Show"

My Mom and Dad thought it was cute, so they would drag me into the room whenever the radio program came on.Still don't know if I cried because the music was goods or bad19 46 My first "instrument... a windup record player "Victrola" . I would put toy cars on the record as it went around."Ravels Bolero" was the record that I was allowed to play

1955 Elementary school band-Clarinet ... Mr Genualdi... Mr Petrik ok until I saw a picture of myself playing. NotCool! Sold clarinet and bought a motorbike... much better deal!

Freshman boys chorus... Mr Kuns at West Leyden High School... He pushed chord theory. I didn't appreciate ituntil after I started playing guitar

1959 First guitar experience was a Danelectro I would borrow..

Then I got an arch top acoustic from Montgomery Wards $19.95 Black and White with a diamond shaped pick guard.

Walter "Butch" Biniak was major influence in getting me started. We formed a group called "The Hard Guys". Ihad a rubber shrunken head hanging from the head stock of my guitar Very cool! "Tequila " was the big tune

New school 1961-1962 and new band..."Biscaynes" actually played gigs Elks Club in Franklin Park Illinois. Weearned $6.00 apiece per night



Bertus "Cork" Thomas -Sax -George "Cook" Heinrich-Guitar and Vocals Holding the Guild-Ron "Pest" Janus

..Drums - (not seen in the photo ...He was there)- John "Johnson Rag" Riemer.. Guitar .

Yes that is a Gold top Les Paul with the soap bar pickups. A repair guy broke the truss rod and that event startedmy efforts to learn guitar repair.

We were invited to all the rich kids parties to play... as long as we didn't talk to anybody.. We wore clothes that wewould get at the stores frequented by black people. Our best outfit was yellow pants, purple shirts with patentleather shoes. We were all pretty broke so the band clothes made up a good portion of our wardrobes, so we wouldwear our uniforms to school. If we worked it out right we would all do it on the same day.. I loved the "Ventures" and"Booker T and the MGs"... Green Onions... Walk Don't Run... Perfidia... Blue moon... Had to know those tunesIn a later version of this band I played keyboard also... A Farfisa Compact a screechy little organ made in Italy "96tears " and "My Girl" were the hip tunes.. Sam the Sham and the Pharoahs was the group

Things took a turn when I studied with Stew Pearse Met him at Roosevelt s' Chicago school of Music. While in alesson he received a phone call asking if he knew of any guitar teachers. He looked at me and asked if I would like toteach.” Sure." Next I was at Senor Carmelos Conservatory teaching guitar to kids who could play better than Icould. Then I got a call to teach at Monti's Music that had a 72 student schedule I could walk into. I said sure and Istarted to study to keep ahead of my students . At Monti's I started to gig... playing weddings and parties with the

Monti Brothers ...Al on Accordion (Cordovox) Emil on Sax( Varitone) and Tony on bass Ampeg Baby Bass Ialso played with another teacher... Len Zenaty (accordion) I learned the fine art of making the most of a situationPlaying songs to wear people out so you don't get hassled for taking a long break ... Filling your instrument caseswith as much food as possible. Accordion players were able to pack away the cake in their cases, but guitar ampswere great for hiding less delicate food.I started doing BIG BAND stuff. There were a number of rehearsal bands. , usually 18 pieces. The first was ledby Terry Brejla .. He played horn and he got the gigs. Another big band was "Harrison Hill's Invincible Artistes" I



was mostly black, a tenor sax player and I were the white guys. We played all over the south side. The advice inrough neighborhoods was to carry a fork in your shirt pocket, it would show you were ready to do some gouging but

you wouldn't get in trouble carrying a knife. We played in a bar owned by a bass player who played for Errol Garnethere I met Eddie Harris. When I was introduced to him he asked me who I was and my very nervous response was,”I’m nobody”. He very quickly turned me around and said everybody is somebody and you will never know who youmight play with so state who you are. I did and enjoyed playing with him. He played piano that night and trumpet witha sax mouthpiece. He played both at the same time. We did a gig with Earl'Fatha' Hines...played for YMCAopenings, weddings, and at churches.Then I played with Benny Zuchini's Radio AllStars... Benny played bass and was a smooth talking Italian that hada radio show (in Italian) We would sit in a small room and play on the air live. I never knew what it was all about; it couldhave been a show about being a Mafia member. I had no clue. All his music was chorded in solffegio (do re mi etc) soit stretched my thinking a little.I went to all the clubs on Wells street (Old Town) in the 60's Plugged Nickel was the place. When Miles Davis or Wes Montgomery were in town I would go every night and Sunday afternoon also. I got to talk with Wes quit a bit.

He didn't talk about music, mostly his kids and people. He was real proud of a beautiful Chocolate coloredCadillac he just bought. He was a nervous guy, he would be practicing an hour before the club would open. I wouldstand by the window and listen. One time he opened the door and let me in. He said about guitar playing..."Get a

good guitar and play it a whole lot!" Ok....no problem, Wes!My big gig on Wells Street was at a place called the Hungry Eye. Just a store front where the band played up inthe window with your back to the street. The gig was from 8:00 to 4:00 (am) paid $25.00. It was an organ trio(guitar,B3 and drums) The B3 player played with a pop group called the Buckinghams...so he drew a crowd prettywell. He played everything in "C". That got tired real quick. I'm sorry I can't recall his name. I saw Miles and the bandout on the street during a break. Very cool! He was at the Plugged Nickel They made an album there.Miles was not interested with people who were white. He had a great band. Herbie Hancock Wayne Shorter,

Tony Williams blew me off my chair.. this kid played hip jazz at rock and roll intensities.It was quite an era. Jimi Hendrix, Beatles, Miles, Coltrane...everybody was playing their hearts out and people werelistening. What a concept!!! Bossa Nova hit and everybody chased that for a while. I remember a few "Bossa Nova"bars.I played a lot of casuals at all the hotels. Hotels were a hassle; you paid for parking, any help carrying stuff, andusing the john. A few of them had 220volts at the electrical outlet for their steamers in banquet rooms. This wasalways interesting plugging in, anticipating blowing your amp.

“Move West Young Man” I did and suffered as a musician. One of my first experiences was playing in a bar thatpart of it had a dirt floor. While playing everything I had learned as a “jazzer” in Chicago, the leader of the band

turned around and grabbed the neck of my guitar and said “I don’t know what you’re doing but I want you to stop!”Man, these guys scared me; they all had guns either in a holster or in their pickup truck. All I knew was that if you hada gun you were going to kill somebody. So I played all my chords in open position the rest of the night.

I met Ross Herrick in Phoenix; he was a great guitar player and friend. He tried to help me get the country thing butit back fired. He got the jazz bug. We learned some duo stuff and played at the Superstition Inn in Apache

Junction. Some tourists were pleasantly surprised to find a couple of guys playing Satin Doll or Misty out in the



Chords- Theory and ApplicationChords remain a mystery for most guitarists because of the

mystique surrounding both the guitar and the theory behindwhat makes a chord appropriate. The almost limitless

possibilities of how to play any given chord contributes to theconfusion and leads most players to be happy with a fewreliable forms. This in some cases is not a problem. Joe Pass

did very well with a few dozen forms. This leads me to the

point, to play better chords it is necessary to understand therole of the chord. In most songs the chord progression provides

the backdrop for all else. I can hear the bass players moaning. Ifeel chords can make or break a good bass line as well as a

good melody line. The chords can be a synopsis of the entire

tune when carefully voiced.

The Basics Chords are made up of intervals. In tertiary (the most common) harmony major and

minor thirds are the building blocks. Also see chapter on “Quartal Harmony”

• Major third is 2 notes that are 2 whole steps (4 half steps) apart.

• Example C to E

• Minor 3rd is 2 notes that are 1 ½ steps (3 ½ steps) apart

• Example C to Eb

Stacking these building blocks yields four chord types:

• Major = Major 3rd + Minor 3rd

• C E G = C major

• Minor= Minor 3rd + Major 3rd

• C Eb G = C minor

• Augmented= Major 3rd

+ Major 3rd

• C E G# = C augmented

• Diminished= Minor 3rd + Minor 3rd

• C Eb Gb = C diminished

Use the piano keyboard to

visualize this before going to

the guitar



The major chord forms that are common are as follows.

The diagrams are not meant to be all inclusive. Many variations are derived from these

basics.The method of presentation I use here is to assume all the chords to be moveable if you

exclude the open strings. This can be accomplished by finger picking/plucking only the

notes that are being held or stroking only the fingered strings.This chart represents many more chords than what is shown. The C# form could be used

at each fret covering the entire scale ending with another C# at the 13 th fret.

The D# could be used in the same way.The F form may be played as a full barre chord

It may be moved along the neck to create all possible major chords.

An example of the choices available for one chord: C major

Study the chapter on “Moveable chords” to gain a fuller working

knowledge of chord forms.

3rd

fret 8th fret

10th

fret 12th

fret

1st

fret



How many chords are there?Generally it is thought that a PHD in rocket science is necessary to understand chords andhow to put them together on the guitar. It might help but is not necessary. Chords have a

telescopic nature that makes things a bit easier. By that I mean a chord with a large

number after it; as in G13, is a G7 and a G9 as well.

This means that when confronted with a G9 chord you could play a G7 and it would

probably work. Your ear is the final judge,” If it sounds right, it is right.”Because there are qualities such as major or minor you need to be familiar with all major

and minor forms as well as the other “pivotal qualities”. I use that term to define the

fundamental quality that you should express in the chord and not ignore. Two suchqualities are Major or Minor and Major 7 or Dominant 7.



Chord PossibilitiesAll chords fall into a few categories. The two greater categories are extended chords or

altered chords. Extensions are generally built from scale tones. The exceptions are the

minor and the dominant 7. There are ways of accommodating these chords without

introducing altered tones. This involves using different scale forms as the source of the

notes in the chord. The most common approach is to use a major scale and spell out thechord with reference to it. In general the possibilities include triads with major or minor

3rd

and natural, sharped or flatted 5ths.Some possibilities don’t work well because theystart sounding like another chord with a simpler name. An example is Cmi#5. The notes

in this chord are C,Eb, and G# (Ab) which is an Ab major triad. I have put a * in front of these and uncommonly used or ambiguous possibilities

Sevenths 6 types of triads plus 2 types of 7ths and a 6th

Major7=1,3,5,7

Maj7Augmented=1,3,#5,7Maj7th b 5 (Lydian major)=1,3,b5,7

Dominant 7=1,3,5,b7

7Augmented=1,3,#5,b7

7th b 5=1,3,b5,b7

Dim 7=1b3b5,6 this is the common dim7 chord

The diminished 7th

is a double flatted 7 (6th

)

Minor 7= 1,b3,5,b7

Half Dim7= 1,b3,b5,b7

*Mi7#5=1,b3,#5,b7

Minor (maj)7= 1,b3,5,7

*Minor (maj7) b5= 1,b3,b5,7

*Mi7#5=1,b3,#5,b7

Triads

Major=1,3,5

Augmented=1,3,#5*Dim 5=1,3,b5

Minor 1,b3,5

Diminished 1,b3,b5

*Mi#5=1,b3,#5



The remaining possibilities

The ninths (natural, sharp and flatted), elevenths (natural and augmented) and thirteenths

(natural and flatted) can be added to all of the previous.

You can see the number of possible chords growing out of hand. What is important is tobe in control of good sounding functional chords. I have found that putting chord types in

categories helps a great deal. The general approach is to decide if a chord is either abuild, tension or release chord. (This idea is covered in detail in the “FunctionalHarmony” chapter.)

Here are the general categories;

The build or II chord is usually a minor 7th

chord.

The tension or V chord is usually a dominant 7 chord.

The release or I chord is usually a major 7 chord.

Table of chord types.

Roman numerals relate to scale degrees.In the key of G the roots are;

II= Am

V=D7I= G major

Build II (minor) Tension V (dominant 7th

) Release I (Major 7)

Mi7

Mi 9Mi11

Mi13

Mi7-5

7th

Extended;9th

11th

13th

Altered;

# or b5

# or b 9

#11b13

Maj7

6th

Maj9

Ma 13

Lydian major (ma7-5)

These are by no means all possibilities, only chords that share a common root. In other

chapters ( “Blues” and “ Modal Harmonic Devices”) you will find alternate chords

arrived at by devices such as “two/five substitutions” or “tritone substitutions” that result

in chords having new root names and possibly what seems to be a crossed quality. Afavorite example of this principal is when ending a song in D minor (last chord being D

minor) I like to use a G13 as the final chord.

A good general approach is to try to play what the music is asking for until you find abetter choice, staying within the general quality category. In other words, the music might

be asking for a G13b9 which you might not know so using a G7b9 would be a workablesolution. The b9 is the alteration so you might need to use a b9 instead of ignoring it andplaying what you fell is close, such as a 9th. This is a case of when close is not good

enough, in fact close is the worst solution. It would be better to avoid any 9 th. Not

knowing the correct form is a poor excuse but we all have played substitutes based onease of playing or fluency. Learn the correct form and then make your choice.



Blues and Variations

The twelve bar blues form is probably the most universal

progression you can learn. It is played all over the world t

on styles other than the “Blues”.

aking

I am addressing the form as opposed to the style. The form is

generally 12 measures long and uses the I, IV and V chords (1,

4, & 5). The form can be played in any style or genre.

Index (used when file is viewed as a PDF)

Blues and Variations

The chords in each key are as follows:Key of C Key of G First Variation

Extended and Altered

“Movin’ Along”Tritone Substitution

“Side-Slipping”West Coast Blues

Minor Blues “Comin’ Home, Baby”

More Variations in Key of GMore Variations in Roman Numeral Notation

The basic progression is as follows:

I I I I IV IV I I V V I I

This is probably more basic than most players would play, but it serves as a good

template to start from because all the variations will have some relationship to this series.

Just for a refresher, the chords in each key are as follows:

Key I chord IV chord V chord

C C F G

C#/Db C#/Db F#/Gb G#/Ab

D D G A

D#/Eb C#/Db G#/Ab A#/Bb

E E A B

F F Bb C

F#/Gb F#/Gb B C#/DbG G C D

G#/Ab G#/Ab C#/Db D#/Eb

A A D E

A#/Bb A#/Bb D#/Eb F

B B E F#



The following variations are just a few of the possibilities based on concepts such as

tritone substitutions, two/five substitution, side slip, extensions and alterations.

Simple 12 Bar Blues

Key of C

Key of G



First Variation

Key of C



Extended and Altered

In the context of improvised music it is common to extend and alter chords. What was amajor chord can be played as a 7th, 9th, 11th, or 13th. These are all dominant 7 chords

having a flat 7. This produces an edgier sound than extensions built upon a major 7 th. The

5ths and 9ths may be altered to create an even greater sense of tension. Not all choices

work in all occasions, let your ear be the judge.

Most jazz players start with the level of complexity of the above example. To push theenvelope further involves several other techniques such as II/V substitute, side slip,tritone, and chord superimposing. Next is an example of the II/ V substitution.



Playing a II/ V relationship instead of one chord is a familiar device. In the followingexample the original key is Eb, so be thinking of blues in Eb. This type of substitution

treats the I chord (Eb) as if it were a V (Eb7) and puts the appropriate two chord in frontof it.

Original Extended II/V sub Tonal center-scale to

use whileimprovising

Eb Eb7, Eb9, Eb13 etc Bm7/Eb9 Ab

Emphasis on

Bb and Eb

Ab Ab7, Ab9, Ab13 etc Ebmi7/Ab13 DbEmphasis on

Eb and Ab

Bb Bb7, Bb9, Bb13, etc Fmi7/Bb13 Eb Emphasis onF and Bb

This progression is used by Wes Montgomery in his tune “Movin’Along”



Tritone SubstitutionThis technique involves treating each chord of the blues progression as a Dominant 7

th

chord and inserting another Dominant 7th

chord a Tritone (three whole steps) higher orlower than the original. The tritone is the mid point of the octave so it doesn’t matter if

you go up or down because you arrive at the same note. The tritone substitutions are as

follows:

Original

Chord

Tritone

substitution

C7 Gb7

C#7/Db7 G7

D7 Ab7

D#7/Eb7 A7

E7 Bb7

F7 B7F#7/Gb7 C7

G7 Db7

G#7/Ab7 D7

A7 Eb7

A#7/Bb7 E7

B7 F7

Another way of referring this substitution is to use a Dominant 7 th chord rooted on the

Flat 5 of the original chord.Here is an example of tritone substitution in the key of C.



“Side-Slipping”Side slipping is somewhat related to Tritone substituting, it is a chord a half step away

from the destination chord. The standard chords in the blues may be approached by a half

step above or below.

C E F Db C B C Gb

F E F B C Db C F# G Gb F Db C B C

I don’t advise playing aside slip at every change as it is shown above. Use it when it feels

right.



West Coast BluesThis variation has roots in tunes like Charlie Parker’s “Blues for Alice”, “Toots

Thielmans “Bluesette” and Wes Montgomery’s “West Coast Blues”. It represents aBebop approach to the blues, a lot of II/V changes and chromatic movements.



Minor Blues “Comin’ Home, Baby”This was a popular jam tune written by the flautist Herbie Mann. This variation is similar

to the blues in a major key version except the 9th

and 10th

measures have a substitutemovement for the V and IV chord.



More Variations in Key of G



More Variations in Roman Numeral Notation

Link to the chords in each key



“All Blues”

This tune attributed to Miles Davis is a standard among jazzers,

one that you must know.This version was inspired by Kenny

Burrell with a sparse harmony maintained as the melody is added

as an upper voice.

I have found some accompaniment variations to work well using

devices such as “sideslip harmony” and tritones. Because of the

workhorse nature of this tune, you will be looking for variations in

playing accompaniment because you will be certain to play 30

choruses as the sax player works out.

The basic chords are: (in 6/8)

G7 G7 G7 G7C7 C7 G7 G7

D7 Eb7 D7 G7 G7

Following is a simple variation

G13 Ab13 G13 Ab13 G13 Ab13 G13 Db13

C13 Db13 C13 Gb13 G13 Ab13 G13 E13

D7#9 Eb7#9 D7#9 D7 G13 Ab13 G13 Ab13



Moveable Chords

A system of making one chord form do the work of many.

Moveable chords are the one great advantage that guitarists have

over piano players (other than a guitar is a whole lot easier tomove). A moveable chord usually has no open strings that are

played and the chord form can be moved along the neck to createnew chords. An F chord that is played at the first fret can be moved

to the second fret to create an F# chord. The trick is to understand

where the chords should be played.When a chord is required you can think of it as having two names.

An F chord is (F + major)

An F7 chord is (F + seventh)An F minor is (F + minor)

The first name is the locator, it tells you what fret to play the chord and the major or

minor or seventh tells you what type of chord form to play.

For example this is C7

Moving it up the fret board one fret makes it C#7

Moving one more fret makes it a D7

This shows that the form is C7 at the first fret, C#7 at the second, and D7 at the third.The form or the way that you grip the chord remains the same (all are 7

thchords) and the

location on the neck changes the letter name of the chord.

Knowing the pattern of the changing names as you move up the neck is the heart of thesystem.

This pattern movement works with scale and arpeggio forms as well. When you learn

chord, scale ,or arpeggio, make sure you move it along the neck one fret at a time and

know what the name is as it moves.



That pattern is a CHROMATIC SCALE

.

A keyboard demonstrates the chromatic scale very well.Moving from a white key to the very next black key to the right would be moving up the

chromatic scale

The dual names are confusing but necessary to understand that C# and Db are the same.

Also confusing but vital to remember that between B & C and E & F there are no sharpsor flats.

The way in which this translate to the guitar is the name of the chord you start with (like

the C7 in the previous example) moves through the chromatic scale as you move up onefret at a time.



Here is how it works:

This chord is C7 at the first fret

1st

fret C7

2nd

C#7/Db7

3rd

D7

4th

D#7/Eb7

5th

E7

6th

F7

7th

F#7/Gb7

8th

G7

9th

G#7/Ab7

10th A7

11th

A#7/Bb7

12th

B7

C#7 and Db7 are the same

chord (two names with the

same sound=ENHARMONIC)

NO # or between E and F



The same is true for a chord like F minor

This chord starts as Fm at the first fret so:

1st

fret Fm

2nd

F#m/Gbm

3rd

Gm

4

th

G#m/Abm

5th

Am

6th

A#m/Bbm

7th

Bm

8th

Cm

9th

C#m/Dbm

10th

Dm

11th

D#m/Ebm

12th

Em

F#m and Gbm are the samechord (two names with the


NO # or between Band C

Good luck,

John

www.guitarjazz.info

http://www.guitarjazz.info/




Chord, Scale, Arpeggio Connections

The following chord/scale/arpeggio diagrams move in a chromatic fashion along theneck. It is a good idea to determine where the roots are for each pattern. The root is the

letter name of the pattern.This will give you a chord/ scale/ arpeggio relationship that is in an easy to play and in

close proximity.

The downside of this approach is that each chord change is viewed as an individual withlittle regard given to the chord that came before and the chord that follows. This study is

good to develop a basic relationship to individual chord sounds especially in songs that

have long periods of one tonal center or chord sound.The most powerful and useful sound is the dominant (7th) sound.

These sounds create tension and can sustain interest over a longer period of time that a

plain major sound can. The arpeggio sound can sustain interest if the chords are varied

such as D minor and G7 being used instead of just G7.

The use of these chord/scale /arpeggio connections will be expanded in other lessons, inthe meantime, learn these patterns.



Also used as a IV chord and often as a simplified V chord

Also used as a simple II chord or a VI chord



CCoollttrraannee’’ss HHaarrmmoonnyy

The masterwork “Giant Steps” by John Coltrane was a landmark in harmonic approaches

used in jazz compositions and soloing.It is generally rumored that Coltrane studied a book by Nicolas Slonimsky, “Thesaurus of Scales and Patterns” (Macmillan Publishers). Included in the studies of the book are

patterns and harmonies that are created by dividing the octave or octaves into equal parts.

One such exercise Slonimsky calls a “Quadritone Progression” which is the equaldivision of two octaves into three parts. This also can be viewed as two ascending major

thirds.

Here it is in the key that Giants Steps is in;

Another view is in descending major thirds

See the chapter entitled "Slonimsky Scales and Patterns Adapted for Gu



This is not the first tune to use this device. Many songs used third movements for brief periods of time usually just a few measures. The bridge of “Have You Met Miss Jones” is

an exception as having an 8 measures of key centers moving in thirds.

Using the Idea

Starting with something familiar such as a” two, five, one” progression is best.

Here is the usual way this idea is applied, moving through descending major third tonal centers using the V and I chord of

each tonal center

Major 3rd

Major 3rd

Major 3rd



Coltrane Chromatic

Using major scale fragments, 1-2-3-4-5 on each of the tonal centers suggested by the“Quadritone Progression” (two ascending major thirds) yields an interesting result.

Here it is starting on A

Two major thirds ascending A to F

What makes this interesting is that if you were to collect the notes played in the 3 scalefragments ant put them in alphabetical (chromatic) order you end up with a chromatic

scale. The sequence produced in this technique is one of increasing tension as you move

from the first to last note (A to Ab). The last A was added to give a sense of resolution.Each fragment adds to the tension of the chord if you are playing over an A7.

A B C# D E F G A Bb C Db Eb F Gb Ab A

Root 9 3rd Sus4 5th #5 7th Root Flat9 Sharp9 3rd Flat5 #5 13th Maj7 Root

This sequence requires that the chord context be fairly complex in order for it to work.

The context of the music has a powerful effect on the “correctness” of this sound. In

other words, use this when the chords are right, i.e., altered dominants and the genre is

appropriate for this sound. Don’t use it when playing music that doesn’t take kindly toharmonic exploration.



Convert to Minor…

An approach to improvising overvarious chord types

This technique enables the guitarist to use a fewfamiliar arpeggio patterns to cover the three basic

conditions that exist harmonically, i.e., Major as aTonic or I chord, Minor 7 as a Supertonic or II

chord, and the Dominant7 or V chord.

One approach is to use a form of an arpeggiothat has enough of the chord sound and some of

the extensions that could be used over the chord.

The arpeggio that we start with is an E minor 11.

Another way of looking at this arpeggio is that it is made up of 3 triads.



This arpeggio will work against each of the triads with the extra notesacting as extensions.

Notes inarpeggio

G B D E F# A

G Triad

andExtensions

G

root

B

3rd

D

5th

E

6th or 13th

F#

maj7

A

9th

E minor

triad and

Extensions

G

Minor 3rd

B

5th

D

dom7th

E

Root

F#

9th

A

11th

D majortriad and

Extensions

G11th

B6th or 13th

DRoot

E9th

F#3rd

A5th

The resulting chord sounds that are implied by the arpeggio:

G Maj13, Emi11, and D 6/9 (add11)

These are the arpeggios that come to mind first because it started with G and triads were

formed.

Other chords could be considered by making roots of the notes that haven’t been used as

roots, i.e., the B,F#, and A.B as theRoot

G#5

BRoot

DMi 3rd

ESus 4th or

11th

F#5th

ADom7th

F# as the

Root

G

b9

B

Sus 4th

or

11th

D

#5

E

Dom 7th

F#

Root

A

Mi3rd

A as the

Root

G

Dom7th

B

9th

D

Sus4

E

5th

F#

6th

or 13th

A

Root

This results in these chords:

Bm11#5, F#mi11#5b9, and A13 sus4 (no 3rd)



Not all of the 6 possibilities are my first choices. Because of thedissonant nature of some of these sounds I tend to use them moreselectively and other choices become habit.

The following three examples are the most commonly used.

The Minor11 Arpeggio/Chord combination for G Major is:

The Minor11 Arpeggio/Chord Combination for E minor is:



The Minor11 Arpeggio/Chord Combination for Dominant A7:

The previous examples used one pattern which resulted in the 3 chord types each with a different root. An alternate view is to find the patterns that are appropriate for the 3 chord types using the same root.



The following chords are rooted on A.

Pattern used over a I chord

Pattern used over a II chord

Pattern used over a V chord



Another pattern

The minor root is D 5th string, 5th fret.

This is the same structure as the first pattern.

Pattern used over a I chord

Pattern used over a II chord

Pattern over a V Chord



CadenceThe “Amen” cadence is a good place to start in this work. The “Amen” cadence as

shown below conveys a feeling of finality. It moves in one direction, playing it in

reverse just doesn’t give the feeling of being at rest. This is sometimes referred to as tonal gravity.

Cadence in the wrong direction.



Cycle of Fifths

The tendency to resolution can be expanded in the cycle of fifths. This cycle has the same

properties as an “Amen Cadence” but continuing the movement. After moving from G to

C , assume the C as the tension, make it a C7 and then move to F. The same feeling of resolution should be felt. The feeling of resolution is in a clockwise direction, i.e., the 5th

moving to the tonic chord. The diagram shows the relationships of the chords that tend toresolve in a clockwise direction.

.

The direction of

resolution isclockwise.



The Harmonized ScaleThe harmonized scale is generated by taking each note of the scale (the major scale in

this case) and using it as the root of a chord built up using thirds.

The 3 qualities that are most often expressed are the:

Subdominant (Quality*) or “build chord” II or IV

dominant or “tension” V

tonic or “release” I

These chords appear as the II, V and I chord in the harmonized

scale

*The II is usually called the submediant or supertonic…I am using the term “Subdominant” to imply the function or quality of

the chord.

I II V



Tonal Gravity and Forward motion The tonal gravity principle can be compared to flying a glider airplane .Think of

tension as altitude above the tonic…greater tension=greater altitude which creates a

more dramatic effect of gravity.The altitude is reduced with forward motion towards a release target

This gives the music a direction or “forward motion”.

The build (II) chord is the approach to the peak . Dominant (V) is the peak.Tonic (I) is the landing.

The idea is to get altitude (tension) above the tonic (release)!



Form Analysis and Tonal CentersUsing the standard “Autumn Leaves” the tonal centers are determined by the appearance

of dominant 7th

chords. When scanning through the tune for the first time you shouldlook for the Dominant 7th chords first.



Two, Five, One Combinations:

Chord-Scale-Arpeggio

Tonal

Center=G

Tonal

Center=A



Tonal

Center=C

Tonal

Center=D



Gateway approach to resolution A single pattern to many resolutions

This approach is one I deduced from watching and listening to many different players

such as Wes Montgomery, Kenny Burrell, Joe Pass. They all had identifying licks that

they would superimpose and vary over many different harmonic situations. It is best to

start with a sequence that for the lack of a better name, I refer to as the “Three chord

Arpeggio”.

Here is a diagram of the above mentioned “Three Chord Arpeggio”.

It can be used directly for the chords listed but each note is right nextto a resolution note. This is the move I made to seek the resolutions.Play each note in the pattern as a possible note expressing a II chord

sound and then moving either a half step up or down consider thenew note as one that represents a V chord.



Modal Harmonic Devices (Milestones)Review the harmonized scale and then play the example using the chords suggested bythe harmonized scale.

The harmonized scale is any scale in which each note of the scale serves as the root of a

chord. The chords are created by stacking thirds on each root. Only notes of the scale areused. An easy way to view this is to think of every other note of the scale as the notes

used in the chord. In the example C scale;

The notes are

C D E F G A BThe notes in the chord rooted on C would be C E G B

The chords produced in this way in the key of C are:

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7-5 Cmaj7

The harmonized scale determines the chords that are found naturally in a key/tonalcenter. The significant chord is root on the 5 th degree of the scale (G7). It is the only

dominant chord in the tonal center. When you encounter a dominant chord you can berelatively sure of the tonal center. The G7 points to the tonal center of C.

Putting this in the key of F yields these chord forms on the first 4 notes of the scale.

Revise the voicing of Gm7,Am7, and Bbmaj7 and you have the opening melody

statement



Additionally this could be streamlined as Bb, C, Dm

When really pressed for speed I might use these fingerings.

These forms also provide a good arpeggio reference when improvising single note lines.

Treating the I chord as one of the chords of the series suggested by the harmonized scaleis just one of the ways of embellishing a modal harmonic situation.



Another approach uses the functional harmony approach of treatingthe Gm (I chord) as if it were the II chord of a II/V progression. TheGm still functions as a I chord but we play the II/V devices we haveworked out

This idea implies that whatever was done over a II/V can be done over

a I chord.

Tritone Substitution

Imitative

Quartal



Harmonized Scale_ Parallel key (C)

Extended Harmonized Scale_ Parallel key (C) Distant harmony



Modes of Diatonic Scales for the Guitar

by John Riemer

Table of contentsScales are the building blocks

The modes and their displacements

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Modes and their chords

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Scales are the building blocks of all music and understanding them is vital to become the best musician possible.



Major Scale Stucture

Major scales are the basis from which all scales are formed or referenced to.

The scale is a 7 note (diatonic) scale with half steps between the 3rd

and 4th

note as well

as half steps between the 7th

and 8th

notes.

This is a C Major scale

Notice the half steps between the 3rd & 4th and 7th & 8th degrees of the scale. This is the

Ionian mode or major scale. Its quality is “tonic”, that is, resolved. Music needs a feeling

of movement or anticipation which this scale doesn’t provide when played as seen above.

All Ionian scales are built with this interval sequence:

Whole Whole Half Whole Whole Whole Half

This is an G Major (Ionian) scale

This is an F major (Ionian) scale



This is the basic framework from which we derive understanding of all scales. The deal

here is that each note is separated by a whole step (2 frets) except for the half steps (1

fret) between: E & F and B & C. The “rule” for a major scale is half steps between 3&4

and 7&8.

Another view

is:

Ionian

This sequence of whole/half steps is the formula for the “Major” scale. The major scale is

also called the Ionian mode. This name is a reference to modes, or methods of playing

this group of notes in a different order."C" major scale played with emphasis on C and generally played in scale order is what

the term Ionian will help you understand. Ionian mode is the major scale played with C as

the point of origin. It can be visualized as:

C D E F G A B C

Emphasis is on red C’s.




The Dorian mode looks like this,

It can be converted to this kind of emphasis,

D E F G A B C DThis shifts the sound quality to minor because within the first 3 notes you hear a minor

third (D-F) the basic interval of the D minor chord

Phrygian Mode

Same idea, move over one note and add one note.

E F G A B C D E

Lydian Mode

F G A B C D E F



Mixolydian Mode

G A B C D E F G

Aeolian Mode

A B C D E F G A

Locrian Mode

B C D E F G A B



Following is an overview of the modes and suitable chords in "C" .

The modes yield chords i.e. every other note of the scale modes creates a chord

Ionian=C to C or 1 to 8

Dorian= D to D or 2 to 9



Phrygian =E to E or 3 to 10

Lydian=F to F or 4 to 11

Mixolydian=G to G or 5 to 12



Moveable Chords A system of making one chord form do the work of many.

Covers major & minor triads,7th,9th,11th, and13th extensions

Moveable chords are the one great advantage that guitarists haveover piano players (other than a guitar is a whole lot easier to

move). A moveable chord usually has no open strings that are

played and the chord form can be moved along the neck to create

new chords. An F chord that is played at the first fret can be movedto the second fret to create an F# chord. The trick is to understand

where the chords should be played.

When a chord is required you can think of it as having two names.

An F chord is (F + major)

An F7 chord is (F + seventh)An F minor is (F + minor)

The first name is the locator, it tells you what fret to play the chord and the major orminor or seventh tells you what type of chord form to play.




This shows that the form is C7 at the first fret, C#7 at the second, and D7 at the third.

The form or the way that you grip the chord remains the same (all are 7th

chords) and thelocation on the neck changes the letter name of the chord.

Knowing the pattern of the changing names as you move up the neck is the heart of the

system.

http://www.finefrets.com/

http://www.finefrets.com/



That pattern is the CHROMATIC SCALE

.

A keyboard demonstrates the chromatic scale very well.

Moving from a white key to the very next black key to the right would be moving up thechromatic scale

The dual names are confusing but necessary to understand that C# and Db are the same.

Also confusing but vital to remember is that between B & C and E & F there are nosharps or flats.

The way in which this translate to the guitar is the name of the chord you start with (likethe C7 in the previous example) moves through the chromatic scale as you move up one

fret at a time.




It moves up the neck in this way:

1st

fret C7

2nd C#7/Db7

3rd

D7

4th D#7/Eb7

5th

E7

6th

F7

7th

F#7/Gb7

8th

G7

9th

G#7/Ab7

10th

A7

11th A#7/Bb7

12th

B7

C#7 and Db7 is the same

chord(Two names with the same






1st

fret Fm

2nd F#m/Gbm

3rd

Gm

4th G#m/Abm

5th

Am

6th A#m/Bbm

7th

Bm

8th

Cm

9th

C#m/Dbm

10th

Dm

11th D#m/Ebm

12th

Em


F#m and Gbm are the same





Extended Chords: Major7, minor 7 and 7th chordsMajor, minor 7

th, and 7

thchords are the three most commonly used chord types in jazz

and blues. They are used in the II, V, I progression that so many songs are built upon.In the example below notice the minor 7th followed by a 7th chord used throughout the

song. This is typical of many jazz standards so working out your choices of these chords

makes good sense.

Following is a chart of three ways to play each chord type:

Major, Minor 7, and (Dominant) 7th.



Major 7th, Minor 7th and (Dominant) 7th Chords

Major7 Major 7 is made from the 1,3,5, and 7 of the scale.

Root 1 3 5 7

F F A C E

C C E G B

D D F# A C#

Minor7

Minor7 can be developed from the major scale by using the formula: 1,b3, 5, b7

Root 1 b3 5 b7

F F Ab C Eb

C C Eb G Bb

D D F A C

7 (Dominant 7) th

The 7th (or more correctly called…dominant 7th) uses the formula of 1,3,5,b7

Root 1 3 5 b7

F F A C Eb

C C E G BbD D F# A C




Major 9 is made from the 1,3,5,7, and 9 of the scale Root 1 3 5 7 9

F F A C E G

C C E G B DD D F# A C# E

Minor 9 is made from the 1,b3,5,b7, and 9 of the scale Root 1 b3 5 b7 9

F F Ab C Eb G

C C Eb G Bb D

D D F A C E

(Dominant) 9th is made from the 1,3,5,b7, and 9 of the scale Root 1 3 5 b7 9

F F A C Eb G

C C E G Bb D

D D F# A C E




Major 13 is made from the 1,3,5,7, 9,11, and 13 of the scale Root 1 3 5 7 9 11 13

F F A C E G Bb D

C C E G B D F A

D D F# A C# E G B

Minor 13 is made from the 1,b3,5,b7,9,11, and 13 of the scale Root 1 3 5 7 9 11 13

F F A C E G Bb D

C C E G B D F A

D D F# A C# E G B

(Dominant) 13th is made from the 1,3,5,b7,9,11,and 13 of scale Root 1 3 5 7 9 11 13

F F A C E G Bb D

C C E G B D F A

D D F# A C# E G B



Scales: Intervals, modes and compass.Learning scales and their application is a process that takes manyyears and much of that time is spent unlearning bad habits such as

playing out of time , having no chord progression in mind, and

practicing with no dynamics, etc. The usual process is to learn thefingerings, play from root to root, and try to develop speed. The

speed will develop but the musicality of what you practice is not

happening. Understanding intervals and modes helps a great deal.

You are able to express a chord sound with greater accuracy.An exercise I suggest my students play involves the concept of

compass. The original definition of the word relates to” the range

of notes or sounds of which any voice or instrument is capable.”I use a slightly different meaning that relates to the notes that will be used from a scale

that will span over two octaves or more. The are the notes that I choose as a limit of

range rather than the range of the instrument In the series below, the scale is a C major.

Compass can be designated by interval numbers. A 2-5 compass would be playing thescale from the 2nd degree to the 5th degree, one way only. Not in reverse.

1 2 3 4 5 6 7 8 2 3 4 5 6 7 8

C D E F G A B C D E F G A B C

2- 5 Compass

This could be played descending as well;

1 2 3 4 5 6 7 8 2 3 4 5 6 7 8

C D E F G A B C D E F G A B C

2- 5 Compass

This line (2-5 compass) would work well with a Dm7/G7 chord change (II/V change)

Following are a few exercises using the scale compass that is implied by the chords used.

These examples use the chords derived from the scale (tonal center). Scale compass can

include non-chordal tones or altered tones. An example of an altered scale compasswould be over Dm/G7-9 with the Ab as the altered tone (b9)

1 2 3 4 5 6 7 8 2 3 4 5 flat9

of

G7

7 8

C D E F G A B C D E F G Ab B C

2- 5 Compass (b9 of G is the target)



Pentatonic Scale ManagementPentatonics are a much played but often overlooked scale in the scope of advanced

harmony. Over the vast majority of my 45 plus years of playing the guitar I failed to trulyinvestigate and understand the full potential of the pentatonic scale form. It is generally

understood to be a five note scale and the most common form is what I will be referring

to as the Ab6/Fm7 form. This is the scale we all have learned perhaps as Fm at the firstfret

This scale is made up of the notes: F Ab Bb C EbThis scale can be moved along the neck establishing new roots at each fret

Placing the form at the 5th

fret yields an A minor pentatonic

A C D E G



The Major inversion (C D E G A) is a mode of the pentatonic that yields a clearly definedmajor sound C69 would be the chord that is spelled by the scale.

The structure is either 2 half steps or 3 half steps between the notes

There are 5 inversions (modes) of this arrangement

These inversions of the pentatonic form much of what is played today. These can be

thought of as anhemitonic scales because they have no half steps.

(Anhemitonic Pentatonics… it is no wonder you don’t often here these terms used!)



The arrangement of whole steps (2 half steps) and minor thirds (3 half steps can bearranged in only 2 ways. The first and most common arrangement is shown above and the

other arrangement is shown below.

I will refer to this as the Dominant form as the first inversion yields a C9th chord

(dominant 7).It also has another very useful chord rooted on the 3 rd (E). This could be

heard as an Em7-5 or half diminished chord. The C promotes an ambiguous sound but

seems to work, so we will not argue the point that it really is a #5. It seems to work because of the whole tone series formed by the Bb-C-D-E. There is strength in series

such as this that goes beyond technical explanations. “If it sounds right, it is right!”

In review, 2 forms of the pentatonic scales which use no half steps and minor 3rds and

whole steps exclusively are constructed as follows:

C D E G A C6/Am7

Major/mi7

C D E G Bb C9/Em7-5Dom7/mi7-5



All of the preceding scales used whole steps and minor thirds.

These are considered anhemitonic or scales with no half steps. There is yet another way

to create a pentatonic without single half step intervals. The naming of these sounds is alittle more difficult and is more “outside”.

Scale

Notes

Possible

chord

Function

C D E F# Ab C9#5#11

D E F# Ab C D7b5

E F# Ab C D E9#5

F# Ab C D E F alt

Ab C D E F# A7.

All of these functions may be considered altered as they produce sounds that have a #5 or

a b5 or both. Following are the fingerings for this scale structure.



The more advanced player will recognize that this concept provide apretty “vanilla” approach.

The missing element is the half steps necessary for the altered chords. When half stepsare added to the mix, the labeling of all the modes and accessing them gets out of hand.



Most music (jazz) uses 3 chords repeatedly

II V I

These in the key of G could be Am7_D9_G6.

The Am7 could be coverd with this ( 6th /mi7th)scale form

at the 5th fret or this at the 2nd fret*

for D9use the dominant/m7-5 form

at the 4th fret or at the 2nd fret

The G6

Use the (6th /mi7) form

at the 4th fret or at the 2nd

fret

*Please note the the fret indicated relates to the lowest fret that is indicated in the diagram. In this example

the 2nd finger would start the pattern on the 6th string on the 3rd

fret.

This is not the best way to approach improvising over chords in all situations because of the choppy quality that is created when approaching each chord as a separate scale. It is a

good starting point, though because it provides a clear, well defined sound using simple

scale forms.



The three forms of pentatonics with all of the modes, presents hundeds different possiblescales. Add the at least 4 or 5 possible ways to add accidentals and the possible scales to

manage number increases. I leave it to the math geeks to figure it out…too

much for me!!My approach is to modify the well worn pathway that I have developed in the dominant

form to create the alterations.A flat 9 sound can be generated by this pattern. Play up to and emphasize the red asterisk note

The altered tone works best when applied later in the phrase, in other words , I wouldplay the alteration at the conclusion of the phrase and play a natural 9 at the beginning of

the phrase.

th th

The suggested study is to find where all the extensions are in the scale,i.e., the 9 , 11 ,and 13

th. Then work on the altered 5ths and 9ths,i.e.,#5,b5,#9,b9.This approach forces

better understanding of your instrument as well as a sound in which your scales evolve or

morph from chord to chord in a smooth manner.

Here are the locations of the alterations over the G dominant pentatonic

ndDiagram is at the 2 fret

The preceding is meant t sing pentatonic scaleshen improvising.

t is a starting point for more complete understanding of scale/chord relationships.

o serve a guide for uw

I



Over many years of teaching I have had many students ask about the “best” scale to use.My answer would usually be something like “All of them!” My intention was to stimulate

rve asthinking outside the box that guitarists generally are confined within. Pentatonics se

a good launching point because the notes are secure and define a chord sound with aminimum of “avoid” notes. Knowledge of what makes up the chord should be a priority,

then the scale choice could be one which provides the least conflict and maintaining aclose proximity to the alterations.Have fun!

John Riemer 2006



Quartal Harmony

Many players such as Bill Evans, McCoy Tyner used quartal harmony as a basis for their creations but the firstto catch my ear was Eddie Harris. As a fellow Chicagoan, I had the privilege to hear him often and on occasion

to sit in with him. He was not only a great saxophonist but he could play piano and trumpet (with a saxmouthpiece), often at the same time. His tune “Freedom Jazz Dance” exhibited quartal melody to a high degree.

Following is the opening statement;

This study deals with the harmonic side of quartal harmony. Essentially the approach uses chords built of

fourths to harmonize common scales.

The scales that will be approached are;

Major (Ionian Mode)

Minor ( melodic)There are two approaches to this harmony;

¾ Using strict parallel fourths, disregarding the tonal center.Parallel 4ths be C-F-B-E

¾ Because of the natural augmented fourth that occurs in many scales a correction to some intervals is

made to keep the harmony within the key augmented fourths to harmonize the scales. This results in a

chord that is more in agreement with the tonal centers.Corrected 4ths would yield C-F-Bb-Eb

The basic premise is to chose a note in the scale (usually on the 5th or 4th ) string and stack either 4th or

augmented 4th

intervals.



Major scalesThe fourth interval derives it’s name from the fact that it is the fourth scale degree away from the chosen first

note.C to F, D to G, E to A, etc. After examining these intervals you will notice not all are equal.

Some are 5 half steps and some (F to B) are 6 half steps. The 6 half step interval is an augmented fourth

Strict parallel fourths Corrected fourthsNotes in red are not in the scale.

C D E F G A B

C F Bb Eb

D G C F

E A D G

F Bb Eb Ab

G C F Bb

A D G C

B E A D

C F B E

D G C F

E A D G

F B E A

G C F B

A D G C

B E A D

Notes in blue are the correctedInterval (augmented 4th ).



Melodic Minor Scale in Corrected 4ths

To make this work a different view of the 4th needs to be applied. We accepted the augmented in the major scale

because that interval occurred in the major scale and it created a good sounding chord set. Looking at the

melodic minor scale we have problem with the E natural in conflict with the scale. I like to think of it as a flatted 4

th. I present this in spite of the fact that it is a major 3rd (from B to Eb). This helps me in the process of

building these chords because the intervals are now either a 4 th, aug 4th, or flatted 4th. Less processing means

quicker processing.

Justification for this can be derived from the inverting or revoicing of the 4 th sequence.

In the 4ths sequences of the major scale, revoicing will yield major 3rd intervals.

In the melodic minor scale:

If you examine the sequence of 4ths over a long period all intervals are justified, (Playing through the

entire sequence yields a chromatic scale).

C F B Eb

D G C F

Eb A D G

F B Eb A

G C F B

A D G C

B Eb A D

C F B E A D G C

C F B Eb A D G C

Major 10t or 3r

Dim. or flatted 4t

Aug. or

Sharp 4th



Melodic Minor “C”

Melodic Minor “F”



Musical Instrument Tunings

This chart is arranged from bass to treble, from left to right, withstring/course #1 being the highest one.

14 1

3 12 1

1 10 9 8 7 6 5 4 3 2 1 Bajo Sexto,10-string Aa Dd Gg Cc Ff Bajo Sexto,12-string Ee Aa Dd Gg Cc Ff Balalaika E E A Bandola AA DD GG CC FF Bb Bandola (2) F#F# BB ee aa dd gg Bandurria(2) AA DD GG CC F#F

# A#A#

Bandurria(3) AA DD GG CC FF BbB

b Bandurria(also

Banduria) G#G

# C#C

# F#F

# BB EE AA BanjoGuitar E A D G B E BanjoMandolin GG DD AA EE Banjo, 5-String G C G B D Banjo, 5-String (2) G D G B D Banjo, 6-String E A D G B E Banjo, IrishTenor G D A E Banjo, JazzTenor C G D A Banjo, C G B D



Charango G C E A E Charango(Chile) E A E C G Charango

3/4

D

G

B

E

B

Cittern G D A E Cittern (5-Course) G D G B D Cuatro A D F# B Cuatro dePuerto Rico B E A D G Cumbus D E A D G C Cytole D G B E Dobro D B D G B D Dobro (2) G G D G B D DoubleBass E A D G Dulcimer G C C C Dulcimer(Ionian) D D A Dulcimer(Myxolydian) D A D Fiddle G D A E Gitarra,Portuguese D A B E A B or

D Guitar,"Terz" G C F Bb D G Guitar, 10-String(Modern) G

b Ab B

b C E A D G B E Guitar, 10-

String(Romantic) A B C D E A D G B E Guitar, 12-String EE AA DD G

G BB EE Guitar, 4-String D G B E Guitar, 5- A D G B E



String Guitar, 7-String D E A D G B E Guitar, 7-

StringElectric A

orB E A D G B E Guitar, 8-String

BorC D E A D G B E

Guitar,Acoustic E A D G B E Guitar, Alto B F# D A E B Guitar,Classical E A D G B E Guitar,Drop D D A D G B E Guitar,Electric E A D G B E Guitar,Flamenco E A D G B E Guitar, Harp A# B C C

# D D# F F# G G# Guitar,Resophonic G B D G B D Guitar,Tenor C G D A Guitar,Tenor (2) G D A E Guitar,Tenor (3) D G B E Guitarron A D G C E A Guitarrone E A D G B E Guittern A D G B E Hawaiian E A E A C# E Joura D A D Laouta C G D A Laud GG CC F#F

# BB EE AA Liuqin, 3- D G D



String Liuqin, 4-String G D G D Lute D F G C F A D G Lute (2) E# B A D G C# E A Mandobass E A D G Mandocello C G D A Mandola C G D A Mandolin G D A E Mandolin,Octave(IrishBouzouki) G D A E Mandora G D G D Opharion G C F A D G Oud(Arabic) D G A D G C Oud(Turkish 2) F# B E A D G Oud(Turkish) A D E A D G Pandurina G D G D Pipa

A

D

E

A

Requinto A D G C E A Requinto(2) A D G B E A Ronroco G C E A E Ruan, Alto G D A E Ruan, Alto(2) A D A D Ruan, Bass B F C G Ruan, Bass(2) C G D A Ruan, Bass(3) C G C G Saz C G C Saz (2) D G C Saz (3) C F C



Saz, 7-String G g d d A a a Sitar c c G C G C F Symphonie G C G Symphonie(2) G D G Tambura G g g d Theorbo F G A B C D E F G C F A D G Tiple, N.American A D F# B Tiple, S.American C E A D TurkishFiddle G D A TurkishFiddle (2) A E B Ukulele,Baritone D G B E Ukulele,Soprano A D F# B Ukulele,Soprano (2) G C E A Ukulele,

Tenor G C E A Ukulele,Tenor (2) A E C A Vihuela deMano G C F A D G Vihuela deMexico A D G B E Vihuelita C F Bb D G Viola C G D A Violin G D A E Violin, Bass E A D G Walaycho B E B G D



F Tonal Center

The “three note per string” fingering for the major orIonian mode is;

This could be thought of as the Ionian mode because it starts on the low F. It is notspecifically one mode but for the sake of organization I will refer to this as the Ionian

mode.

The chord that would be in easy access from this scale would be an

F major7



The following starts on G, the 2nd degree of the scale, soit will be called the Dorian mode.

Be sure to learn the names of the notes in each of these scale forms because by targeting

(ending on) certain notes you are able to imply the various modes. The Dorian mode is

the II sound in a II-V-I progression. By staring on G and ending on C you can imply a II-V progression using any of the forms of the F scale.

The chords that would work well in association would be a Gminor7at the 3rd fret.



Next is the Phrygian mode or emphasis on the thirddegree (A) of the F major scale.

The chords that would work well in association would be an Aminor7at the 5th fret.



The next scale form starts on the 4th of the scale, Lydian.

The appropriate chord would be Bb major 7

Or a Bb Lydian chord (maj7-5)



This starts on the 5th of the scale, Mixolydian ordominant.

This mode is one of the more frequently used modes because it is a sound that impliesmotion or unrest especially when played ending on C. This mode also serves as a

gateway to altered chords by adding chromatic tone. A simple example is to start on Gand play to A and then add Ab. The resulting sound is a G7-9 chord, 1-2 5-b7-b9.

This is the Ab to

add to create theG7-9 sound. Use

1st

finger

The first choice chord might be this form of C7

The altered chord C7b9



Locrian mode starts on the 7th degree

This mode has a unique sound that is best satisfied with the specific chord. An Emi7

could be used but the Locrian chord or Eminor 7 b5 is the correct chord. It takes some

time to get used to the sound; it tends to want to resolve to the relative minor or D minor.

It is usually use as a II chord.

Example Em7-5 to A7-9 to Dminor7



The Dorian Mode start on D 10th fret, 6th string

Here is the chord



The C tonal center-Phrygian mode-Start on E-12th fret,6th string

Emi7-5 chord

The preceding has covered 2 tonal centers (F and C) and 7 modes for each tonal center.Each pattern (mode) actually contains all the modes. Do the math; each pattern contains 7

modes, 7 different patterns in 2 Tonal centers 7x7x2=98 things to keep organized. If you

move through all possible keys, i.e. move the F tonal center through all keys (12) and theC tonal center through all keys (12) the number of things to keep organized is 588.

Learning everything is a daunting task. As you go through all of the possibilities a few

will stick with you as functional and natural. I feel nobody learns everything and is

processing all of this as they play. I have learned scale chord relationships as a particular“sound”.

Learning the names and location of the significant notes, the ones that are roots and scale

tones of the chord sound is a more productive approach.

That is the next step, arpeggio studies. www.guitarjazz.info

http://www.finefrets.com/arpeggiostudies



http://www.finefrets.com/arpeggiostudies



Tonal Pivot John Riemer 2006

This is an interval oriented technique that uses your third finger on the root of the tonal

center and you become aware of the critical intervals within close reach and develop alick/chord relationship.

The focus of the idea is to have a starting point that is common to all chord types with

any combination of extension or alteration. The physical placement of your fingers willbe the same in all situations and no movement or shift from the initial position is

necessary. This will help you develop an awareness of all intervals in relationship to yourpivot note.

Following are examples of 2 chord situations using the same starting note.

Pivot tone



A first step is to become familiar with a pivot tone and thesurrounding intervals

The possibilities are (in a system based on thirds i.e. tertiary harmony):

Major triad-Root -3rd-5th

Minor triad-Root-flat3rd- 5th

Augmented-Root- 3rd-sharp 5th

Diminished-Root- flat 3rd

–Flat 5th

Major 7th

Dominant 7th#9th

9th

b9th

13th

b13th

#11th

11th



Triadic Superimpositions

Sounds like something a physicist might discuss. For the guitarist it is a great

improvisational tool. It simply means placing one triad over another.

In this example the C and D major triads for an implied Lydian major. It is implied

because the major 7th

(B) doesn’t appear. It will work for a situation calling for a

dominant chord but it won’t define the dominant sound (Bb) very well so I tend to use

this sound as a tonic sound.

This is a simple way to develop complex sounds. It works especially well when playing

single notes.

Not all the notes need to be in agreement with the chord…we are after an implied sound

here. Sorry, you nitpickers will have to deal with it!!



Possibilities…

The possibilities are generated by the four possible triads; Major, Minor, Augmented, and

Diminished.

Let’s work with the major arpeggios and see where that takes us.

Here is the major arpeggio form in C. This is by no means all the possibilities. Anycombination of C, E, and G would be a valid arpeggio. The example is presenting the

first arpeggios that should be learned.



First exploration uses astepwise motion (C & D major)

Next is a ste downward C & Bb



“ Music washes away from the soul thevery-day life.”



“I am what I am becindustrious; whoever i

sedulous will be equally

J. Seb



“The barriers are not ecan say to aspiring taleindustry “Thus far an

farther.””

B



“Everyday we spend learning something is a

Beetho



“Music should strikethe heart of man, antears from the eyes of

Beethoven



“ Master your instrumenthe music, and then forgebullshit and just play.”

Char



”He who would do a grewell must first have done

simplest thing perfectly.Cady



“Music is well said to speech of angels; in faamong the utterancesman is felt to be so divbrings us near to the iThomas Carlyle



“It’s taken me all my life to learn what not to play.”

Dizzy Gillespie



”You should no more play without phrasi speak without inflection and grammatical p

Charles Landon



“Music is the stimulant to

mental exertion.” D’israeli



“He who joyfully marcin rank and file has alremy contempt. He has blarge brain by mistake, him the spinal cord wou

suffice.”

Albert E



“No man shall dare toon dishonorable instrumas hurdy-gurdies, bagpiptriangles, which beggarscollecting alms, so that tof music is brought into by them.”

A rule drawn up in 1653 in Germany by Empero



“Genius at first isthan a great cap

receiving discipGe



“ There is no feelthe extremes of fethat does not finmusic ”

George E



“Music in the best serequire novelty”

Go



“One must not only learwhile playing, but make

playing fit the countingMaelz



“Music is a discipline, and a mistress of good manners.”

Martin Luthe



”Of all the fine arts music is that which hinfluence on the passions, and which the legought the most to encourage.”

Napoleon Bonaparte



“Sacrifice all the trivialities of social life to thy art”

The Odyssey



”Music resembles che queen (melody) has

power, but the king turns the scale.”

Robert Schuma



”The principal requisites for a musician, aand a swift power of comprehension, come

things, from above.” Robert Schumann



”The study of the himusic, and the hearing of masterworks of d

epochs, will cure one of vanity and self-aduRobert Schumann



“He is a good muunderstands the mwithout the score,

score without the

Rob



“Without enthusianever accomplish anart.”

Robert Schumann



“Is it not strange that sheep's guts should hout of men's bodies?”

Wil



“A good composer does not imitate; he



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Remember, Information is not knowle

knowledge is not wisdom;wisdom is not truth; truth is not beauty;

beauty is not love; love is not mmusic is the best.

Fra



Take Five-Paul Desmond

A jazz standard, Take Five has a freshness that is still appealing to many players. It

presents challenges for guitarist both rhythmically and harmonically. Six flats is usually

not play frequently by most guitarists. Thinking in the Eb minor pentatonic mode is okay

for improvising up to a point but it doesn’t work well for the chromatically embellished

melody. I put the opening melody statement in the 8th

position because it minimizes

movement and puts you on strings that speak well.

One of my favorite versions of this tune is done by George Benson with a fellow

Chicagoan on rhythm guitar, Phil Upchurch. For me, Phil’s rhythm is what makes this

tune come to life.

Following is an excerpt of what Phil might have been playing.



SSkkyy DDiivvee

Freddie Hubbard

This tune written by the trumpet great, Freddie Hubbard, is not the standard fair for most

guitarists but I find it a great vehicle for using pentatonics. Freddie is a great writer as

well as trumpet player. His use of pentatonics is a great study to help get the guitarist out

of the usual pentatonic ruts.

Following is an analysis in major pentatonic scales in relationship to some of the

accompaniment chords.

Chord Gmi9 Ab maj7 Bbm7/Eb9 Ami7/Cmaj7 Cmi7/F7

Major

Pentatonic

Scale

Bb major

Pentatonic

Abmajor

Pentatonic

Db Major

Pentatonic

C Major

Pentatonic

Eb Major

Pentatonic

Following is a review of pentatonic fingerings.

These are shown in F minor also referred to as Ab major



Satin Doll

Duke Ellington

Duke’s timeless classic is a great tune to start out on because of the easy to groove

melody, the clearly stated tonal centers and it lays well on the guitar.The structure is textbook A A B A. Each section is a six measure statement with a two

measure turnaround.

Here is the first 4 measure phrase:

Tonal centers for improv:

C major emphasis

on D (Dorian)

C major emphasis

on D (Dorian)

D major emphasis

on E (Dorian)

D major emphasis

on E (Dorian)

This is generally how tonal centers are determined; the Dominant 7th-

(G7) is the 5th

of

the tonal center.

G7 is the 5th of C, use C scale for source of scales, emphasize D to generate the Dorianmode.

The analysis of the tune is as follows;

A section

Chords Dm/G7 Dm/G7 Em/A7 Em/A7 Am/D7 Abm/Db7 C C

Tonal

CentersC C D D G Gb C C

B section

Chords Gm/C7 Gm/C7 Fmaj7 Fmaj7 Am/D7 Am/D7 G G7+5

Tonal

CentersF F F F G G G C



‘Round Midnight

Thelonious Sphere Monk’s moody ballad makes a great vehicle for the jazz guitarist.

Plenty of two five changes, opportunities to play melodic octaves, well developed themes

in verse, chorus, bridge and coda. It is a great tune to showcase your talent. Included in

this version is the introduction as well as the coda.

The form;

Intro (8 measures)

A (8 measures)

A (8 measures)

B (8 measures)

A (8 measures)

Coda (8 measures)

The chord melody I have written was influenced by many sources while trying to keep it

simple. One of my favorite renditions is by Kenny Burrell on the album named “Round

Midnight”. He goes right to the head with no intro but does play the coda.

Wes Montgomery on the “Wes Montgomery Trio” album adds his own intro and coda.

He displays his dynamic approach to soloing by starting with single notes, moves to

octaves, and rounds out the solo with a beautiful chord solo. These are only two of the

many versions of this tune that bear close listening as you develop your own

interpretation.



Nuages

This is my favorite among Django’s creations. It has a relaxed floating mood that I find

appealing in today’s speed oriented lifestyle. Sitting at a slow moving rivers edge with a

good guitar and a bottle of wine. I digress…

Django’s tune has an interesting II V substitution. I try to think of the Db9 as a II chordand the Gm7-5 as a V. It is the II chord but the Db9 is acting as a “hyper” II chord. I use

Gb as the tonal center moving to F when improvising over this tune.

Here is a 32 measure breakdown of the tonal centers. Major scale tonal centers inparenthesis.

Db9Hyper II

(F)

Gm7-5II

(F)

Fmaj7I

(F)

Fmaj7I

(F)

Db9Hyper II

(F)

Gm7-5II

(F)

Fmaj7I

(F)

Fmaj7I

(F)

Em7-5

II

Relativeminor

(Dm)

A7

V

(Dm)

Dm

I

(Dm)

Dm

I

(Dm)

G7 Gb7

Secondary

dominants(C & Db)

G7

Secondary

dominants(C )

C9 Db9

V

(F &Gb)Gb is a

tension

producing

device

C9

V

(C)

Db9

Hyper II

(F)

Gm7-5

II

(F)

Fmaj7

I

(F)

Fmaj7

I

(F)

Gb9

Hyper II

(Bb)

F7-9

V

(Bb)

Bbmaj7

I

(Bb)

Fmaj7

IV

(Bb)

Bbm7

II(Ab)

Eb7

V(Ab)

F maj7

I (F)False

cadence

F maj7

I(F)

Db9

Hyper II(F)

Gm7-5 or

C7-9II or V

(F)

Fmaj7

I(F)

Fmaj7

I(F)



Norwegian Wood

A Beatles classic; now a jazz standard

Herbie Hancock’s Album entitled “The New Standard” had revisited this Beatle’s tune

and brought new life to it. This arrangement evolves through a few versions as inspired

by Herbie’s rendition. The harmonies are “dark” compared to what the Beatle’s had in

mind.

Especially appealing is the use of the Lydian chord, major7 with a flatted fifth.

Another effective device is the false resolution to the A major

This arrangement is not a literal interpretation; it has a few devices that I favor as well.

Have fun!

http:\\ www.JazzGuitarTheory.com

http://www.12frets.com/





“Killer Joe” by Benny GolsonThis tune is often played minus the bridge by some players; it is easy to cover the A

section but it takes a little digging in to get the bridge right.

I was inspired to revisit this tune after watching a Tom Hank’s movie entitled

“Terminal”. The Hank’s character was on a mission to obtain the autograph of Benny

Golson. The final scene has Benny Golson playing this tune, a worthwhile wading

through a pretty entertaining movie to see Benny playing his tune.The bridge has a melody made up of alternate half and whole steps. This scale is now

referred to as the “1+2” scale. Another reference is “Diminished scale” if you use the

whole step first and call it by the first note.

This is the scale with reference to C. It also could be called by any note that is followed

by a half step. Go to www.jazzguitartheory.com for more info.

Visit www.jazzguitartheory.com for publications on jazz guitar theory!



Impressions

John Coltrane

This tune is a good example of the modal approach that was spearheaded by Miles Davis

and John Coltrane. The difficulty for the guitarist is generally playing accompaniment.

Many players coming from the rock school of blowing pentatonic licks over the changes

have no difficulty when playing over this tune though it might be humdrum for the

listener. I feel the real skill in playing over modal changes is to make implied shifts in the

harmony. In other words, make it sound like there are many changes.When playing chord accompaniment this is especially effective. Some of the devices that

may be used are;

Chord extensions

Chord alterations

Two/Five substitute

Tritone substitution

Sequences implied by super arpeggio

The following page addresses some of the typical alterations that might be used.



Chord Substitutions in Modal Songs

Songs in the modal style such as “Impressions”,“So What”, and “Milestones” present a problem

in playing accompaniment. The sparse harmonic

structure leaves you searching for things to fill

the time.

Extended chords, the harmonized scale, and

chord series can provide some of the foundation

for a fuller accompaniment.

The extended chord series is simply adding the scale tones above the chord root as in

this series; Dm, Dm7, Dm9, Dm11, Dm13.

The harmonized scale series is founded on the major scale serving as roots to chords.The chords are stacks of thirds that are unaltered scale tones. The simple way to view this

is as a scale with thirds stacked on each note (Every other note of the scale is a series of

thirds)

G A B C D E F G

E F G A B C D E

C D E F G A B C

This process forms these chords.

C major D minor Eminor F major G major A minor Bminor(b5) C major

This part of the order is a good start for substitution chords.

A chord series is any sequence of chords played in regular intervals such as fourths. Playing a series is a powerful tool for substitution work. The above harmonized scale

substitution combined with a series of fourths makes an interesting substitution over aone chord scenario.

Original chord progression is;

Dm Dm Dm Dm Dm Dm Dm Dm

Substitution is;

Dm7 Em7 Fmaj7 Bbmaj7 Ebmaj7 Abmaj7 Dbmaj7 Dmi7



Green Dolphin StreetIt would be safe to say that most jazz artists have played this tune more than once. It is a

jazz standard that has stood the test of time. Frequently the A section is played in a Latin

rhythm and the B and C sections are played in swing.

I have included a study using pentatonic scales against the chord changes as well as chord

melody and alternate (pedal tone changes) for the A section.



This version uses

accompaniment chords that

have a pedal tone "C" in the

bass for the first 8 measures



Goodbye Pork Pie Hat by Charles Mingus

Perhaps the most often played composition of Mingus; Goodbye Pork Pie Hat is a great

workout as a chord melody for guitar. This tribute to Lester Young is basically a blues

with the melody statement using the minor pentatonic scale. Originally written in Eb, it

is presented here in Ab allowing better voicing for guitar.

Below are the changes that are used for soloing

.



Tabbed version in first position on following page



GGiiaanntt SStteeppss

This masterwork by John Coltrane is an especially difficult tune for most guitarists

because of the unusual movements through its tonal centers. The phrasing presents anadditional challenge. Understanding the big picture of the tune will enable you to

approach many other tunes and incorporate some of the devices used in this tune.

It is generally rumored that Coltrane studied a book by Nicolas Slonimsky, “Thesaurus of

Scales and Patterns” (Macmillan Publishers). Included in the studies of the book are

patterns and harmonies that are created by dividing the octave or octaves into equal parts.

One such exercise Slonimsky calls a “Quadritone Progression” which is the equal

division of two octaves into three parts.

Here it is in the key that Giants Steps is in;

It seems Coltrane took these pitches as tonal centers and proceeded the I chords with V7

or II/V7. Following is an analysis of the tonal centers.



“Four on Six” by Wes Montgomery

This is a tabbed lead sheet version of one of Wes’

great tunes found on “The Incredible Jazz

Guitar of Wes Montgomery” Listen to itbefore playing to get a feel of where the

chords are placed. I saw Wes play this tune

on several occasions and to the best of my

recollection I believe he played it where I

have it in the tablature. This tuned evolved

throughout his career and this is based on an

early version. Go to www. jazzguitartheory.com



Chitlin’s Con Carne

This is one of Kenny Burrell’s understated blues heads that every guitarist should learn.

Stevie Ray Vaughn paid homage to Kenny by covering this tune in a virtually note for

note rendition.It is basically a 12 bar blues using an interesting combination of C7#9 to F7 voicings in

two registers.



Cherokee

This tune is usually played at breakneck speed or faster. The half and whole note melody

seems to bring out the tendency to play it fast. I am presenting it here as a moderate

tempo chord melody.

The tonal centers move in a challenging fashion

Here is the “A” section in tonal center notation.

Bb Bb Eb Eb Eb Eb Db Db

Bb Bb F F Bb C Bb F Whole tone

The “B” section”

B B B B A A A

G G G G F F Bb Bb

This tune is a good vehicle to practice “streaming scales” against the shifting tonal

centers. That is to say play scales with no regard to modes, accents, syncopation,

etc, just run even eighth note scales from the root as written on the following

example.

Scale streaming



Attributed to Miles Davis and Bill Evans “Blue in Green” represents a harmonic

challenge for most guitarists. For me it is 10 of the most harmonically thought provoking

measures you might play. The rendition on “Kind of Blue” should stimulate your

thinking about slow tempos. Visit www.JazzGuitarTheory.com for study aids.

A possible analysis of first phrase is:

Bb = IV of Key (F) A7=III dominant Dm=VI Cm =II of next tonal

center

This is what might be assumed on first glance. It doesn’t help much when trying to

develop tension and release cycles.





Analysis continues:

Following is another view that prepares the rise and fall of tension a little better

Bb=alt II of Dm A7-V of Dm Dm=I of tonal

center(D minor)

Cm = acts asII of

Dm tonal center

Bb=alt II of

Dm

A7-V of Dm Dm=I of tonal

center(D

minor)

E7 Backcycle

of Am

(pseudo II)

Am acting as

V of Dm

Dm =I



Autumn Leaves

This tune is considered by many as an overplayed standard.It can be! I choose to look at it as a test for all of my guitar

students as it has all of the elements that should be known

and under control. The structure is pretty straight forward;A-A-B-C. The tonal centers shift between G major and the

relative minor, E minor in which the D of the G major scale

is replaced with D# as the leading tone to Eminor. Click here to listen

Analysis

A sectionChords Am7 D7 Gmaj7 Cmaj7 F#m7 B7 Em E7

Analysis

2 chord

of G

major

5 chord

of G

major

1chord

of G

major

4 chord

of G

major

2 chord

of E minorD# replaces D

5 chord


1 chord


5 of Aminor

Emphasis

on G#

2nd A sectionChords Am7 D7 Gmaj7 Cmaj7 F#m7 B7 Em Em

Analysis

2 chord

of G

major

5 chord

of G

major

1

chord

of G

major

4 chord

of G

major

2 chord


5 chord


1 chord


Em

B section

Chords F#m7 B7 Em Em Am7 D7 G maj7 G maj7

Analysis 2 chord

of Eminor

5 chord

of Eminor

1 chord

of Eminor

1 chord

of Eminor

2 chord

of G

5 chord

of G

1 chord

of G

1 chord

of G

A section

Chords F#m7 B7 Em/A7 Dm7/G7 Cmaj7 B9 Em Em

Analysis 2 chord

of Eminor

5 chord

of Eminor

2/5 of

Dmajor

2/5 of

C major

1 of C 5 of

Em

1 of

Em

1 of

Em



All the Things You AreThe classic by Hammerstein and Kern always provides achallenge to the guitar player by virtue of its many tonal centers

and great melody. To bring these elements together requires

some fingerboard gymnastics and planning.Improvising over the melody is easier when you have a good

grasp of what the tonal centers are and the use of transitions

from tonal center to tonal center.

In this phrase the tonal centers are determined by the dominant7th chords. They “point” to the tonal center

Tonal center=Ab

The Eb7 is the 5th

of Ab

Tonal Center is CDetermined by the G7

I have found it works better to start the new tonal center (C) at the 5th measure, treatingthe Db maj 7 as a substitute 2 chord (Dm7) in the key of C. The tension created by

playing the C tonal center over the Db maj7 is an interesting transition.In the final analysis the tonal centers each occupy 4 measures as shown below.

Ab C

Following pages are lead sheet, analysis,and chord melody. Good luck!



All the Things You Are: Analysis Tonal Centers

First 8 measure phraseChord

Changes

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 G7 Cmaj7 Cmaj

Chordelationshipmode) of

Tonal centers

Use thesecales

6 of

Ab

Aeolian

2 of

Ab

Dorian

5 of

Ab

Mixolydian

1 of

Ab

Ionian

4 of Ab

Lydian or

Alternate

Dorian 2 of

C

5 of

C

Mixolydian

1 of

C

Ionian

I of

C

Ionia

Second 8 measure phrase

Chord

Changes

Cm7 Fm7 Bb7 Eb maj7 Ab maj7 D7 G maj7 G maj

Chord

elationshipmode) of

Tonal centersUse thesecales

6 of

EbAeolian

2 of

EbDorian

5 of

EbMixolydian

1 of

EbIonian

4 of

EbLydian orAlternate

Dorian 2 of

G

5 of

GMixolydian

1 of

GIonian

I of

GIonia

Third 8 measure phraseChord

Changes

Am7 D7 G maj7 G maj7 F# m7 B7 E maj7 C7#5

Chord

elationshipmode) of Tonal

enters

Use these scales

2 of

G

Dorian

5 of

G

Mixolydian

1 of

G

Ionian

1 of

G

Ionian

2 of E

Dorian

5 of

E

Mixolydian

1 of

E

Ionian

5 of

relative minor:F minor (Ab is

parent key)

Ab played fromto C

Fourth 8 measure phrase

Chord Changes Fm7 Bbm7 Eb7 Abmaj7 Db maj7 Dbm7 Ab

maj7

E7#9

Chordelationshipmode) of

Tonal centers

Use thesecales

6 of

Ab

Aeolian

2 of

Ab

Dorian

5 of

Ab

Mixolydian

1 of

Ab

Ionian

4 of

AbLydian or

Alternate

Dorian 2 of

C

2 of

B

Dorian

Or alt 2 of Ab

1 of

Ab

Ionian

5 of

A

Last 4 measures (This is what makes this tune different-extra 4measures)

Chord Changes Bbm7 Eb7 Ab maj7 Ab maj7Chord

elationship

mode) of Tonal

entersUse these scales

2 of

Ab

Dorian

5 of

Ab

Mixolydian

1 of

Ab

Ionian

1 of

Ab

Ionian



“All Blues”

This tune attributed to Miles Davis is a standard among jazzers,

one that you must know.This version was inspired by Kenny

Burrell with a sparse harmony maintained as the melody is added

as an upper voice.

I have found some accompaniment variations to work well using

devices such as “sideslip harmony” and tritones. Because of the

workhorse nature of this tune, you will be looking for variations in

playing accompaniment because you will be certain to play 30

choruses as the sax player works out.

The basic chords are: (in 6/8)

G7 G7 G7 G7C7 C7 G7 G7

D7 Eb7 D7 G7 G7

Following is a simple variation

G13 Ab13 G13 Ab13 G13 Ab13 G13 Db13

C13 Db13 C13 Gb13 G13 Ab13 G13 E13

D7#9 Eb7#9 D7#9 D7 G13 Ab13 G13 Ab13



West Coast Blues

This is one of Wes’ greatest tunes that is a must for all jazz guitarist. The form is a blues

and when played in 6/8 falls into the 12 measure format. The substitutions are similar to

what Charlie Parker used in “Blues for Alice” and Jean Thielmans’ “Bluesette” pays

homage to these substitution formulae.Visit www.JazzGuitarTheory.com for more.

Here is the more common variations as found in “Bluesette”.

This to help establish the relationship between so called west coast blues as in

“Bluesette” and Wes’ tune “West Coast Blues”.






Wes uses a beautiful intro and outro that reminds me of

John Coltrane’s harmonic sense.

Please notice the “Solo” changes. These are the chords that really make this tune fun to

play over. The head has fewer changes and lines up more with conventional changes.



BONUS

This section contains earlier versions of works that are contained in the main section of this publication. There

are worksheets and various articles that you might find useful. Enjoy!

John Riemer



FFuunnccttiioonnaall HHaarrmmoonnyy

f f oorr tthhee JJaazzzz GGuuiittaarriisstt

By John Riemer

An approach to playing jazz guitar using a minimum of harmonic devices

to cover a great number of harmonic situations.

Topics include:

Basic moveable chord forms

Scale structure and modes

Harmonic forward motion

Rhythmic forward motion

Form and structure as used in jazz tunesGateway approach to resolution

Chord form groupings

Chord melody arrangements of some jazz standards

Web support www.guitarjazz.info





The following pages summarize my approach to jazz harmony

and the guitar. I grew up in Chicago listening and watching greats

such as Kenny Burrell, Wes Montgomery, Joe Pass, Grant Green,

George Benson, Phil Upchurch, and Larry Coryell. They all

played great but were not always sharing concepts or techniques.They each had a system of thought and technique worked out that

would convey their musical soul.

I was especially impressed by Wes Montgomery because of his

economy of motion and the reoccurrence of chord forms that

projected a new slant on the harmony. Joe Pass as well had a system of chords that he

used repeatedly but it never sounded worn out. I came to realize that these players were

superimposing their familiar, well practiced chord forms over various harmonic situations

and depending on the the rest of the band was doing, having a fresh sound develop.

An example would be if the band is playing the dominant chord, let’s use G7 as the

example; you could play a Dmi9 arpeggio and have a pretty sound. If the band was on the

four chord (Fmaj7) the same arpeggio would have a different effect but still agreeable.The key to making this work was good resolution, knowing which note to end on to

satisfy the prevailing harmony. An E minor 9 arpeggio would work in a somewhat “out”

fashion over the one chord (C maj7). So two simple arpeggios would satisfy the One,

Four (or Two), Five chord situations.

The following material is not meant to be a self guided study nor is it an authoritative

treatment of the subject. It is what I learned in the various gigging venues and the advice

and tips I was given on the bandstand. I present it a functional but it can supplement other

studies or I can help guide you through it via email. [email protected]

The general order of study is:

• Scale Structures

• Understand “Forward Motion” (harmonic and rhythmic)• Modes

• Determine Tonal Centers

• Analyze Tune

• Run scales through tonal centers

• Play target notes of each chord change

• Gateway to each chord

• Supplemental materials will be posted at www.guitarjazz.info

mailto:[email protected]?subject=Functional%20Harmony%20study-Cover%20letter



mailto:[email protected]?subject=Functional%20Harmony%20study-Cover%20letter



Chord Theory as applied to Jazz Guitar

Functional Harmony by John Riemer

Part 1-Tonal Centers

Chord theory takes on special adaptations as applied to playing jazz guitar. The role of

the guitar puts it in the midstream of tonalities so a bass could be assumed, there foreomitted. The general approach that I take is one of functional harmony, i.e., if a chord

sounds appropriate I will use it. In the jazz player’s arena “If it sounds right it is right!”

This is assuming that you have good judgment and perception. Listening to good music is

the key. Without listening to good examples of the music you are trying to play, you

might as well try to reinvent the wheel.

Tonal Centers

When playing any piece of music you should know the underlying structure and chord

movements involved. Knowing the key you are in is the start. Does this mean learning

key signatures….YES! Other concepts to study…Harmonized scale and the cycle of 5ths

Next, understand tonal centers. They are the temporary shifts to a scale outside of thekey the song is in. Tonal centers are pointed to by dominant 7th chords.

In the following example, all the chords can be found in only tonal center.

The harmonized scale provides the standard from which we work. In the “C”harmonized scale we have these chords which are rooted and built upon each note of the

scale;

Cmaj7 Dmi7 Emi7 Fmaj7 G7 Ami7 Bmi7-5

I II III IV V VI VII

In the following progression

Dm7 G7 Cmaj7 Fmaj7

II V I IV

The Dm7 doesn’t point to the tonal center (key) because Dm can be found in the

harmonized scale of “C”, “Bb”, and “F”. The Cmaj7 doesn’t point to the center becauseCmaj7 can be found in the key (tonal center) of “C” and “G”. F maj7 doesn’t do it either,

it can be found in “C” and “F” tonal centers. 7 is the only chord found in one key…”C”.

All the other chords are found in “C” as well, so the entire phrase has the “C” scale as its’

tonal center.Knowing the Tonal Center enables you to play one scale over several chords streamlining

your technique and thought process. A more horizontal approach is the result. Instead of

looking at each measure as a separate snapshot of a scale or arpeggio you will think in a



way that connects measures and playing across bar lines will be more evident in your

playing.The jazz standard by Miles Davis , “Tune up”, is in the key of “D” and moves through

several tonal centers. The breakdown of the tune is: (see next page)

II -V –I- IV in D II-V- I-IV in C II- V- I-IV in Bb II-V in D turnaround

Study the tune until recognizing tonal centers is clear.




Part2

Developing II / V combinations

As you play through “Tune up” you will see that it general descends and you can play II / V changes that are the same chord forms moved through the various tonal centers. Not allsongs will present such a clear path.

For the moment easy song forms will suffice. Work on II/V changes descending through

the keys by whole steps using these chord forms.

Put these at the 10th

fret forDm7/G7-9. Move down in

whole steps.

T

Next try these forms.

Put them at the 10th

fret

(as diagramed for

Am9/D13-9)

Run through this sequence:Am/D7 Dm/G7 Gm/C7 Cm/F7

Fm/Bb7 Bbm/Eb7 Ebm/Ab7 Abm/Db7

Dbm/Gb7 Gbm/B7 Bm/E7 Em/A7

Please be aware that the chord names are not literal. When the music requests an

Am/D7; an Am7/D7-9 can be played as well as Am9/D13-9. The approach is to use achord combination that functions as a II/V.



Chord Theory as Applied to Jazz Guitar

The harmonized scale The harmonized scale is any scale in which each note of the scale serves as the root of a

chord. The chords are created by stacking thirds on each root. Only notes of the scale are

used. An easy way to view this is to think of every other note of the scale as the notesused in the chord. In the example C scale;

The notes are

C D E F G A B

The notes in the

chordrooted on C would be

B

G

E

C

This is C maj7

The entire scale harmonized in the same fashion.

B C D E F G A C

G A D C D E F G

E F G A B C D E

C D E F G A B C

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7-5 Cmaj7

The harmonized scale determines the chords that are found naturally in a key/tonal

center. The significant chord is root on the 5th

degree of the scale (G7). It is the onlydominant chord in the tonal center. When you encounter a dominant chord you can be

relatively sure of the tonal center. The G7 points to the tonal center of C.

(See cycle of 5ths

)




Cycle of 5 ths

The cycle of 5ths is founded on the tendency of resolution. In the “Amen” cadence…G7

resolving to C, ou find the basic tendency that drives the cycle. Carrying out this

tendency further yields this sequenceG C F Bb Eb Ab Db Gb B E A D

G

D

CA

FE

The tendency for resolution

is in a clockwise order.

BbB

EbGb

Db

Ab




Adding II/V changes where they don’t exist.The heart of functional harmony is viewing a chord or group of chords as a function of

the “Build-Tension-Release” or “Harmonic Forward Motion” principal. In this view a II

chord is the Build Chord. The V chord is the Tension Chord, and the I chord is the Release Chord. The build section has a floating quality, the tension section is leading,

wanting resolution , and the release section provides the resolution.

This moves in one direction… Build- Tension- Release…Forward

Build

If you lose sight of this and interrupt the flow it will sound like you are wandering.

Keeping this in mind you will be able to substitute a II/V combination for a V chord.

Study the blues progression. It is an exception to the rule. Each chord can be played as adominant 7 or V type chord even though only the D7 in this example is the only true V

chord. Each chord is then pushed into a slightly higher level of tension. This is good, that

is what the “Blues” are all about. Once you are at ease with this idea, try substituting aII/V where each chord is. For example: where there is G7-play dm7/G7. For C7, playgm7/C7 and for D7use am7/D7.

Sub Am7/D7

Sub Gm7/C7Sub Dm7/G7



Notice the half steps between the 3

rd& 4

thand 7

th& 8

thdegrees of the scale. This is the



The sound of tension or anticipation can be created with this scale by playing from G to

G, the Mixolydian mode. The appropriate chord would be G7 or an extension or

substitute for theG7.

G Mixolydian

Mixol

ydian

is the

major

(Ionia

n

mode)

playe

d from the fifth degree of the major scale.

G A B C D E F G

Root2nd

3rd

4th

5th

6th

7th

Octave

9th

11th

13th

The next step is to play with some rhythmic forward motion. An easy way to start this is

to play towards a target. The target being beat one, the usual heavy beat of the measure.

Start on the “and” of one.

Do the same with the Ionian mode and move throughout all the keys. Know the names of

all notes as you play them. Know the relationship each note has with the root you are

playing over. In the Ionian mode you would have these relationships



Be able to play the Build –Tension-Release modes as in the followingexample in all keys before moving on.



Also used as a IV chord and often as a simplified V chord

Also used as a simple II chord or a VI chord



Major Scale Stucture

Major scales are the basis from which all scales are formed or referenced to.

The scale is a 7 note (diatonic) scale with half steps between the 3rd

and 4th

note as well

as half steps between the 7th

and 8th

notes.

This is a C Major scale

Notice the half steps between the 3rd & 4th and 7th & 8th degrees of the scale. This is the



All Ionian scales are built with this interval sequence:


This is an G Major (Ionian) scale

This is an F major (Ionian) scale



Modes of diatonic and pentatonic scalesScales are the building blocks of all music and understanding them is vital to becoming the

best musician possible.

Scales are founded on the structure of a C major scale

This is the basic framework from which we derive understanding of all scales. The deal

here is that each note is separated by a whole step (2 frets) except for the half steps (1

fret) between: E & F and B & C. The “rule” for a major scale is half steps between 3&4

and 7&8.

Another view is

:

This sequence of whole/half steps is the formula for the “Major” scale. The major scale is

also called the Ionian mode. This name is a reference to modes, or methods of playing

this group of notes in a different order.

A C major scale played with emphasis on C and generally played in scale order is what

the term Ionian will help you understand. Ionian mode is the major scale played with C as

the point of origin. It can be visualized as:

C D E F G A B C

Emphasis is on red C’s.




The Dorian mode looks like this,

It can be converted to this kind of emphasis,

D E F G A B C DThis shifts the sound quality to minor because within the first 3 notes you hear a minor

third (D-F) the basic interval of the D minor chord

Phyrgian Mode

Same idea, move over one note and add one note.

E F G A B C D E

Lydian Mode

F G A B C D E F



Mixolydian Mode

G A B C D E F G

Aeolian Mode

AB C D E F G

A

Locrian Mode

B C D E F G A B



Following is an overview of the modes.

The modes yield chords i.e. every other note of the scale modes creates a chord

Ionian=C to C or 1 to 8

Dorian= D to D or 2 to 9



Phyrgian=E to E or 3 to 10

Lydian=F to F or 4 to 11

Mixolydian=G to G or 5 to 12



Aeolian=A to A or 6 to 13

Locrian=B to B or 7 to 14



Moveable Chords

A system of making one chord form do the work of many.

Moveable chords are the one great advantage that guitarists have

over piano players (other than a guitar is a whole lot easier tomove). A moveable chord usually has no open strings that are

played and the chord form can be moved along the neck to create

new chords. An F chord that is played at the first fret can be moved

to the second fret to create an F# chord. The trick is to understandwhere the chords should be played.

When a chord is required you can think of it as having two names.

An F chord is (F + major)An F7 chord is (F + seventh)

An F minor is (F + minor)

The first name is the locator, it tells you what fret to play the chord and the major or

minor or seventh tells you what type of chord form to play.




This shows that the form is C7 at the first fret, C#7 at the second, and D7 at the third.

The form or the way that you grip the chord remains the same (all are 7th

chords) and the

location on the neck changes the letter name of the chord.Knowing the pattern of the changing names as you move up the neck is the heart of the

system.



That pattern is a CHROMATIC SCALE

.

A keyboard demonstrates the chromatic scale very well.Moving from a white key to the very next black key to the right would be moving up the

chromatic scale

The dual names are confusing but necessary to understand that C# and Db are the same.Also confusing but vital to remember that between B & C and E & F there are no sharps

or flats.

The way in which this translate to the guitar is the name of the chord you start with (like

the C7 in the previous example) moves through the chromatic scale as you move up onefret at a time.



Here is how it works:


1st

fret C7

2nd C#7/Db7

3rd

D7

4th

D#7/Eb7

5th

E7

6th F7

7th

F#7/Gb7

8th

G7

9th

G#7/Ab7

10th A7

11th

A#7/Bb7

12th

B7

C#7 and Db7 are the same








1st

fret Fm

2nd

F#m/Gbm

3rd

Gm

4

th

G#m/Abm

5th

Am

6th

A#m/Bbm

7th Bm

8th

Cm

9th C#m/Dbm

10th

Dm

11th D#m/Ebm

12th

Em

F#m and Gbm are the same




Good luck,John

www.guitarjazz.info





Scale MorphingThis is a principle in which one scale evolves into another or notes are added to create a

hybrid scale (one in which there are no conventional names).The passage of time in a song marks the rise and fall of tension. As an improviser you

need to be in control of the tension/release cycle.

In typical II/V/I the V chord is the point where the greatest harmonic tension (wrong

notes) may be applied. The generally accepted approach is to play the Dorian mode

against the II chord, the Mixolydian mode against the V chord and the Ionian modeagainst the I chord. This works fine as far as right notes are concerned. Because the samescale is being used throughout, a sameness of sound prevails.

The II chord is the build chord, the V chord is tension, and the I chord is the release or

resolve chord.

II V I I

The rise of tension can be viewed a line contour

A technique to satisfy the rise and fall of tension is scale morphing, the scale changes as

you move through time, i.e., notes that induce greater tension, are played at the

appropriate time.In terms of scale modes it might be viewed as follows.

Build……………

Tension

Release

Dorian……………

Altered notes

b5 #5 b9 #9

Ionian



Extended and altered tonesThe scale tones create the basic triad and its’ extensions. Chords such as maj7, major 9,etc. are chords generated by the tones found in the scale. The altered tones are what

create harmonic tension. These include chords such as 7 th#5, 9th-5, 13th-9, etc. Thecommon factor is altered, flatted or sharped, scale tones. This scale is a G dominant scalewith added notes in the upper octave.

I refer to this as an “Evolving Scale”

This morphed scale developed from experience by ear, and a similarity of fingering on

the first five strings suggested by some of the chords that I was trying to get a sound for.

The placement of the altered tones in the phrase is critical in making this work. Followingis an example.

Tones used in triad

and extended chords

Tones used in

altered chords



Evolving Scale as used against II,V, I change

Build

Dorian

Tension notes

b5,#5,b9,#9Scale morphed to

include altered tones

Release

Ionian



Morphed Blues scalesThe blues scale is a type of morphed scale that has become commonplace. It has its’

origin as a pentatonic scale.

In this example the G blues will be combined with the E blues.

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