Guitar Music Theory Method and Refernce Manual Completed 6-21-11

A music theory reference guide for guitar:
A Method For Learning Scales, Modes, Chord Structure, Mode-Chord

Relationships, And Key Signatures For The Guitar.
By Bob Prong
© 2011 Bob Prong

A music theory reference guide for guitar:
A Method For Learning Scales, Modes, Chord Structure, Mode-Chord
Relationships, And Key Signatures For The Guitar.
Pre-requisites:
This method assumes that you already understand the concepts of scales, bar ch ords, modes and the
names of notes on the guitar. You should have knowledge of some bar chords and at least a couple
scales in order to have a foundation for learning the ideas I am presenting here. You should also have
a basic understanding of modes. If you don’t understand these then watch Mike’s rock guitar power
videos about these topic before you begin working through this method.
Preface:
This method is about derivation not memorization. I show you how to derive the tones that make up
every scale, mode and chord based on simple concepts. I cover every concept in the accompanying
video with some information that is difficult to put into words so be sure to watch that as you work
through the book.
I’ve put this together to serve as good as a r eference source as it is a method. It’s a great reference
source for deciding which modes to use when improvising over just about every chord progression.
We don’t cover the topic of any improvising techniques, as that is not the goal here, but you can a pply
the knowledge of mode-chord relationships to what you learn from other sources that focus on that.
Don’t feel like you need to memorize every shape. Don’t feel like you need to master one shape or
chord before you move on to the next. As you work y our way through it the memorization will take
care of itself. Your fingers will “know” where to go based on repetition that leads to intuition.
I have included divided it into sections including overviews of modes, scales and key signatures so
that you can use them as references as you work through understanding their relationships. My
explanations are thorough but brief and to the point so again I urge you to work through the other
Rock Guitar Power pre-requisites before beginning this method so that yo u can get a good foundation
to prepare you for the ideas presented here.
I like to call this the “meat minus the fat” of music theory for guitar. Many music theory texts
bombard you with big words that are never defined and pages of verbal explanations w ith no
definition or clear direction. These have the tendency to leave students bored or confused. If you
have become frustrated with methods like that then I ask you to give this one a try. I have deliberately
kept verbal explanations to a minimum and never use some term or big word without an immediate
explanation that everyone can understand. If a concept is difficult or confusing to put into words it is
clearly demonstrated in the video to help you grasp it. In other words I’ve tried to keep this a s to the
point and down to earth as possible.
Lets get started!

Sections:
1. Review of Modal Theory and Other Scales
2. Review of Key Signatures
3. Review of Notes On The Guitar
4. Overview Of Scale And Chord Shapes Used
5. Mode/Scale-Chord Relationships
6. Deriving “Jazz” Chords
7. Mapping The Fretboard
8. The Harmonized Scale
9. Inversions
10. Deriving “Slash Chords”
11. Creating Chords Based On Note Names
12. Chord Progressions
13. Chord Substitutions
14. Ideas For Improvisation & Soloing
15. Reference Sheet Of Useful Chords
16. Reference Sheet Of Chord Symbols And Characteristics
17. Reference Sheet Of Key Signatures
18. Conclusions
Sections:
1. Review of Modal Theory and Other Scales
2. Review of Key Signatures
3. Review of Notes On The Guitar
4. Overview Of Scale And Chord Shapes Used
5. Mode/Scale-Chord Relationships
6. Deriving “Jazz” Chords
7. Mapping The Fretboard
8. The Harmonized Scale
9. Inversions
10. Deriving “Slash Chords”
11. Appying Notes To Scales Degrees
12. Chord Progressions
13. Chord Substitutions
14. Choosing Scales For Improvisation
14. Reference Sheet Of Useful Chords Derived From Fretboad Maps
15. Reference Sheet Of Chord Symbols And Characteristics
16. Reference Sheet Of Key Signatures
16. Conclusions
The Major Modes
Heres’s the only interval pattern you need to memorize for major modes:
Ionian (Major) Mode 1 - W W H W W W H

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Intervals and scale degrees can be derived as follows:
We use this interval pattern to derive the other 6 modes scale degrees:
The pattern shifts to the left for each mode, as do the intervals
between the degrees.
2 – Dorian - W H W W W H W
1 2 b3 4 5 6 b7 (8)
(9) (11) (13)
3 – Phrygian - H W W W H W W
1 b 2 b3 4 5 b6 b 7 (8)
(b9) (11) (b13)
4 - Lydian – W W W H W W H
1 2 3 #4 5 6 7 (8)
(9) (#11) (13)
5 - Mixolydian - W W H W W H W
1 2 3 4 5 6 b7 (8)
(9) (11) ( 13)
6 - Aeolian- W H WW H W W
1 2 b3 4 5 b6 b7 (8)
(9) (11) (b13)
7 - Locrian - H W W H W W W
1 b2 b3 4 b5 b6 b7 (8)
(9) (11) (b13)
Deriving chord structure for each mode:
These can be derived by through the relevant tones needed to create a chord.
(See chord reference section if you need more explanation on chord structures.)
For example:
Ionian (Major) Mode 1 - W H W W W W H

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Chord Tones: R 3 5 7 9 11,

The Chord Structure is: maj13(11)
Common Chords are: Maj7,6, 6/9,Maj6, Maj9
Therefore the chord structures for the other 6 modes can be derived as fol lows:
2-Dorian:
Chord Tones - R b3 5 b7 9 11 13
Chord Structure - m11(13)
Common Chords are: m7, m11
3 - Phrygian:
Chord Tones - R b3 5 b7 b9 11 b13
Chord Structure - m11(b9, b13)
Common Chords are: m7, m7b9, m11b9
4 – Lydian:
Chord Tones - R 3 5 7 9 #1 1 13
Chord Structure - maj13(#11)
Common Chords are: maj7(#11), Maj7(#11), Maj9(#11)
5 - Mixolydian
Chord Tones - R 3 5 b7 9 11 13
Chord Structure - 13
Common Chords are: 7, 9, 13
6 – Aeolian:
Chord Tones - R b3 5 b7 9 11 b13
Chord Structure - m11(b13)
Common Chords are: m7, m11, m7(b13), m7(b6)
7 Locrian:
Chord Tones - R b3 b5 b7 b9 11 b13
Chord Structure - m11 b5(b13)
Common Chords are: 7b5, m11b5
Melodic Minor Modes
Heres’s the only interval pattern you need to memorize for melodic minor modes:
Melodic Minor Mode 1 - W H W W W W H

Scale Degreees - 1 2 b3 4 5 6 7 (8)
(9) (11) (13)
Intervals and scale degrees can be derived as follows:
We use this interval pattern to derive the other 6 modes scale degrees:
The pattern shifts to the left for each mode, as do theintervals

between the degrees.
2 - Phrygian Nat 6 or Dorian b2 - H W W W W H W

1 b2 b3 4 5 6 b7 (8)
(b9) (11) (13)
3 - Lydian #5 - W W W W H W H
1 2 3 # 4 #5 6 7 (8)
(9) (#11) (13)
4 - Lydian Dominant Scale – W W W H W H W

(Lydian b7 or Mixolydian #4) 1 2 3 #4 5 6 b7 (8)
(9) (#11) (13)
5 - Mixolydian b6 or - W W H W H W W
Aeolian Nat 3 1 2 3 4 5 b6 b7 (8)
(9) (11) (b13)
6 - Locrian Nat 2 - W H W H W W W
or Aeolian b5 1 2 b3 4 b5 b6 b7 (8)
(9) (11) (b13)
7 - Altered Scale (Locrian b4) - H W H W W W W

1 b2 b3 b4 b5 b6 b7 (8)
(9) (b11) (b13)
Deriving chord structure for each mode:
These can be derived by through the relevant tones needed to create a chord.
(See chord reference section if you need more explanation on chord structures.)
For example:
Melodic Minor Mode 1 - W H W W W W H

Scale Degreees - 1 2 b3 4 5 6 7 (8)
(9) (11) (13)
Based on these scale degreees: R b3 5 7 9 11,

The Chord Structure is: min/Maj7 (9, 11,13)
Common Chords Are: mMaj7, mMaj9, mMaj6, -Maj7, -M11
Therefore the chord structures for the other 6 modes can be derived as follows:
2-Phrygian Nat 6 or Dorian b2:

Scale Degrees: R b3 5 b7 b9 11 13
Chord Structure - m7 (b9), 7sus (b9, #9, 13)
Common Chords are: m11 (b9), m7 (b9), 7sus (alt)
3 - Lydian #5:
Scale Degrees: R 3 #5 7 9 #11 13
Chord Structure - maj7 (#11, #5, 13)
Common Chords are: maj7 (#5), augMaj7, +Maj7
4 - Lydian Dominant Scale (Lydian b7 or Mixolydian #4)

Scale Degrees - R 3 5 b7 9 #11 13
Chord Structure - 7 (9, #11, 13)
Common Chords are: 7#11, 9#11, 13#11
5 - Mixolydian b6 or Aeolian Nat 3

Scale Degrees - R 3 5 b7 9 11 b13
Chord Structure - 7 (9, 11, b13)
Common Chords are: 7 (b13), 9 (b13), 7sus (b13), 9sus (b13)
6 - Locrian Nat 2 or Aeolian b5

Scale Degrees: R b3 b5 b7 9 11 b13
Chord Structure - m7b5 (9, 11, b13)
Common Chords are: m7b5 (Nat 9), m7b5 (Nat 2)
7 – Altered Scale (Locrian b4)

Scale Degrees: R 3 #5 b7 b9 #9 #11
Chord Structure - 7 (b9, #9, b5, #5) or 7 (b9, #9, #11, #5)
Common Chords are: 7alt, 7 (b9, b13), 7 (b9, b5), 7 (#9, b13), 7 (#9, b5)
Deriving Pentatonic Scales:
The pentatonic is actually a DERIVATIVE of the major scale
For example: the major scale (Ionian) in the key of c:
Notes: C D E F G A B (C)
Scale Degrees : 1 2 3 4 5 6 7 (8)
The pentatonic major in the key of C is a subset containing 5 notes:
Notes: C D G A E
Scale Degrees 1 2 5 6 3
Therefore c major pentatonic is a SUBSET of c major.
Why these five tones?

The tones are chosen using 5 th intervals in the major scale, just follow the musical
alphabet…
Notes: C G D A E
Intervals: 5 tones 5 tones 5 tones 5 tones
Arrange them into one scale and you get: C D E G A
How and where do I play the pentatonic scale on the guitar?

There are five practical pentatonic patterns found on the guitar.
Why does the pentatonic scale work over I -IV-V progressions so well? (a I – IV – V
progression is the most common progression found in rock.)
The tones found in a pentatonic scale are COMMON to each chord.
For example lets take the 3 scales in the key of c that make up the I -IV-V progression:
C: C D E F G A B C
F: F G A Bb C D E F
G: G A B C D E F# G
Thus, The 5 tones in the pentatonic: C D E G A are common to each scale.
Tones that my “clash” or cause dissonance (sound out of tune) are eliminated. These are
F# and Bb. ( 7 in G, 4 in F )
The five tones that are left will sound good “no matter what”. So just go ahead and play
them as much as you want and you will never hit a bad note.
Deriving Pentatonic Minor
To derive pentatonic minor use the same method regaring relative keys you learned in the
key signatures section, except now you’re only working with 5 notes.
We know that minor (Aeolian) is relative to major (Ionian)
So now you take the notes from the major scale:
Notes: C D E G A
Scale Degrees 1 2 3 5 6
And start on the 6 th degree, which is A
What you get is:

Notes: A C D E G
Scale Degrees: 1 b3 4 5 b7
So the pentatonic minor is a derivative of the melodic minor scale.
Now lets take the common progression Am-G-F
Am = A B C D E F G
G = G A B C D E F#
F = F G A Bb C D E
Here we have eliminated the notes: B, F, F# and Bb, the tones that would clash if we
were to use them to improvise.
Again we are left with five tones that are left will sound good “no matter what”.
On the next page we’ll look at the 5 practical scale fingerings that you can use to play the
pentatonic scale effectively.
Take a look at the pentatonic scale patterns on the next page. I’ve labeled
the MAJOR roots. To make them minor just move the root to the relative
minor, like we just did to derive the minor pentatonic from the major.
Understanding Notes And Key Signatures:
Major Key Signatures:

First, as you know from stage 1, The major scale is made up of a pattern of whole and
half steps. Also, that on the guitar a half step is one fret and a whole step is two.
Next, heres’s the only interval pattern you need to memorize for MAJOR key
signatures:
This is the SAME pattern we saw when we learned to derive the major modes.
Here were going to apply the what we just learned about notes along with the
interval pattern to derive key signatures.
Lets just say we throw some notes in on each scale degree. In essence we
are giving each scale degree a name.

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Notes- C D E F G A B (C)
Conclusion 1: So this means the C major Scale contains the notes: C D E F G A B C in

that order.
Conclusion 2: As seen above there are half steps between, E and F and also B and C.
The rest are whole steps.
Conclusion 3: Each whole step must be comprised of two half steps. This means there is
a sharp or flat note within each whole step.
I’ll define what sharp and flat notes are now:
When a note is sharped it is raised one half step. It would be like playing a note one fret
higher on the guitar. The sound changes one fret higher.
When a note is flatted it is lowe red one half step. It would be like playing a note one fret
lower on the guitar. The sound changes one fret lower.
So now lets explore these notes within each whole step:
This is where I’m going to introduce the concept of the chromatic scale, a scale
comprised of only half steps. The major scale as we know through our pattern is a
derivative of the chromatic scale. How to play the chromatic scale on the guitar is
included in the scales reference section.
Lets just say we have the option to throw in a sharp/flat to complete each
whole step in the C major scale. It would look like this:

Scale Degreees - 1 2 3 4 5 6 7 (8)
Notes- C D E F G A B (C)
Sharps / Flats <C#/Db> <D#/Eb> <F#/Gb> <G#/Ab> <A#/Bb>
* In this case a C# is the same tone as a Db, D# the same as Eb, F# the same as Gb,
etc…the term for this is “enharmonic”.
* You choose to call a note # or b based upon how easily the key signature can be
recognized by looking at it. For example, in the key of F example we will look at next it
is much easily recognized as having just one flat (Bb) rather than having several sharps.
You’ll get what I mean when we cover that example.
Here’s where the concept of sharps (#) and flats (b) can be applied:
If we start the scale on a different note, for example G, we must use sharps or flats to
make the names of the notes fit the pattern.
Here’s an example of why it doesn’t fit:

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Notes- G A B C D E F G
This is where the strategic thinking starts!
Problem: We know that the pattern fits up until we get to the interval between E and F,
that should be a whole step according to the pattern, but it is onl y a half step as far as the
note names goes.
The next inconsistency is between F and G. That should be a half step according to the
pattern, but it is a whole step as far as the note names goes.
So we need to do something in the way of adding a sharp or flat to make the pattern fit.
The solution is to sharp the F. As a result there will be a whole step between E and F#
and a half step between F# and G. Now the note names fit the pattern. Problem solved.
Since we sharped the F the key signature will contain an F#. Therefore in the key
signature for G major there is just one sharp, F#.
Lets do another example:
If we start the scale on a different note, for example F, we must use sharps or flats to
make the names of the notes fit the pattern.

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Notes- F G A B C D E (F)
Now start our strategic thinking!
Problem: We know that the pattern fits up until we get to the interval between A and B,
that should be a half step according to the interval pattern, but it is a whole step as far as
the note names goes.
The next inconsistency is between B and C. We need a whole step there according to the
pattern, but B and C is only a half step.
So we need to do something in the way of adding a sharp or flat to make the pattern fit.
The solution is to flat the B. As a result there will be a half step between A and Bb and a
whole step between Bb and C. Now the note names fit the pattern. Problem solved.
Since we flatted the B the key signature will contain an Bb. Therefore in the key
signature for F major there is just one flat, Bb.
Lets do one more example, this one a bit trickier.
If we start the scale on a different note, for example A, we must use sharps or fl ats to make the
names of the notes fit the pattern.

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Notes- A B C D E F G A
Now start our strategic thinking!
Problem: We know that the pattern fits up until we get to the interval between B and C, that
should be a whole step according to the interval pattern, but it is a half step as far as the note
names goes.
The next inconsistency is between C and D. We need a half step there according to the pattern,
but C to D is a whole step.
Next there’s E and F. The pattern is showing there should be a half step there but we have a
whole step as far as note names go.
Then threes G to A, which is a whole step and the pattern dictates that we have a half step there.
So we need to do something in the way of several sharps or flats to make the pattern fit.
This solution has a couple parts. If we sharp the C that leaves us with the whoel step we need
between B and C, as now it is B and C#. C# to D is a half step so were o k there too. Problem one
solved.
Now lets deal with the E to F problem. Here we can sharp the F to create a whole step. E to F# is
a whole step. Problem solved as far as that goes, but if we look closely now we have a new
dilemma; F# to G is a half step and the pattern specifies that we need a whole.
So lets go ahead and sharp the G to create an easy solution, hopefully that will make it work.
Now we have our whole step between F# and G#.
Let’s take another look now at the G to A problem where we need ed a half step but had a whole.
By changing the G to G# we created a half step there, solving two problems with one sharp.
Since we sharped the C, F, and G our key signature contains those 3 sharps. Thus making the key
signature for A be: F#, G# and C# .
Minor Key Signatures
First, as you know from stage 1, The minor (Aeolian) scale is made up of a pattern of
whole and half steps. Also, that on the guitar a half step is one fret and a whole step is
two.
Next, heres’s the only interval pattern you need to memorize for MINOR key
signatures:
This is the SAME pattern we saw when we looked at Aeolian mode.
Here were going to apply the what we just learned about notes along with the
interval pattern to derive key signatures.
Just like we did in major we throw some notes in on each scale degree. In
essence we are giving each scale degree a name. This time starting on A.
Minor (Aeolian) W H W W H W W
1 2 b3 4 5 b6 b7 (8)
A B C D E F G (A)
Figuring out Minor Key signatures is EASY if you understand the Majors!
UPON LOOKING CLOSER YOU WILL NOTICE THAT THE A MINOR SCALE
CONTAINS THE SAME TONES AS C MAJOR.
ALSO IT CONTAINS THE SAME “SEQUENCE” OF HALF AND WHOLE STEPS

STARTING IN A DIFFERENT PLACE, SHIFTED TO THE RIGHT 2 INTERVALS,
WHICH IS ONE WHOLE STEP AND ONE HALF STEP.
THEY ARE SIMILAR BECAUSE AEOLIAN (MINOR) IS MODE 6 IN THE MAJOR

MODES, IONIAN (MAJOR) IS MODE 1.
THIS IS CALLED THE RELATIVE MINOR.

Section 3
The Notes on Guitar
Memorize these as you work through the book. Start with the ones on the 6 th , 5th , and 4th
strings. You’re going to need them to determine the names of the chords we build.
Section 4:
Overview Of Mode And Scale Fingerings Used
We have 14 mode fingering possibilities; 7 major and 7 melodic minor modes. We

derive these fingerings using just two interval patterns.
The finger patterns for the modes were developed specifical ly for being able to find
the chords with roots on the 6 th , 5th and 4th strings. There are many ways to go about
finding patterns for them and for this method these fingerings make the most sense.
The emphasis should be on these patterns even though yo u may find others from
other sources. There so many possibilities our there. These are best for finding
chords built upon the root. Note that the root 5 th sting and root 4 th string patterns are
derivatives of the 6 th string root pattern. I explain this in the video as putting it into
words may cause confusion.
We also have the diminished scale, overtone dominant scale, whole tone scale, half
diminished scale and harmonic minor scale. These have unique interval patterns and
their own fingerings. Like the modes, these fingerings accommodate finding chords
with roots on the 6 th , 5th and 4th strings.
And there you go. A way to derive 3 unique chord shapes for each mode
through the use of scalar and modal fingerings based on just a few interval
patterns.
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Major Pentatonic Scales
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Section 5:
Mode-Chord Relationships
In this section you will learn how modes and chords are related. Observe how each t one of a
chord can be looked at as part of the mode or scale.
This can be used as a great reference source for looking up chord s and determining which mode
to play over any given chord.
I’ve covered every single chord type here. Loads of fun!

71-J
The£ Major
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The ADD9 (sus2) Chord
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The Major 9 Chord (MA9, maj9)
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The Minor 7 Chord In Phrygian
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Root 4 \..J
~ A
-+---+---11---+--~3---f---4~--+._+--+-+--+---+--l~~+---r •
'<J
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- - 1-----1------1-- -·- ·-- . -- ~-- ~ -- ····- ~ - ~ -·-- f----·- - . ·+--+-f--4---+--+---J.--
tP cIIP J .; ~-\If; f •
- -~ j It t
• <:..- ~j, ••
4~ 0 ''3 • fp '-1 l. [3
\ .

t?oo+ 5
Scale Degrees: 1 b2 b3 4 5 b6 b7 (8)
(b9) (11) b3(b13)
Intervals: h w w w h w w
I
7ltE The '1) cChord
11(b9)
I I (1.> t((Jfl p
3A~£JJ eJN fH!!-yG t.4J/ hltJPIE -Cifo~ Pct..l'riluNS"HP
Based on Phrygian Mode - Chord Relationship
I'\
y_,
l.i..
...
,.. -.......
_..,
---...
...
r---.::::
-,r-
..
--
Root 6 ~
~
~
"
'
'll\
/-..
....
-
A
'"'
....
~
~-
- --....
A
~
{))
Root 5
./-.-~------- -------·-·---~
I 1'1 " ...e .......

~ ~ ..
~
'<!:/
~~e4+¥ ·--+---~----+----r--~-xA~---r~-~-.~--~~--r-~-+-1--~+
Root
......
--4r--~~--~--~---+-~~+---+-~~-+--+--+--+-~-4--~+--r
_
-
-
-10
4 .:, X
~~ ~
~, ~
, •' 4 ;
"'
~I>
~'
2 3 I~ z 3 Ill,.
'-t
b ':At b-b ' ' - ~
Scale Degrees: 1 b2 b3 4 5 b6 b7 (8)

(b9) (11) (b13)
Intervals: h w w w h w w
J?lv-1t:R. VA {5
Chord Tones: 1,b3,5,b7,b9,11
( H()tt D ..f'rtt v<. Tv({;:,. /
~---------
The Major 7 Chord
/1-J& /Vlt1J!JR. 7 c llvf P
c_yrJ!AJr nop£- Ct/ofir f2tiLA7 / o N S I/; (?
Based On Lydian Mode - Chord Relationship
--- --
~
,... "'
--
"'-'
-.::::;T
,.... ..
·:: ..
_.
.. . ..
Root 6 -......
Ill"'
*
lV'
~
... ...---..
·'--"
"'
"' ?'-..
\'<,I ....11
.
;&
"'
\..../
- -
.6j A
......,
,... ..
..,.,•
«DJ 5
Root 5 .. . )......
- ~ - r---- ....
- "
~
. ...,....._ ......, .. .. ~-~· '
..
- --..., ~
~~
r'\
....., ....
..
'1ft/
,......
"-' -
P~+ 4~ .
~ - All
.. ... --
~
v
A.
I\
~
-
~
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!'I
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4,
~ Pz
}
~·I
~ Ap ~ 41' .ll IJ •
)
Scale Degrees: 1 2 3 #4 5 6 7 (8)

(9) (#11) (13)
Intervals: w w w h w w h
Chord Tones: 1,3,5,7

The Major
1/1~ ~~J?J;R7 (#11)
7 ( + ;JChord
c:._J/tr'P
154SE/) 6/V' (_ / .tJt /1·# · J4Joj)£ ~ c /fit! P ~E0 77 t1 //~/;(.r?
Based On Lydian Mode - Chord Relationship
r. A
A:
~
...... 4&
.. ,_,
~
'-'
"" ~
......
·""'
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. .. -
~
1"'\
'-"""'
1"1
'-J
~
/l
...... (I
Ao
~
-...-
/") -
,
Root 5
~-------··· ~-. ~ ~.~---r-·~·9-
-
,
- -
~ .tid ......,
""""
/"\ _,
·d e' '-' _. .
Root 4 ·,- """"

.V
~)
/'_)
"-" ""
e>'
....A
~"
- A
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II
j, ~, ,j
Ill
,,
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j~2-
;
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j
3
~il' '
Scale Degrees: 1 2 3 #4 5 6 7 (8)

(9) (#11) (13)
Intervals: w w w h w w h
Chord t/
r A/127? r t ;_s· .-
Tones: 1,3,5,7,9,#11
<::. ;ltfttJ f'lf(r/ CP /<.B ': IJ ) ; 5) 7, '9_; #1/
The Major 9 (#11) Chord
7/1~ /'1/I.Jt)li "f (# 11) C#d;P])
{f/f~t)Based
aN (Y.tl/,11~
On ~(}0£-
Lydian Mode Clf~te..P
- Chord ~£(~ 7/tJN:Sif;~
Relationship
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~
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{IF
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-....
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Root 6 - "' -......

~
v -
....
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.....
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'!!'
;.... ~
"
"
&.
'-J
,.,,
A
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/1'1 ,JIJ
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.. v
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..
fbJ)5 .
Root -- f--,-- - -~tr-
.-:,
- -
'V'
_. , .! "' "'"'
- .
~- ----= · --
r\
'-"' -v
"
Root 4
X
-:; 4• ..... "'4 ,r- -:;
~~L
~
"' ~ ~,
4 2 .. 3 ~r'z
'f ,~
4·~ -
11.-3 fZ9 ."\~<'.
115 f<. ... ll ..., q
~&cf {;
Scale Degrees: 1 2 3 #4 5 6 7 (8)
~ l ( ~)
(9) (#11) (13)
Intervals: w w w h w w h ~(\30 "'-/
1)/ 'W h
Chord Tones: 1,3,5,7,9,#11
-
fll£ The Major 1313(#11)
,n/lftJ~ Chord
(1f: ;J) ~llo..Rp
t3A>cf)
Based ~;V !.(/JIAJ/Mode
On Lydian ,/114/)E- Old~})
- Chord ~.E.I..A-'7?DtA/5ffJiJ
Relationship
/'71
..-.
'"'-" 7'
.....
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.
Root 6
"-'
'"""" - '"":
',.
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"""
- -
' \.:/_
WI
v
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7
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1'1
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V' ..- ..
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A
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";
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-
Root 5 -. --- -
v
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VI G9'
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...
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..
Root 4 ,.,
.......
~
"""
y - _____...
lor ...."" """ 4, )
"
J J
"
' :J. ,1.3'
~ 4~ '2
·"2. 1,.
R 3 t3 ~1fl /
Root 6
Root 5 Root 4
/(,ol) f 5
Scale Degrees: 1 2 3 #4 5 6 7 (8)
111
5 c ALE .DE&t<E£.5 · (9)I (#11)
z. 3(13) 4 ~ 6 r ( If)
Intervals: w w w h w w \~ , c9 v -,_5..
h -----l --y '0
1..tJ1E!Cv~L5 ~ w w h w w Vj
Chord Tones: 1,3,5,7,9,#11,13
~~~0~5TI<_v crv. .,f£.· 1) -3)~ l, 9 J ~ 1 \ 1 \3
The Dominant 7 Chord
TI-l£ .!»H/N-4.ifT 7 (. !({)/l]?
~P Based On
C?ll /flt XoMixolydian Mode--CChord
ty;Jt /{.A/ fr)[)J?f- /TO tPVRelationship
!2t:-tll-?/o,P./SHJ·P
""' !aD ..
-~
-
~
Root 6 "
..-
,;§>
_. ~
......
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.__,
,....._
~
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... ~
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"'
"'
"
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& J.il
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~
~
•
.
-
Root 5 •
-
"I./
-- " It! ...4!L ;;.., --- -
"'-'
'
/"'\
v ...
A
-....
1'"1 ...
--
..
v
A A
""" ....
.ill
Root 4 .....ra .JilL

":"
AI
'
,.:.
1"'1
...... r
~ --..... 'X- r- ......

lv .1, ~, .~ .I t!ll fl
4 "" ' "
'3
~'Z
4,3 ·rlf ,,. 3 .,
til~('
-
rcslol3
Root 6 Root 5
~+
Root 4
4-
Scale Degrees: 1 2 3 4 5 6 b7 (8)
5C;1 L£ (J£G-/<_Ef£S (9)I (
(11) 3
(13) y 5 6 p7 ( g)
---·--·---·-·---~-
Intervals: w w. hl 'I)w / w h (II}
w l\3) /
+!VT0~
Chord ~u11,3,5,b7
Tones: ~: Y '-v; "Y ':;{ Y ~/ ~
L.flu/<.P sred/<:fl// l£ : 1/ 3/ 5) ~7
The Dominant? 9CChord
{)()~;NIIN1"" fft;e_p (9)
(CJ)
~ ~ 1/rJ(//)/Itl'/ ;?!J ij)£ /(£L,t-j/PAI5H rf>
Based On Mixolydian Mode - Chord Relationship
,.,..
/"\
r'l
'\..o'
........ ,A.
.....
& .-=:. ....... .-
~
..
=- ..,., 1.....1
i, ..
Root 6 --... •· ..,;:;,
,...41
,._
'""
_, - '*
,.
~
,.... "'-"
....Aft
""'"'
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~
,.
..(fi
--
'\../
1?1
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...... -. -
Po;---5
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' '-"
~ r;;.. ~
-- .........
-
--
~- - -,..-
' '-"' '='

~~-~ j,--- -
» ! ~
........
'-.J
(' ' ~~ · --r--t--+--t~9-Ht!P-f--..._,'---l--+-+----l-+-4-~~-!--L-~

'kex;i 4I --.--s-
Root . . , t---r---t--+-f:;l--jl----+-#-+----4-+--+---1--l--+---~-!--r '
,. '
~~ ...
~
pZ
41 ~
.-~ .. "t.
... ~ \
~~.- ., ' 4,'
,,-z. -~ J
d ~3
·"' ~" ~
\ .
.
-~
'

foor 6
Scale Degrees: 1 2 3 4 5 6 b7 (8)
s;,(IJ-L.L b £&--I<~LS
(9) (11) (13)
Intervals: w w h w w h w
Chord Tones: 1,3,5,b7,9

C lfdRD . :1Ttfr/G.fl/~£ ; f
.)
3 ,1 5') J;n q
'J (
The Dominant 11 Chord (11)
I/ C!l~£1>
rM (..j/1/t/~ 1~11./ /'11~.1/£ RE/A7?t:~;t.JS"Lf J t?
Based On Mixolydian Mode - Chord Relationship
,A - .. ..
A A
..
... ""'
v
.....AI
- -
""""--
.., .,
Root 6 ,:;.... t:fl
-
4D
_A
......
"'
.......,
/"''
'-"
'-'
-
.Lt. "'
"'
,,-...
'V
-
...oll'ft
Root 5 - ----- - --- -

, ,.- -.:"'
----~···-J-o----t-·-~- ~P--4----+---11~
9-~--t--~·~-~~r----t ~·--+---+---+--
A ...,
r--..
-,...,--
'<./
,....
"'
- --
.... ..a
Root 4 ,.,.-- ;"'

,....
""'-
-:...
-
~
-
~~ 4II' ~ ...
-.. X )("
.. ~ ~ (!I
·~ 2.
•P 3 •I' 4
Root
f'tJo16 b Root
12oo75 5 Root
~D-74 lf
P c 61l.£c
5{/rLL Scale s-' 1 I2 z3
Degrees: 4 3 5 671 b75 (8) 6 ;;1 (!)
(9) (11) (13)
5NtrPVAL>
Intervals:· w w h w w ~})__fV(:~'-v{(~ "-.;_,/.
h w
ww~ wwh u.J
Chord Tones: 1,3,5,b7,9,11
~ 1/oP. ; ').Ti'v <- '!!,e~_-: ') 3.) 5~ .1 7 ) q; ) \
I
The Dominant 7 (13)
Po1'11!1Jf!./r Chord
7 ( 13 ) c Ht1ll :D
1 111
S'/!$ff})
BasedON /'1/Y,t)IPIIt,f}
On Mixolydian Mode r11op,G- ClftJ/?D (2e?/.77tJ;VSI1'.P
- Chord Relationship
. ..-
-
~
...,
""""
-'· "' -
....-
v ~
_L"-, ,....,
-<::::7 v
---
1;10'
Root 6 ~ .,
';""'
-,.· ..... ""'
v ....~ LJ
.Jt'O
r..J 'Ill"
.;0
- .....
,..,.
.._.,
""
~
........
...
'P
·'"'
·~-
cr
;".
._ .....
Root 5 A ~ ......
L..;;>
_,.. • - ·'
.... ~
"""'.
- '-.J ...
Root 4
--~---1----t---i---~~2~---+·~~~~--+--+--+-~~--~~J_--r'
- - 1-----+-----+- - --· . -~-~ --. - .. -·--f.-----
l.Jf
' t~'-'
p «P>
-:;~ ..
r
. ..
I~
.. tt- '
I
'
~ "t> b1 'l 13 9 ~ 3 bl 9. IJ (\ \I l3 q
~ ~ b?; 17 X. RoofS ~oo+ ~

5c!l t.,f V£?t?f..f5: I L 3 y 5 ' bl tS)
Scale Degrees: 1 2 3 4 5 6 b7 (8)
ftJr~ V4L5 ! <~(;~(1
- (9) (11) ~(13-/'V
(13)
':;:: ~
Intervals: w w h w V\J V) w h\V w "' w
L_H~ ~ !._. n N t$ ~ ;1 3J 5 1b1 , 1,J , ,) ':3
Chord Tones: 1,3,5,b7,9,11,13
The Minor
Tfl~ ~;Mj!( Chord
Cllt}/2 /)
!W(J{L, On
/V1 Based (At()L!AH) 5cA(E-
Aeolian Mode CJfoR
- Chord :P {(ELATMNSJ.( Jf
Relationship
- ....... •"'
·· ~
- ...... --.-
....
Root 6 .. - --
#II '"'""
~
~
Jilt ,';.... "'

il>
;;,;,
- --....,.-....
-r:::7
&,' Ja.
~
~ ..
"'
"0'
..-.
"
.... ..-...
..- ·.....-
.,.
A
•
~ ~ "
Root 5 "
..
":
·-r-1- ...
IU
1a .• "' .
-
..
Ill" v ,..A "'

.
,....
kl
T:!T ~
...liJ
.. ,A
"""'
A
...."'....
Root 4 ·~
;...
' '>J
-~
.::... .- "'
•'
~-
,., AI----
".;~ • ~~ ~ I' 6
,,
(. 9 2. ~p. 2
,~r J• ,., 4,
·' 3
~ ff 3 i ,. ~
'·
''
R5 ~ b3t
R,o o~ 5)
Scale Degrees: 1 2 b3 4 5 b6 b7 (8)
(9) (11) (b13)
Intervals: w h w w h w w
Chord Tones: 1,b3,5

The Minor 7(b5) Chord
1/f~ ,.nJN 7 ;5" C:/(J£Jl
BasedLoct! ;4-fi/ rf)OIJE--
On Locrian Mode - CN£1> ifftL;1TIOA/-51tlf
Chord Relationship
-
IJb A
v ""' lie
,
..
,......,
'-
,--- _IIY
Ll>
h
,.... \..V
\ Root 6 .'-"
;......
'J'
n ~
,
"'
.... ...
A A
.....
.4)
(1111'
/"\
.._, , A
....A
Al_
. -"'
-~
/f"'"l- A
...., . .....A
~
.._,.
A ·
...•
A
-~-
Root 5 •
-
..M
r;)
"-"
It\
\,J
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~
.,.
'
,...., Pl
...,.. '\
\..J
,......,
"""
"""
---
y ¥ #-'
Root 4
•
o;.,
-~
1,..;.1
'
,Q r·
'-' ¥ ..... I
'
r , ,
-- . __ .. _- --- ........·-·- ---- - .
4' I d, ~ ~~
~'Z ~~'., ~ ~~ 4, ~ 'jJ
· ' c: 3
~ 5 b j ~ 3' i<_.b ?.b1b_3

Rao+ ~
Scale Degrees: 1 b2 b3 b4 b5 b6 b7 (8)
5 (;f [£ /)E~££j (b9) ~ .(b11)
~z (b13)
b.3 i wb~ b6 b7 (8)
Intervals: h w w h w w
~7ERV"At:S vv
Chord Tones: 1,b3,b5,b7
(h 1)
v c ~ "-J(b ~ ~
w ~ w c.v w
h vJ
IY);;V()(( (A1A7) C:/ltJ~J)
The Minor
(ilL (Maj7) Chord
Based ~A/
6d-5'?t> On Melodic 41~~
Minor
f?1fiPP/C Mode C't:Y<.t>
- Chord
SC/IU'- h"~A7/CJ/~/P
Relationship
r'l
....LJ ~
'-" ........
--
,Pl..
-•-
An
...- ..... ..
v
/\
Root 6 illi
_Lf) f)
..
v
,. ..
...... '-" ..
... -
.-. -.
--
'V
/?.< ..a
X/ V"
Root 5 y y
- .. - ··~-- -----~--~---~11---t----+--~~ ~~-+-
+-· ----· - -
i?'\
Root 4
- - 1----+---t- -·-- . - -···· - -···-- -- · - -·-··· ~- - - ·-- ·-
"
--- ~~ -
~ '
I
-
,.....
' ~,..
~
In
~ 5 d •z '3 •" 2
~'f'l _ali'~ 4r.3;1 'I./
..
· c.
_b
Scale Degrees: 1 2 b3 4 5 6 7 (8)

5 clfL t- .P?e?rf£ £.5 ;
~--- ---
(9) (11) (13)
Intervals: w h w w w w h
Chord Tones: 1,b3,5,7

11/c
The Minor
/11!H~/'1., (~4-:J(Maj9) Chord
!f} Clldf2D
gA-5/:p a,t¥ /?J E /,eJ/)AC h!~V.1!/2.. ScAL£.. .... (..t1aR b R£Lf!/f1N5tf'JP
Based On Melodic Minor Scale - Chord Relationship
..., ... .,....
L
"
.An
......
....,.
.._,
r-.
.. ,....
--...
'-'
...,.
"'
RootL6 .,
...
'CT
~ "' "
{/ -~
v '·"'
.... [ -"\ "
•
.,......
'-' - ---
,.,.
- -.
Root 5 -- - 1------· -. --
}....
Clf:::..
.- ..-,
-'C7
~-#-~
"'"""
...-~
•'-..../
..•.
.,.
.....,.
~
- ~
"
{;\·
..
r"\.
,..._
""?" -y
. _. ~
..
~- _j
r
Root 4
- - 1 - - - 1 - - - + - -~- -- "' --- ---- --- . .... .. . -- ··-- 1---- ----
-
41~ _;;..o .~ -~ ~ \ .. ~ 4.
~ l..
3 ,l.o ~
'2.. "!
'
,j ~ 4
j~ lf ~ ~
·,
.D IJ
Sttfl £ PScale Degrees: 1 2 b3

e&l<EtS: 4 5 6 7 (8)
(9) (11) (13)
Chord Tones: 1,b3,5,7,9

/*"7 /A/ 7(6 9) c l/p;2 j)
7i-ltE- The Minor 7 (b9) Chord
Based;idYl/ !JrtR
o/1/ b2
On Dorian I/1AJ - b2.
Mode ( fll(ttytf-//f!V
Chord RelationshipN?tr t)
--
--
v .,.A
rA
........
-·
...._ "
~II
A,.
y -.:._
Root 6
- -
~
- A
'-'
..,.
L'l
·Y, -
\:_/
..:··
_.
-
....""'
-
~
•
.....
,..,
....-..
L:::L
'--'
- ~
-
A
.._.;
.,._ ""'
Iii
Root 55 -;•"" -.: """ .
-
" *
- --~ ~ .,-.-~
.,
.A_ ~
'11/
-A
....
-
-if2_
r----·
.
Root 4
:;.:>~
.~ "~ ~ ~ " I
~,
diP z •z .i" •
j,J T (. rj •J 4
' ·'
I
~ 5 b1.b 3 5~~ (R)b3 ~1~q ,r e.s:-~~

, Root
J~,b6 Root 5
i~O\.S
Root 4
s_,c: j)fq_~
_:A_L.t;_Scale 13:!:.:._1 b2 Ib3 b4Z 5 6 3
Degrees: 'j (8)5
6 b7 ~ P7 (f)
(b9) (11) (13)
{69) [!1)--./~3)~ 'v-
Intervals: w w' J
h w "---/ w "'-..._/
h w JM w
h vV W IN W ' l
Chord Tones: 1,b3,5,b7,b9
The Major 7(#5) Chord
77/'£ /??A-7"7('~5) cl-ltJRP
C/JS'fp Q Jt/
Based <rP/A-A/::es
On Lydian /IJaf}£-~l/tJ£o
#5 Mode k?f!/?t?//5111/'
- Chord Relationship
-
_.6)_ _A
.,
,....,,
A
.-
.,
-
A
_Lj_
.....
..
~'J
--"..Il.
"
Root 6 ..Al.
w
A'll
--
.L:l..
~
~
...
A
~
..
"'
-
<7
IF\ A.
...
Root 5
Root 4
~,1
, .. p ..,
.; F \
4P' ~ ,
.. J
.1111' \
'2-
~~ .-b• [3_
_l't I~ .
\ ' \

I z s 6 7 ( ?) 3 r:tl Lj #
(9) ~ 'l)-v (13)

--..,p'l!l~ "-../\ 1)0~
Scale Degrees: 1 2 3 #4 #5 6 7 (8)
(#11)
Intervals: w w w
\tJ wIN h vJ
w h 'vJ ~ \IL.I ~
C 111Jf2/J 5"!k!vc TU/ZE---

Chord Tones: )) 3J ~J; 7
1,3,#5,7
The Major 7 (b5) Chord
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Section 6:
Deriving “Jazz” Chords
Now that we have learned the relationship between modes, scales and chords its time to crea te some voiceings that
are more accommodating to our fingers and sound less “muddy” or “thick”. I like to call it “trimming the m
down.” On the next page are a few examples based on some of the chord voicings where there are more than one
fingering option. It is especially good for those.
In this section you will learn how to “trim down” the root 6 th, 5th and 4th chords to create more sparse chord voic-
ing that for lack of a better term have become known as “jazz” chords.
All we need to do is remove a couple tones from the “mud dy” chord to achieve this. Hers’s some rough guidelines
for how to go about it. Were only working with 6 strings here so obvio usly some tones are going to be removed.
When you choose the ones to use keep in mind that the ultimate goal is to create the e ffect for the listener that in
essence the chord sounds like it should. So you’ve got to be strategic about it.
I need to addr ess the issue that you have only worked with chords based on the root so far though. Changing the
root to a different place in the chord (creating an inversion), more on that later and a better explanation in the
video) can really open up a LOT more possi bilities.
But for now lets just assume that we want to keep the root in the bottom. Here’s a couple guidelines for “trimming
down” your chords.
1. The 5th (interval) is the first to go.
2. The purpose of the dominant chord is to create tension. So always keep the b7 th in a dominant chord.
Dominant chords are defined by a flat 7th and a 3rd. If you remove the 7th technically it becomes and
(add) or (sus) chord. However since the guitar only has 6 strings sometimes it is necessary to throw it
out on the root 4 voicings anyway. So technically some of the root 4 voicings are add chords but to the
listener they can sound dominant giver their place in the progression.
3. The same goes for minor 7ths, (b3, b7)
4. Dominant 7’s and Min 7’s 9, #9, b9 are easy. We have enough strings on the 5th and 6th string roots for
that. On the root 4 th string choose the 7 over the 3. Whe n you play with a band let them create the major
or minor tonality. If you are playing alone the chord must resolve to some oth er chord (see video). Trick
the listener into “hearing” the tonality if you play through the progression without chords that define t o-
nality.
5. Use the same idea for the 11 and 13 chords extensions. Sometimes its good to throw out the root and
favor the other tones (see video). Let the band handle the root. Sometimes with the min7 root 5h exten-
sions you’re going to lose the third but let the band or chords in the progression take care of that.
6. Altered chords: For the 4 alterations (b5, #5, b9, and #9. ) Keep that 3 rd and 7th. You have enough
strings for that. Any combinations ( inversion) of notes will work. Be creative.
On the next page are a few examples of how you can derive “Jazz” chords from the shapes we learned already in
section 5. In the useful chord reference section 15 there are tons of chords derived in this manner. Look for the
similarities when you put them to work.
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http://guitar.about .com/library/qchordpaper.htm 2/ 10/2011

Section 7:
Connecting Shapes – Mapping The Fretboard:
For this one take all of the scale degrees for any given mo de or scale and graph them out on the
fretboard. Do it for whatever mode or scale you are looking to know everything about.
If you do them all you can create 19 graphs of the fretboard, each based on a mode or scale we
looked at, from which 99% of chord possibilities can be derived.
These graphs are incredibly helpful when you are trying to work out chord voiceings because
you can visually see the chord structures and scale degrees much like you could on a piano
where you have all the notes laid ou t right in front of you.
I have done two of them for you as examples, major and melodic minor.
See the video for techniques us ed to “connect” the shapes and “visualize” the fretboard as a
whole. Trying to explain it here will be too wordy and just confuse you.
"
Section 8:
The Harmonized Major Scale:
Lets just say we wanted to create a scale from the chords built on the modes we learned
earlier. Basically The Harmonized Scale. You can harmonize any scale. I’ll go through
the Major and Melodic Minor for you.
To derive the major you take the chords that are contained in the chord structures we
derived for the modes and put them in the order of a scale starting with Ionian and
working your way to Locrian using the intervals from the major scale: w w h w w w h.
The major harmonized scale looks like this:
I – ii min7 – iii min7 – IV maj7 –V7 – vi – vii7 b5
This is how it is derived:
For each Mode use the scale degrees that make up the seventh chord we're going to construct.
1 2 3 4 5 6 7 (8) = I – Major Scale
For the second chord of the scale you use the Dorian mode:
1 2 b3 4 5 6 b7 (8) = ii min7
For the third chord of the scale you use the Phrygian mode:
1 b2 b3 4 5 b 6 b7 (8) = iii min7
For the fourth chord of the scale you use the Lydian mode:
1 2 3 #4 5 6 7 (8) = IV maj7
For the fifth chord of the scale you use the Mixolydian mode:
1 2 3 4 5 6 b7 (8) = V7
For the sixth chord of the scale you use the Aeolian mode:
1 2 b3 4 5 b6 b7 (8) = vi
For the seventh chord of the scale you use the Locrian mode:
1 b2 b3 b 4 b 5 b6 b7 (8) = vii 7b5

The Harmonized Melodic Minor Scale
The major harmonized scale looks like this:
i – ii min7 – III maj7 – IV 7 –V7 – vi min7b5 – vii7 b5
This is how it is derived:
For each Mode use the scale degrees that make up the seventh chord we're going to construct.
1 2 b3 4 5 6 7 (8) = I – Melodic Minor
For the second chord of the scale you use the Dorian b2 mode:
1 b2 b3 4 5 6 b7 (8) = ii min7
For the third chord of the scale you use the Lydian #5 mode:
1 2 3 #4 #5 6 7 (8) = III maj7
For the fourth chord of the scale you use the Lydian b7 mode:
1 2 3 #4 5 6 b7 (8) = IV7
For the fifth chord of the scale you use the Mixolydian b6 mode:
1 2 3 4 5 b6 b7 (8) = V7
For the sixth chord of the scale you use the Aeolian b5 mode:
1 2 b3 4 b5 b6 b7 (8) = vi 7b5
For the seventh chord of the scale you use the Super Locrian mode:
1 b2 b3 b 4 b 5 b6 b7 (8) = vii 7b5

Section 9:
Inversions:
Chord inversions are incredibly useful for finding more chord voiceings on the guitar.
They bring nearly infinite possibilities for practical fingerings and allow us to find
variations on chords almost anywhere on the neck as opposed to just the chords based on
the root we have worked with so far.
But you’ll need to begin knowing your note names over the ENTIRE guitar neck now,
not just the 6th , 5th and 4th strings so get out the note names chart and start memorizing
them.
A quick note: I go much more in depth into the concept of inversions in the video
because it is much easier to grasp in a “hands on” setting. So be sure to watch that part
closely.
So lets start taking advantage of the possibilities inversions will bring us.
So far we know that a root of the chord is the bottom note in the chord after which the
chord is named. (Example: in the chord A major, the root note is A)
A chord inversion is when you put the next node from the triad (Root - 3rd - 5th) on the
bottom.
Here is how inversions are named and examples:
* "1st Inversion" is when you put the 3rd on the bottom of the chord, instead of the
Root. So the interval pattern becomes: 3,5,R For example 1 st inversion in the key
of C is E,G,C
* "2nd Inversion" is when you put the 5th on the bottom of the chord, instead of
the Root. So the interval pattern becomes: 5,R,3 For example 1 st inversion in the
key of C is G,C,E
It is possible to create inversions of other chords (dominant 7ths, min 7ths and
extensions) as well using the same process just using the tones of that chord. Of
course, with more tones comes more inversions. For example here are the inversions
of a C7 chord:
Inversion Tones Notes
Root 1 3 5 b7 C E G Bb
1st 3 5 b7 1 E G Bb C
2nd 5 b7 1 3 G Bb C E
3rd b7 1 3 R Bb C E G
It works the same way with chord extensions, but because of the nature of the guitar
we always must remove a few notes from the voiceing of the chord.
The chord charts on the next page shows how chord inversions can be applie d to the
guitar in the key of C Major, Dominant 7 th and 9 chords The video goes into more
explanation so be sure to watch that.
Here are some examples of chord inversions.
Major Chord:
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Section 10:
Slash Chords –
My students always take one look at slash chords and seem dumbfounded until I show
them this trick for deriving them. They are one of the more seemingly “mysterious”
concepts to most people, especially when it comes to working out fingerings for them.
A slash chord has a slash has a slash its name.
Here are some examples: G/B, C/Bb, F/G, Cmaj7/E.
The symbol on the left of the slash is a chord and the symbol on the right is the bass note.
So the slash chord G/B means that you have to play a G tria d over a B bass note.
Most of the time a slash chord is an inversion of the chord itself, this makes the bass note
(notated on the right of the slash) the some tone from the chord. For example: the 3rd,
5th or 7th of the chord becomes the bass note. Th is is what happens most of the time.
Working over the 3rd and 5th is easy. Working over the 7 th is s bit trickier.
Here’s an example of how bass notes will become the actual roots when working with 7th
chords.
Lets just say we have an C/A chord. The t op three notes form a Cmaj chord (1,3,5) and
we need an A (6) in the bass.
Cmajor = 1,3,5 = C E G
C / A = (1,3,5 / 6) =(C E G / A) ? invert it ? you end up with A C E G = Amin7
So with 7th chords, the bass note of the slash chord is actually the root of a seventh chord
of the same name.
Step 3: We know the 1 st degree of the harmonized scale is a major 7. So now we go

through our chord vocabulary made from our fretboard graphs (section 10) and look for
Aminor 7 chords. There you go, you will have sev eral voicings for your C/A chord.
Lets take our memory back now to what we learned about the harmonized scale.
( Section 8) where we constructed seventh chords based on 3 rd intervals beginning on
each degree of the Major scale (Ionian) and ended up with this series of chords:
I – iim7 – iii m7 - IV maj7 – V7 – vi min7 – vii min7 b5
Cmaj7 – Dmin7 – Emin7 – Fmaj7 – G7 – Amin7 – Bmin7b5
Here’s a trick to working with 7ths:
The name of the chord on any given degree becomes the bass no te. The name and type
of chord over that bass note can be found 2 degrees higher in the harmonized scale.
So we derive this formula using X as a variable:
Slash Chord Name = X+2 degrees in harmonized scale chord type / X bass
Here’s a few random exa mples so you can see the formula in action:
X X+2 Bass (X) Slash Chord Name

(chord over bass)
C Em C Em / C
G Bdim G B dim/G
A C maj A C/A
E G7 E G/E
We could reduce this even farther to just apply to chord types and scale degrees, wh ere
X= Root of harmonized scale degree for bass note.
Root Note (X) X+2 (chord) Bass (X) Slash Chord Name
I iii m I iii/I
V vii dim V vii /V
vi I maj7 vi I/vi
iii V7 iii iii / V7
If you need slash chords with extensions use the same process except put the desired
extension into the formula.
The same formula holds true for the melodic minor harmonized scale and other scales we
looked at earlier. If you are using need chord extensions only found in those scales and
need slash chords use corresponding the mode or scale they are found in.
There’s another way to go about it by deduction of the slash chord but its more work. I’ve
found some of my students that aren’t so mathematically inclined understand this one more ea s-
ily so here it is in the key of C major:
Lets just say you need to work out a chord voicing for an Emin/C chord. By now you ha ve an
arsenal of chord shapes under your fingers and a good understanding of inversions. But what
shape to use?
Step 1: The trick is to look for the chord type you want first starting on the 3 rd of each chord in
the harmonized scale. This is a bit tric ky to do in your head at first so you may want to work it
out in a table like the example below. For example say we want an E m in7/C. So our table
tells us we have three choices, the 1 st, 3 rd and 6th degrees of the scale. So which one is it going
to be?
Step 2: Next we look for which chord of those m7 chords is going to have the C in the bass.
Well there is no C in the Emi n chord built on the third degree and the C in the Am chord is a
3rd. So we conclude it must be the one built on the 1 st degree.
Step 3: We know the 1st degree of the harmonized scale is a major 7. So now we go through
our chord vocabulary made from our fretboard graphs (section 10) and look for C Maj7 chords.
There you go, you will have several voicings for your Emin7/C chord.
So these slash chords don’t seem so mysterious now!

Section 11
Creating Chords Based On Note Names:
This is where you put combine what you learned about key sigatures and scale degrees chord
structure.
So far I've showed you how to build chords based on intervals and scale degrees. Now it's
time to learn the theory behind naming them and how to build them based on their note names.
Lets refer back to the key signatures derived in section 2:
We did it like this:

Scale Degreees - 1 2 3 4 5 6 7 (8)
(9) (11) (13)
Notes - C D E F G A B (C)
The scales we learned were:
C: CDEFGABC
G: G A B C D E F# G
F: F G A Bb C D E F
A: A B C# D E F# G# F
Lets say we want to build a Cmaj7 chord:
We know the notes of the scale (above.)

We know the tones needed for the chord: 1,3,5,7 from our mode-chord relationships study.
So we derive Cmaj7 by taking the tones we need from the major scale:
1 3 5 7
C E G B = Cmaj7
How about a C7 chord:
We know the notes of the scale (above.)

We know the tones needed for the chord: 1,3,5,b7 from our mode-chord relationships study.
1 3 5 b7
C E G Bb = C7
If we did it in G it would look like this:
1 3 5 7
G B D F# =Gmaj7
1 3 5 b7
G B D F = G7
Works the same with extensions:
Fmaj7 #11:
1 3 5 7 9 #11
F A C E G B = Fmaj7#11
It doesn't matter if a chord is major or minor as long as you just use the chord tones
you need:
A min7 b5:
1 b3 b5 b7
A C Eb G = Amin7b5
For lots more:
Section 16 is a Reference Sheet Of Chord Symbols And Characteristics where you can
find names, symbols, scale degrees and examples of each chord type.
Section 12:
Chord Progressions:
The concept of chord progressions is pretty easily demonstrated and they get it quickly. but to
actually define what they are is a different story.
According to Wikipedia:
"A chord progression (or harmonic progression) is a series of musical chords, or chord changes
that "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root
or tonic chord.[1] In other words, the succession of root relationships.[2] Chords and chord
theory are generally known as harmony."
But according to everyone else a chord progression determines the "sound" of a song. Its how
a song "goes". Its the music that is played while the singer sings over it.
99% of music out there is pattern oriented (the progression) consisting of the chords put in
some order. Here you can use all the knowledge you've picked up so far to play through some
progressions.
First there's some new information you need to know:
Power Chords:
Power Chords is a term that rock musicians use to label chords that consist of just 2 tones, the
root and the 5th. In essenc they are neither major or minor because they lack the 3rd tone that
defines the tonality. But basically they all sound major and in theory the are considered "major
diads", as they are two note chords based on a root. So in this study on chord progressions in
rock style examples just assume when a chord is non-diatonic it is major and a power chord.
Diatonic Chords:
This term simply means a chord that has the notes from and only from they key it is in. For
example all of the chords in the key of C (see key signatures - section 3)are based on the C
major harmonized scale are diatonic. Knowing this concept is a foundation for understanding
the examples in the Jazz section. In Wikipedia's "Chords and chord theory are generally
known as harmony." definition, the harmony referred to is a product of the notes that make up
the chord.
Secondary Dominant Chords:
Secondary dominants are dominant chords (7th and other extended/altered dominant chords)
built on the I, II, III, VI, and VII notes of the key. I need to mention these because they are the
chords that usually end up being non-diatonic. Again these are usually power chords in rock
and really lend themselves to that style. In Jazz they usually show themselves in adding
charachter or development to the progression. They also appear frequently in the form of
substitutions, which will be covered in section 13. An example of this is the blues I7-IV-V7
progresson In these there is a I7 (one of the secondary dominants), V7 (one of the diatonic
chords), and IV7.
So now lets talk about progressions:
Certain chords tend to feel like they should move to other specific chords within a progression.
This is the "aims for a definite goal" part of wikipedia's definition. The music theory term for this
is "resolution" In fact all songs have their effectiveness in the use of "tension" (dissonance) that
begs to be resolved one way or another through any sequence of chord changes. Through this
their purpose "of establishing (or contradicting) a tonality founded on a key, root or tonic
chord" is fullfilled.
For example, after a VII7 chord, you will almost always find a iii chord. Below is a list of all the
most common resolutions. Knowing these is extremely useful when playing by ear, composing,
and/or improvising, because they provide a way of knowing the most likely next chord in any
sequence without guessing. The secondary dominant chords have the strongest need for
resolution at least in just about every style. This would be the "definite goal" they aim for. Here
are the most common chord resolutions, or "definite goals" you will find:
V7 -> I
I7 -> IV
II7 -> V or V7
II7 -> V, V7, and sometimes IV
III7 -> vi or VI7, and sometimes IV
VI7 -> ii or II7
VII7 -> iii or III7
v -> I7
iv -> typically seen in IV -> iv -> I (i.e., preceded by IV, and resolving to I)
bVI -> bVII
bVII -> I, IV, bIII, or V(7)
Now for the examples of what some progressions sound like:
This is what Wilkipedia's "progression (or harmonic progression) is a series of musical chords"
statement refers to.
It's too often I hear classical and jazz musicians look down on rock players saying that rock is
just the same old I-IV-V. Not true. Possiblilities are nearly infinite. I deliberately listed songs
that aren't I-IV-V here. Take note of how most have non-diatonic chords which are power
chords that add to the interest.
Rock song examples:
I bIII IV Purple Haze Jimi Hendrix

I III IV iv Creep Radiohead
I III vi V Santeria Sublime
I IV ii V Run-Around Blues Traveler
I IV bIII bVI Smells Like Teen Spirit Nirvana
I IV V IV Louie Louie The Kingsmen
I IV V La Bamba Ritchie Valens
I V vi IV I'm Yours Jason Mraz
I V vi IV Save Tonight Eagle Eye Cherry
I bVII IV I Sweet Child O Mine Guns N Roses
I bVII IV Sweet Home Alabama Lynyrd Skynyrd
i bIII bVII Crazy Train intro Ozzy Osbourne
i bIII bVI V Seven Nation Army The White Stripes
i bVI bVII Sultans of Swing Dire Straits
bIII bVI i Stairway to Heaven Led Zeppelin
i bVII bVI Stairway to Heaven Led Zeppelin
i bVII bVI bVII Don't Fear the Reaper Blue Oyster Cult
Jazz song examples:
Before we cover the jazz lets ltake another look at the mode and scale relationships we
looked at in section 5 for possibilities:
Major: IV-V-I, ii-V-I, V-ii-I, V-IV-I, iii-ii-I, iii-IV-I

Aeolian: v-iv-i, bVII-iv-i, bVI-bVII-i, iv-bVII-i, bVI-v-i, iv-v-i
Melodic Minor (asc) IV-V-i, ii-V-i
Melodic Major (desc) v-iv-I, bVII-iv-I
Harmonic Minor iv-V-i, V-iv-i, bVI-V-i, V-bVI-i
Many more possibilities here than in rock. Here's where the the concept of chords being
diatonic is more important. In a way this makes the progressions a little more pridictable in
contrast to rock because the more complex nature of the chords necessitates a more decisive,
or strategic, course of resolvinng them.
With that out of the way, heres a bunch of examples. Theres this thing called "The Real Book"
which is packed full of jazz standards that I ripped these from. I believe that if you want to learn
jazz and actually have a pulse then you should own one. Without it all is lost.
This is without any doubt the most popular chord progression in jazz. Just about every jazz
standard has a iim7- V- I.
iim7 V7 | Imaj7
This chord progression is known as 'rhythm changes'. 'Rhythm changes' are a kind of chord
progression that is common in the "jazz-blues" and upbeat jazz tunes.
Imaj7 VIm7 | iim7 V7 | iiim7 VI7 | iim7 V7
Some Tunes: Anthropology, Chasin’ the Bird, Constellation, Fifty-second Street Theme-Monk,
Flintstones, I Got Rhythm, Jaybird, Oleo, Moose the Mooche
Street Beat, Swedish Schnapps, The Theme, Wail
Heres another common one. Good guitar examples of this are "Joy Spring" and "Ain't
Misbehavin'".
Imaj7 #i°7 | iim7 #ii°7 | iiim7 VI7
An upbeat classic. Good guitar songs are: "Take the 'A' Train", "The Girl from Ipanema" and
"Desafinado."
Imaj7 | | II7 | | iim7 | V7 | Imaj7 | |
A swing one. Guitar songs are: "Satin Doll", "There Will Never Be Another You."
Imaj7 | (iim7 V7) | IVmaj7
Ballad Slobber. Guitar songs are: "All of Me", "All the Things You Are"
Imaj7 | I7 | IVmaj7| ivm7 | iiim7 VI7| iim7 V7 |Imaj7| |
In all of these progressions we you actually add MORE chords using your knowledge of
extensions and alterations with the harmonized scales, which is called susstitution. If you like
progressions you're going to love substitutions. Lets move along to that.
Section 13:
Chord Substitutions:
Chord substitution on the most basic level is much easier than a lot of those pompous jazz pla y-
ers out there would like you to believe it is. If you’ve made it this far in the book then you
should understand most of the concepts I’ll show you here.
But on the other side of it, there are a LOT of ways to go about applying substitution concepts
and many of them are so complex that you really have to be a theory egghead to actually unde r-
stand the stuff behind them. There are entire books out there based solely on the topic.
So what I’m going to do here is give you as much essential information as you need to unde r-
stand how substitution works on a number of levels. I’m starting with the easy concepts and
working through them as they get ha rder. Each example uses concepts learned in the previous
ones so be sure to take them one by one.
I’m going to put in the video the things that are more readily understood when they are demo n-
strated instead of on paper
One thing about them though, you can analyze them all you like but if they sound good they are
good. Sometimes what looks pretty good theoretically on paper can sound terrible.
Basically it is when one chord replaces another related chord in a chord progression (song).
The only important thing is that the substitute chord just needs to have some th e same quality
(sound) as the original chord in the song and almost always only differs by one or two notes.
So you’re just replacing a note or two to create a different but closely related chord that sounds
pretty much the same.
The reason musicians use substitutions is to make a progression that can otherwise sound r e-
dundant a little more interesting.
I’m breaking it down into a few common types for you. Here they are:
1. You can substitute any dominant 7 chord with another dominant 7 chord that has two
notes in common with it. There are always four to choose from.
The quick way to go about finding them is this: If you take the root of the 7 th chord you want to
substitute and build a diminished chord from it you end up with 4 different notes that you could
build a dominant 7 to substitute it wi th. So that gives you 4 possibilities of 7 th chords you can
sub for your original chord.
So if we had a C7 and we were looking for substitutes we would first figure out what the dimi n-
ished chord built on a C chord looks like? (1,b3,b5b,bb7 = C-Eb-Gb-A)
The result is this: C7 shares two notes in common each:
C7 =(C-E-G-Bb)
Eb7 =(Eb-G-Bb-Db),
Gb7 = (Gb- Bb-Db-E)
A7 = (A-C#-E-G)
2. Minor chords a third above a major . Like the relative minor (the sixth above a major),
this chord will share two tones with the original:
3. Adding extended (7, 9,11 or 13), altered (b5, #5, b9, #9, or #11), and/or other tones to a
chord is useful.
You hear this a ll the time when people substitute 9s, #9s and 13s in blues progressions. In jazz
its more the rule than the exception.
Take a look back at all of the extensions you learned during the mode -chord relationship sec-
tion. You can use every single one of them.
ONLY use them on the I, iim and V7 chords though. On other scale degrees they don ’t work
because the extensions can really disrupt a chord progression in that case.
Here’s the breakdown:
Major I Chord : 6, 6/9, add9, maj7, maj7b5, maj9, maj9#11, maj11, and maj13
Minor ii Chord: m6, m6/9, m7, m7b5, m7#5, m7b9, m9, m9(M7), m11, and m(M7 )\
V7 Chord: 7b5, 7(b5/b9), 7#5, 7(#5/b9), 7b9, 7(b9/#11), 7#9, 7(#9/#11), 9, 9b5, 9#5, 9#11,
11, 13, 13(b5/b9), 13b9, 7sus4, and 7+
For 7th chord use the triad a 3rd up (I7 = iii dim)
4. Use the V chord of your original progression for just part of the original chord’s dura-
tion.
Original:
I vim iim V7 I
//////// ///// /// //////// //////// ////
Substitution:
I IV7 vim VII7 iv7 II7 V7 I
//////// //// //// //// //// ///// //// ////
This one elaborates on the principles we looked at earlier.
5. Replace dom7 with IIm-V
This is the most common jazz substitution EVER. In fact it’s hard to ever even hear a dom7 in a
jazz progression because they are always subbing them. Check it out.
I-V7 becomes I- ii m7 – V7
6. Now its time to make use of the inversions and slash chords we looked at earlier!
Use them to create basslines underneath the chords in the progression. Use your imagination
and your ear and the other sub techniques we’v e learned so far. Use techniques like moving the
bass in 4ths, chromatically or in sequences. Try to play many notes other tha n the root in the
bass.
7. Sub the iii for the I chord or vice versa.
Those two chords share two tones. You see this one a lot in 90’s rock. It can make an average
I-IV-V progression sound a lot different. Especially if you play it I -IV-V then alternate I- iii-
IV –V.
8. Switch a major chord for its relative minor.
This is something you hear a lot of in 50’s and 60’s style music. Think Motown.
9. Use the harmonized scale to move up and down the scale if there is a chord that the pro-
gression that is repeated over and over.
Example:
Take a V chord that is repeated over and over and fill it in with V7 – vim7 viio7 –vim7 – V7
10. The V can be substituted for the bII7 chord.
The music theory term for this is a tritone substitution. If the original is dominant chord of any
type you can sub any dominant chord that’s three whole steps, a tritone (diminished fifth or
augmented fourth) up from the root of the original. They will always share two notes. I get a
little more into it in the video. Its too much to put into words but easy to grasp when it is de m-
onstrated for you.
11. m7b5 chords a fifth above in place of a dominant chord .
Instead of using V7 (1,3,5,b7), you can use vii7b5 (5,b7,-b9-11).

Again, you have two common tones from the original chord.
12. When you have a dominant chord moving to another one you can throw in an altera-
tion. (b5, #5, b9, or #9).
Example:
I7-IV can becomes I7-I7b5-IV, or I7-C7+-IV, or I7-I7b9-IV, etc.
You can play around with substitutions forever and never get bored. So many possibilities and
so little time!
.
Section 14:
Ideas For Improvisation
Knowledge of the harmonic relationships that scales, modes and chords have that I've showe d
you so far is to me the most important thing you need to know. On the most basic level you
choose the scale that the chord is related to solo and go for it. However you are definitely should
not limit it to that. Using a non -related scale can often be an effective tension builder and the li s-
tener will be begging for resolution. There are some other things to consider. These will help you
take the knowledge of harmony that you have and use it to effectively build solos.
Technique:
Build your technique through practicing things like scale sequences, intervals, arpeggios etc...
Approach them from different technical perspectives are far as finding ways to make the no tes you
want to hear practical for your fingers to play. Different combinations of notes require different
technical approaches. For example you can combine alternate picking and sweep sweep picking to
come up with hybrid picking patterns that accommodate what you want to play. Try arpeggios the
traditional way then string skipped or combine both approaches to make your ideas com e to life.
Play a passage with all picked notes if you are shooting for articulation or hammers and pulls if
you want it smooth. Having good technique or "chops" as it is called is what allows you to express
your ideas to the listener. The better "chops " you have, the easier it is to get those ideas across.
Rhythm:
Good rhythm is a technique of its own. Accenting different not es can be used to build an idea.
This is very common in jazz guitar. Laying back on other ones creates a different vibe. Acce nting
chords on down or upbeats can helps to define and characterize different styles of music. For e x-
ample rock chords are almost always on the down beat whereas reggae are on the upbeat.
Phrasing:
A sense of phrasing is what ma kes certain players have their own style. It's what makes Stevie
Ray's guitar cry, Van Halen's wail and Joe Pass's smooth. To build a phrase you need to take your
harmonic and rhythmic sense and make them work together. In music theory a phrase consist of
"phrase members" and many phrases can be considered members of a larger phrase. A phrase can
be rhythmic or harmonic but is usually both. This is the way analysis of classical music breaks
down. In more down to earth styles the definition of "phrase members" has mutated into other
terms such as the "lick". Think of phrasing as the way your music speaks. It could have a sout h-
ern drawl, Long Island accent or maybe you speak Chinese.
Your Toolbox:
These are the things you can use to express rhythmic an d harmonic ideas to build your phrases:
Dynamics (loud/soft), slurs(hammer/pulls), held notes, vibrato (shaken notes) trills ( very quick
hammers and pulls), pauses, glissando (sliding notes), legato (smooth notes) or staccato (Broken
notes).
With those concepts in mind its time to start building a solo. This is the process that I suggest
going about it. I’m nearly done with a book about improvisation and soloing that takes the con-
cepts in this one and applies them to that.
This is an example from the book:
Soloing over the ii-V7-I progression:
1) we'll pick a key to do it in. C is the most basic so go with that.
The chords will go like this:
ii - V7 -I
Dm7 - G7 -Cmaj7
2) Choose some scales based on harmonic relationships.
The Dm7 Chord:
Dorian Mode: 1 2 b3 4 5 6 b7 = D E F G A B C
Minor Pentatonic: 1 b3 4 5 b7 = D F G A C
The G7 Chord:
Mixolydian Mode: 1 2 3 4 5 6 b7 = G A B C D E F
Major Pentatonic: 1 2 3 5 6 = G A B D E
Lydian b7: 1 2 3 #4 5 6 b7 = G A B C# D E F
Half-Diminished: 1 b2 #2 3 #4 5 6 b7 = G Ab A# B C# D E F
The Cmaj7 Chord:
Ionian: 1 2 3 4 5 6 7 = C D E F G A B
Major Pentatonic: 1 2 3 5 6 = C D E G A
Lydian Mode: 1 2 3 #4 5 6 7 = C D E F# G A B
3) Draw simple conclusions about harmonic relationships:
D Dorian G Mixolydian and C Ionian all have the same tones so were safe with those notes.
Were also safe with all 3 pentatonics.
4) Think about chord extensions, alterations, and substitutions to expand the possibilities.
A) The Lydian b7 scale will give us a #11 (#4) note over the G chord which also func-
tions as a b9 in the C chord.
B) On the surface the Lydian scale over the Cmaj7, which gives us a #11 in C chord
gives sounds fine over that chord but a little strange over the others just noodling
around. But if you look closer you can lead that note to the 3rd in our Dorian over Dm7
which will really build your phrase. Look out for the G7 chord though. If you're on that
#11 (e) you need to resolve it to somewhere on the G7 (V). Bringing it down a half step
will put you on the b7 of G (f) which will still keep it interesting. A half step up will
put you on (g) which is the root the safest place to end a phrase but a bit stale.
C) The Half-Diminished scale is going to give us the #9 and b9 we need to keep things
moving. #9 (a# in G) goes to (b) the maj7 in C or 3rd in G, both powerful tones to
deleop the pharse. b9 (ab) when raised another half step becomes the 9 in G(V). so you
can move that one around chromatically to build tension. This is where you can find all
sorts of tones based on altered chord relationships that you can use to develop you own
style or sound.
5) Choose tools (licks, scale sequences, arpeggios, interval patterns etc...) to use for building
your solo.
Copy licks from your favorite guitar players. Think about arpeggio fingerings that will fit well
over these changes. Consider arpeggios that work are extensions or substitutions of the chords.
Work sequences into your scales so that the powerful tones in the scale, tensions and resolu-
tions, build phrases based on the progression, not just noodling or cramming notes in.
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1
Section 15:
Additional Chord Voicings

In this section there are chord voicings other than the ones in section 5.
I have picked these because I find them to be most useful. These are fingerings that either don't
fall within the scale and mode patterns learned earlier or are alternative voicings that sound good
that can be found in the same place.
Keep in mind that there are plenty more voicings for all of the chords we have looked at out
there. I'm just giving you the ones that I think are the most practical.
Major
-
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4, ( ,.
411> 4
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4" 4j,f
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add6 (6)
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Augmented
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4
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(6/9)
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~ 41~' ~II>
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Maj7(#5)
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Minor (6/9)
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Doninant 7 (7)
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Major 7
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Domiant 7 (9)
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Major 9
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Minor 6
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Minor 7
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Minor 9
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Minor
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Minor 13
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Minor (Maj7)
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Diminished
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Dominant 7(#9)
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Dominant 11
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13 ( , 3)
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Dominant 13
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Dominant 7(b5)
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Major 7 (b5)
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Major 13
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Minor
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Section 16 - Reference Sheet Of Chord Symbols and Characteristics
Symbol Name Tones Example Related Scale/Mode

M,maj Major 1,3,5 CEG Ionian
m Minor 1,b3,5 C E Gb Aeolian
aug,+ Augmented 1,3,#5 C E Gb Lydian #5
dim,o Diminished 1,3,b5 C E Gb Diminished Scale
7 Dominant Seventh 1,3,5b7 C E G Bb Mixolydian
M7,maj7 Major Seventh 1,3,5,7 CEGB Lydian
MA7(#5), maj7(#5) Major Seven Sharp Five 1,3,#5,7 C E G# B Lydian #5
m/M7, m/maj7 Minor Major Seventh 1,b3,5,7 C Eb G B Melodic Minor
m7 Minor Seventh 1,b3,5,b7 C Eb G Bb Dorian or Phrygian
MAJ7(b5),maj7b5 Major Seven Flat Five 1,3,b5,7 C E Gb B Lydian #5
7b5 Dominant Seventh Flat Five 1,3,b5,b7 C E Gb Bb Super Locian
7#5 Augmented Dominant Seventh 1,3,#5,b7 C E G# Bb Super Locrian
or Dominant Seventh Sharp 5
7(b5,b9) Seven Flat Five Flat Eleven 1,3,b5,b7,b9 C E Gb Bb Db Super Locrian
7(b5 #9) Seven Flat Five Sharp Nine 1,3,b5,b7,#9 C E Gb Bb D# Super Locrian
7(#5,b9) Seven Sharp Five Flat Nine 1,3,#5,b7,b9 C E G# Bb Db Super Locrian
7(#5,#9) Seven Sharp Five Sharp Nine 1,3,#5,b7,#9 C E G# Bb D# Super Locrian
7(#5,9) Seven Sharp Five Nine 1,3,#5,b7,9 C E G# Bb D Whole Tone Scale
m7b5 Diminished Minor Seventh or 1,b3,b5,b7 C Eb Gb Bb Locrian
or Minor Seven flat Five
or Half Diminished Seventh
dim7 Diminished 7th 1,b3,b5,bb7 C Eb GB Bbb Diminished Scale
sus4 Suspended Fourth 1,3,4,5 C EFG Ionian
msus4 Minor Suspended Fourth 1,b3,4,5 C Eb F G Aeolian
6 or M6 Sixth or Major 6th 1,3,5,6 C EGA Ionian
m6 Minor Sixth 1,b3,5,6 C Eb G A Dorian
6/9, M6, 6add9 Six/Nine or Six add Ninth 1,3,5,6,9 C EGAD Ionian
m6/9,min6add9 Minor Six/Nine or 1,b3,5,6,9 C Eb G A D Dorian
Minor Sixth add Nine
add9 Add Nine 1,3,5,9 CEGD Ionian
madd9 Minor Add Nine 1,b3,5,9 C Eb G D Dorian
m/maj9 Minor Major Nine 1,b3,5,7,9 C Eb G B D Melodic Minor
M9, maj9 Major Ninth 1,3,5,7,9 CEGBD Ionian
m9 Minor Ninth 1,b3,5,b7,9 C Eb G Bb D Dorian
9 Dominant Ninth 1,3,5,b7,9 C E G Bb D Mixolydian
9(b5) Doninatn Nine Flat Five 1,3,b5,b7,9 C E Gb Bb D Overtone Dominant Scale
M9(#11),maj9(#11) Major Nine Sharp Eleven 1,3(op),5,7,9(op),#11 C (E) G B (D) F# Lydian
7#9 Dominant Sharp Nine 1,3,5,b7,#9 C E G Bb D# Super Locrian
7b9 Dominant Flat Nine 1,3,5,b7,b9 C E G Bb Db Super Locrian
m7(b9) Minor Seven Flat Nine 1,b3,5,b7,b9 C Eb G Bb Db Dorian b2
MA11, maj11 Major Eleventh 1,3,5,9(op),11 C E G B (D) F Ionian
11 Eleven, Dominant Eleven 1,3(op),5,b7,9(op),11 C (E) G Bb (D) F Mixolydian
m11 Minor Eleventh 1,b3,5,b7,9 (op),11 C Eb G Bb (D) F Dorian
7(#11) Seven Sharp Eleven 1,3(op),5,b7,9(op),11 C (E) G Bb (D) F Lydian b7
7(13,#11) Seven Thirteen Sharp Eleven 1,3(op),5,b7,9,(op)11,#13 C (E) G Bb (D) F A# Overtone Dominant Scale
maj#11,maj7#11 Major Sharp 11 1, 3(op),5,7,9(op),#11 C (E) G B (D) F# Lydian
or Major Seventh Sharp Eleven
11(b9) Eleven Flat Nine 1,b3,5,b7,b9 C Eb G Bb Fb Phrygian
MA13,maj13 Major Thirteenth 1,3(op),5,7,9(op),11(op),13 C (E) G B (D) (F) A Ionian
MA13(#11),maj13(#11) Major Thirteen Sharp Eleven 1,3(op),5,7,9(op),#11 C (E) G B (D) A# Lydian
m13 Minor Thirteenth 1,b3,5,b7,9(op),11(op),13 C Eb G Bb (D) (F) A Dorian
13 Thirteenth 1,3(op),5,b7,9(op),11(op),13 C E G Bb (D) (F) A Mixolydian
13(b9) Thirteenth Flat Nine 1,b3,5,b7,b9,11(op),13 C Eb G Bb Db (F) A Half Diminished Scale
Section 17:
Key Signatures:
Key Number Of Sharps/Flats Sharp/Flat notes

C major, A minor 0
G major, E minor 1 F#
D major, B minor 2 F#, C#
A major, F-sharp minor 3 F#, C#, G#
E major, C-sharp minor 4 F#, C#, G#, D#
B major, G-sharp minor 5 F#, C#, G#, D#, A#
F-sharp major, D-sharp minor 6 F#, C#, G#, D#, A#, E#
C-sharp major, A-sharp minor 7 F#, C#, G#, D#, A#, E#, B#
F major, D minor 1 Bb
B-flat major, G minor 2 Bb, Eb
E-flat major, C minor 3 Bb, Eb, Ab
A-flat major, F minor 4 Bb, Eb, Ab, Db
D-flat major, B-flat minor 5 Bb, Eb, Ab, Db, Gb
G-flat major, E-flat minor 6 Bb, Eb, Ab, Db, Gb, Cb
C-flat major, A-flat minor 7 Bb, Eb, Ab, Db, Gb, Cb, Fb
Section 18
Conclusions:
The guitar is an instrument that is characterized by half step intervals on each fret. The strings ar
e tuned in
perfect fourths with the exception of the 3rd and 2nd strings which are a major third.
Through examining the patterns of half and whole steps as they occur across the six strings of the guitar ,
practical ways to play chords and scales can be found. Strategies such as graphing scale patterns, chord di a-
grams and fretboard mapping facilitate discovering these practical patterns.
All Major and Melodic Minor modes have distinct interval patterns and their scale degrees correspond to that
pattern. The same is true with scales.
Major and Minor key signatures can be derived based on the interval patterns. However there are scales that
have a unique interval patterns: whole tone, overtone dominant, half diminished, diminished, harmonic minor,
chromatic, that cannot be derived.
All chords types are unique in their construction based on any combination of intervals in the scale.
The intervals between the scale degrees used to construct the chords determines their type.
Scales and chords have harmonic relationships that can be analyzed and named.
Chord names based on chord structure, inversion type and chord tone are products of this analysis. Scale and
Mode naming is also based on this analysis.
Understanding all of the concepts presented facilitates creating chord progressions and improvisation.

Guitar Music Theory Method and Refernce Manual Completed 6-21-11

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Guitar Music Theory Method and Refernce Manual Completed 6-21-11

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A music theory reference guide for guitar:

A Method For Learning Scales, Modes, Chord Structure, Mode-Chord

© 2011 Bob Prong

Lets get started!

1. Review of Modal Theory and Other Scales

2. Review of Key Signatures

3. Review of Notes On The Guitar

4. Overview Of Scale And Chord Shapes Used

6. Deriving “Jazz” Chords

7. Mapping The Fretboard

8. The Harmonized Scale

10. Deriving “Slash Chords”

11. Creating Chords Based On Note Names

12. Chord Progressions

13. Chord Substitutions

14. Ideas For Improvisation & Soloing

15. Reference Sheet Of Useful Chords

16. Reference Sheet Of Chord Symbols And Characteristics

17. Reference Sheet Of Key Signatures

2. Review of Key Signatures

3. Review of Notes On The Guitar

4. Overview Of Scale And Chord Shapes Used

6. Deriving “Jazz” Chords

7. Mapping The Fretboard

8. The Harmonized Scale

10. Deriving “Slash Chords”

11. Appying Notes To Scales Degrees

12. Chord Progressions

13. Chord Substitutions

14. Choosing Scales For Improvisation

14. Reference Sheet Of Useful Chords Derived From Fretboad Maps

15. Reference Sheet Of Chord Symbols And Characteristics

16. Reference Sheet Of Key Signatures

Ionian (Major) Mode 1 - W W H W W W H

Intervals and scale degrees can be derived as follows:

Ionian (Major) Mode 1 - W H W W W W H

Chord Tones: R 3 5 7 9 11,

Melodic Minor Mode 1 - W H W W W W H

Intervals and scale degrees can be derived as follows:

The pattern shifts to the left for each mode, as do theintervals

2 - Phrygian Nat 6 or Dorian b2 - H W W W W H W

4 - Lydian Dominant Scale – W W W H W H W

7 - Altered Scale (Locrian b4) - H W H W W W W

Melodic Minor Mode 1 - W H W W W W H

Based on these scale degreees: R b3 5 7 9 11,

2-Phrygian Nat 6 or Dorian b2:

4 - Lydian Dominant Scale (Lydian b7 or Mixolydian #4)

5 - Mixolydian b6 or Aeolian Nat 3

6 - Locrian Nat 2 or Aeolian b5

7 – Altered Scale (Locrian b4)

For example: the major scale (Ionian) in the key of c:

The pentatonic major in the key of C is a subset containing 5 notes:

Why these five tones?

Arrange them into one scale and you get: C D E G A

How and where do I play the pentatonic scale on the guitar?

The tones found in a pentatonic scale are COMMON to each chord.

Thus, The 5 tones in the pentatonic: C D E G A are common to each scale.

We know that minor (Aeolian) is relative to major (Ionian)

So now you take the notes from the major scale:

And start on the 6 th degree, which is A

What you get is:

So the pentatonic minor is a derivative of the melodic minor scale.

Now lets take the common progression Am-G-F

Major Key Signatures: