Guitar Train 2013 Engl

Guitar Training
a collection of material for the student of jazz guitar

(intermediate – advanced)
copyright W. Kulawik 2012

Introduction
This material for practising the guitar is not meant to be a guitar book in the usual
way, but it represents a collection of material for jazz-guitarists. There are no
excessive explanations, as you will find them in hundreds of other books.
The aim was to provide material for all the topics that are essential for improving
improvisational skills and to train them along with suitable standard jazz tunes. That
is why this collection consists of two parts:
- Part I gives you the technical basis - scales, arpeggios, chords, rhythmic exercises,
articulation exercises
- Part II contains II-V-I patterns, chord voicings, chord solos, single line solos by
combining exercises with different jazz standard tunes and chord structures (like
Blues or Rhythm Changes)
This more practically-orientated approach does not cover all topics completely. But it
gives you all the musical vocabulary that helps you to develop your own style by first
imitating and practising the given phrases with the aim to integrate them into your
own musical language.
Almost every exercise can be listened to. When you find a rectangle on a page you
can play the example by clicking on it.
Videos that haven´t been includedin the folder "videos" can be watched on youtube.
Just follow the embedded links.
Wolfgang Kulawik
w_kulawik@web.de

Basic exercise
Exercise 1 (Chromatic up):

This is a a technical exercise that is meant to give you strength and control of your left hand:
The fingers hit the fretboard one after the other, stay on the fret until the fourth finger is on the
fourth fret.
Then the first finger moves to the next string, fingers 2 - 4 stay on the precedent string. They
move over to the next string, when the first finger has reached its position. No empty strings are
played, just frets 1,2,3, and 4.
Practise with a metronome in the slowest tempo you can imagine. When all the notes come
without buzz you can increase the tempo. Play each note 4 times, then 2 times, then once. Take
care of clear and even downstrokes. When you have reached a considerable tempo, try to pick
alternative picking (down - up - down - up....)
You must be very patient, don´t take it too quick.....

1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
usw..
1 2 3 4
1 2 3 4 5 6 7 8 9 10 11 12
Exercise 2 (Chromatic down):

This is the same exercise as exercise 1, only reverse.
You start on the highest note and then play down by removing one finger st a time. When you
move over to the next lower string, you first prepare all four fingers, then remove one afier
another.
1 2 3 4
1 2 3 4
usw..
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4 5 6 7 8 9 10 11 12
Exercise 3 (motoric skills)
This is an exercise in triplets. You play three notes on adjacent strings in a group of triplets with
alternate picking. This means you have to change direction of the pick when entering the next
string.
More exercises here: http://guitartraining.de/page5/index.html
usw..
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

Technical exercises
1. Chromatische Übung 1 (chromatic exercise 1)
Practise the following exercise slowly with a metronome. Mind the alternate picking with down- and upstrokes.
If you get problems in the first position, move the exercise upwards to the fifth position. Try to increase the tempo
(always with a metronome!!!) without losing the evenness of your down- and upstrokes.
Watch your left hand. The little finger should not be further away from the fretboard than your first finger!!!
The fingers should stay on their fret until the fourth finger hits the fourth fret.
When playing back from g# you should prepare the fingers so that they hit the fretboard at the same time.
audio
° ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U
audio 2
etc.............
& b œ nœ œ #œ #œ œ bœ nœ
œ #œ œ #œ bœ nœ œ #œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
¢⁄
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
° œ #œ œ bœ œ #œ œ #œ #œ nœ #œ nœ bœ œ #œ nœ
&
1 2 3 4 4 3 2 1
¢⁄
1 2 3 4 4 3 2 1
° œ bœ
& œ #œ #œ nœ œ bœ
#œ nœ œ bœ #œ nœ #œ nœ
¢⁄
4 3 2 1
4 3 2 1
4 3 2 1
4 3 2 1

audio
2. Chromatische Übung 2 (chromatic exercise 2)
audio 2
° ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U ≥ U etc............
audio 3
&
œ œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ œ bœ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ
¢⁄ 1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
°
& bœ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œnœ œ œ œ
¢⁄
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
° œ œ œ œ#œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ œ

&
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
¢⁄
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
° #œ œ œ œnœ œ œ œ #œ œ œ œnœ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œnœ œ œ œ

&
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
¢⁄
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
°
& œ œ œ œbœ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ œnœ œ œ œ œ œ œ œbœ œ œ œ
¢⁄
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
°
& #œ œ œ œnœ œ œ œ
œ œ œ œbœ œ œ œ #œ œ œ œnœ œ œ œ #œ œ œ œnœ œ œ œ
¢⁄ 4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1
Practising tips:
1. Practise the scales systematically and slowly up and down. Start on the root
and end on the root. Watch your articulation and even up- and down strokes
with your pick.
2. Play the scales through all given fingerings and positions.
3. Play the scales chromatically up and down the fingerboard. The fingering stays
the same but you change positions on the fretboard.
4. Start your scales on different base tones. 1. root, then third, then 5th. Always
have in mind the relation of the played note to the root of the scale, that will
improve your orientation on the fretboard.
5. Try to play all the fingerings in one position on the fretboard.
scale : Bbmaj7 Cmaj7 Ebmaj7 Fmaj7 Abmaj7

fingering No.: 1 5 4 3 2
6. Play the scales through the cycle of fifth
7. Practise scale inversions by changing the order of scale tones, for example:
thirds up and down, groups of four up and down, triads up and down. (more
details see "scale practising examples)
1 3 2 4 3 5 4 6 5 7 6 8... thirds up
9 7 8 6 7 5 6 4 5 3 4 2.. thirds down
1 2 3 4 2 3 4 5 3 4 5 6... groups of four up
8 7 6 5 7 6 5 4 6 5 4 3... groups of four down
1 3 5 2 4 6 3 5 7 4 6 8... diatonic triads up
8. Play rhythmic structures
9. Transfer the phrases into different keys.

SCALES
The following chapter provides a systematic overview over the scales commonly
used in jazz. Especially for guitarists it is hard not to lose orientation on the fretboard
because (unlike on the keyboard) every note can be found in more than one position
on the fretboard. This means you have to learn scales in different fingerings in
different positions.
This is a different approach than on the keyboard, but it has the advantage that
fingerings remain unchanged for all the twelve keys, and you can move them
chromatically up and down while piano fingerings differ from key to key.
You will find six positions for each scale. Up to the seventh fret (index finger on the
seventh fret) all the fingerings refer to G, the other fingerings are transposed to C, so
that you can practise them comfortably and don´t have to move to high ranges.
The scales are being played as soon as you click on the rectangles on the position
numbers.
In the chapter "patterns" you will find some phrases or patterns that are made up of
scale tones which give you ideas to use the scales in II - V - I chord progressions.
On the following two pages you will find some interesting diagrams which try to
visualize the interval structure and the ralation of the scales to their specific chords in
general.

Interval structure and chord function:
scale name interval structure options chordal function
m ionian 1 2 3 4 5 6 7 6 7 9 Imaj7 , I6
a
j
o
lydian 1 2 3 #4 5 6 7 b7 9 #11 IVmaj7, IVmaj7/#1l
r
Lydian augmented 1 2 3 #4 #5 6 7 Xmaj7/#11
Mixolydian 1 2 3 4 5 6 b7 9 13 V7 to I maj
d
o harmonic minor 1 b2 3 4 5 b6 b7 b9 b13 V7 to I minor
m from the fifth
i altered 1 b2 #2 3 #4 b6 b7 b9,#9,#11,bl3 V7 alt.,VII7 alt
n
a
n Mixolydian #11 1 2 3 #4 5 6 b7 9 #11 13
t
whole tone (WT) 1 2 3 #4 #5 #6 9 #11 1b13 V7/#5
7
t
h halftone-wholetone 1 b2 #2 3 #4 5 6 b7 b9, #9, #11, 13 V7 alt.
melodic minor 1 2 b3 4 5 6 7 6, 7, 9 Im6, minor-maj

m
i dorian 1 2 b3 4 5 6 b7 9 11 13 IIm7 , Xm7(Modal)
n
o
r
aeolian 1 2 b3 4 5 b6 b7 9 11 VIm7
phrygian 1 b2 b3 4 5 b6 b7 11 IIIm7
m
locrian 1 b2 b3 4 b5 b6 b7 11 b13 VIIm7/b5, IIm7/b5
i
n locrian #2 1 2 b3 4 b5 b6 b7 9, 11, b13 Xm7/b5
7
b wholetone-halftone 1 2 b3 4 b5 b6 6 b7 x07 = xdim7
5

Scale overview:
Scales derived from the ionian major scale:
step name chord relation
I ionian c d e f g a b c Cmaj7
II dorian d e f g a b c d Dminor7
III phrygian e f g a b c d e Eminor7
IV lydian f g a b c d e f Fmaj7
V mixolydian g a b c d e f g G7
VI aeolian a b c d e f g a Aminor7
VII locrian b c d e f g a b Bminor7 flat5
Scales derived from the melodic minor scale:

I melodic minor c d Eb f g a b c Cminor6, Cminmaj
III lydian augmented Eb f g a b c d Eb Ebmaj7#11
IV mixolydian #11 f g a b c d Eb f F7#11
VI locrian #2 a b c d Eb f g a Am7b5
VII altered b c d Eb f g a b B7 alt
Scales derived from the harmonic minor scale:

I harmonic minor c d Eb f g Ab b c Cminor
V harmonic minor g Ab b c d Eb f g G7b9
from the fifth

7KHPDMRUVFDOHLRQLDQ
The Major Scale (ionian mode) - See Practising tips here.
scale practise + backing track
1 2 4
2 4
Position
1 3 4
1
G-major 1 3 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 3 4
Position
1 2 4
2
1 2 4
G-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 2 4
Position
1 3
3
G-major 1 3 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
backing track in C
1 2 4
2 4
Position
1 3 4
4
C-major 1 2 4
1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 2 4
Position
1 2 4
5
C-major 1 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12

Major scale chromatically up and down
Play the major scale with a metronome in even eighths up and down the fretboard. Play continuously,
don´t stop to think. There shouldn´t be any gaps. The more you practise that, the more fluent you will
become.
backing track starting in G, going up till F major
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Ç
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Ï
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Practise this exercise by playing the major scale chromatically up and down.
Play regular eights and try not to stop when changing the key.

Diatonic scales in Position 1
Here is an example how to practise the major scale fingerings. You start on the root of
Gmaj7 and play one octave up to the ninth of the chord, then down again. Then you
continue to play the same fingering, but start on A, so that you play the A dorian scale.
Continue the pattern until you are in Gmaj again.
ionian

Gmaj7
       
         
2
2 4 5 5 4 2
2 3 5 5 3 2
3 5 5 3

dorian Am7
         
       
2 4 2
2 4 5 5 4 2
2 3 5 5 3 2
5 5

phrygian Bm7
         
       
2 4 5 4 2
2 4 5 5 4 2
2 3 5 5 3 2

lydian Cmaj7#11
         
       
3
2 4 5 5 4 2
2 4 5 5 4 2
3 5 5 3

mixolydian
     
D7
            
3 5 3
2 4 5 5 4 2
2 4 5 5 4 2
5 5
aeolian
     
Em7

           
2
3 5 5 3
2 4 5 5 4 2
2 4 5 5 4 2
locrian

F#m7b5
     
           
2 3 2
3 5 5 3
2 4 5 5 4 2
4 5 5 4
ionian

Gmaj7
        
        
2 3 5 3 2
3 5 5 3
2 4 5 5 4 2
5 5

Gmaj scale position 1 in groups of four
Here is another example how to practise the major scale fingerings. This time you
play the Gmajor scale up and down in groups of four. You play the following interval
pattern: 1234 2345 3456 4567 and so on
Practise this through the other fingerings of the major scale as well.

           

     
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 Gmaj7
2 2 4
2 2 4 2 4 5 2 4 5 4 5 5
2 3 2 3 5 2 3 5 3 5 5
3 5 5

   
   
Gmaj7 F#m7b5 Em7 D7 Cmaj7 Bm7 Am7 Gmaj7
5 4 2 4 2 2
5 5 3 5 3 2 5 3 2 3 2 2
5 5 3 5 3 2 5 3 2 5 3
One octave higher:
           

      
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 Gmaj7

2 2 3 2 3 5 2 3 5 2 3
3 3 5 3 5 3 5 5
2 4 5 2 4 5 4 5 5
5
   
   
Gmaj7 F#m7b5 Em7 D7 Cmaj7 Bm7 Am7 Gmaj7
3 2 2
5 3 5 3 5 3 3
5 5 4 5 4 2 5 4 2 4 2 2 2
5 5 4 5 4 5

Gmaj scale position 1 in a II - V progression
Here is another exercise variation. This time you play the Gmaj scale fingerings
in a II - V - progression.

          
   
Am7 D7
3 3
2 2 2 4 5 5 4 2
2 4 5 5 4 2 2 4 5 5 4 2
2 3 5 5 3 2 5 5
5 5
  
    
    
Gmaj7
2 4 5 5 4 2

2 3 5 5 3 2
3 5 5 2 3
Whole step up:
     

      
      
Bm7 E7
5 5
4 4 4 6 7 7 6 4
4 6 7 7 6 4 4 6 7 7 6 4
4 5 7 7 5 4 7 7
7 7
 
          
      
Amaj7
4 6 7 7 6 4

4 5 7 7 5 4
5 7 7 4 5

Gmaj scale position 1 in a II - V progression (2)
Another variation. Again you play a II-V progression with the Gmaj scale fingering 1.

 

         
Am7 D7
2 4 5 4 2
2 4 5 4 2 2 4 5 5 4
2 3 5 5 3 5 5
5 5
      
        
Gmaj7
2
5 5
2 4 5
3 5 5 3
5 4 
whole step up
  

         
Bm7 E7
4 6 7 6 4
4 6 7 6 4 4 6 7 7 6
4 5 7 7 5 7 7
7 7
       
      
Amaj7
4
7 7
4 6 7
5 7 7 5
7 6 

Gmaj scale position 1 sequencing ideas
Here you find even more variations on sequencing the scales. Don´t forget to transfer
these scale patterns to the other scale positions.
Try to invent your own sequences. If there are some positions where the fingering
gets uncomfortable, leave them out, as you won´t play them in your solos anyway.
1. Gmajor scale in thirds up and down:


        

    
2 1 4 2 1 4 2 1 4 3 1 4 3 1 4 3 4 1 3 4 1 3 4 1 2 4 1 2 4 3
Gmaj7
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 F#m7b5Em7 D7 Cmaj7 Bm7 Am7 Gmaj7
2 4 2
2 4 2 5 4 5 5 4 5 2 4 2
2 3 2 5 3 5 5 3 5 2 3
3 5 5 3
2. Gmajor scale in thirds up and down (Octave higher)
   
     
   
Gmaj7
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 F#m7b5Em7 D7 Cmaj7 Bm7 Am7 Gmaj7
2 3 2 5 3 7 3 5 2 3 2
3 5 3 5 5 3 5 3
4 2 5 4 5 5 4 5 2
5 5
3. Gmajor scale in groups of four and thirds mixed

  
             
          
2 4 1 2 4 1 2 4 1 2 4 13 41 2 41 34 1 3 41 34 13 4 13 4 2
Gmaj7 Bm7 D7 F#m7b5
2 2 4 5 2 4 2
2 4 2 2 4 5 4 5 2 4 5 5
2 3 5 2 3 2 3 5 5 3 5
3 5 5

4. Gmajor scale pattern: 12345321 - 23456432 - ......

              
         
2 4 1 2 4 1 4 2 4 1 2 4 1 2 1 4 1 3 4 1 3 4 3 1
Gmaj7 Am7 Bm7
2 2 4
2 3 5 2 2 3 5 3 2 2 3 5 5 3 2
3 5 5 3 5 5

              
         
2 4 1 3 4 1 4 2 4 1 3 4 1 3 1 4 1 3 4 1 3 4 3 1
Cmaj7 D7 Em7
2 2 4
2 4 5 2 2 4 5 4 2 2 4 5 5 4 2
3 5 5 3 5 5
  
       
3 4 1 3 4 1 4 3 4
F#m7b5 Gmaj7
2 4 5 2
4 5 5 4 5
5. Gmajor scale in arpeggios up:

Gmaj Am7 Bm7 Cmaj7
             
  
2 1 4 3 4 1 2 4 1 4 3 1 3 4 1 2
2 4
4 5 2 4 5 2
2 5 3 2 5 3
3 5

D7 Em7 F#m7b5 Gmaj
       
     
4 3 1 4 2 3 4 1 3 1 4 4 2
3 5 3
2 5 4 2 5
4 5 2 4
5

Diatonic fingerings of the major scale (three note per string)
On the following page you find another possibility of practising the major scale. You will
find seven fingerings that use the tonal material of the major7 scale. The difference will
become obvious in a second:
The seven positions start on different root notes, so you will play in different modes:
1. F major7 (ionian)
2. G minor7 (dorian)
3. A minor7 (phrygian)
4. Bb major7 (lydian)
5. C dominant7 (mixolydian)
6. D minor7 (aeolian)
7. E minor7/b5 (locrian)
Moreover the fingerings use three notes per string, so that there is a regular and
persistent sequence of three accents per string, which allows you to apply a regular
series of up and down strokes.
Practising tips:
1. Play the positions slowly and exactly. Mind the up and down strokes. You can use
alternate picking: down-up-down / then next string: up-down-up and so on – or:
1b. you use sweep picking: down-up-down /next string: down-up-down and so on.
2. Use a metronome and play in a fixed tempo. Take it slow but steady. Then increase
the tempo. Don´t exaggerate.
3. Practise the positions chromatically and diatonically up- and down.
4. Stay in the same position and play at least four different modes.
Example: In the F-ionian position (position 1) you can also start from the second note.
The position remains the same, but the mode has changed. You now play in
Gminor7(dorian).
If you start from the third note, you will find yourself in Aminor7 (Phrygian) and so on.
5. Play in regular eights – play in tuplets. Change the rhythmic value of the notes.

Diatonic major scale positions (3 notes per string)
1 3 4
1 3 4
F 1 2 4
1 2 4
ion 1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 4
1 2 4
G 1 2 4
dor 1 2 4
1 2 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 4
A 1 2 4
1 2 4
phryg 1 3
3
4
1 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 4
Bb 1 3 4
1 3 4
lyd 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 3 4
C 1 2 4
1 2 4
mixo 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 4
1 2 4
D 1 2 4
aeol 1 2 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2 4
E 1 2 4
1 3 4
locr 1 3 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
Major pentatonic scale
The majpr pentatonic differs from the ionian scale (like every other pentatonic scale) because two intervals have been omitted from the scale.
A normal ionian scale has seven tones: 1 2 3 4 5 6 7
A pentatonic scale only has 1 2 3 5 6 - that means that the 4th and 7th are left out. You get a five-tone scale that has the character of a major
chord.
Often this pentatonic is used in rock music, and they call it "minor pentatonic" which is incorrect. When you play the G-major pentatonic over E-
minor chord (a flat 3rd below) you get the impression of a "minor" sound, but the scale originally is only an inversion of the G-major-pentatonic.
The real minor-pentatonic used in jazz is discussed in a later chapter.
2 4
2 4
Position
1 3
1
G-major 1 4
1 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3
1 4
Position
2 1 4
G-major 2 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
2 4
Position
3 1 3
G-major 1 3
1 4
1 4
1 2 3 4 5 6 7 8 9 10 11 12
2 4
2 4
Position
4 1 4
C-major 1 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
1 4
Position
5 1 3
C-major 1 3
1 3
1 4
1 2 3 4 copyright
5 W. Kulawik
6 7
2007 8 9 10 11 12

Melodic minor scale
The melodic minor scale derives from classical music. It is identical to the major scale, except that the 3rd note is flattened.
major scale: 12345678
melodic minor: 1 2 b3 4 5 6 7 8
This scale sounds more modern than the major scale and you can play it over several chord functions:
G melodic minor = Gmmaj = Bbmaj7/#11 = C7/#11 = Em7b5 = F#7alt (for details see "scale overview p.9.)
backing track Gminor
backing tr. with solo
1 2 4
Position 2 4
1 1 2 4
G minor 1 3 4
1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
2 1 3
G minor 1 3 4
1 3
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 2 4
3 1 3
G minor 1 2 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3
Position 1 2 4
4 1 3 4
C minor 1 2 4
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
Position 2 4
5 1 3 4
C minor 1 2 4
1 2 4
4
1 2 3 4 5 6 7 8 9 10 11 12

The harmonic minor scale
The harmonic minor scale is played over minor chords. Most of the time it is used for playing over dominant7b9 chords.
leading into a tonic minor chord: example: Am7 - D7b9 - Gm7. Here you can play the harmonic minor scale
throughout the whole progression. It is mainly used in gypsy swing.
backing track in Gminor
1 2 4
Position 2 3
1 1 2 4
Gm 2 4
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
3 4
Position
2 1 3 4
Gm (1) 1 3 4
(2) (3 )
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 2 4
3 1 2
Gm 1 2 4
(2) 4
(3) (4)
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 2 4
4 2 3
Cm 1 3 4
(1) 1 3 4
(2) ( 3)
1 2 3 4 5 6 7 8 9 10 11 12
1 4 4
Position 1 2 4
5 1 2 4
Cm 1 3
1 2 4
(3) 4
1 2 3 4 5 6 7 8 9 10 11 12

Melodic minor pentatonics
This pentatonic is a five tone scale just like the major pentatonic (p 21) with the interval structure: 1 2 3 5 6
You can play it over
Gminor7 - Gminor6 - Gminormajor
Em7b5
Bbmaj7#11
D7/9/b13
F#7alt
You can also use the scale to give colour to "harmless" chords like Gminor or Bbmaj7.
2 4
2 4
Position
1 1 2
G-m pent 1 4
1 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2
1 4
Position
3
2
1 3 4
G-m pent
1 3
1 2
1 2 3 4 5 6 7 8 9 10 11 12
1 4
2 4
Position
3 1 3
G-m pent 1 2
1 4
1 4
1 2 3 4 5 6 7 8 9 10 11 12
2 4
2 3
Position
4 1 4
C-m pent 1 4
2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
4
Position
1 3 4
5
1 3
C-m pent
1 2
1 4
1 2 3 4 5 6 7 8 9 10 11 12

The blues - scale
It is mainly used to improvise over a dominant7th chord. It also sounds very nice
over a major chord a minor third higher.
e.g G-blues scale over Bbmaj oder Bb !!!
1 4
1 4
Position
1 1 3 4
G7 1 3
1 2 3
1 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
2 4
Position
1 2 3
2
1 4
G7
1 2 3 4 5 6 7 8 9 10 11 12
1 2 3
1 4
Position
3 1 4
G7 1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12
1 4
1 3 4
Position
1 3
4
C7 1 2 3
1 4
1 2 3 4 5 6 7 8 9 10 11 12
2 4
2 3 4
Position
5 1 4
C7 1 4
1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12

Whole tone - half tone - scale
You use it to improvise over diminished chords
, e.g. G7dim – Bb7dim
You can move the scale every minor third .
1 2 4
1 3 4
Position
1 1 2 4
G7 dim 1 3 4
1 2 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 3 4
2 1 2 4
G7 dim 1 3 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 3 4
3 1 2 4
G7 dim 1 2 4 4
4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 2 4
Position
4 1 3 4
C7 dim 1 2 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
Position 1 3 4
5 1 2 4
C7 dim 1 2 4 4
1 2 4 4
4
1 2 3 4 5 6 7 8 9 10 11 12

The half tone - whole tone - scale
You use it mainly over altered seventh chords like
G7b9 – G7 #9 – G7 b9 b13 – etc.
1 2 4
1 3 4
Position
1 1 2 4
G7 alt 1 3 4
1 2 4
1 2 4 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
2 1 2 4
G7 alt 1 2 4 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
3 1 2 4
G7 alt 1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
4 1 2 4
C7 alt 1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 3 4
Position
5 1 2 4
C7 alt 1 2 4 4
1 3 4
4
1 2 3 4 5 6 7 8 9 10 11 12

PENTATONICS
I. The Major – PENTATONIC
Pentatonic scales consist of five notes that are taken out of the regular 7- tone scales.
Pentatonic in the classic sense has the following structure:
C D E F G A B C ( C-major scale)
1 2 3 4 5 6 7 8
C D E G A C ( C-major Pentatonic)
1 2 3 5 6 8
A pentatonic scale consists of the scale steps 1 2 3 5 6.

fourth and seventh are omitted
Pentatonic scales can be played in four inversions:
scale degree chord relation

1 C D E G A Cmaj6 / C7 (seventh missing)
1 2 3 5 6
2 D E G A C Dsus7
1 2 4 5 b7
3 E G A C D Em7 ( phrygian – aeolian )
1 b3 4 b6 b7
4 G A C D E Gsus6 / G6/9
1 2 4 5 6
5 A C D E G Amin7 / Amin7-11
1 b3 4 5 b7
The a minor pentatonic scale A C D E G is the fourth inversion

( Modus 5 ) of the Cmajor pentatonics ! ! !

PENTATONICS ( II )
II. The minor pentatonic
Another pure pentatonic is the Cminor6 pentatonic.
This scale can also be played in four inversions:
scale degree chord relation:

1 C D Eb G A Cm6 – Cm7 – Cm maj7
1 2 b3 5 6
2 D Eb G A C Dm7 (b9)
1 b2 4 5 b7
3 Eb G A C D Eb maj7 #11
1 3 4 6 b7
4 G A C D Eb G9/11/b13
1 2 4 5 b6
5 A C D Eb G Am7/b5
1 b3 4 b5 b7
Regarding Bb major you can see the following scale relations:

(you can improvise over any chord with the Cm6 pentatonic)
step V VII I II IV
chord F7/9 Am7/b5 Bbmaj7 Cm6 Ebmaj7/#11
As you see, you can use the minor pentatonic over four chord types:
1. Minor7 minor 6 Pent on the same scale tone

2. Dom7 minor6 Pent a fourth below
3. Maj7/#11 Minor6 Pent a minor third below
4. M7/b5 Minor6 Pent a minor third above

Arpeggios
Arpeggios are broken chords whose notes are played one after the other, not
simultaneously, but they consist only of tones that belong to the underlying chord.
Just as there are six different chord types, there are six different types of arpeggios:
1. major - arpeggios 1 3 5 1 3 5
c e g c e g
2. minor - arpeggios 1 b3 5 1 b3 5
c Eb g c Eb g
3. major7th - arpeggios 1 3 5 7 1 3 5 7
c e g b c e g b
4. minor7th - arpeggios 1 b3 5 b7 1 3 5 b7
c Eb g Bb c Eb g Bb
5. dominant7 - arpeggios 1 3 5 b7 1 3 5 b7
c e g Bb c e g Bb
6. minor7/b5 - arpeggios 1 b3 b5 b7 1 b3 b5 b7
c Eb Gb Bb c Eb Gb Bb
If you want to play arpeggios with ninths , 11ths or 13ths you have to leave out notes
from the basic structure of the chord.
Practising:
1. Practise all the fingerings of the Gmaj arpeggio
2. Play the arpeggios chromatically up- and down.
3. Play different keys in one position of the fretboard e.g:
Bbmaj7 Cmaj7 Ebmaj7 Fmaj7 Abmaj7

1 5 4 3 2 (No of fingering)
4. Play two alternating fingerings through the cycle of fifths.
5. Start playing the arpeggios from the major 7th.

Elementary arpeggios
To get a better overview over the fretboard it is important to practise the basic chord structures (maj7 - minor7 -
dom7) from all possible positions on the guitar.
Here you find the most important arpeggios (I call them elementary arpeggios, because they only consist of the
basic intervals 1 - 3 - 5 - and 7)
Depending on the string where the root is we get four fingerings:
Type a) root on the low E string
Type b) root on the A string
Type c) root on the D string
Type d) root on the G-string
Please have in mind that each elementary arpeggio can be played in at least two fingerings. These alternative
fingerings are placed as pairs.
Minor7th
a) 1
2
4 1
3
4 1 4
b) 1
2
4 1
3
4 1 4
1 4 2
1 3
c) 3 1 4
1 4 2
2 4
d) 3 1 3

Dom7th
a) 1 4 2
3 1 4
4 2
1 4 2
b) 3 1 4
4 2
1 4 3
c) 2
3
1
2
4
1 4 2
3 1 4
d) 2 1
Major 7th
1
a) 2 3
3 1 4
4 2
1
1 3
b) 3 1 4
4 2
1
2 4
c) 3
4
1
2
4
1 4 3
3 1 4
d) 2 1

Exercises for elementary arpeggios in Minor7th:
a) b)
1 4 1
1 4 1 2 3
2 3 4 1 4
4 1 4
c) d)
1 4 2
1 4 2 2 4
1 3 3 1 3
3 1 4

Exercises elementary arpeggios in Dominant7th

Exercises for elementary arpeggios in major7th

The major arpeggio
1
2
Position
3
1
G-major 3 4
1 4
1 2
1 2 3 4 5 6 7 8 9 10 11 12
4
Position
1 4
2
1 2
G-major
1 4
1 2
1 2 3 4 5 6 7 8 9 10 11 12
1 4
1 2
Position
1
3
G-major 3
3 4
(1) (4)
1 2 3 4 5 6 7 8 9 10 11 12
1 4
3
Position
1 2
4
C-major 1 4
(1) 2
(2)
1 2 3 4 5 6 7 8 9 10 11 12
3 (4)
1 4
Position
1 1
5
C-major 2
3
(3) 4
1 2 3 4 5 6 7 8 9 10 11 12

Where can I play the major arpeggio?:
chord type Step Arpeggio Step
1 Gmaj7 I in Gmaj Gmaj7 I
2 Gmin7(9) II in Fmaj Bbmaj7 IV
( Gmin7 is parallel Minor in Bb-Major)
3 G7 (9/11/13) V in Cmaj Fmaj7 IV

(in F-Major only the upper structure (b7 9 11 13) is included)
4 Gm7/b5 VII in Abmaj Bbm7 II

Dbmaj7 IV
(Gm7/b5 and Bbmin7 are third related. Dbmaj7 ist Parallel major to
Bbmin7)
As you can see in the diagram you can use the major arpeggio to play over four chord
types:
- maj7
- min7(9) (maj7-Arp. a minor third higher)
- Dom7 (9/11/13) (maj7-Arp. a whole tone down)
- m7/b5 (maj7-Arp. a tritone higher)
A Gmaj7-Arpeggio can be used for the following chords:
VI I II7 bV
Emin7/9 Gmaj7 A7(9/11) Dbmin7/b5

The principle of drop2 harmonisation:
If you drop the 2nd note of a chord down one octave the sound changes from narrow to
open. Chords on the guitar in narrow position are difficult to finger. That is why we have
to use drop2 and drop3 voicings to keep the chords within the range of two or three frets.

The principle of drop3 harmonisation:
Basically the same as drop2, bur here you drop the third note of a chord down an
octave, so its range becomes even wider and sometimes very difficult to finger.


Drop2 and Drop3 voicings
and inversions
Here you find the most common drop2 and drop3 voicings in four inversions.
Some are comfortable, others are "almost impossible" to finger. But they sound
very colourful, so why don´t you give them a try.........
all chords in Gminor:
w
¡ w
drop2
w
drop3
bw
w ww bw
w w ww bw
w
& bw
w
w
w
w b w w bw
w
w
w
w b w w
w
G‹7
bw w
w
3 6 10 13
¢Ú
3 6 8 11 3 6 8 11
3 7 10 12 3 7 10 12
3 5 8 12 3 5 8 12
3 6 10 13
#w
¡ bw b#w w bw bw
w # ww w #w # ww w
&# w
w w b w w w w w
w #w
b w b w
G‹(Œ„Š7)
w w w #w
w bw
3 6 10 14
¢Ú
3 7 8 11 3 7 8 11
3 7 11 12 3 7 11 12
4 5 8 12 4 5 8 12
3 6 10 14
w w
¡ bww w
wb w w
w b ww
w w w
w b ww
&n w bw bw
w w
w bw w
G‹%
w w w w w
w bw
5 6 12 13
¢Ú
5 6 10 11 5 6 10 11
3 9 10 14 3 9 10 14
3 7 8 14 3 7 8 14
5 6 12 13
w
¡ bw bw
w ww
w bww w ww bww
& w
G‹('9)
w w
w bw w bw
w w
w bw w
w w w w
w bw
5 6 10 15
¢Ú
3 8 10 11 3 8 10 11
3 7 12 14 3 7 12 14
5 7 8 12 5 7 8 12
5 6 10 15

w
Gmadd11¡ bw
bw w
w w
w b ww bw b ww
w bw w
& ww
w bw
w w w w
w w
w w
w
w
w
bw w
6 8 10 15
¢Ú
3 8 11 13 3 8 11 13
5 7 12 15 5 7 12 15
5 8 10 12 5 8 10 12
6 8 10 15
w
¡ # w bw
#w
#w
ww bw
#w w #w w bw
#w
& b ww w w b#w w b ww w
G‹7(b5)
w w b w w w w
w b w #w
3 6 9 13
¢Ú
2 6 8 11 2 6 8 11
3 6 10 12 3 6 10 12
3 5 8 11 3 5 8 11
3 6 9 13
all chords dominant7:
w
¡ nw
drop2
w
drop3
w
w ww w
w w ww w
w
w w w w w w
G7
& w
w w w w
w w w
w w
w w
3 7 10 13
¢Ú
3 6 8 12 3 6 8 12
4 7 10 12 4 7 10 12
3 5 9 12 3 5 9 12
3 7 10 13
w
¡ # w w
#w
#w
ww w
#w #ww #w ww w
#w
G7(#11)
& ww
w
w
w w w
w w
w w w
w
w w #w
3 7 9 13
¢Ú
2 6 8 12 2 6 8 12
4 6 10 12 4 6 10 12
3 5 9 11 3 5 9 11
3 7 9 13

bw w
¡ bw w w w
drop3
ww bw ww bw
drop2
w nww w bw nww w
G7(b13) & w
w w w w
w w bw
w w
w w
3 7 11 13
¢Ú
4 6 8 12 4 6 8 12
4 9 10 12 4 9 10 12
3 5 9 13 3 5 9 13
3 7 11 13
¡ bw nw
w bw
w nb ww
w bw nb ww
w
G7(#9) & nw
w bw
w nw
w w nw
w
w bw
w
w nw
w w
w
bw nw w
6 7 10 13
¢Ú
3 6 11 12 3 6 11 12
4 7 10 15 4 7 10 15
3 8 9 12 3 8 9 12
6 7 10 13
w w
¡ nw
w w
ww ww ww
w w ww ww ww
w
G13
& w
w w w w
w w w
w w
w w
3 7 12 13
¢Ú
5 6 8 12 5 6 8 12
4 9 10 12 4 9 10 12
3 5 9 15 3 5 9 15
3 7 12 13
w
¡ ww
w w w w
G7(“4)
w w
w ww
w
w
w ww w
w ww
w
w
w
& w w w w w w
w w
3 8 10 13
¢Ú
3 6 8 13 3 6 8 13
5 7 10 12 5 7 10 12
3 5 10 12 3 5 10 12
3 8 10 13

all chords major7:
#w
¡ w
w
drop2 drop3
#w
w #ww w
w #w #ww w
w
& #w
w w w w w
#w
w w w
GŒ„Š7
w w w w w #w
w w
3 7 10 14
¢Ú
3 7 8 12 3 7 8 12
4 7 11 12 4 7 11 12
4 5 9 12 4 5 9 12
3 7 10 14
#w
¡ w w #w
w w w
#
& # ww
w
#
#w
w
w
#w
w #w
w #
#www ##w
w
w
#ww
w #w
# w
w
w
GŒ„Š7(#11)
w w
3 7 9 14
¢Ú
2 7 8 12 2 7 8 12
4 6 11 12 4 6 11 12
4 5 9 11 4 5 9 11
3 7 10 14
bw #w
¡ bww w
b#ww #ww bw
w
w bw b#ww #ww bw
w
w
GŒ„Š7(#5)
& #w
w w w #w
w w b
w
w #w
w w
3 7 11 14
¢Ú
4 7 8 12 4 7 8 12
4 8 11 12 4 8 11 12
4 5 9 13 4 5 9 13
3 7 11 14
w
¡ w w w ww ww
w w
w ww w w w
w ww w
G('9)
& w
w w w w
w w w w
w w w
5 7 10 15
¢Ú
3 8 10 12 3 8 10 12
4 7 12 14 4 7 12 14
5 7 9 12 5 7 9 12
5 7 10 15

CHORDS
The chords are divided into four subgroups . And within these groups according
to their root string into type A, B and C.
- Type A: root on low E-string

- Type B: root on A-string
- Type C: root on D-string
Each subgroup of chords has an identical interval structure . If you are looking for
the usual way of showing chords with fingering and fretpoints you won´t be happy
with these diagrams. So take your time to get comfortable with this way of
structuring chords.
It will help you to understand the fretboard much faster if you know where the
intervals in relation to a root-note are.
For example in group 1 there are only chords with the following structure:
- 1 3 7 (maj7) plus 3 or ninth on the upper string

- 1 b3 b7 (m7) plus 3 or ninth on the upper string
- 1 3 b7 (Dom7) plus 3 or ninth on the upper string
There are chord exercises for every chord type. You will find them behind the
chord diagrams.
- play Barre-chords only where they are needed

- change the position of the hand as little as possible when changing chords
- use one finger as leading finger when changing positions (very often one finger
can stay in its former position)
At the end of the chord diagrams you find a complete overview of all chords in
only one diagram. To use this chart you should already know the subtypes
otherwise it will be difficult not to lose orientation.

CHORD DIAGRAMS
The chord diagrams all have the same internal structure:
- Minor7th chords (m7)

- Dominant7th chords (dom7)
- Major7th chords (maj7)
- Half-diminished chords (m7b5) (not group 1 because they don´t have a fifth))
- Diminished chords (dim7) (not group 1 because they don´t have a fifth)
Instead of fretpoints and finger numbers you will only find numbers that indicate
the interval structure of the chord. So the specification of chords gets dispensable.
If you play a chord with 1, 3, b7 and 9 it is obvious that you are playing a
Dominant7th chord with added ninth.
All chords consist of a basic structure:

root(1) – third (b3, 3) – seventh (b7,7) – fifth(b5, 5)
and parts of the upper structure:
ninth (b9,9,#9), eleventh (11,#11) or thirteenth (b13, 13)
The basic structure remains unchanged while there are options in the upper voice.
CHORDS Type 1:
All chords of type 1 have the same interval structure:
root - third - seventh - top voice: doubled third or ninth or octave
If you concentrate on the first three notes, you´ll get "micro chords" with all the
necessary structural elements.
We distinguish the following basic structures:
1 3 7 = major7th
1 b3 b7 = minor 7th
1 3 b7 = dominant 7th
As chords of type 1 don´t have a fifth, you cannot play diminished or half diminished
chords.

Chords Type 1
The audio always starts from the chord C then goes to chord F, then to G.
Remember, the three basic notes (1, 3, and 7) do not change. The note on
top of the chord changes and determines its name. (like #9,9 or b9)
(Minor 7) version with small solo

E-String A-String D-String
(9) b3
8 (9) b3 b7
(9) b3 b7 b3
b7 b3 1
b3 1 F
1 C
G
version with small solo
Dom 7
8 b9 (9) #9 3
8 b9 (9) #9 3 b7
b9 (9) #9 3 b7 3
b7 3 1
3 1 F
1 C
G
version with small solo

major 7
(9) 3
(9) 3 6 7
(9) 3 7 3
7 3 1
3 1 F
1 C
G

Chords Type 2 (drop2)
Chords of type 2 all have the same interval structure:
- root (1)
- fifth (5)
- seventh (7)
- third (3)
As chords of type 2 have a fifth (which chords of type 1 don´t have) you can play all five
basic chord types:
- major7th (1, 5, 7, 3)
- minor7th (1, 5, b3, b7)
- Dominant7th (1, 5, 3, b7)
- half diminished (1, b5, b7, b3)
- diminished (1, b5, bb7, b3) (bb7 = 6th = diminished 7th)
The intervals in brackets (fourth or sixth) can be used alternatively.

Chords Type 2 (Drop 2)
A B C
min 7
b3 (4)
b3 (4) b7
b3 (4) (6) b7 5
(6) b7 5 1
5 1
1
Dom 7
3 (4)
3 (4) (6) b7
3 (4) (6) b7 5
(6) b7 5 1
5 1
1
major 7
3
3 (6) 7
3 (6) 7 5
(6) 7 5 1
5 1
1
m7/b5
b3 11
b3 11 b7
b3 b7 b5
b7 b5 1
b5 1
1
dim7 (diminished)
b3
b3 bb7
b3 bb7 b5
bb7 b5 1
b5 1
1

chord exercises 1

type 1A:

type 1B:

upper chord substitutes:

type 2B:

upper chord substitutes:

type:


chord exercises 2

type 2B


Chords Type 3 (drop3)
These chords are derived from the drop3 system. They are 4-6 tone chords and thus are
very flexible to use.
Most of the time one string is muted.
The colour of the chords is due to the possibilty of putting two colour tones onto the
upper two strings. That means at the same a reduction of the chord basic structure
(omitting the root or fifth in favour of option tones of the upper structure)
On the other hand there are chord ambiguities due to the fact that the root is not clearly
defined.

chords type 3 (drop3)
type 3A:
min7
type 3B:

maj 7
#11 5 5 6
3 9
7 6 7
(3) 3
1 1
3C m7 Dom7
8 9 8 9 8 b9 #9
5 13 b13 13
b3 3 3
b7 b7 b7
(1) (1) (1)
11 5 #11 5 13 #11 5 b13 13

3D
9 9 #9 b9 #9
b7 b7 b7
b3 3 3
(1) (1) (1)
3E 11 5 #11 5 13
b3 9 #9
b7 b7
b3 3
(1) (1)
3F 8 9 8 9 8 b9 #9
5 13 b13 13
b3 3 3
b7 b7 b7

chords type 3G und type 4
The chords of type 3G are ambiguous, because tones of the lower interval
structure are left out. So they can be interpreted from different root tones.
The following chart should make it clear:
can
the tone sequence g b d f# be seen as:
1. 1 3 5 7 in Gmaj7
2. b3 5 b7 9 in Em7/9
3. b7 9 11 13 in A7/9/11
The chord can be interpreted as maj7 (intervals: 1, 3, 5, 7)

or minor7th (intervals: b3, 5, b7, 9)
or Dom7th (intervals: b7, 9, 11, 13)
That is why the use of these chords requires a fundamental knowledge

of harmonic relations.
chords type 4
Chords of type 4 are layers of thirds. They are

difficult to play on the guitar because you have to stretch your
fingers. This is the difference between the piano and the guitar.
Close voicings can easily be played on the piano with one hand
while those voicings (drop2 or drop3) can easily be played on the
guitar with one hand, but it is impossible to play them on the piano
(if you donÿt have giant hands....)

chords type 3G
Dom 7
b7 8
5 b13 13 11 #11 5 11 5
b9 9 9 b9 9
b7 b7 b7
1 1 1
b
5 b13 13 11 #11 5 3 11
b9 9 b9 9 b9 9
b7 b7 b7
1 1 1
chords type 4
4a 4b
b7 7 8
b7 7 8 b5 5
b5 5 b3
m7
b3 1
1
b7 8
b7 8 b5 5
#11 5 3
Dom7
3 1
1
3 7 8
7 8 #11 5 #5 6
maj7 5 #5 6 3
3 1
1

chord overview
A B C
Type 1
8 b9 9 b3 3
8 b9 9 b3 3 b7 7
b9 9 b3 3 b7 7 b3 3
b7 7 b3 3 1
b3 3 1
1
Type 2
b3 3 (4)
b3 3 (4) (6) b7 7
b3 3 (4) (6) b7 7 b5 5
(6) b7 7 b5 5 1
b5 5 1
1
Type 3
8 b9 9 11 b5 5 b13 13 b9 9 #9
11 b5 5 b13 13 b9 9 b3 3 b13
b3 3 b7 7 b3 3
b7 7 b7
1
1 1
Type 3b,c,d,e,f,g
8 11 #11 5 b13 13 13 b7 8
11 #11 5 b13 13 b9 9 3 11
b9 9 b7 b9 9
b7 3 5 b7
1
1 1
Type 4
b7 7 8 9
b7 7 8 9 4 b5 5 #5 6
b5 5 #5 6 b3 3
b3 3 1
1

Instructions for the basic chords and chord exercises:
1. basic chords
Here you will find the chords for playing a standard jazz tune which you can use in any
kind of standard. If you click on the rectangle, the underlying chord progression (mostly
a II - V - I progression) is being played.
Always practise only one progression, but don´t forget to transpose it into other keys or
positions on the fretboard. Example:
Am7 - D7/9 - Gmaj7, transpose by moving a whole step up to: Bm7 - E7/9 - Amaj7
and so forth.....
You will find the basic chords in notation and TAB plus a TAB-only version. There you
can click to listen to the audio examples.
2. chord exercises
The chord exercises are meant to practise one or two alternating chord types which you
should practise by following the chord type indicators (e.g. type 2B or type 2C...)
Please mind the notated rhythm which is of high importance to the exercises.

Basic chords notation and TAB
Here you find the basic chords in a II-V-I progression. You can listen to them on the next but one page.
D7 #9 D7 b9
Am7 D7/9
«
««˙« b˙«««
Gmaj7 Am7
Gmaj 7
w
44 ww w ww 2 w
ww
1
w w
w ˙
«
« ˙
«
«
l #ww l #w_
l========================
& __w ” _ l #˙«˙« «˙˙« l #w_ ”
l l lw _ ” _
w l lw _ ”
l TA l l ” l l ”
ll B ll 45 ll 4 ”” 5 ll 45 45 ll 44 ””
5 5 3 5 6 4 3
5 5 4 5 5 5
5
5 3 5 3
Ab7(#11) 4 wDm
www w ww ww ww
3
w w
Am7/11 Gmaj7 7 G7/13 Cmaj7
& _ l #w_ l #w_

l======================== ” w l w l ww ”
_w _ _ w _
_ _
l l# w lw ” l w l ”
l TA 3 55 l 34 5 l 344 ” 5 67 l 34 5 l 4 55 ”
ll B ll ll ”” 5 ll ll 3 ””
5 4 3 3
ww «««˙ Gb˙«««b Cmaj Db #

ww ww ww ww
5 Dm
«˙««˙ «˙««˙
7 G7/13 7/ 13 7/9 7/9 7/ 9 7/9
6Dm Cmaj
w
l========================
& w l __«« l _ww ” ww l # _ww l _ww ”
_
_ «
« ”
l l ˙
« ˙
« l ” l l
l TA 567 l 3 4 5 3 44 l 2 3 4 ” 3 55 l 34 5 l 2 34 ”
ll B 5 ll ll 3 ”” 5 ll 4 ll 3 ””
3 3
b7
7 b Gm
_ww b _wwGm _
w 8 b Gm
w
_
ww # _
w _ww
ww ww ww w
7 Fmaj 6 Fmaj 7 7 7
#w w
G
& l lw
l======================== ” w l #w l w ”
l l 6 l 5 ” 6 l 6 l 5 ””
ll A 5 7 ll 5 7 ll 3 5 ”” 5 7 ll 4 6 ll 3 5
6
T
””
6 5 5 6 5 5
lB l l ” l l

C b b
w_w
Gm7/11
_
w
_
#w _
w
_
w 10 Am b Ab #
w bw
7/ 9/ 13 F 6/9
9
ww ww ww w w w
Gm 7/ 5 7/ 11 7
l b w l ”_ l #w_ bw
l _w
l========================
& ”
l l l ” _w l # _
w l _
w ”
lT 68 l 89 l 88 ” 4 l3 l3 ”
ll AB 5 7
ll 8 9
ll 7
7
”” 5 5
ll 4 5
ll 3
3
””
5 4 3
G7 b13
b D7(#9) b
bww
11 Am7( 5)
ww w ww
Gm7
bww bww
12 Dm7( 5) Cm7
bw b
& __ww l #ww l _w
l========================” #ww l _w l _ww ”
l l l _
w ” l _w l ”
lT 4 l 6 l3 ” 6 l 4 l 4 ”
ll AB 5 5
ll 4 5
5
ll 3
3
”” 5 6
5
ll 3 4
ll 3 5
3
””
5 3 3
13 Dm7(b 5)
ww ww bw b w
_
w b w
_
w
14 Gm7(b 5)
b #www
Gdim Fm 7 7
#w #w
Ddim7 Cm7
& #ww l #ww l b _www

l======================== ” w l w l w ”
l l l ” l l ”
lT 6 l 6 l 4 ” 66 l 56 l 44 ”
ll AB 5 6
5
ll 5 6
4
ll 3 5
3
”” 5 6
ll 5 6
ll 3 5
””
bb
b _ww b _ww
b
# w w bw w
15 Gm7( 5) 7 9 13
C Fm 9
16 Adim Ddim Gdim 7 7 7
#ww b # ww w
bw w #ww #ww
l _ww
l========================
& lb w ” _#w l w l ”
l l l ” _
w l l ”
l T 66 l 24 l 13 ”4 l 6 l 56 ”
ll AB 5 6
ll 23 3
ll 11
”” 4 5
ll 5 6
4
ll 5 6
””
5

basic chords (TAB only)


block chords
Block chords are four-string voicings with the melody tone on top of the chord in
order to harmonize the melody. For guitarists the term block chords goes with
Wes Montgomery who transferred the original piano voicings onto the guitar.
He harmonizes with these (mostly drop2-chords) the chord tones of a melody

or uses them for comping, and of course for improvising.
In the following chapter you will find the basic block chords used for harmonizing
scale tones in major, minor and dominant7.
After that you find options to play block chords in II-V-I progressions
and in turnarounds( I - VI - II - V)
Watch four small videos (you will need an active internet connection)
video1 - video2 - video3 - video4

Basic - block chords in A minor

Amin7 Amin9 Amin7 Aminadd11 Amin7 Amin7

Basic - block chords in D minor

Dmin Dmin9 Dmin7 add11 Dmin Dmin7


Basic - block chords in C major

Cmaj7 C6/9 Cmaj7add9

C6/9 Cmaj9 C6/9

Cmaj7add9 C6/9 Cmaj7


Block chords 2
II - V - I progressions in Fmaj



2 Blues in F7
B b7
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4 Bebop Blues
Chorus 1:
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bb 4 ÇÇ Ç ÇÇö Ç böÇÇ ÇÇö Ç ÇÇ ÇÇÇö #öÇÇÇ nöÇÇÇ ÏÈÈ ÈÈÈÏ ÏÈÈÈ b_ÏÈÈÈÈ _ÈÈ _ÈÈ _ÈÈÈ _ÏÈÈÈ ÈÈÈÏ ÈÈÈÏ ÏÈÈÈ úÈÈÈ nÏÈ bÏ£È böÇÇ
F7 F7
& 4 öÇ . Çj
öÇ j
Ç ÇöÇ jÇ l Ç . Çj
l===================== öÇ #öÇ lÈ È È È È l
£
ÈÈ ÈÈ = Çl
1 2 1 2 1 3 1 2 3 3 3 1 3 1 3 4 331 3 2 1 4
Bb 7 _
ÏÈÈ _ÈÏ
_
_ _
ÏÈÈ _ÈÏ b_ÈÈÏ
_
bb ÏÈÈÈ nÏÈ bÏÈ úÈ È
È
È _ È
È b Ï
_
È
È Ï
È È
Ï È
Ï Ï
È _
. Ç ÏÈ ÏÈÈ ÏÈÈÈ #ÏÈÈ ÈÈÈ _ÈÈÈ _ÈÈ
È È È È È
F D 7 7
È È È î È È È
È È Çj
böÇ l ÈÈÈÏ ÈÈÈ ÈÈÈ ÈÈ È È =l
l& È È È l
===================== £ l
3 2 1 4 1 2 3 3 1 3 1 1 4 2 2 1 4 1 2
__ÏÈÈÈ _ÏÈÈ _
Ï_ÈÈ _ÏÈ _ÈÏÈ _
Ï_ÈÈ _ÈÈÏ_ÈÏÈ ÏÈ CÏÈ ÏÈ
bb È ÈÈ ÈÈ È ÈÈ È È ÈÈ ÈÈ ÈÈ nÏÈÈÈ ÏÈÈ ÇÇöÇböÇÇÇÇ ÇÇÇ ÇÇÇ ÏÈ ÏÈÈ nÏÈÈÈ ÏÈÈÈÈ #ÏÈÈÈbÏÈÈÈ ÏÈÈ ÏÈÈ ÏÈ ÏÈÈ ÏÈÈ ÏÈÈÈ nÏÈÈÈbÏÈÈ ÏÈ ÈÏ
C 7
Gm 7 F 7 D 7 Gm 7 C 7
l&
===================== l È öÇ öÇ l ÈÈ ÈÈ ÈÈ È È È È È l ÈÈ È ÈÈ È È ÈÈ ÈÈ = ÈÈ l l
4 1 4 1 2 4 2 1 4 2 2 1 3 1 2 1 4 1 4 3 2 1 2 1 4 2 4 1 4 3 1 1 4
Bb 7 _ÏÈÈÈ _ÈÏÈ ÏÈ ÈÈÏ ÏÈ

Chorus 2:
bb ÇÇö . Ç ÇÇj Ç Ç Ç Ç Ç
Ç Ç
Ç Ï
È È
Ï
È b_ÏÈÈÈ nÏÈ ÈÈÏ
Ç Ç È È È È È
Ï
öÇ böÇÇ nöÇÇ Çö nöÇ l ÈÈÈÏ ÈÈÈ ÈÈÈ ÈÈ È È È È l ÈÈÈ ÏÈÈÈÈ ÏÈÈÈ ÏÈÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈÈÈ =
ÈÈÈ
öÇ öÇ ÇöÇ böÇj
Ç l ÇöÇ . Çj
F7 F 7
& Ç Çj
l===================== l
1 2 1 2 1 3 1 2 3 3 3 1 1 4 3 2 1 1 1 4 3 1 1 4 1 4
Bb 7 Ç Ç È
Ï È
Ï
_
È b _
Ï
È ÈÈÈÏ _ÏJÈ
_
_
ÏÈ Ç È È
Ï Ï
È Ï
J
È
b ÈÈ ÈÈÏ ÏÈ bÏÈÈ nöÇ ÇÇÇ bÏÈ ÏÈÈ ÏÈÈÈ ÈÈ È È ÈÈ ÈÈ ÈÈ ÏÈ . ÇjÇ ú
È
È .. È
Ï È
Ï
È
È
Ï
È
È #Ï
È
È È
È ä ÈÈ
F D 7 7
b
l & È ÈÈ ÈÈ ÈÈ öÇ ÈÈ ÈÈ È l
===================== ÈÈ l öÇ È l ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ È =l
£
2 4 1 2 3 4 2 £1 4 3 1 4 3 1 3 2 1 4 1 4 3 2 1 4 1
ÏÈÈ _
__ÏÈÈÈ _ÏÈÈ #ÏÈ _ÈÏÈ _ÈÈÏ_ÈÈÏÏÈnÏÈ ÈÏ _ÏÈÈ __ÏÈÈ b_
_ ÏÈÈÈ _
_
_ ÈÈÈÏ_
_ ÈÏÈ _ÏÈÈ _ÈÏ ÏÈ
_ ÈÈ #ÏÈ _ÈÏÈ _
_Ï ÏÈÈ _ÏÈÈ _ÈÏÏÈ b _ÈÏ
_
È
Gm7 C7 F7 D7 Gm7
b È È
b ÈÈ ÈÈÈ ÏÈÈ ÈÈ È ÈÈ È ÈÈ ÈÈ nÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ È È È ÈÈ ÈÈÈ ÈÈ nÏÈÈ bÏÈÈÈ ÈÈÈ ÈÈ ÏÈÈ È È È ÈÈ ÈÈ ÈÈÈ nÏÈÈÈ bÏÈÈÈ bÏÈÈ
È È Ï
È
l& È È
===================== l l È È È l £ È ll
=
4 2 3 2 1 2 13 1 2 1 4 1 2 4 21 4 3 1 3 2 1 4 11 3 1 4 31 2 1 1 4

Chorus 3:
ÈÈÈÏ _ÈÏJÈ _ÈÏÈ ÈÏ _ÈÈÏ ÏÈ ÈÏ ÈÏ
substituting Cm7 for F7
Ï È _Ï
È
È _
_
bb ÈÈÏ ÏÈÈÈ ÈÈÈÈÏ ÈÈÈÈ ÈÈ ÈÈ ä _ÈÈ _ÈÈ _ÈÈ _ÈÈ _ÈÈ _ÈÈ ÏÈÈÈ _ÈÈÈ ÏÈÈÈ ÏÈÈÈ ÈÈÈÏ ÏÈÈÈ ÏÈÈ ÏÈÈ Î Î ä ÇÇj
_ _ _
Ç
ö
b _ÏÈÈ #ÏÈ nÏÈ ÏÈ
ÈÈ ÈÈ ÈÈ ÈÈ
l& È È È
===================== l l È È l =l
1 4 3 2 1 4 1 2 1 2 3 2 3 4 4 3 1 2 4 2 1 4
bb ÏÈÈ Ç ÇÇ ÇÇ Ï È ÏÈ
È È
Ï ä Ç
Ç Ï
È Ï È È
Ï
È Ï È È
Ï ÇÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
l===================== Ç l ÏÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÏÈÈÈ l öÇ Çö öÇ öÇÇ #öÇÇ öÇÇ Çö=
& È ÇöÇ böÇ úÇ l bÏÈÈÈ ÏÈÈÈ ÈÈÈ ÈÈ ÈÈ ÈÈÈÏ nöj öÇÇ l
2 3 1 2 4 1 4 3 1 1 2 4 1 2 1 4 2 1 2 1 4 3 4 1 3
_
ÏÈ _ÏÈÈÈ _ÈÏ _
ÈÏ
bb ÇÇÇ öÇÇ öÇÇ ÇÇö ÏÈÈ ÏÈ Ï ÏÈÈ ÏÈ ÏÈ ÈÈÏ bÏÈÈ nÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÏÈÈÈ #ÏÈÈÈ ÈÈ ÈÈÈ _ÈÈÈ _ÈÏÈÈÈ _ÈÈÈÈÏ ÈÈÈÏ ÈÈÈÏ nÏÈÈÈ bÏÈÈ ÏÈ ÏÈ
Ç Ç Ç Ï È Ï
_ È
È Ï
È
_ _È Ï
È _
turnaround phrase
& Çö Ç ÈÈ ÈÈÈ ÈÈÈ ÈÈÈÏ l ÈÈ ÈÈ ÈÈÈ ÈÈ È

l===================== l l È ÈÈ ÈÈ = ÈÈ l l
4 1 2 4 1 2 1 4 4 1 2 4 4 21 4 4 1 4 1 2 1 1 4 2 1 3 1 1 2 1 4
_
Ï
È _
_ ÈÏÈÈ n ÈÏ b ÏÈ
ÈÈÈÏ n ÈÏ b ÏÈ b_Ï _
_
b _
Ï
È È
Ï
_ n Ï
È
_ b Ï
È
_ È
_
Ï È È ÈÈ ÈÈ ÈÈ ÈÈ _ÈÈ _ÈÈ _ÏÈÈÈ
È
_ _ _ _ È _
bb ÈÏ ÏÈÈ ÏÈÈÈ ÏÈÈÈÈ ÏÈÈÈ . JÏÈÈÈ ÏÈÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈÈÏ ÈÈÈÏ ÈÈÈÏ w
Chorus 4:
& ÈÈ ÈÈ ÈÈ È
l===================== l £ È£ È l l £ =l
1 4 2 2 4 1 3 4 3 1 3 1 3 3 1 2 1 3 4 2 1 3
_
ÈÏÈ b_
_ ÏÈÈ _
_
Ï
È
È . Ï
J
È b Ï
È
_
È È
Ï
_
È
bb È ÈÈ È È Î î _ È
È _ ÈÈ _ÏÈÈÈ _ÏÈÈÈ _ÈÈÈÏ ÈÈÏ ÈÈÈÏ ÈÈÏ úÈ ÏÈÈ ÈÈÏ ÏÈ ÏÈ ÇÇ ÇÇ ÇÇ Ç
È È È È ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ öÇ böÇÇ öÇÇ ÇÇ
l=====================
& l l l =öÇ l
1 4 2 4 2 1 4 3 2 1 1 4 2 1 3 1 2 1 4
bb ÇÇ ÇÇ äÇÇ ÇÇÇ ÇÇÇ ÇÇÇ öÇÇÇ ÏÈ ÏÈ ÈÈÏ ÏÈÈÈ nÏÈÈÈ bÏÈÈ ÈÈÏ ÈÏ ÇÇöÇ ÇÇ ÇÇÇ ÇÇ ÇÇÇ öÇÇÇ ÇÇÇ ÇÇÇ ÇÇÇ öÇÇÇ öÇÇÇ öÇÇÇ böÇÇÇÇÇÇÇöÇ ÇÇÇÇ ÇÇÇÇ
another turnaround phrase
& ÇÇö Çö j öÇ ö#öÇ öÇ l ÈÈ ÈÈ ÈÈ È È ÈÈ È ÈÈ l Çö Çö nöÇÇ böÇÇ böÇ öÇÇ l öÇ Ç

l===================== #öÇ#öÇ Ó = wÓ
3 4 4 1 34 1 2 4 1 4 1 2 1 4 3 1 4 3 2 4 1 2 1 3 4 1 12 1 4 4

Blues Tribute to Wes
Chorus 1: W. Kulawik 2008
             
F7/13 Bb7/9 b9 F7/13 Bb7/9 b9

                  
      
6
7
6
7
6
7  5
6
5
6
4
6
4
6 6
7
6
7
6
7   5
6
5
6
5
6  4
6
 
7 7 7 6 6 6 6 7 7 7 6 6 6 6
6 6 6 5 5 5 5 6 6 6 5 5 5 5
            
6 F7/13 D7#9
  
           
        
6
 6
 
4 
6 
4  56  56
6 6 4 
6 6 6 6 6 6
4 7 7 7 5 5 5
 
6 7 7 7 4 4 4 4
5 5 5 6 6 6 5 5 5 5 5
D7#9
     
9 Gm7 C11 F7/13 Gm7 Ab6
 
   

 
     
 
6 6 6 6 6 6
3 3 7 5 3 4
3 5 7 4 3 4
5 3 6 5 5 6
3 3
Chorus 2:
         F7/13
         
13 F7/13 Bb7/9 b9

  

     
    
         

 
6
7
6
7 7
6 8 6  5
6
 4
6
4
6 6 6 6 6
7 7 7 7  9 8 6
8 7 5
7 7 3 5 3 6 6 6 7 7 7 7 6 5 3
6 6 5 5 5 5 6 6 6 6 6 5 3
         

 F7/13   
A7/9 Bb7/9 E7/13 F7/13 D7#9
     
17 Bb7/9 b9 C7#9b13 b9 Gm7

                     
        

  
   56 
6  4
6 6 6 6 5 6 6 9 9 6 6 5 6 6 6 6 4 6
5 5 5 5 4 5 4 8 8 7 7 6 7 7 5 5 5 3

6 6 6 6 5 6 8 8 7 7 6 7 7 4 4 4 3

5 5 5 5 4 5 5 7 7 6 6 5 6 6 5 5 5 5 5
3

Gminor block chords..........
    C7b9b13
 C7#9b13    Ab6
  
        
m7/11
   
m7/9 Gm7/9 C7b13
       
21 F7/9
   
 
              
 
  
 
5 5 3 5 8 8 6 8 11 9 7 8 8 8 8
 
6 3 3 3 3 6 6 6 6 9 9 7 8 11 10 9
 
3 3 3 3 3 7 7 7 7 9 9 6 8 11 10 9
3 3 3 3 3 5 5 5 5 8 8 5 7

5
3
Chorus 3:

Bb7/9 F7/13
             
25 F7/13
           

       

6
4 
6
6 6 6 8 6 6 6 6 6 8
7 7 7 7 5 5 7 6 7

7 7 3 5 3 6 6 7 3 5
6 6 5 5 5 5 5 6 4 5
 
     

B7/9 Bb7/9 Bb7/b9 F#7/13
28
          
F7/13
   
                    
     
3 3

   
10
9 10 9 8 6 7 6 6 6 6 6 6 5 6 6 7 6
7 6 5 5 5 5 4 4 3 4 4 8 7
 
6 7 6 5 3 7 6 6 6 6 6 6 5 6 6 8 7
6 5 5 5 5 5 5 4 5 5 7 6
3 3
          
31 D7#9 Gm7
            
    

 
 6 7
6 8
7
6 8 6  6
5  3
6
3
6
 
3 5 3 5 3 4 3 3

4 5 5 5 5 5
3 3
           

 
34 C11 C7 F7/13 D7#9 Gm7/9 F#7#9 F7/13
    
         
  

 5  
6 6 6 5 6 6 6 6 10 10 10 6
3 3 3 3 7 7 5 5 10 10 9 7
    
5 5 5 5 7 7 4 4 8 8 8 7
3 3 3 3 6 6 5 10 10 9 6

Chorus 4:
  Bb7/9
F7/13
   
F7/13
        
F7/b13 Bb7/9
  
37
           
     
        

     
10 8
9 8 6 6 7 6 6 8 6 6 6 6
7 5 7 6 7 6 7 7 5 6 5
5  
6 5 3 3 7 7 3 5 3 6 7 6
5 6 6 4 5 5 6 5
                  D7#9
Bb7/9 F7/13

41
      
        
   
          

      56
4 
6 8 9 8 6 6 6 6 8 9 8 6
6 7 5 7 6 7
  
3 5 6 5 3 6 7 3 5 6 5 3
4 5 5 6 4 5 5
            F7/13    

Gm7
  
45 Gm7 D7#9 Ab6

                     
        
 
 6 7 6
  8 7
5 8 8 5 8 5
6 6 6 6 6 6 6
3 6 7 2 5 5 2 5 2 7 7 5 3 4
   
3 3 3 3 7 4 3 4 8 7
5 4 5 5 6 5 5 6 7 6
3 3

2 Blues in F Audio
backing track blues in F
   
     
F7 B¨7 F7 F7/¨9
     
3
    
   
  3

  
 

10 11 8 8 9 6 6 9 11
8 7 5 8 10
10 9 7 6 8
      
B¨7 D7#9 F7
              
     
5
  
 

3 3 3
3
 3
 3
 
 11  11  
10 10 6

11 12 11 9 11 11 12 11 9 11 11 12 11 9 8 8
8 7 10 10
10 8 6 7
      
Gm7 C7 F7 D7 Gm7 C7

9
            

   
  8 9 10 

7
8 10 10 10
  10
7
9
10 8 7
F7
          
F7 B¨7 F7/¨9

     
13
   
  

10 9 8

8 11 9 11 8 9 10 6 8 9
7 8 10 10 8 7 10 10 5 7
10 5 6
8

    
B¨7 F7 D7
        
17

         
   
8 6 4

8 6
7 5 7 8 10
6 5 5 5 7 6 7 9 10
8 8 8 9
8 8
Gm7   
   
F7 D7
  
21 C7 C7
  
Gm7
                      
 

10 9
7 7 10 10 9 8
10 8 7 10 8 7 8 7 8 10 12 11 10
10 10 8 7 10 13 10 11 12 12 13

Praxis: VOICINGS etc...

Take the B-Train Melody
Voicing
%w Cmaj7
Ï
___ÈÏÈÏ ..
È . Ï
È _
Ï
È
_
È
Ï
D
___ÏÏÈÈ
7(#11)
#Ï ÈÈÈ ÏÏÏÈÈ úÈúÈ

4 ww ä ÈÈÏ.È ÈÏÈ ÈÏÈÈ Ï
& 4 _ww
l======================= l ÈÈ ÏÈÈÏÈÈ ÏÈÈÈ l ÈÈ È #ÏÈÈÈÈÈ úÈÈúÈÈ l l
È È
l l l l l
lT l 12
8 l 13
8 12
l l
ll AB ll 10 77 7 ll 12 ll ll
8 10 8 9
7 12 7 7 13 9
7 10
7 9
8
1. 2.
#b Cbb
_ww _ Ï
È b Ï
È
_ÈÈÏ #_ÈÈÏ _ÈÈÈÏ __ÈÈÈ ÈÈÏ bÏÈÈ ÈÏ __ÈÈÈ __ÈÏÈÈÏ ÏÈ úÈ Fine ÇúÇÇ #úÇÇÇ Ç Ç b _ ú
È
__ÈúÈ b__ÈúúÈÈ
b
Dm 7 G 7 7
Cmaj 7 A 7 Dm 7
G C 7 9 13 7 9 13
w ÈÈ ÈÈ È È ÈÈ ÈÈ ÈÈ È ÈÏÈÈÏ ÈÏÈ ÈúÈ ú

Ç # ú
Ç bú ÈúÈÈ úÈÈú
l=======================
& w l l ÈÈ _ÈÏÈÏÈ _ÈÈúÈú Ç Ç
l ÇúÇ #úÇÇ {Ó È È ÈÈÈ =l
l l l È ÈÈ l Ó l
l T 10 l 10 11 12 8 7 6 l 78 9
12 9 8
l 10 11 Ó 99 99 l 11 9
ll B 10 ll ll 7 7 9 ll 10 11 {ÓÓ 8 8 ll
10
A
10 8 10 11
_ÏÏÈÈ _ ÏÈÏÈÈ __úÈúÈ __ÈÏÈ _ Ï

È __ÈÏÈ
_ Ï _ Ï
È _ Ï
È _ È
Ï Ï_ÏÈÈ _ÈÏÈÏ.. _ÈúÈú _ÈÏÈÏ #ÏÈÈ nÏÈÈ
Fmaj7
ÈÏÈ ÏÈÏÈ ÈúÈúÈ ÈÈÏ ÏÈÏÈ ÈÏÈÏ ÈÏÈ È

Ï
J È
Ï. È
ú Î ÈÏÈ ÏÈÏÈ b # ÏÏÈÈ
È
& ÏÈÈ È ÈÈ È È È
È
l È ÏÈÈ ÏÈÈ È
Ï
È È
È È
Ï
È È
È È
È È
È È
l=======================
È È ÈÈ l È ÈÏ.ÈÈ ÈúÈÈ l ÏÈÈÈ ÏÈÈÈ bÏÈÈÈ =l
l l l l È È l
l T 910 788 l 101212 6 7 9 10 788 l 10 1212 9 10 l 910 7 9 6 8 l
ll AB 8 10 7 ll 10 7 8 8 10 7 ll 10 8
10 ll 8 10 7 9 6 8 ll
_ È
Ï _
ú ___ÏÈÈÏ ÇÇ _Ï __ÈÏ Dm___ÈÏÈÈÏ _
Ï
È È
#ÏÈÈÏ ÈÈ ÈÈ #ÏÈÈÏ ÇöÇöÇ ÏÈÈÏ ÏÈÏÈ È È È _ ú
È _ÈúúÈ # úúÈÈ
D7 G 7 7
Ï
È
È
Ï Ï
È
È
Ï ú
È
È
ú È úÈúÈÈ
È È
& ÈÈÈÏÏ ÈÈÈ Î È
ÈÈ #öÇÇöÇ ÈÈ È È
ÏÈÈ l ÈÈ È È
È È
È ú
È
ú
È
l=======================
È l È È
Ï È
ú l
È ÈÈÈ È È ÈÈ Ó =l
l l l l D.S.Óal Fine l
l T 5 7 5 l 1112 8
l 10 12
l 10 Ó l
ll AB 5 7 ll 10 910 10 7 ll 10 10 ll 9 10 ÓÓ ll
12 10 7 10 9
11 11 9 10 10 10 10
9
10
10 10

Take the B-Train


Take the B-Train


Take the B-Train

ionian mixolyd = G ion

dorian = C ion

mixolyd=G ion

D triad

C triad


Take the B-Train


All the things
audio
arr. W. Kulawik
backing track
w h. q q q q q q h q w
9 8
9 9 8 8 8 8 6
89 10 6 6 5 8 5 5
10 8 8 8 6 6 6 6
8 6 4
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7
q h q w w h.4 q q q q q q h q
7
6 6 6 5 4 4 4 8
5 7 4 4 3 5 7 7 7 7
6 6 6 5 5 3 6 5 8 5
5 5 3 3 5 6 6 6
6
Dm7b5 G7b9 Cmaj7 Cm7 Fm7 Bb7 Ebmaj7
q q q
3
q q q q q q q q q w 3 7
3 4 3 3 5 5
5 5 5 5 5 5 5 4 4 4 7
5 5 4 4 4 4 5 5
3 2
4 5 4 4 3
Abmaj7 Am7b5 Ab7#11 Gmaj7 Gmaj7 Cmaj7
h h q q q w q q q h h
10 8 8 7 3 7 7 5
8 8 7 3 5 5 5 4
9 9 6 7 7 4 4 7 6 5
7 7 5 4 5 5 4 4
Am7/11 Am7 Gmaj7 F#m7/11 B7b9
q q q w w w h.9 q q q q q
5 4
4 2 9 9 9 8
3 4 5 4 9 89 10 6 6
4 2 8 10 8 8 8
8 6
8
E6 C7b13 Fm7 Bbm7 Eb7
q h q w h h q qq q h h
8 11 9
8 8 8 6 9 9 8 6
5 8 5 5 9 9 8 8 8 8 7 7
6 6 6 6 9 8 8 6 6
4 7 7
8
Abmaj7 Dbmaj7 Dbm9 Gb7/9 Cm7 E7#9 b9
q q q q h h w
8 13
6 9 6 13 8 9
6 6 6 6 12 10 10
6 6 8 6 11 11 10
11
6 6 11
Bbm7 Bbm9 Eb7/9/13 Eb7/9 Ab6

67879

67879

Each line is played twice with different rhythmic patterns Backing track here
69 9 !9 "#9 $9 "9

00
0
100 11
2
321 33
3
433 55
5
54
4
(
69 9 !9 "#9 $9 "9
00 10 11 31 33 43 55 54
0 0
5th in root
2 2
5th in root
3 3
5th in root
5 4
)
69 %& 9 !9 "#9' & $9 "9
00 00 21 10 43 43 55 54
0 1 1 3 3 4 5 5
0 0
5th in root
2 2
5th in root
3 3
5th in root
5 4
69 %& 9 !9 "#9' & $9 "9

* 00
0
0
00
10
21
2
1 2
100 43
3
3
43
43
55
5
5
54
5
4
69% 6# 9 !9%& "#9' #& & $9 "9 69
' 20
0
0
20
1
1
21
2
1 3
21
2
43
3
3
3
43
2 43
43
55
5
5
54 10 21
5 2 2
4 1 1

Blue Boss
q.. e e q e h h h q.. e w
15 13 11 10 8 8 15 13 13
13 11 11 8 8 8 11 13 13 13
15 12 12 8 8 8 89 13 13 13
13 10 10 8 8 8 10 13 13 13
8
Cm7 Block Fm7
q.. e e q e h h h q.. e w
13 11 10 8 7 7 13 11 11
13 10 9 7 6 6 9 8 11 11 11
13 11 10 8 7 7 7 5 12 12 12
12 10 9 7 6 6 9 8 10 10 10
Dm7b5 -> G7b9 Cm7 Block
q.. e e q e h.. q q q q e e
11 6 4
11 14 13 11 9 9 7 7 6 6 6 4
11 11 11 11 5 6 5 6 5 3
11 13 10 10 6 7 6 6 6 3
5 4
Ebm7 Ab7 D Dbmaj7 Db6/9
q e e h q e e q q q h..
9 8 11 9 8 11 9 8 11 11
10 10 10 10 10 8 8 8
10 9 10 9 9 8 9 9
10 10 10 10 10
10 10 8
Dm7b5 G7#9 Dm7b5 G7#9 -> b9 Cm7 G7#9b13
Voicings: (in 2 chords per measure)

10 13 11 11 8 6 4
8 8 11 11 6 6 4 4 4
8 8 12 12 89 89 8 89 5 4 4 3
8 8 10 10 10 10 6 10 6 3 3 5
8 8 8 5 3
8
Cm7 Block Fm7 Block Dm7b5 G7#9 -> b9 Cm7
6 6 5 4 4 6 8 11 9 8 11
6 5 5 5 3 5 5 8 8 8 8
4 4 4 3 3 6 6 9 9 8 9
6 4 4 5 5 8 8 10
4 4 8
Ebm7/9 Ab7/13 -> b13 Dbmaj Db6/9 Dm7b5 -> 11 G7#9->b9 Cm7 G7b13
8 11 11 10
4 6 8 11 9 11 6 9 9 11 8
3 3 5 8 8 8 8 10 10 10 8
5 5 8 10 10 10 6 10 10 9 8
3 3 8 8
Cm7 Block Fm7 Block Dm7b5 G7#9b13 Cm7/9
6 4 8 3
4 7 6 4 6 4 6 8 6 4 4 3
6 6 6 5 5 3 8 5 5 4 4 3
4 8 4 4 6 3 6 6 6 3 3 1
6 4 5 5 3
3
Ebm7 Block Dbmaj Block Dmb5/11 Dm7b5 G7b13 Cm7/9

Blue and Green (as played by Kenny Burrell)
12 12 10 8 8 6 10 10
10 10 6 6 10 10 10 8 6 7
10 6 9 8 8
8 = barre chord 5 10 8 7
0 8
Bbmaj7#11 A7b13#9 Dm7/F Cm11 F7b913
. .
5 8 5 3 3 8 8 8 4
5 6 6 5 6 8
5 7 6 7 6 4 7
5 5 3 6
0 5 7
6
Bb6/9#11 A7b13#9 Dm6/9/11 E7#9b13
7 7 7 5 13 13 13 8
5 5 10 10
5 5 10 10
6 5 11 10
Ammaj9 Am9 Dmmaj Dm
original changes :
I Bbmaj7 I A7#9 I Dm7/9 I Cm7 F7 I

I Bbmaj7 I A7#9 I Dm6/9 I E7#9 I
I Am7/9 IDm7/9 I

Blue Bossa example solo
Chorus 1 chorus 1 - 3

backing track
Cm7 Fm7
         
            
1 2 1 3 1 2 3 1 3
   
   
 
3 4 3 3 3 4 4
5 5 5 3 5 5
 
Dm7¨5 G7¨9 Cm7
            
1 3 2 4 3 1 3


3
5 4 4
6 5 5 3 5 5


E¨m7 A¨7
          D¨maj7
  
       
     
4 1 2 4 1 4 1 2 2 1 4 1 2 4 1 4 3 1 2 1 3
4 5 7 4 4


4 7 7 6
3 6 3 4 5 5 5 3 5 5
3 4 6
6
Dm7¨5
       G7¨9 Cm7 G7#9
     
             
1 4 2 1 4 2 1 4 2 1 4 1 2 4 21 4 2 4 1 2 3 1 3 2

3 4 6 4 3

3 6 6 4 6 3 4 3
5 5 8 4 5 5
6 6 5 5
5 8 8

Blue Bossa Chorus 2
   
       
  
Cm7 Fm7

  
3 1 2 4 1 2 1 3 4 3 2 3 3 1 2 4 1 4 1 2 1 3

   
3 8 11 8

3 4 6 4 3 6 5 4 8 9 11 9 8
5 5 9 10 10
      
Cm7
       
Dm7¨5 G7¨9

   
1 2 1 3 1 4 1 4


11 7 10 10

8 9 8
10
8 8 9 8
10
8

  
E¨m7
    
A¨7 D¨maj7
            
   
2 1 2 4 2 1 3 1 1 2 1 4 2 4 1 4 2 1


7 6 7 9 7 6
8 6 5 6 5
8 6 8
5 8 6
6 6

      
Dm7¨5      
G7¨9 Cm7 G7#9
        
 
3
1 2 1 3 1 4 4 1 1 3 1 2
2
 
 3 

8 8

6 7 6
8
6 7 6 4 6 4
5 5
 

Chorus 3
 
Fm7
 
Cm7
    
 
4 1 4 4 1 2 3 1 4 1 4 4 1 2 3 1 4 1 4 4 1 2 3 1
10 6 10 10 6 10 6 10 10 6 11 8 11 11 8 11 8 11 11 8

8 8 9 9
8 7 8 7 10 8 10 8
    
G7¨9 
         
 Cm7
    
Dm7¨5
   
 
2 4 1 2 3 1 2 4 2 4 1 2 4 1 2 4 4 4 3 1 1
  
4 6 3 4 3 4 6 7 9 6 7 6 7 9 10 11 10 8

6 9 8 8
     
E¨m7    A¨7
      D¨maj7
            
  
3
1 3 1142 4 1 4 3 4 3 1 4 1 3 1 1 2 1 4 1
3
 
6 9 8 9 8 6

7 6 9 7 9 9 6
6 8 6 5 6 5 5
8 8 6 8 8
  G7¨9
     
          
Dm7¨5
   Cm7 G7#9
      
1 2 1 4 1 2 1 4 3 4 3 1 1 3 2 4 1 3 1 1 1 4

8 11 10 11 10 8 7


8 9 9 8 8 11 11
5 8 10 8 10 8 7 8 8
5 6 10 9 9
10 10

Blue Bossa extended Solo
W. Kulawik 2008
Ï Ï Ï Ï ú. ÏÏ ÏÏÏ
CHORUS 1
Ï Ï Ï Ï
b Ï Î ä ÏÏ ÏÏÏ
&b b Î Ï Ï Ï ú.
J
Ï Ï ä J ä J
.
octave fills ................................ Cm7
Î
8 10 11 8 8
. Î ä
8 10 8 10 11 8 8
ä 11J ä 8J
5 7 8 5 5
J
5 7 5 7 8 5 5
b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï ä Ï Ï Ï Ï
5
Ï
3 3
b ä ä ä ä ä
3
& b J
3
C blues scale (Ebmaj pentatonic)..............................................................................................
3 3 Fm7 3
.
ä 10 8 ä ä ä ä ä
J
8
8 10 10 8 10 8 10 8 8 8 10 8
10 10 8 10 10
3
b
8
&b b Ï Ï ú Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏ Ï Ï Ï Ï Ï ÏÏÏ
G7#9 Cm7
Dm7b5 C harm minor.......................................................................................................
7 7 7
10101010 9 9 9 9 6 6 6 6 5 5 5 5 5
8 8 8 8 6 8 6 5 6 5
8
b bÏ Ï Ï Ï bÏ Ï ÏbÏ Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï
11
&b b Î Î Î Ï Ï ÏbÏ Ï Ï Ï Ï Ï Ï
Ï bÏ Ï Ï Ï Ï
Ebm7 Ab7
Dbmaj7 arpeggio...
Eb dorian..............................................................................
ÎÎÎ 7696 76
8 6565 65 5 653 35
4
8 86 4634 3 36 6
6 4634
b Ï ÏÏÏÏÏÏ
ÏÏÏÏ Ï ÏÏÅÏÏ Î ä Ï Ï
14
Ï bÏ
&b b
3
Dbmaj7&#11 Dbmaj7 lyd = Abmaj7=Fm7

3
Å Î ä
4
6 8 9 8
5 6 10 8 8 8
10 10 8 6 6 5 5 10
8

Ï Ï bÏ Ï
b Ï bÏ Ï Ï Ï Ï Ï Ï bÏ nÏ ÏÏÏ Ï ÏÏÏ
16
b
& bJ ÅÏ
3
Dm7b5 G7#9
C blues scale........................................................................................................................
Å
J
13
10 11 10 8 10 10 8 10 11 12 10 1110 8 10 8 8
10 10 10 8
Ï Ï nÏ Ï
3
b
18
& b b Ï Ï Å Ï bÏ Ï Ï ¨ Ï Ï Î Î
Ï
Cm7 G7#9 Cmelodic minor
Å ¨ Î Î
10 11 7 10
10 8
8 9 8 6 8 6
8
Ï Ï Ï
CHORUS 2:
b ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
20
&b b
3
Cm7 Cm pent=Ebmaj pent.................................................................................................

3
ä
8
8 8
10 8 10 8 10 10 8 8 8 10
10 10 8 8 10 8 10
Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ú
b Ï Ï Ï Ï Ï ä nÏ Ï
22
&b b J
Fm7 Fm7 arpegg...... Dm7b5
ä
8 11 8
J
9 11 9 8 8 8 8 8
10 1110 8 10 8 8 9 10 10 8 1010
10 10
25
b ÏÏÏÏ Ï ÏÏÏ Ï Ï bÏ Ï
&b b Ï Ï Ï
nÏ Ï Ï. Ï Ï Ï Ï Ï ä Î Î
Ï Ï Ï
C harm minor.....................................................
G7#9 Cm7
8 9 8
10 8 7 8 7 5 4 5 7 4 5 . ä Î Î 8
7
674
5 5 3 1 0 3 0 1
3

b Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï bÏ Ï Ï
b Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï
28
&b b Î
Ebm7 Ab7
Eb dorian.............................................................................................................
Î
9 8 6 8 6 6
9 9 7 9 9 7 6 7 7 6 6 6
8 8 6 8 8 6 5
b
30
& b b bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏbÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï ÏbÏ Ï Ï Ï ÏbÏ Ï Ï

Ï
Dbmaj7 Db arp......................
6 6 5 5 5 5 6 5 3
8 8 6 8 8 6 4 6 6 4 3 4 4 3 4 3 3 6
6 6 4 3 4
32
b Ï Ï ÏÏÏÏÏ
&b b ú Î Ï Ï Ï nÏ Ï ÏbÏ Ï Ï Ï Ï Ï . Ïj
Ï Ï ÏÏÏ
G7alt = Ab melodic minor .............
Dm7b5 Cm7
G7#9
Î
3 6 4 3
.
3 6 6 4
J
5 4 4 3
6 6 6 5 6 5 3 3
5 8 6 5 6 375
Ï Ï Ï Ï Ï Ï ÏÏ
ÏÏ Ï
CHORUS 3:
b Ï Ï ÏÏ bÏ Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Ï
35
& b b î ä ÏJ Å
Cm7
îä Å
10 10 8 8
Å10 8
811 11 11 8 8
J
8 1010 8 8 11 10 8 810
10 10 10 810
Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b nÏ ÏÏÏÏ
38
&b b ÏÏÏ
Fm7
8 11 8
9 8 11 8 9 11 9 8 9 8 8 9 11 9 9 8
10 10 9 10 10 10 8
10 8 6 5
8 6

b Ï Ï nÏ. Ï Ï Ï Ï Ï Ï. nÏ ä Ï Ï Ï Ï Ï
40
& b b ú. Ï Ï J J
Dm7b5 G7alt Cm7
. .
J ä
4 3 3
. J
3 6 4
5 8 7 4 5 5 8 7
6 10
8 8
43
b Ï Ï Ï Ï Ï Ï Ï n Ï b Ï Ï Ï bÏ Ï ÏÏ Ï
b
& b Ï Ï Ï nÏ Ï Ï J Ï Ï ÏbÏ nÏ Ï
3
Ebm7
10 7 8 7 7 8 10
8 11
8 7 6
9
6
J 7
8 7 6 5
4 7 7
10 9 10 8 8 7
3
45
b Ï n Ï b Ï n Ï b Ï bÏ Ï nÏ Ï bÏ
bÏ Ï nÏ bÏ Ï
&b b bÏ
Ab7
6 7 6 5 4
7 4 5 6 4
6 5 4 3
6 4
Ï Ï b Ï nÏ Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï
bb Ï Ï Ï ÏbÏ Ï Ï Ï ÏbÏ Ï Ï Ï Ï
46
b
& Ï Ï ÏÏÏ
3
Dbmaj7
4 8 9 1011 8 9 8 6
4 6 11 9 8 9 6 8 6
5 5 6 8 6 8 5 6 5
3 6 8 6 8 5
3
b ä Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
48
&b b ú Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï . Ï Ï Ï
Dm7b5 G7alt Cm7
ä . .
6
J
6 8 6 5 6 5
8
5 3 5 3
6 5 6 5 3 5 3 3
1
3 3
3 1

CHORUS 4:
b
51
3
& b b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï eÏ Ï bÏ Ï Ï Ï Ï Å Ï Ï Ï
Ï
Cm7
Å
8
8 8 6 8 8 6 8 8 6 8 8 6 10 9 8 6 8 6
8 8 8 8 8 8 6 8
3
b
53
3
& b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï eÏ bÏ Ï Ï Ï Ï Å Ï Ï Ï
b Ï
Ï Fm7
Å
8
8 6 8 8 6 8 6 8 8 6 8 6 8 6 10 9 8 6 8 6
8 8 8 8 6 8
3
b Ï Ï Ï ÏbÏ Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏnÏ Ï
55
&b b Î
Ï
Dm7b5
Î 5 5 8 4
3 6 9
8 5 6 5
6 5 8 5 6 5 6 6
8 6 5 6 5 5 8 8
8
Ï Ï Ï ÏÏÏÏÏ ÏÏ
bb Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏÏÏÏ
57
& b ä
Cm7
G7alt
ä
6 8 11 8
3 6 8 11 11 8 11 8
3 5 3 3 5 10 10 8 8 10 8 10 10
6 10
59
b Ï bÏ Ï Ï. ÏÏ
& b b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï. bÏ Ï
3
Ebm7
.
.
6 9 6 9
8 6
10 8 10 8 10 10 8 8
10 10 8 8 6 9
11 11 9
3

Ï n Ï Ï ÏÏ Ï
Ï Ï
bb bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏbÏ Ï ÏbÏÏÏ Î Ï Ï Ï Ï
61
& b Ï ÏbÏ Ï J
Ab7 3
Dbmaj7
6
6
6
6 6 5
4
5 6
6
4 7 8 4 8 4
J6 65 Î 6585
8 8 585 46 3 6 8
3
Ï Ï Ï Ï Ï Ï ÏÏÏÏ
b Ï
64
& b b bÏ Ï Ï Ï Ï Ï. ÏJ nÏ.bÏ Ï Ï Ï ä Ï Ï Ï Ï ÏbÏnÏ

Dm7b5 G7alt Cm7
. . ä 3 2 3 4
3 6 10 6 1010 6 3 6 3
J
6 5 6 5 5 3
8 8 7 4 3 5
6 5 3 6
67
b Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï
& b b Ï bÏ Ï Ï Ï
Ab7
6 6 3
4 6 7 6 4 6 4
5 5 3
4 3
6 3

There will never be another me audio
backing track
   
        
Ebmaj7 Dm7b5 G7b9
 
       
3 1 1 4 2 4 1 4 4 2 1 4 3 1 2 4 3 1 2 4 2 1 4
3 6 10 6 6


3 6 4 6 8 8 11 9 8
3 7 10 7 10
5 9 6 9
8
arpeggio from 3rd diminished in thirds up
        
Cm7 Bbm7

Eb7
       
     
5
      
1 1 3 1 2 4 1 4 3 2 1 2 3 4 3 1 4 2 3 1 4 2
  
10 9 8


8 8 11 9
8 5 5 7 8 10 10 8 8
11 10 8 11 9
11 9 10
minor 9 arp down
Cm7
     
Abmaj7 Fm7b5 Bb7 Ebmaj7
    
    
     
9
   
3 1 1 4 2 4 1 4 4 2 1 4 2 3 1 2 1 3 2 4 1 4 3
8 11 11 9 7


8 11 9 11 11 9
8 10 8
10 9 8 6 5 5
6 8 8 7
= Cm7 arp up
   Bb7 
          
F7 Fm7

13
        
2 4 1 4 1 2 3 1 4 4 2 1 2 4 4 4 2 1 2 1 4

7 10 7 9


8 8 8 6 7 9 9 7 6
7 8 7 6
5 8 9
6 8
= F7/9/#11/13 half tone whole tone

  
Ebmaj7 Dm7b5 G7b9
                    
17
     

3 2 1 4 3 2 4 4 2 4 3 1 4 2 1 4 2 3 4 1 2 4 1 4 3 4 3 1 1 2 1 4

6 8 6
7 5 8 7 8 8 7 5 5 8 7 8 7 5 4
8 8 6 5 5 5 6 8 6 5
8 7 8 8
diatonic thirds from maj7 up Dm7b5 = Fm7 dor
Cm7 Bbm7 Eb7

         
21
                     
2 4 1 4 3 4 3 2 1 4 1 2 1 4 4 3 2 1 4 2 1 4 2 1 4 2 1 2 1 4
 

7 8 7 6 5 5 8 6 5 6 5
5 8 8 5 6 8 8 6 5
6 8 6 5 8 7 6
8 9 9
Bb7 Ebmaj7
       
Fm7b5
  
Abmaj7 Cm7
  
25
           

4 2 1 4 2 4 1 4 1 4 3 2 1 4 3 2 4 1 1
6
 

7 9 8 8 9 11 8
5 8 8 8 8
5 8 6 8 6 9
6
8
=Bmaj7 arp (b5 substitution)
           
Fm7 Bb7 Ebmaj7
29
  
Fm7

Bb7

Ebmaj7
  
C7
 
      
2 1 3 1 1 2 1 4 4 2 1 4 2 3 1 4 2 1 4 2 2 1 4 2 1
7 6

9 8 8 11 9 8 6 9
10 8 7 7 10 9 10 10 8 7
9 8 8
11 10
II - V - I - VI with b9

Autumn Leaves 1
Transkription vom Video:
Chorus 1:
 
Am7 D7 Gmaj7 Cmaj7
   
                     
4 1 2 4 2 1 1 4 2 2 1 4 1 3 4 2 3 1 4 3 3 1 3
     

5 3
  
4 5 7 5 4 2 4 5 4 2
7 7 5 5 4 5 5 4 4 2 4

F#m7¨5 B7¨9 Em7
    
5
                 
4 1 3 4 1 4 1 3 1 3 1 3 4 1
     5
 
2 4 5 2 2 2
5 5 2 4 4 4 5 2 2
 
Am7 D7 Gmaj7 Cmaj7
     
9
           
        
1 3 2 1 2 1 2 1 4 2 3 4 2 1 2 1 2 1 3
     4 5 
7
3
 
5 7 7 4 4
6 5 4 4 3 2
7 7 6 5 5 4
 
13 F#m7¨5 B7¨9 Em7(maj)
            
      
1 2 4 1 1 3 2 4 1 4
 1  2   
  

4 4 2 1 1

3 2 2 5 5
5 3

Bridge:

F#m7¨5 B7¨9 Em7
    
17
                
 
1 2 4 1 2 1 4 2 1 2 1 2 1 2 4 1 2 2 2

 2
4 5 4
4 5 7 7 5 4 5 4 2 1 2 4 1 2
2
Am7
              
21 6 D7 Gmaj7 Cmaj7
             
4 442221 4 3 1 1 3 2 1 2 3 1 3 1 3 4 343 1 4 3 1 1 4
slide.. slide..
6
5 8 7 5 3 5 3
5 4 5 5 4 5 2 4 2 4 5 4 5 4 2 5 5
7 6 7 5 4 1 2
     
F#m7¨5 B7¨9 Em7
       
25

            
 3
2 2 1 3 1 2 1 214 1 1 1 4 1 3 1 3 1 313 1 3
  3 3 5
 
3 5 5 3 3 5 5 3 5 5
4 4 4 4 2 2 3 2 2 2 4
5 2 2 5 5
F#m7¨5 B7¨9 Em7
           3
29 3
     
3
    
4 31 3 1 3 1 2 1 1 3 2 1 4 1 4 1 4 1
3

5 6 5 3 5 3
5 3 3 3 5
4 3 2 2
5 5 2 2 2
5
3
3

Chorus 2:
Am7 D7 Gmaj7 Cmaj7

                      
33

2 2 1 1 3 3 1 1 1 4 1 1 1 2 2 3 3 1 1 1 3 1214
5 5   2 3 3 
 
5 5 7 7 4 4 4 4 4 5 4
7 7 5 5 4 5 5 3 3 2 7
        
F#m7¨5 B7¨9 Em7
          
37
     
1 1 2 1 2 1 2 1 4 2 4 1 2 1 21 4 4 2
    

5 4

4 4 4 5 4 5 4 4
7 5 7 5 4 4 5 4 7 5 6

7
Am7 D7
                  
41 3

     
3 3 3 3
3
4 4 4 2 1 4 3 1 3 3 1 3
arpeggios in triplets (use the same finger for one triplet)
5 4 5 8 7 8 7 6 7 5 4 5
5 4 5 7 6 7 5 4 5
7 6 7
3 3 3 3 3 3 3 3
              3
Gmaj7 Cmaj7

43
          
3 3 3 3 3
3 3
3 2 1 4 1 3 2 3
2 1 2 5 4 5 3 2 3
3 2 3 5 4 5
4 3 4 5 4 5
5 4 5
3 3 3 3 3 3 3 3


F#m7¨5 B7¨9 Em7

45
  
                 

1 2 4 1 2 4 1 4 2 4 2 1 4 1 2 1 4 2 1
 
  2
4 5 7 4
4 5 7 7 5 5 7 5 4 4 5 1 4 2
7
Bridge:

F#m7¨5 B7¨9 Em7
              
49 3
      

2 1 1 3 2 1 1 3 2 1 1 3 1 2141 1 4 1 4 1 1
3
4
3 3 5
4
3 3 5
4
3 3 5
2 32 2  
5 2 5 2 2 2

5
 
53
  
Am7
  
3
  
D7
 
Gmaj7 Cmaj7
            
   
3 1 3 4 313 1 3 1 4 1 4 3 1 4 1 2 3 4 1 3 2 1 1 1 1 4
3
 5 
3 5 5 6 5 3 5 3
5 3
5 2 5 4 2 4 5 6 7 4

5 5 5
5 3 3 1 2
  
     3     3     E¨m7
F#m7¨5 B7¨9 Em7
   
57
     
3
2 1 3 3 3 3 1 2 1 13 1 3 1 2 1 1 3 1 2 1 3
3

12
8 10 11 12 10 10 11 10 8 10 8 8 5 7 6
9 9 7 7 7 4 8

                      
60 Dm7 D¨m7 F#m7¨5 B7¨9 Em7
   
2 1 3 2 1 3 1 1 4 3 1 1 1 1 1 3 4

        
7 5 3 2 3 2

6 5 5 4 5 8 4 5 5
7 6 5
Chorus 3 (beginning...)

Am7 D7 Gmaj7

65
    
3
    
     
       
3 1 1 4 3 1 3 4 2 3 2 1 4 3 1 4 1 3 4 2 4 1 4
2 5
5 8 7 5 3 3 3 5
5 7 5 4 2 5 4 2 2 4 5
7 6 7 5
Cmaj7 F#m7¨5 B7¨9 Em7

            
68
3
        

2 1 4 2 4 3 1 4 3 1 2 4 1 4 2 421 4 4 1 2
3 2
   

5 3
5 4 2 4 7 5 7 5 4 4
5 4 4 5 7 7 7 5 5
   
Am7 D7 Gmaj7 Cmaj7
    
73
    
1 1 1 4 3 1 3 1 1 3 1 1 4 2 4 1 2 4
 
5 5 5
8 7 5 5
7 7 5 7 4 4 4
7 5 7 4 5
7
77
      
                 
3
   
5 8 5 7 4 5
 7
2 3 5 5 4 7 5 7 5 4
2 4 5 4 7 7 5
5 4 5 7 9 6 7
3
fade out

Autumn Leaves 2
performed and transcribed by: Wolfgang Kulawik
VIDEO 1: 8 bars slowed down

D7
    
Am7
        
Cmaj7
 
Gmaj7
Chorus 1: 3 3
  
2 1 3 1 3 1 2 1 2
 7   5 

3 3

5
5 5 7

4 4 4 4 5
F#m7¨5
 
B7¨9 Em7
        
6
      
    
4 1 4 1 2 4 4 1 2 4
    
7
 7 7 
4 4
 7
4
5  7
4 5 7

7
 

Cmaj7

10 Am7 D7 Gmaj7
             3 
3

2 4 1 3 4 2 2 4 3 2
5 5 3
 3
 3
 2  4 5 
3 3 3
 5  4
3
5
F#m7¨5
   
            
14 B7¨9 Em7
    
   
3 4 3 4
4 1 2141 4 2 1 4 1 2 4
   
  4  7 
5 5 5 4 5 4 4

7 7 5 4 7 4 5
7 6 7
3

    
B7¨9 Em7
18 F#m7¨5
  
                   
3
1 2 4 1 2 1 4 2 1 2 1 4 3 4 1 4 2 4 1 4 3 1 431 3
4 5 7
4 5 4
7 5 4 5 4 4 7 5 7
4 7
7
 875 7
7 6 7 3
  
      
Am7 D7 Cmaj7
 
22 Gmaj7
      
3
              
4 3 1 3 1 1 4 2 1 2 4 1 2 3 4 1 31 1 2 2 1 1 2 1 1 3 214


8

7 5
7 5 4
7 5 4 5 7
4 5 6 
7 4 4
3 3
4 4
3 3
4
3 3 5 5
3 2
5
3 3

26 F#m7¨5
  B7¨9

3 Em7
 3
  
                   
3 3 3
1 4 1 2 2 1 2 1 4 1 4 1 4 1 2 1 3 1 1 4 2 1 1
  3  6 5
2 2
 5
2 3 4 3 2
5
2
5 2
5
2
7 5 4
7 5 4 3
3 3 3 3 3
       
B7¨9 Em7
     
F#m7¨5
  
30
       
5
4 4 1 1 4 3 1 3 4 1 3 4 3 2

 5
5 8 7 
7
8 5 5   
7 8 7 6
7
 7 7

Chorus 2:
      
Am7 D7

34
                 

 
1 4 1 2 3 1 3 2 1 4 1 3 4 1 2 4 2 1 1 4 2 3 2 3 1 4 4 2 4
5
8 5 6 7 5
7 6 5 4 4 5 7
5 
5 4 7  7 5 7
7 6 7 7 6 5 4
7 6

     
Gmaj7
 
Cmaj7
          
36
       
1 2 3 4 2 1 4 2 4 1 4 4 1 2 1 3 2 3 1 2 3 1 2 4 1 4


7 10
7 7 8 7 7 7 8 10
4 5 6 7 5 4 4 7 9 7 9 8 9
7 5 7
     B7¨9
      
F#m7¨5 Em7
             
38
 
3

1 2 1 2 1 4 3 3 4 2 1 4 1 2 3 1 2 1 2
   10  9
7 8 7 8 7
10 8 8 8 7 10 7 8 7
7 8 8
            
Am7 D7
      
41
   
3 2
1 4 2 4 1 2 3 1 2 4 1 2 3 1 1 3 1 3

7 10 8 10 7 8 7
 
10 8 10 7 8 5 7 5
9 7 5 7
9

Gmaj7 Cmaj7
 
44
              
1 2 4 1 2 4 1 2 4 1 2 4 1 3 1 2
4 5 4
7 5 7 4 5 4
7 5 7 3 5 2 3
 3  
    
B7¨9
    
46 F#m7¨5 Em7
    
4 3 1 1 4 3 2 1 2 1 4 2 4
 
 5 8 7

5 4


7
5 5 4
7 5
7

5
3

            
50 F#m7¨5 B7¨9
            
 
4 1 2 4 1 2 1 4 4 1 2 4 1 2 1 4 4 1 2 4 1 2 1 4 3 4 3 1 1 1 4 1
1 4  6 7 
4
1 2 4 2 1
 4 7
4 5 7 5 4 2
10
7 8 8 7 5
9 10 9 7 5 4 7 4
   
Em7
   
52
     
            
2 1 4 3 4 1 2 4 1 4 4 3 2 1 1 3 4 1 4 1 1 3 4 1 3 1 3 1 4 3 2 4
7 10 9 8 10
4 7 11 10 9 8 7 7 9
5 4 4 5 7 9 7 9
7 6 7 10 6 9 6 7 9 10

             

Am7 D7 Cmaj7

Gmaj7

54
     
          
3 4 3 431 3 3 1 1 1 1 4 4 1 4 2 11 4 1 4 4 1 4 3
Am7 D7

7

8 7 8 7 5
7 

7 5 5 4 4
7 7 
4 7 7 9 3 2
 
5 2 5 5

5
2
4

     Em7
58
 F#m7¨5
B7¨9
  
3
   3
 
        
 
2 1 3 1 3 3 3 1 2 1 1 3 1 3 1 2 1 4 1 1 3 1 3
   
12
8 10 8 10 12 10 11 10 8 10 8
4
9
 3 3
9 7
8 7
10 7 5 7
5 7
 

    3     3
61 B7¨9 Em7 F#m7¨5
         
1313131331313131 3 114 4 1 132 13 4 1 1 4 1
7 107
3
 5
58 7 4 3
54 24 
5
7
575
7
5775
75
75
75 
7 7

7 5 5 2 2
3. Chorus:
   
 Gmaj7    
      
  
Cmaj7
 
66 Am7 D7

2 2 3 3 1 1 4 1 2 2 3 3 1 1 4 1
7  7 
9   8 9 
7 10 7 10 7
8 8 10 8 8 8 10 8 8

      
           
 
B7¨9 Em7
   
F#m7¨5 3

70
  
2 2 3 1 2 3 1 2 3 2 3 2 23 1 2 3 1 3 1 4 1
 8 8 9  7 8   
7 7 10 7
8
9
8
9 
10 11 10 8
9 7 9 7 9 9 
3 
         D7
Am7
  Cmaj7
 
Gmaj7
        
74
   
  
2 4 4 1 4 1 2 4 2 1 4 2 2 1 1 1 3 2 1 1 3 21 4 1 1 4 1 4 1
8 10 12 7 10 7 8 10 8 7
10 8 8 7 4 3 3 3 5  2
5 4 3 2
5 2
2
5 5 2
B7¨9 Em7

78 F#m7¨5

                                  
 
3 3 1241 214121421214 3413 41241214 1 2 1 2 1 4
 4 547454 4  
4 4 457 75454 4 457 542 7
7 67 6 7 6 5 4
7 7
end of transcription.....

VOICINGS
On the following pages you find voicings (prewritten chord progressions) for different
standard tunes. From Blues over Rhythm Changes to commonly played jazz-tunes.
Blues voicings:
The blues voicings are notated in F7 and in Bb7. You can use the same voicings for
both keys, but you would get into positions that are too high on the fretboard.
The audio-examples start very straight, then get rhythmically and tonally more
complex each chorus. Only the notated chords are used, but they sometimes move
chromatically up- and down, so you get a more complex rhythmic structure by only
using a few chord shapes.
Rhythm Changes:
These voicings start in a very reduced form, but get more complex each chorus.

Blues-Voicings 1
1. Voicing Blues in F7
8 8 8 7 6 6
8 7 8 8 7 5
7 6 7 7 6 6
8 8 8 5
6 6
F7/9 Bb7/13 F7/9 F7/b9 Bb7 Bb7/9
6 6 10 9 8 11 10 9
7 5 10 9 8 11 10 9
7 4 8 8 7 10 8 8
6 5 10 8 10
8 10 8
F7/13 D7#9 Gm7/9 C7/b13 F7/9 D7/b13 Gm7/9 C7/b13
2. Voicing Blues in F7
8 6 8 8 9 6 8 6
8 8 9 7
8 7 8 8 7 7
7 6 7 7 6 6
F7/9 Bb7/13 F7/9 F7#9 Bb7/13 b13
8 11 8 8 8 11 10 9
8 11 10 9 8 11 10 9
8 11 10 9 8 11 10 9
7 10 8 8 7 10 9 8
F7/9 D7b9b13 Gm7/9/11 C7b13 F7/9 D7b9b13 G7/9 C7b13
3. Voicing Blues in F7 enhanced

6 6 6 6 11 9 6 6 9
7 5 4 7 10 8 5 4 8
7 6 6 7 10 8 6 6 8
6 5 5 6 9 7 5 5 7
F7/13 Bb7 Bb7/b9 F7/13 C7#9b13 Bb7/9 b9 C7b9b13
10 8 11 9 8 6 5 4
6 6 11 10 9 9 8 6 5 4
7 11 10 9 9 8 5 4 3
7 56 10 8 8 8 7 4 3 2
6 6
F7/13 Eb7/9 D7b13 Gm7/9/11 C7#9 b9 F7/9 D7#9 G7/9/13 C7#9

Blues-Voicings 2
comping demonstration plus solo
1. Voicing Blues in Bb7

7 6 7 7 6 6
6 5 6 6 5 5
6 6 6 6 6 6
Bb7 Eb7 Bb7 Eb7
7 4 8 8 7 10 9 8
6 3 8 7 6 9 8 7
6 3 8 8 6 9 8 7
Bb7 G7 Cm7 F7 Bb7 Db7 C7 B7

8 6 6 7 6 6
7 6 5 7 6 6
6 5 6 6 5 5
6 5 6 6
6 6
Bb713 Eb7/9 Bb7/9 Bb7b13 Eb7/9 Eb7/9
6 11 8 9 7 6
5 10 8 8 8 7 10 9 8
6 9 8 7 7 6 9 8 7
5 10 8 8 8 7 6
8 6 9 8 7
Bb7/9 G7#9 Cm7 F7#9 F7b9 Bb7 Db7 C7 B7

6 6 6 6 6 6
8 6 8 7 6 5
7 6 7 7 6 6
6 5 6 6 5 5
Bb7/13 Eb7/9 Bb7/13 b13 Eb7/9 b9
6 6 8 10 8 6 4 3 2
8 6 8 8 8 8 4 3 2
7 4 8 8 8 7 4 3 2
6 5 8 7 7 6 3 2 1
Bb7/13 G7#9 Cm7 F713 F7/9 Bb7/13 G7b9 C7/9 F7b9

b13 b13

Blues-Voicings 3 (Parker - Blues)
1. Voicing Parker-Blues in F
(8)
10 8 8 6 6 4 3 6
9 7 6 5 4 3 2 4 2 6
10 8 8 7 6 5 4 3 6
8 7 7 5 4 3 2 1
6
Fmaj7 Em7b5 A7b9 Dm7 Db7 Cm7 B7 Bbmaj7 Bbm7
=Edim =G7b5 = F7b5
(7) (6) (5) 8 11 8 8 6 6

5 4 3 3 6 9 8 7 6 5
5 4 3 3 7 9 7 8 7 6
5 4 3 3 5 8 7 7 5 5
5 4 3 3
Am7(9) Abm7(9) Gm7 Gm7/9 m7/11 C7#9 F6/9 D7b9 Gm7 C7b9
b13
2. Voicing Parker-Blues in F
8 8 6 5 4 3 2 1 5 8 6
8 6 6 5 4 3 2 1 3 6 6
7 6 6 5 4 3 2 0 5 6 6
7 5 5 3 3 1 1 0 3 6 5
F6/9 A7#9 A7b9 Dm7/9 G7b9 Cm7/9 F7b9 Bb6/9 Bbj7/9 Bbm7/9 Eb7/9
b13 b13 b13 b13
7 5 6 4 5 3 8 11 8
5 5 4 4 3 3 6 9 8 11 10 9
5 5 4 4 3 3 7 9 7 10 9 8
5 4 4 3 3 3 5 8 7 10 9 8
Am7/9 D7/9 Abm7/9 Db7/9 Gm7/9 Gm7 m7/11 C7alt F6/9 Ab6/9 G6/9 Gb6/9
3. Voicing Parker- Blues in F enhanced

8 5 8 8
8 10 10 8 6 8 6 86 6 9 8
7 9 7 7 5 10 8 8 7 7 10 10
7 10 8 8 7 9 8 7 7 8 11 11
8 7 7 5
9 8 7 6
F6/9 Fmaj7 Em7b5 Em7/b5 Dm7 Db7#11 Cm7 B7#11 Bbmaj7 Bbm7/9 Bbm6/9
7 7 6 6 5 8 11 9 8 8 8 8
8 7 7 6 6 6 9 9 8 11 10 9
9 9 8 8 7 7 9 9 7 11 10 9
10 10 9 9 8 8 8 8 7
Am7/9 Am6/9 Abm7/9 Abm6/9 Gm7/9 Gm7/11 C7alt C7b9 F6/9 D7b13 Gm7/9/11 C7b13
b13

Body & So
A-Teil
q.. e q
E q
E q
E q
E
6 6 5 5 4 4 6 4 6 4 11 9 8 6
6 4 6 4 6 4 6 5 4 5 9 9 6 6
6 4 5 5 3 6 8 10 6 6
4 6 4 4 3 5 10 8 6 5
6 4 8
6
Ebm7/9 Bb7b9 Ab7/13 Ab7/b9/b13 Db6/9 C7b9 Fm7 Bbm7 Bbm9 Eb7/9
3
q.. er
E. q q q h q q 1w 2
h h
o
9 6 6 1
6 7 4 7 6 6 4 6 9 1 2 2 7
6 6 6 3 3
..
8 3 5 5 6 8 6 3 4
4 8 4 8 4 4 4 6 8 4 3 3 5
6 6 6 6 4 4
4 5 6 4 5
Ebm7/9 Ebm7 Ebm7 Ebm Ab7/13 A0 Bbm7 Ebm7 Ab7/9/11 Db6 Db6 A7/9/13
B-Teil
e q e e q e e q e q q w
e q e
10 10
o
3 5 7 10 10 10 10 11 10 10 8 7 7 5
4 3 6 7 9 10 9 7 7 6 2
4 5 5 9 9 8 7 5 5 4
5 0 0 7 10 9 7 4 5
5 5
D6 A7b9 ->7/13 Em7/11 D6/9 Gm7/9 F#m7 Em7 A7 Dmaj
e q e e q e e q e e q e q q q q q q
5 5 3 12 12 7 10 10 5 8 8 5 7 3 6
3 5 6 5 10 5 8 6 3 6 5 7
5 4 5 4 12 7 9 5 5 7 4 9 8 7 7
3 3 7 3 10 5 7 7 3 5 3 8 7 6 6
5 5 5 7 6 5
8 7 6
Dm7 G7/9/13 Cmaj6 Am11 Dm7 G7 -> 13 C7 B7 Bb7 -> b13
D.C. al fine

Lullaby of Dirtland Melody harmonization
Audio
arr. W. Kulawik backing track
Fm7 Bbm7
P
Dm7b5 G7 C7 Fm7 Dm7b5 Eb7
44
) $ " ) '
1
' "" * ) ' $ ' & " " " ' '
) ) & $ $ " " " ' ' '
' "! ' $ & " " ! ' ' &
) & $
$ " '
Abmaj7 Fm7 Bbm7 1.
P Q) Q Q
Eb7 Db7 C7
Abmaj7
"" * ) ) ' ' ' % % $
5
"" * ' "" * ' & % # "
"! "! ) ) ' ' & % $
"! ) ' "! ' & & $ #
) ' % $
' %
F7b9
2.
Q Q Q
Abmaj7 Eb7 Ab6/9 dim chord substitution Bbm7
$ % ) *"! "" "" * *
9
% % % ( ) * "! "! * *
& ' $ ) * "! "" "" "! "!
& & $ ( ) * "! "! ) )
'
%
Eb7b9 dim chord substitution Abmaj7 F7b9 Bbm7

' ( ) * * ) ) * "! "" "" *
Q *
Q
13
& ' ( ) ) ) ( ) * "! "! * *
' ( ) * * ) ) * "! "" "" "! "!
& ' ( ) ) ' ( ) * "! "! ) )
Eb7b9 Abmaj7
Q )**
C7b9
' ( ) * * ) * ) '
17
& ' ( ) ) ) * ' &
' ( ) * * ) "! ) (
& ' ( ) ) ' ) ' & )

I´ve grown accustomed to your grace
arr: Wes Montgomery
! #""" " " """ " " #""" " #"" " "" " " $"
1. 2.
## #"" & $""" '""" ##"""

3 3 E 3
! #" "
##"" #""
" "
##"" #"" #%% $$%%%% ""
" " " " %% " "" "
E F/E E mM6
Am6 E D/E E FŒ„!7(#11) A(“4) A13
3 3 3
#
#
&
"$
4 4 4 5 7 5 4 4
5 6 5 5 7 5 3 0 0 3 5 7
4 5 4 5 4 4 2 5 1 4 1 4 3 6
6 7 6 7 6 4 2 3 2 5 5 5
7 2 2 3 2 0 0 0
0 0 0 0 0 0 0
! ###""" " " % "" " " " " #" """ " " %%% "" " " #"" " "
! # ""
6 3 3 3 3
$$%% # "
" #"" " % " "
3 $% #" " 3
" "
DŒ„!7 G13 F©‹7 B‹7 B7b9 E‹11 E‹7 A7(“4) A13 A7(b9)
3 3 3 3 3 3
#
#
"$
5 5 5 5
7 5 5 5 5 3 5 7 10 10 10 8 8 8 8 7 8
6 4 2 2 5 7 7 7 6 6
7 3 2 4 7 9 5 5 5 8
5 4 2 6 7 7 0 0
3 2
! #"""" " " $""" ### #"""

# "" " " '"" '#"" $ "" #" '""
$$""" & $"""'$"""# "" ##
#"" "
1.
$"
#" # $"
#"
10
! ##""
$ "" &' #"" $$ """ & ""$ " &'#'"""
#" ( ' "
3 3 3 3 3
3 3
A13
# 4)
A¨‹7(b5) D¨7(b9) F©‹11 B7(b9) E‹7 B7(b9) E‹7
3 3 3 3 3 3 3
#
#
& & 79 & &
"$
9 9 9 7 7 7 7 5 6 7 5
7 6 3 5 4 7 8 10 7 8 4 5 7 8
7 7 4 6 5 6 7 8 5 7 2 3 6
9 6 3 4 4 8 9 9 10 7 9 4 5 5
6 7 8 9 6 7 0
9
! #""" # " " $""" " ' " #""" $ " " $'""" " #"
$ $"" " " # "" "#"$" #"" " " " " " "
14 2.
! #" " #" " '" * '" $"" *

" $" " $" $"
3 3 3 3 3 3
A¨‹7(b5) D¨7(9) F©‹ B7(9) E‹7 A13 F©‹7(b13) B7[áÆ]
3 3 3 3 3 3
* *7
"$
7 9 7 9 7 6 5 7 5 7 5 4 3 5 3 5 3 2
7 6 5 4 3 7 5 7 8 7 8 5
7 7 6 5 4 6 7 5 7
6 9 4 7 2 5 8 7
0
8 7

play this bar when you al %
! ##"" " " " " #"" " " "" & #"" " " "" "" # %%%
arrive here for the 2nd time
%% ' #"" $""#""" "

18 3
3 3 1. 2.
"" # %
! "" $'"" & # """ #"" ""
$"
" #%% $ "# " #%
" " #" 3
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E‹% G‹7 F©‹7 B‹7 E‹9 A(“4) Dmaj9 A13 D6/9
3 3 3 3
& &
"$
2 2 2 5 5 5
7 7 7 3 5 2 3 7 7 7 3 3 4 5 2 3 7 7 10
6 3 2 2 7 4 4 5 6 3 4 7 6 9
5 3 2 4 5 5 2 3 4 3 4 7 5 9
7 4 2 7 0 3 4 5 0 9
0 3 2
! ##""" " " $ " "" #" " " "" ## " $"" " # " " # """ # """
#"" ## ( $ "
22
"" #"" %% """ '""" ##"""
3
! # "" " # #" #"" "" #"" $%

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#
A¨‹7(b5) D¨7[áÆ] F©‹7 D‹7 AŒ„!9 F©‹7 B‹7 E9 A(“4)
) 3
"$
9 9 9 7 9 10 12 9
7 10 9 7 9 10 10 10 12 12 10 10 7 5 3 5 7
7 7 9 10 13 9 7 7 7 4 3 6
9 9 11 10 11 11 7 6 5 5 5 5
9 9 9 7 0 0 4 0
9 9 10 0 7 0
D.C. al Coda thru 2nd ending
% ! $ ""
# " " " " $ " " #"" " #"" "
3
$""
26 3
$ "" "" " "" $"

! #" " #
#" #""" # ""
# #"" #%%
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" " " "
E F/E E D E D/E E FŒ„!7(#11)
3 3
4 4
"$
4 4 4 5 7 5
5 6 5 5 7 5 3 0
4 5 4 5 4 4 2 5 1 4
6 7 6 7 6 4 2 3
7 2 2 3
0 0 0 0 0 0
+
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" " " " "
3
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30 3 3
"" +
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" 3 " 3 " +
E D E F(#11) E D‹ E%
3 3 3 3 3
"$
4 4 4 2 2 2 4 4 4 7 7 7 7 7 7 10 7 12
5 3 5 6 5 10 12
4 2 4 5 4 10 11
6 4 6 7 6 7 11
11
0 0 0 0 0 0 0

Giant Claps
audio slow
backing track
arr. W. Kulawik
h h h q.. e w h h
14 10 7 5
14 12 12 11 5 5
13 11 11 12 10 5 5
13 10 12 12 10 5 4
10 11 10
B6/9 D7/13 Gmaj7 Bb7/13 Eb6/9 Am7/9 D7/9
h h h q.. e w h q.. e
10 6 6
10 8 8 7 8 6 6
9 7 7 8 6 8 7 5
9 6 8 8 6 6 6 5
6 7 6 8
G6/9 Bb7/13 Ebmaj7 F#7/13 B6/9 Fm7/9 Bb7 Eb6/9
w h q.. e w h q.. e
6 7 5 10 10 11 9 14
6 5 5 10 10 9 9 14
5 5 5 9 9 9 9 13
5 5 4 9 9 9 8 13
Eb6/9 Am7/9 D7/9 G6/9 C#m7 F#7 B6/9
w h q.. e w h h
14 15 13 18 18 14 14
14 13 13 18 18 12 11
13 13 13 17 17 13 12
13 13 12 17 17 11 11
Fm7/9 Bb7 Eb6/9 C#m7/11 F#7b9

Girl from Panama
chord arrangement (easy) backing track
¡ b
FŒ„Š7 G13 G7
& ÏÏ
ÏÏ ä j ÏÏ ÏÏ ä j nÏÏÏ ÏÏ ä
Ï j nÏÏ
Ï
ÏÏ ä
Ï j
Ï Ï Ï Ï
Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï
j j j j
1 ä 1 ä
4 ä
3 ä
¢Ú
1 1 5 5 3
2 2 2 2 4 4 4
2 2 2 2 3 3 3 3
1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3
¡ ªª
G‹7 G¨7(#11) FŒ„Š7 G¨7(#11)
&b bÏÏÏ ÏÏ ä j
Ï ÏÏÏ ÏÏÏä j ÏÏ
Ï
ÏÏ ä j ÏÏ ÏÏ î
Ï Ï Ï
Ï ÏÏ Ï #Ï Ï Ï Ï nÏ Ï Ï Ï #Ï Ï
j j j
ª
Fine
ª
3 ä 1 ä 1 ä
¢Ú
3 î
3 1 1 1 1
3 3 3 3 2 2 3
3 3 2 2 2 2 2 2
3 3 3 3 2 2 2 2 1 1 1 1 2 2
¡ b nÏÏ ÏÏ ä j nÏÏ ÏÏ ä
F©Œ„Š7 B13
bÏ bÏ
& #Ï # Ï Ï Ï #Ï # Ï Ï n Ïj n Ï #ÏÏ Ï Ï Ï ä Ïj n Ï #ÏÏ Ï Ï Ï ä Ïj
j j j j
10 ä 10 ä 8 ä 8ä
¢Ú 9 9 9
10 10 6 6
8 8 8 8 7 7 7 7
9 9
9 9 7 7 7 7 7 7 7 7 7
¡ b bnÏÏ ÏÏ j b ÏÏ ÏÏ
F©‹9 D9
Ï #ÏÏ ä j ÏÏ #ÏÏ ä j
& #Ïn Ï # Ï Ï Ï ä Ï #Ï nÏ # Ï Ï Ï ä Ïj Ï#nÏÏ Ï Ï Ï #Ï Ï Ï
nÏ Ï ÏÏ
j j j j
ä ä ä ä
¢Ú
9 9 9 9 5 7 5 7
9 9 9 9 5 5 5 5
7 7 7 7 4 4 4 4
9 9 9 5 5 5 5 10
9 9 9 9 5 5 5 5

¡ nÏÏ ÏÏ j ÏÏ ÏÏ ÏÏ ÏÏ j #ÏÏ ÏÏ
G‹9 E¨9
b
& Ï ÏÏ Ï Ï ä Ï
Ï Ï Ï Ï bÏ bÏ Ï Ï ä j # ä
Ï Ï bÏ Ï Ïä j
ÏÏ ÏÏ Ï
j j j j
10 ä 10 ä 8 ä 8 ä
¢ Ú
10 10 6 6
10 10 10 10 6 6 6 6
8 8 8 8 5 5 5 5
10 10 10 6 6 6 6
10 10 10 10 6 6 6 6 5
¡ b
A‹7(b5) A¨7(#11)
nbÏÏÏ ÏÏ ä
j ä #ÏÏÏ ÏÏÏ ä
= D7b5
& Ï j j
Ï Ï Ï Ï bÏ Ï Ï Ï
j j j
ä ä ä
¢Ú
4 4 3 3
5 5 5 5
5 5 4 4
5 5 5 5 4 4 4 4
¡ b
G‹7 G¨7(#11)
& j ä Ï
Ï Ï
Ï ä j
= C7b5
j ä ÏÏÏ ÏÏ ä j
nÏ Ï Ï
Ï Ï Ï Ï #Ï Ï Ï Ï
j j j j
ä 33 ä ä 13 ä
¢Ú 3
3 1
3 3
3 3 2 2
3 3 3 2 2 2 2
D.C. al fine

How low the moon - melody harmonization
= Barre Chord
Gmaj7 Gmaj6 Gm7 C7

$ & & ( $ & ' " $
1
$ & % $ & $ $ % ' " #
& & % ( $ & ( $
% % & $ % & #
Fmaj7 Fmaj6 Fm7 Bb7 b9 Ebmaj7 Am7b5 D7b9

$ & " $ % $ $ & $ &
6
" $ " # % $ % ' ) ) ) ) % %
# & $ & & & % ( & &
# $ # $ ' ' ' ) %
' !
1. Am7b5 D7b9 Gmaj6 Am7 D7b9

Gm7
' $ $ & $ & ( & ( )
12
' & % & & % (
( & & ( & & *
& % & & % (
!
Bm7 Bb7 Am7 (D7)

"! "! "! "! "! $ &
16
"! * ) $ & %
"" "! * & &
* ) ( %
tritone substitution
2. Gmaj7 (D7) Gmaj6
Am7 D7b9 D7/9 Bm7 Bb7=E7 Am7
( & ( ) "! "! "! "! "! $ & $
18
( & % ( "! * ) $ & % &
( & & * "" "! * & & %
& & % ( * ) ( % &

How high the moon: Voicings
In this voicing the emphasis is on 6/9 chords as they are very flexible to use and have neutral sound.
Moreover the G6 shape is used as G-chord but can as well be seen as Eminor7/9 (no root)
Practise this as an exercise without asking why the chords are substituted, just play.....
and try to remember the chord changes by heart as well as transferring them to other tunes.
= Barre Chord
G6/9 G6 Gm9 Gm7 F6/9 F6 Fm7 Fm7

"! ( "! ' ) & ) %
24
"! & ) ' ) $ ' %
A1: *
* &
(
)
"!
&
( (
( $
&
'
)
$
&
turnaround:
Eb6/9 Am7b5 A7dim=D7b9 Gm7 Am7b5 A7dim=D7b9 Gmaj7 Am7 Bm7 Bb7 Am7 D7b9
' ) ) ' ) ) ( ) "! "! "! "!
32
' ) ) ( ' ) ( ( ) "! * ) (
& ( ) ) ( ) ) ( * "" "! * )
& ) ( ( & ( ( & ( * ) ( (
'
=Am7 =Dm7
G6/9 G6 G9 G6 Gm7 G11 Gm9 C7/9 F6/9 Fmaj7 Fmaj9 F6 Fm9 Bb7/13 Bb7#9 Bb7b9
"! ( & $ ' ) & $ ) * (
40
"! & $ $ ' ' $ $ ) "! ) ' ) ) ( (
A2: *
* &
( %
% #
%
&
(
&
( $
$ #
$ (
(
*
"!
&
(
&
( '
)
'
(
'
(
'
(
) ( &
turnaround:
Eb6/9 Am7b5 D7#9 b9 G6/9 Gmaj7 G6/9
Bm7 Bb7 Am7 D7
' ) "! "$ "" "! $
48
' ) "" "! "# "! ) ( & & $ $
& ) "" * "" "" * ( ( & & #
& ( "! * "# ( ' & % #
"!

It shouldn´t happen to a cream (as played by Kenny Burrell)
(rhythm reduced)
Intro: A
3 3 3 3 5 3 5 3 5 6 6 6 6
1 1 1 3 4 8 5
2 2 2 2 4 7 3
0 0 0 2 3 5
3 = barre chord 7 0
3 3 3 3
G7sus C6/9 G9b13 Em7b5 A7b9
3 7 7 77 5
.
1 3 1 3 3 1 3 4 4 44 5 7 6 5
2 2 5 1 1 2 2 5 7 5
2 2 6 1 0 2 0 2 0 3 5 4
4
1 1 1 3 3 4
Fmaj7 maj13 Fm7 Bb7 C6 G7/9 Em7 Ab713b9
1st ending......................................................................... 2nd ending.................................................................
3 4
8 6 5 5 3 4 8 6 5 5 3
5 5 5 5 4 5 5 5 4 5 5 5 5
7 7 4 3 3 7 7 3 3 5 4
5 5 3 3
4 3 5 4
Dm11 Ab7b13 Gsus G7b9b13 Dm11 Dm9 G7/13 C Am7 Ab7
= D7
B
5 5 55 3 3 33 1 1
3 3 5 5 3 6 6 63 4 1 3 1 1
3 5 5 4 3 3 2 3 2 2 2 6 6
3 3 3 3 2 2 0 6 5
5 3 3 4 4
3 4 3 6 5
Gm7 Ab0 Gm7 C7#9/13 F9 C7sus F Bbm A7
= Eb7
7 7 7 7 5 5 5 5
5 5 7 7 5 8 8 85 6 5 6 6 3 3 3 3 3
5 7 7 6 5 5 5 6 5 1
5 5 5 5 3 5 4 3
7 5 5
5 6 5 6 4 3
Am7 Bb0 Am7 D7#9/13 Dm9 Eb7/9 Ab7#11 G7b9
repeat A thru 2nd ending

very last .........
8 8 8 6
9 8 7 6 8 8 8 6
8 7 6 5 8 7 6 5
8 7 6 5 8 7 6 4
7 6 5 4

Have you met Mrs Bones - Chord Melody arrangement
= barre chord
Fmaj F#7dim dim chords moved up
Gm7
subst for D7
C7(9) 13 13b9 Am7(11) Dm7 Gm7(11) C7(9)
Cm7 F7(13) Bbmaj7 Abm7 Db7 Gbmaj7
Em7 A7 Dmaj7 Abm7 Db7b9 Gbmaj7 Gm7 C7 tritone subst
Fmaj7 E7+ Eb6 D7 Gm7 Bb7/13 C7/13
Am7 D7b9/13 Gm7 C7 F6 D7#9 Gm7 C7/9/11

MISTERIOUS
Chord Melody Arrangement audio
backing track
arr. W. Kulawik
Ebmaj7 Bbm7 Eb7/13 Abmaj7
44
' ) ) ) ) '
Q
1
' ) $ ' & ) % )

& ( $ & ' ' ' ' ' & & )
& ) & ) ' & & ) & & & '
' $
' %
3 3
Abm7 Db7 Ebmaj7
Q Q
Cm7 Fm7 Bb7
' ' ' % ' % ' $ % '
5
% % " % ' ) *
% % $ " $ $ ) ( ) "!
% $ " & $ & "! "! "! ' ) "!
$ ) & ' )
' ) "!
3 3 3
1. Gm7 2.
P
C7 Fm7/9 Bb7 Eb6
' ' )
8
) ) ) ) ) % )
"! * ) ( ( & ) "!
) ) ' ' ' &
"! ) '
) '
3 3
Bbm7 Eb7 Abmaj7
P P
Am7
* * * * * "" "# "" * ) ) ) ) ) "! "! "! ) "!
12
* * "" "! ) ) ) "" ) )
"! "! "# "" * ) ) "! * *
) ) "" "! ) ' ( (
3 3 3
D7 Gm7b5 C7b9 Fm7/11 Bb7

"! ) "$ "! ) ' ' ' ' ' $
17
( "& ) ) ' & % $ % $
) "% ) ) ' ' & % & %
( "$ ) ( & & $ $ ' '
3 3
D.C. al 2nd ending

One Note Mamba
backing track
ª
¡ b ÏÏ ª Ï Ï Ï Ï j Ïj Ï ªª Ï Ï Ï nÏj
D‹7 C©7 C‹11 B7(#11)
& b ÏÏ ªª J nbÏÏ ªª J
Ï Ï w
ä# nÏÏ ä# nÏÏ Î ÏÏ ÏÏ ä #ÏÏ w
w
#Ï #Ï Ï Ï nÏ nÏ w
ª j j j ª j j
6 6 6 ä 6 ä 46 Î 6 6 6 ä
¢Ú 5
6 6 6 6 6 6
5 4 4 4 3 2 2
7 6 6 6 6 5 4 4
4 4 4 4 3 2 2
ª
¡ bb ÏÏ ª Ï Ï Ï ä nÏÏ ä nÏÏj Î
j ª j bÏ Ï
nnbÏÏÏ ªªª J
C‹11
& ÏÏ ªª J
D‹7 C©7 B7(#11)
ÏÏ ÏÏ Ï Ï Ï Ï n Ï
ä #ÏÏ úú ú
## ÏÏ ## ÏÏ ÏÏ ÏÏ
nÏ ú
ª j j j ª j j
6 6 6 ä 6 ä 6 Î 6 6 6 ä
6 6
¢Ú 5
6 6 6 6 6 6
5 4 4 4 4 3 2 2
7 6 6 6 6 5 4 4
4 4 4 4 3 2 2
Ï ª
¡ bb ÏÏ ªª J
Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ E¨%
Ï ª
ª Ï Ï Ï Ï úú
Ï ÏÏ ªª J
F‹11 E7(#11) A¨13
# Ï # nÏ n Ï Ï Ï
& nÏ ª ä Ï ä ÏÎ
nJÏ nJÏ
Ï
Ï Ï bÏ ª
ä #ÏÏ úú
# JÏ # ú
ª ª
j j j j j
ä ä 7 Î ä
Ú
6 6 6 6 6 6 6 6 6 6 6 6 6 6
¢
8 7 7 7 6 6 6 6 6
8 7 7 7 7 5 5 5
5 4 4
8 7 7 7 7 6
4 4
ª
¡ bb ÏÏ ª Ï Ï Ï ä nÏÏ ä nÏÏj Î
j b Ï
& ÏÏ ªª J
D‹7 C©7 C‹11 B7(#11)
B¨%
ÏÏ ÏÏ b ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ än nÏÏÏ ·
## ÏÏ ## ÏÏ ÏÏ ÏÏ nÏ Ï nÏ Ï b Ï
JFine
ª j j j j
6 6 6 ä 6 ä 6 Î 6 ä 6
6
¢Ú
5
6
7
4
6
4
6
4
6
6
4
6
6
6
8
8
6
8
8
6
7
8
7
8 5
5
·
5 4 4 4 4
8 8 7 7 6
¡ bb b#w núúú n úúú b w

E¨‹7 A¨13 A¨13(b9) D¨% D¨‹7 G¨13 G¨13(b9) B% C‹11 B7(#11)
w bw bú úú b#w
& w
w
w #ú ú bnw
w
w · b nwnw
w bnbúúú úú b bw
w
w b#úúú nnÏÏÏ Ï
bú ú w b w
#ú ú n w ú nÏ
¢Ú
·
6 6 5 4 4 4 3 2
7 6 6 4 5 4 4 2 7 6 6
6 5 5 3 4 3 3 1 8 8
8 4 4 3 6 2 2 1 8 7
6 4 4 2
4 4 2 2 8 7
D.C al fine

Pent up House
4 different voicings melody + backing track
A‹7 A¨7(#11) GŒ„Š7 A‹7 D9 GŒ„Š7

tritone subst
Ú
1 5
5
5
3
4
5
3
4
4
· 5
5
5 4
5
5
3
4
4
·
5
5 4 3 5 3
9 D‹7 G13 C‹7 F13 A‹11 A¨7(#11) G%

tritone subst
·
Ú
6 5 4 3 3 3 3
5 4 3 2 5 5 2
7 3 5 1 5 4 2
5 3
3 1 5 4 3
17 A‹7 A¨7(#9) GŒ„Š9 A‹9 D7(b9) GŒ„Š7

tritone subst
7 7 7
· ·
Ú
12 12 10 8 7 7
2 10
12
12
11
10
11
9
10
11 9
10
9
10
7
9
10
25 D‹11 D¨7(#11) C‹7 B7(#11) A‹7 D7(#9) GŒ„Š7

tritone subst tritone subst
·
Ú
8 8 8 6 5 6 7
10 10 8 8 5 5 4
10 9 8 7 5 4 5
5
10 9 8 7 5 3
33 A‹9 D9 GŒ„Š9 G6 A‹11 D9 G% G6

drop2 block chords:
7 5 5 3 10 10 10 7
Ú
3 5
5
5 4
5
5
3
4
4 2
3
4
8
7
9
7
7
9
10
9
9
5
5
7
41 D‹7 D‹11 D‹7 D‹7 C‹7 C‹11 C‹7 C‹7 A‹7 D13 G%
5 8 3 6 5 7 10
Ú
5
6
7
5
8
7
3
3
5
6
7
7
3
4
5
3
6
5
1
1
3
4
5
5
5
5
5 4
5
5
10
9
9
·
5 5 3 3
49 A‹9 A‹7 A‹11 D¨7 G% A‹9 D7 A‹7 D7 GŒ„Š9

7 5 10 10 10
·
Ú
5 5 8 9 10 12 10 8 7 10 8
4 5
5
5
5 7
9
8
10 9
9 10
12 11
10
9
10
9
10 9
11 9
10
57 D‹11 D‹7 D‹9 G7 C‹7 C‹11 C‹7 C‹7 A‹9 D7b913 G9

3 6 7 7 10
·
Ú
8 6 5 3 4 6 1 4 5 4 10
5 5 5 4 3 3 3 5 5 5 11
7 7 3 3 5 5 1 5 5 4 9
5 5 3 3

Gratin Doll
A e e e e e q.. q q e e e e e
o o o
5 3 5 3 5 5 3 5 7 5 7 5 7
6 6 6 6 6 6 6 6 8 8 8 8 8
5 4 5 4 5 5 4 5 7 6 7 6 7
Dm7 G7 Dm G7 Em7 A7
q.. q q q.. q q q.. q e e q q q.. e h

o o o
7 5 7 10 8 10 6 4 6 3 3
8 8 8 8 8 8 4 4 4 3 3 6 8 8
7 6 7 9 9 9 4 4 4 2 2 5 7 6
7 7 7 4 3 3 2 2 7 8 8
5 7 7
Em7 A7 Am7/11 Am7 Abm7/9 G7b13#9 C6/9 Dm Em7b5 A7b9
B e e e e ee e e e e e e ee e e
8 6 5 3 3 5 6 8 8 6 5 3 3 5 6 8 8
6 3 6 3 3 3 6 6 6 3 6 3 3 3 6 8 8
7 7 3 3 3 3 7 7 7 7 3 3 3 3 7 7 7
5 5 3 3 3 3 5 5 5 5 3 3 3 3 5 7 7
Gminor block chords down + up F6/9
e e e e ee e e e e e e ee e e
10 8 7 5 5 7 8 10 10 8 7 5 5 7 8 10
9 8 6 5 5 6 8 9 9 8 6 5 5 6 8 8
10 9 7 5 5 7 9 10 10 9 7 5 5 7 9 7
9 7 6 5 5 6 7 9 9 7 6 5 5 6 7 9
7
Aminor block chords down + up Em7 A7 Dm7 G7
Voicings: (watch rhythmic patterns!)

A q.. e h
q.. e h q.. q e e w
o
q.. e h eeee q q eeee q q
7 5 6 4 4 3 3
5 3 5 3 3 7 5 7 5 5 5 5 4 4 4 3 3
5 4 5 4 4 7 6 7 6 6 5 5 4 4 4 2 2
3 3 3 3 3 5 5 5 5 5 5 4 4 3 3 2 2
(5) (5)
(3) ( 3) (3)
Dm9 G7 Dm9 G7 Em9 A7 Em9 A7 Am9 D7/9 Abm9 Db7/9 C6/9
option: root omitted
= G7b13b9
h
12 10
q q q e
12 12
e h h
10 14
q q
12
q e e h h
14 14 12
h h h w
10 10 10 10 10 12 11 12 12 11 12 12 11 11 8
10 10 10 10 10 12 12 12 12 12 12 11 11 10 7
10 9 10 10 9 12 11 12 12 11 10 10 9 9
(12) (11) (10) 77
(10) (8)
Dm9 G7/9 Em9 Db7dim Am9 D7/13 Abm9 G7#9 C6/9
=A7b9
B h h hq.. e w w h h h q.. e w h h
5 3 8 8 8 12 7 5 10 10 10 8
3 3 6 5 8 10 12 5 5 8 9 10 10 6
3 3 7 7 7 5 5 9 10 9 7 6
3 3 5 5 7 10 5 5 7 8 9 8 5
7
Gm block C9 F6/9 Fmaj9 Am block G6/9 Em7b5 A7alt
e e e e e e e e q.. w
o
q.. e h q.. e h q.. e h q.. e h 7 5 7 10
3 3 3 3 5 5 5 5 6 4 6 4 6 3
1 0 1 0 3 2 3 2 5 8 4 4 3
2 2 2 2 4 4 4 4 5 9 4 4 2
3 3 3 3 5 5 5 5 5 7 4 3 2
Dm7/11 G7/9 Em7/11 A7/9 Am9 Am11 Abm9 Db7/9 C6/9

Ella by barlight
audio
backing track
búú ªª
arr. W. Kulawik
¡ bÏ w Ï Ï ÏÏ b ÏÏ b ww
ú ª
Ï
& Î Î Î bw
w b#ÏÏ ÏÏ ÏÏ b w
w Ï nw nú ª
ª
E‹7(b5) A7(b9) C‹11 B7(#11)
Î Î Î
5 6
¢Ú
11 10 10 8 6 6 6 6 6
7 6 6 6 8 8
8 8 5 5 8 7
7 7
8 7
¡ bnw nÏÏ ÏÏ ÏÏ Ï
6
w ú
& #ww #Ï Ï Ï nbbw
w
w #búúú úú
bÏ #ú ú
F9 B¨13 E¨ A¨9
¢Ú
8 8 6 6 8
8 7 7 7 3 3 5
6 6 6 6 5 4 4
8 6 3 3
6 4 4
¡ bÏ Ïª
nÏÏ ªª Ï úú úú nú
10
ÏÏ nÏÏ Ï búú #ÏÏ nÏ #
# ú b úú
& bbÏÏ Ïª
J ú b ú
Ï b ÏÏ Ï nnÏÏ nú Ï ú bú
ª j
B¨Œ„Š7 E‹7(b5) A7(b9) D‹7 B¨‹7 E¨7
¢Ú
5 8 6 6 6 8
8 7 5 3 7 6 5 5 6 6
8 7 5 3 8 8 7 7 6 8
6 5 7 7 5 5 6
8 6 5 3 6
Ï ª nÏ ú ú ªª
¡ b ÏÏÏ nnÏÏÏ ÏÏ bÏÏ ªª J
Ï
ú ÏÏ b ÏÏ b úú ª
Ïª úª
ÏÏ # ÏÏ
14
& nÏ Ï nbÏÏ Ï búú #ÏÏ ÏÏ Ï

Ï ú
ª10 ª8
FŒ„Š7 E‹7(b5) A7(b9) Am7b5(11)
j D7(b9)
5 6 8 8 10
¢Ú
11 10 8 6 8 6 5 8 7 7
10 9 7 5 7 6 6 8 8 8
12 10 8 7 8 5 5 7 7 7
10 8 7 5 7

b ÏÏ ªª b ÏÏ Ï Ï b w
¡ #ÏÏ ªª
ÏÏ úú w bb ÏÏÏ ÏÏ Ï Ï
18
Ï ú Ï w
& Ï ú î #Ï nw Î Ï bbÏÏ
J
3 3
ª j
G& 3 C11 3
Î
11 11 11 11 11 10 13 11 10 8
¢Ú
î
12 12 12 12 11 11 8 11
12 12 12 12 12 12 8
11 11 11 11 10 10 8
Ïª Ïª úª
¡ b#ÏÏÏ ªªª nÏÏ ªª
Ï ú Ï Ï ú
#ÏÏ bnÏÏÏ ÏÏÏ bÏ
Ïª
22
J b
Î Ï Ï #Ï J
&
ª
j ª j
ª
B¨9
A¨7(#11)
Î
10 10 10 8 6 5 8 8 8 8
¢Ú
11 7 6 4 6 11
11 8 7 5 7
10 7 5 4 7
¡ bw Ï Ï ÏÏ b ÏÏ w ÏÏ Ï Ï bÏ
26
w #
b ÏÏ ÏÏ ÏÏ
& w
w Ï #w
n w
w #ÏÏ
E‹7(b5) A7(b9) D‹7(b5) G7(b9)
5 6
¢Ú
10 10 8 6 5 6 6 6 6 4
7 6 6 6 5 4
8 8 5 5 6 6
7 7 5 5
¡ b #ÏÏ ªªª Ï ú b#ÏÏ Ï nÏ w

30
& b Ïª J Ï w
w
Ï nÏ
bw
ª j
C‹7(b5) F7(b9) B¨Œ„Š7
¢Ú
7 7 7 7 7 6 6
8 8 7
8 7 7
8
8 6

When heights are low (as played by Kenny Burrell)
.
3 5
3 5 5 5 5 5 5 8 5 5 5 5 5
A 2
4
3
5
5
7
5
7
3
5
3
5
5
7
3
5
5
7
5
7
7
5
= barre chord 7
C9 Dm9 Em7 Dm9 Em7 Dm9 Em7 Am7 arp
1st ending 2nd ending

. .
3 5 2
5 55 5 5 6 5 5 1 5 3 1 1 4
5 4 5 5 6 5 2 2 2 3
3 3 6 6 5 4 3 2 3 2
5 5 3
3
Dm11 G7/13 Bb7#11 A7b13 Ab7b13b9 Gsus C6 G11 C7#9#11
.
8 5 5 5 5 5 5 8 5 5 5 5 10
8 3 5 5 6 6 8 3 4 5 5 10
B 7
7
3
3
5
5
5
5
5 5
5 5
7
7
3
3
4
4
5
5
5
5 12
10
F6/9 Gm9 Am7 F/G F6/9 Gm9 Am7 Dm arp
. . .
8 5 5 5 5 6 5 5 1 5 3 1
6 3 6 6 4 4 5 3 5 6 7
7 3 5 5 5 5 4 3 4 5 6
5 3 5 5 4 4 3 4 5 6
3
Gm11 Gm9 F/G D7b9b13 G7/13 C7sus (Fmaj)
repeat A thru 1st ending
original changes ( key of Cmajor):
I Cmaj Dm7 I Em7 Dm7 I Cmaj7 Dm7 I Em7 A7 I

I Dm7 G7 I Bb7#11 A7 I Dm7 G7 I Cmaj I
I Fmaj7 Gm7 I Am7 Gm7 I Fmaj7 Gm7 I Am7 D7 I
I Gm7 C7 I Eb7#11 D7 I Gm7 C7 I Fmaj G7 I

Yardbird Sweet
chord arrangement
      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7
   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
   
D‹7 G7 E‹7 A7 D‹7 G7
5
    6 10 

5 5 3 3 5 6 8 8 8 5 6 8 8 8 8
5 5 4 7 5 4
3 3 9 8 7 6
7 6 5 4
substitution: E¨7(#11) D¨7(#11)
      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7
9
   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
     10
D‹7 G7 CŒ„Š7 B7(#9)

13
 

3
 
5 5 3 4 5 5 8
5 5 4 5 5 8
3 3 7
  
E‹7 F©‹7(b5) B7(b9) E‹7 A7
17
  

5 6 6 5
8 8 10 10 10 7 8 7 8 10 8 7 5 8 8
7 9 11 9 8 9 7 6
9 5 7 10 10
7 7 9 9 9
 

D‹7 E‹7(b5) A7(b9) D‹7 G7
21   
  

5

6 5 6 8 8 6 8 6 5 5 6 8 8
7 7 7 7 7
2 3 5 8 2 3 5 5
5 7 5
      
CŒ„Š7 F‹7 B¨7 CŒ„Š7 B¨7 A7
25
   

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
   
D‹7 G7 3
29 CŒ„Š7 D‹7 G7
 


5 5
5 3
5 4 7
3 3 7 9 10 10 10
10 10

Satin Doll Solo Example
Dm7 G7

Dm7 G7 Em7 A7 Em7 A7
           

3

    
3
3 3
   
5

2 5 4 2 5 4 4 7 6 4 7 6
3 3 5 5 5
5 5 7 7
Dm7 3rd of Em7 3rd of

arpeggio Dom7 chord arpeggio Dom7 chord
Am7 D7 A¨m7 D¨7 C Dm7 Em7 A7

 
5
                     
 
intervals: 1 2 b3 4 5 b3 2 1 1 2 b3 4 5 b3 2 1
 

5 4
4 5 7 5 4 3 4 6 4 3
7 7 6 6 5 2 3 4 5 2
3
Am = D7 Abm = Db7
scale mixolyd. scale mixolyd.
Em7
         
Dm7 G7 Dm7 G7 Em7 A7 A7
   
9
      
 
intervals: 2 b3 5 b7 9 b3 9 8 3 3
9 11 same intervals
 
on E-minor
3 3
3 5

5 6 5 3 5 6 5 3 5 7 8 7 5 7 8 7 5 7
2 5 4 7
2 3 4 5
Dm7/9/11=Fmaj9 Em7/9/11=Gmaj9
arpeggio starting on 3rd arpeggio starting on 3rd
       
13 Am7 D7 A¨m7 D¨7 C
 
            

   
3
intervals: 5 b3 1 b7 3 8
  3
3 7 7 3

5 4 5 5
5 7 4 6 3 4 4 5 5 4
7 5 4 6 4 3 7
Am7 Abm7 Cmaj7

arp. arp. arp.
down down


17 Gm7 C7 F F

                
 
  
  

3
2 3 5 3 2 5 4 3 5 2 2
5 5 7
3 3
Gm chromatic approach
scale
21 Am7 D7 G

             
 



 7
4 5 7
5
5 4
7
7 6 5 7 4 4 
5 5
Am same as above

scale

                    
25 Dm7 G7 Dm7 G7 Em7 A7 Em7 A7
   
   
5 7

5 6 8 6 5 8 7 8 10 8 7 5 10
7 7 6 5 4 9 8 7 6
7 6 9 8
chromatic chromatic
thirds thirds
     
A¨m7 D¨7 C
                    
29
Am7 D7
  
3 3
intervals: 9 b3 9 b9 8 b7 5 b3
3 3
7 8 7 6 5 6 7 6 4 6 4 3 3 3 3


8 5 4 5 4 5 5
5
5 5
Am dorian G half tone

+passing notes whole tone

Click on No.1 or No.5
Each row is played twice.

Klicke auf die 1 oder die 5 - jede Reihe wird 2 mal abgespielt:



Patterns for comping 1
Here you will find 18 one-bar patterns for comping. You can combine them as you like, but before you
do that you should improve and train your rhythmic reading by playing along with the playback, until
all accents are in the right place.
backing track
44 ÇÇ ÇÇ . ÇÇ · ÇÇ ÇÇ . ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ ·
1
2
& úÇ öÇ j öÇ l l úÇ öÇ j
===================== öÇ l Ó{ úÇ öÇ Çö öÇ l l úÇ öÇ öÇ öÇ l =Ó{
ÇÇúÇ ÇÇöÇ ÇÇÇö ä ÇÇöÇ · ÇÇúÇ ÇÇöÇ öÇÇÇ ä ÇÇöÇ · ÇÇúÇ ÇÇöÇ . ÇÇj ÇÇúÇ ÇÇöÇ . ÇÇj
3
· · Ó{
4
=====================
& l l l Ó{ ö
Ç l l öÇ l =
ÇÇöÇ . ÇÇÇö ÇÇÇ . ÇÇj Ç Ç Ç Ç ÇÇöÇ ÇÇöÇ ÇÇöÇ . ÇÇj ÇÇöÇ ÇÇöÇ ÇÇöÇ . ÇÇj
5
· Ç . Ç ÇÇ . Çj · ·
6
jö
=====================
& Ç
ö l l Ç
ö Ç
ö
jö Ç
ö l Ó{ Ç
ö l l öÇ l =Ó{
7
ÇÇ ÇÇ Î ÇÇ ÇÇ · 8ÇÇ ÇÇ Î . ÇÇ 9
ÇÇ ÇÇ ÇÇ ä ÇÇ · 10ÇÇ ÇÇ ÇÇ Î ä ÇÇ ·
& öÇ öÇ Çö öÇ l Ó{ öÇ öÇ
===================== öÇ l · Ó{ öÇ öÇ öÇ j
j öÇ l Ó{ öÇ Çö öÇ öÇ l =Ó{
j
ÇÇ ÇÇ ÇÇ ä ÇÇ ä ÇÇ · 12ÇÇ ÇÇ ä ÇÇ Î . ÇÇ · 13ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ · 14ÇÇ ÇÇ ÇÇ ÇÇ ä ÇÇ ·

11
& öÇ Çö öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ j
===================== öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ j
öÇ l =Ó{
ÇÇ ä Î ä ÇÇ ä ÇÇ · ÇÇ ÇÇ äÇÇ ä ÇÇ ä ÇÇ · ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ · 18ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ·
15 16 17
& jöÇ öÇ Çö l Ó{ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ öÇ l Ó{ öÇ öÇ öÇ öÇ öÇ öÇ l =Ó{

=====================

EDU Satterns : (
backing track
B b7 F#m7
ÇÇ ÇÇ ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ
Em7 A7 Dmaj7 Em7 Fm7
& öÇ öÇ j öÇ j öÇ l öÇ j
==================== öÇ úÇ l öÇ öÇ Çö öÇ j öÇ j öÇ l öÇ j
öÇ úÇ =Ó
A7/b13 F#m7
ÇÇúÇ ÇÇöÇ . ÇÇj ÇÇöÇ . ÇÇj ÇÇöÇ ÇÇö ÇÇö . ÇÇj ÇÇúÇ ä e ä ÇÇjöÇÇÇ ÇÇö
Em7 A7/13 Dmaj7/9 Fm7
ö
Ç
====================
& l ö
Ç Ç l Ç ö
Ç l ö
Ç Ç=Ó
Bb7/13 F#m7
ÇÇ ä ÇÇ ä ÇÇ ÇÇ ÇÇ . ÇÇ ä ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ î
Em7 A7/13 Dmaj7 Em7 Fm7
ú
Ç ö
j
Ç ö
j
Ç ú
Ç
====================
& l öÇ j öÇ l j
öÇ jööÇ Ç öÇ l öÇ öÇ Çö öÇ =Ó
ÇÇúÇ ÇÇöÇ ÇÇöÇ Î ÇÇöÇ ä ÇÇ Î ÇÇ ÇÇúÇ ÇÇöÇ ÇÇöÇ Î ÇÇöÇ . ÇÇöÇ Î ÇÇ

Am7 D7/9 Gmaj7 Am7
====================
& l öÇ öÇ l
j l j öÇ=Ó
Bb7/13 Eb E Fmaj7
ÇÇ ÇÇ ÇÇ Î ÇÇ . ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Î . ÇÇ î
F7/9 E Fmaj7
& úÇ öÇ öÇ l öÇ j
====================öÇ j öÇ öÇ öÇ l úÇ öÇ öÇ öÇ l öÇ
j =Ó
Bb7/13 A7/13 F#m7
ÇÇ ÇÇ Î ä ÇÇ ä ÇÇ ÇÇ . ÇÇ ÇÇ î ÇÇ ÇÇ . ÇÇ î
Em7/9 Dmaj7 Em7 Em7
& öÇ öÇ öÇ j
j öÇ l úÇ
==================== öÇ öÇ l úÇ l öÇ j öÇ =Ó
Gb7/#9 Gb
ÇÇ ÇÇ . ÇÇ ÇÇ ä ä ÇÇ î ÇÇ ÇÇ ÇÇ ÇÇ î
Gm7/9 Fmaj7 F E F
Ç
ú Ç
ö Ç
ö
j Ç
ú e
====================
& l Ç
ö
j l Ç
ú l öÇ Çö öÇ =Ó
D7/#9
ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ Î . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ î
F7/9 Gm7 C7/9/11
& úÇ öÇ Çö öÇ l öÇ j
==================== öÇ öÇ l öÇ j
j öÇ öÇ j öÇ l öÇ j
öÇ =l

Bossa - Patterns :
ÇÇöÇ ä ÇÇj
ö î ÇÇÇ ÇÇ ÇÇ ÇÇ î ÇÇöÇ ä ÇÇj î ÇÇöÇ ä ÇÇj Î ÇÇÇ ÇÇ
Ç ö
====================
& l Ç
ö Ç
ö Ç
ö l ö
Ç l ö
Ç ö=öÇ l
ÇÇ ÇÇ ä ÇÇ ä ÇÇ Î ÇÇ ÇÇ ÇÇ ÇÇ . Î =l
& ú
Ç ö
Ç ö
j
Ç l ö
j
Ç
==================== ö
Ç Ç
ö Ç
ö l w l úÇ
ÇÇ . ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ .. ÇÇ
& úÇ öÇ öÇ l öÇ j
==================== öÇ öÇ j öÇ l úÇ öÇ öÇ l úÇ öÇ=l
j
ÇÇ . ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ î
ö
Ç ö
j
Ç ú
Ç l ú
Ç ö
Ç
====================
& Ç
ö öÇ l w l öÇ öÇ =l
ÇÇ . ÇÇ ÇÇ ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ î ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
& öÇ j öÇ úÇ l öÇ j
==================== öÇ öÇ öÇ Çö l öÇ j
öÇ l öÇ öÇ öÇ Çö = öÇ l
ÇÇúÇ Î ä ÇÇj Î ä ÇÇj Î ÇÇ ÇÇ ÇÇ . Î l · =l

ö
Ç
====================
& l ö
Ç öÇ öÇ l úÇ
ÇÇ ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ ÇÇ . ÇÇ ÇÇ ä ÇÇ ·
.
& öÇ j öÇ úÇ l öÇ j
==================== öÇ úÇ l öÇ j öÇ öÇ j öÇ l =l
ÇÇö . ÇÇj î ÇÇ ÇÇ ÇÇ ÇÇö ÇÇ ÇÇ ÇÇö Î î

Ç ö
Ç Ç
ö
====================
& l Ç
ö ö
Ç Ç Ç
ö Ç
ö l w l Ç =l

PATTERNS
On the following pages you will come upon II-V-I patterns derived from the major scale.
They are based upon the six fingerings of the major scale (see p 10) and mainly use the
diatonic material of the scale.
Some passing tones and alterations are used to make them sound more interesting. It is
important to keep to the orinal fingerings and to stay in the indicated position.
The patterns always start in Aminor7. The tonal material used is always
the Gmajor scale (ionian). So you could think "why not always play the
scale up and down if the notes are the same?"
The answer is: the notes are the same, but the tonal focus is different.
In A minor the focus lies on the 2nd, 4th and 6th tone of the G major scale
whereas in D7 the focus lies on the 5th, 7th and 9th tone of the G major scale.
So it is very important to play along these chordal tones, otherwise it sounds
weird and unharmonical.
ionian
dorian mixolydian

G maj Scale ( 1. Position)
1 2 4
2 4
Position
1 3 4
1
1 3 4
G-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
dorian mixolydian
1 2 4 1 2 4
2 4 2 4
1 3 4 1 3 4
1 3 4 1 3 4
1 2 4 4
4
1 2 3 4 5 6 1 2 3 4 5 6
First be sure to practise the dorian and mixolydian modes in the first position
before practising the patterns.

1 3 4
1 3 4
Position
1 2 4
2
1 2 4
G-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
dorian mixolydian
1 3 4 1 3 4
1 3 4 1 3 4
1 2 4 1 2 4
1 2 4 1 2 4
1 2 4 2 4
2 4
1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9

1 2 4
1 2 4
Position
1 3
3
G-major 1 3 4
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
dorian mixolydian
1 2 4 1 2 4
1 2 4 1 2 4
1 3 1 3
1 3 4 1 3 4
1 3 4
4
6 7 8 9 10 11 12 6 7 8 9 10 11 12

C maj Scale ( 4. Position )
1 2 4
1 3 4
Position
1 3 4
4
1 2 4
C-major
1 2 4
1 2 4
1 2 3 4 5 6 7 8
dorian mixolydian
1 2 4 1 2 4
2 4 2 4
1 3 4 1 3 4
1 2 4 1 2 4
4 1 2 4
2 4
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

C maj Scale ( 5. Position )
1 3 4
1 2 4
Position
1 2 4
5
C-major 1 4
1 3 4
4
1 2 3 4 5 6 7 8
dorian mixolydian
1 3 4 1 3 4
1 2 4 1 2 4
1 2 4 1 2 4
1 4 1 4
1 3 4
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

ÇÇÇ ÇÇÇ ÇÇöÇ ÇÇöÇ bÏÈÈ ÏÈÈ ÏÈ ÏÈÈ bÏÈÈ ÏÈ úÈÈ
F7
ö Ç ö Ç È È È Ï
È
È È ÈÈ ÈÈ l È
È È È bÏ
È
È È È È
È
l=========================
& l ll
§
ê
l l l ll
l A 5 7 5 7 8 7 5 7 l 10 8 10 8 8
T
l ll
lB l l ll
B7(#9)
Ï
È Ï
È Ï
È Ï
È Ï
È Ï
È
È bÏÈÈ ÏÈÈ ÈÏ ÈÏ ÏÈ ÈÈÏ bÏÈÈ Ï#Ï
ÈÈÈ ÈÈÈ nÏÈÈ ÏÈÈ ÏÈÈ ÏÈ úÈ
È
& #ÏÈÈÈ ÈÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈÈ ÏÈÈÈÈ #ÏÈÈÈ ÈÈ ÈÈ ÈÈ È ÈÈ ÈÈ ÈÈÈ ÈÈ l È È È È È ÈÈ ÈÈ ÈÈ ÈÈ
È Ï È
l========================= Ï
È È È È È l ll
§
È
ê
l l l ll
l A 6 7 9 10 9 7 6 4 5 7 8 7 5 4 7 l
T 3 4 6 7 6 4 3 3
l ll
lB l l ll
5
9
b
È b È
_
Ï ÏÈÈÈ _ÏÈ È __ÏÈÈ b_ÈÏÈ _ÏÈ G7(ÈÏ 9)
_
_
#
Ï Ï
ÈÈÏ bÏÈÈÈ ÈÈÈÏ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÏÈÈ ÈÈ ÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈ ÏÈÈ bÏÈ nÏÈ bÏÈÈ nÏÈÈ bÏÈÈ ÏÈ bÏÈ bÏÈ
Dm7( 5) Cm7
& È £ È £
l========================= £ £ l £ È È ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ ÈÈÈ ÈÈ l w Ó
§
£
ê
l l l Ó
lA l 7 10 9 9 7 8 9 11 12 11 9 8 l Ó
10 8
T 7 8 10 8 9 9 8 11 9 8
lB l l Ó
10
11 10

round Midfright as played by Wes Montgomery
This is probably the best chord solo played by Wes Montgomery. I transcribed the bridge of the
chorus, because here you can find all the typical elements of his block chord playing.
Ïª b Ï3
audio
io
¡ b ÏÏ ªª n nÏÏ nbb ÏÏÏ nb ÏÏ

Ï
Å nÏ ª ä b Ï
b ÏÏ Ï nÏ Ï Ï Ï Ï n b ÏÏ
b b bÏ b Ï ä Ån ÏÏ nÏÏ ÏÏ ÏÏ n ÏÏ bÏ
& b b b nÏ Ï nb ÏÏ n Ï bÏÏ Ï Ï Î äÅ bÏ
R J nÏ
R R
jª
G¨‹7 D¨7(b9) G¨‹7 D¨7(b9) G¨‹7 F‹11 B¨9
r 3
r r
9 9 7 5 4 2 5 6 6 6 6 5
¢Ú
7
9 Å 7
9 ä 6
7
5
6
3
4
2
2 äÅ 3
4
4 4
5 5
4
5
3
5 Î ä Å 56
7 7 6 4 3 2 5 6 6 6 6 4
alternating diminished chords as subst for 7b9 chord
¡ b b b Å n nÏÏ b ÏÏ
bÏ Ï
b Ï bÏ Ï bÏ
b ÏÏ nÏ
n ÏÏ nb ÏÏ
4
b ÏÏ Ï
b Ï nÏ n
n ÏÏ b ÏÏ Ï
ä Å
n ÏÏ
& b b b Ï nÏ bÏ nÏ bÏ Ï bÏ
R
G¨‹7 B7(b9) G¨‹7 B13
r
7 9 12 11 7 9 5 7 8
¢Ú
Å 6
7
7
9
11
12
10
11
6
7
7
9
5
6 8
9 ä Å 6
8
6 7 11 10 6 7 4 7 6
alternating diminished chords as subst for 7b9 chord
¡ Ï b ÏÏ b ÏÏ
5 Ï Ï Ï Ï Ï
b b ÏÏ ÏÏ b ÏÏ ÏÏ nÏÏ nÏ ÏÏ ÏÏ Ï b Ï b ÏÏ ÏÏ Ï Ï ÏÏ
b nÏ Å bn ÏÏ nÏÏ Ï
& b b Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï
F‹7 B¨7 E¨7
8 8 3 6 9 8 6
¢Ú
6
8
6
8 9
11
8
9 8
8
6
7
4
5
3
5 Å 2
4
3
5 2
3
5
6
8
9
7
8
5
6
6 6 11 10 6 6 6 6 4 5 2 5 8 7 5
dim chords again

¡ b b ÏÏ nÏ ª
Ï nÏ Ï bÏ Ï
ÏÏ ªª
6 bÏ b ÏÏ Ï Ï
b ÏÏ ÏÏ b ÏÏ Ï b ÏÏ
n ÏÏ ÏÏ bnÏÏ
bÏ nÏ Ï Ï bÏ
& b b b bÏ nÏ bÏ ä Ï nÏÏ
ª
A¨‹7 D¨7
7 11 6 4 13 13 12 11
¢Ú
7
8
9
11
5
6
4
4 ä 7
8 3
5
4
6 10
11
10
11
10
11
9
10
6 9 5 4 6 5 6 10 10 10 9
¡ b b ÏÏ b Ï ÏÏ Ï
ªä b ÏÏ bnÏÏ
7 Ï 3Ï
Ï bÏ Ï Ï nb ÏÏ n n ÏÏ Ïn Ï
b ÏÏ
n ÏÏ Ï ÏÏ ÏÏ Ï Ï nÏÏ Ï Ï ÏÏ Ï Ï b ÏÏ
Ï nÏ ÏÏ Å b Ï
& b b b Ï ä Ï nÏ n Ï Ï Ï Î n Ï nÏ Ï Ïb Ï Ï
R nÏ
R
G¨Œ„Š7 G¨7 B7 A¨‹7 D¨13 G‹7 C7
3
r r
äª
9 9 6 7 11 11 6 8 10 6 5 3 5
¢Ú
9
10 ä 8 5
9 6
7
8
7 7
8 8 Î 7 11 11
8 10 10
6 7
7 8
8
10
6
7
4
5
3
3 Å 5
6
8 8 5 7 7 7 6 9 9 5 7 8 5 4 3 4
II-V progression chromatically down ............................
¡ b b b Å Ï Ï bÏ Ï Ï n nÏÏ Ï ÏÏÏ bb bÏÏÏ ÏÏ nÏÏÏ nÏÏ ÏÏ bb ÏÏ nÏÏÏ

bÏ Ï bÏ nÏ Ï nÏ
9 ÏÏ bn ÏÏ b Ï Ï Ï bÏ w
n Ï n w
w
& b b nÏ Ï Ï b Ï nÏ bÏ n Ï Ï Ï n Ï b Ï w
G¨‹7 B7 F‹7 B¨7 E¨‹%
12 11 9 10 11 8 7 6 6
¢Ú
Å 11 10
12 11
9
9
9
9
7
8
6
7
7
8
8
10 11 8 8
99 6 8
8
6 7 6
7 6 5 5
6
11 10 7 7 7 6 7 8 9 6 10 6 6 5 4 4
8
II-V progression chromatically down ............................................................................................

Rhythm Changes Solo 1
                     
Bbmaj G7 Cm7 F7 Bbmaj G7 Cm7 F7
      
       
Bb-major-scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
   

6 6 7 8 5 6
7 8 8 7 7 7 8 5 5 8
           Cm7
  F7 
5 Fm7 Bb7 Ebmaj7 Ebm7 Dm7 G7
       

Eb-major-scale . . . . . . . . . . . . . . . . . . . . . . .Bb-Blues . . . . F7 alteriert ......................

6 9 7 9 7 6
7 8 7 5 6 7 8 9 6 8
8 6 5 5 8 8
8 6 8
       F7  
Bbmaj Cm7 F7 Cm7Bbmaj G7
 
9 G7
      
   

Bb-major-scale . . . . . . . . . . . . . . . . . . . . . . . Dm7-Arp...... G7mixo ......

Cm7/9-Arp...................
3 6 10 9

6 3 6 4 6
7 8 7 8 2 5 4 5
3
8 8 5
 
     Bb7
     
Fm7 Ebmaj7 Ebm7 Cm7 F7 Bb
        
13
 
 
F-dor (Eb-major) . . . . . . . . . . . . . . . . . . . . . . . Cm7.... .......F7/b9......... Bbmaj


11 9 8 7 7 6
10 8 7 7 8 10 8 7
10 8 8 10
11 10 8 6
                
  
17 D7 G7
         
 
D7mixo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G7mixo (D-dor) . . . . . . . . . . . . . . . . . . . . . . .
 
5 5 8 7 5

7 7 5 6 8 6 5
7 6 5 5 7 5 7 5 4 4 5 6 7 7
7 5 4

               
C7   F7

  
21
     
 
3

C7mixo=Gm-dor . . . . . . . . . . . . . . . . . . Cm7 (Cm-dor) . . . . . . . .. . Quarten in Terzen abwärts
 3
 
5 8 5 6 6 10 7

6 8 10 7 9 6
7 7 7 8 8 5
5 8 5 8
5 6
       
Bbmaj G7 Cm7 F7 Bbmaj G7 Cm7 F7
   
25
     

Bbmaj-scale mit chrom.......


6 5 6
7 6 7 8 7 8 5 7
5 8 7
8
           
29 Fm7 Bb7 Ebmaj7 Ebm7 Cm7 F7 Bb
       
Ebmaj-scale mit Arp . . . . . . . . . . . . . . . . . . . . . . . . Bbmaj-scale in Terzen.......

6 8
5 8 7 5
8 6 5 8
7
6
8
6
7 8 5 7 5
8


Rhythm Changes advanced solo
W. Kulawik 2007
F7
b Ï Ï
F7
Ï Ï Ï . Ï Ï Ï
•J Î ä J
Bb G7 Cm7 Bb G7 Cm7 3
& b Î Î bÏnÏ bÏnÏ ÏJ Ï. Ï Ï Ï Ï Ï ÏÏÏ Ï Ï

3 3 3
.
•7J
Î Î 6 6 8 6 6 Î ä
6 7 6 7 7
J 8. 5 J
7 8 7 8 8 7
8 7 8 8
5
3 3 3 3
Fm7 Bb7 Ebmaj Ebm7

.
Ï
Dm7
.
G7
Ï
& b • ÏJ• Ï Ïj bÏ Ï Ï
b ä ÏJ Ï ä ÏJ ä ÏJ. nÏ Ï Ï
5
Ï Ï Î
• J• 7
Î ä 6 ä ä
7 7 5
J
7 8
J
7
J
7 10
J
8 5 10 9 10
. . .
8 9
ä Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï
Cm7 F7 F7
b Ï Ï Ï bÏ
8 Bb G7 Cm7
& b Ï bÏ Ï Ï Ï ÏP î J 3 3
3
î ä 6 6
8P
8 7 5 6 6 8 6 8 8
8 7
9 8
11 10
J
8 8
3 3 3
b•Ï Ï Ï Ï Ï Ï nÏ Ï Ï nÏ
•
Fm7 Bb7
b
11 Bb G7 Cm7
bÏ Ï nÏ ÏbÏ
F7
&b ÏnÏ Ï Ï Ï Ï Î ä J bÏ Ï Ï
•9
• ä ä ä 6J
6 6 5
8 6 8 7 7 5 4
8 8 6 8 8 6 5
8 7 6 5 8
Ï ¾ Ï ¾ nÏ Ï Ï bÏ
Ebmaj F7Ebm7 Bbmaj7 Cm7
b Ï Ï
14
Ï bÏ nÏ bÏ nÏ Ï Ï Î Î
& b Ï Ï Ï Ï bÏ Ï Ï
6 ¾ 6 ¾ Î Î
7 8 7 6
5 8 7 8 6 7 6 7
5 8 6 8 8 8
6 8

b Ï Ï
Am7
nÏ Ï#Ï Ï ÏbÏ Ï nÏ
D7
nÏ
Ï bÏ nÏ Ï Ï nÏ Ï nÏ ÏbÏ nÏ ÏbÏ#Ï Ï. Ï Ï Ï
17
&b
5
8 5 6 7 5
7 6 5 4 4 5 7
5
5 4 7
. 7 5 7
7 6 7 7 6 5 4
7 6
Ï Ï Ï Ï Ï nÏ Ï Ï
Ï #ÏnÏ ÏnÏbÏnÏ Ï Ï Ï
G7
b nÏ Ï ÏbÏnÏ Ï Ï Ï Ï Ï Ï ÏnÏ
19
& b Ï
5 8 5 6 7 5
5 6 8 8 7 6 5 5 6 8
4 4 5 6 7 5 4 4 5 7 7 6 7
7 5 7
& b •J
Ï Ï Ï bÏ Ï. Ï
• ÏJ Ï Ï #Ï nÏ nÏ Ï. Ï. Ï
Gm7 C7
b
21 3
Ï Ï Ï bÏ nÏ
Ï Ï bÏ
•J
3
.
• 3J . .
5
6 8 8
7 6 5 4 3 5 5
7 7 6 5 4 3 2 3
5 5 4
3
3
Ï Ï Ï Ïb Ï n Ï Ï ÏnÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
F7
b Ï
23
&b Ï Ï Ï Ï Ï Ï nÏ ÏbÏ Ï
3 6 3 4 5 3 3
3 4 6 6 5 4 3 3 4 6 4 3
2 3 5 5 4 5 5 4 3 2
3 5
W. Kulawik 2007
F7 Ï
Ï Ï Ï#Ï Ï Ï Ï Ï ÏDm7
ÏÏ Ï b Ï Ï Ï Ï F7 Ï Ï#Ï
&b •
b
25 Bb G7 Cm7 G7 Cm7
Ï Ï nÏ Ï ÏÏ
•7
6 6 6 7 8 8 8 11 10 10 9 8 7
10 10 8 8
12 10 9 12 10 8 7 10

b •Ï Ï ä 3Ï Ï Ï ÏÏÏ Ï
Fm7 Bb7 Ebmaj Ebm7 Cm7 F7 Bb
ÏÏ ÏÏ • • Ï äÏÏÏ ú
29
& b bÏ ä Ï Ï j î
• • •7
3
6
8 ä75 7
6 6 8 ä î
J
8 6 5 5 8 5 8 8
8 6 8 8 8

Rhythm Changes 1
On the following two pages you will find voicings for Rhythm Changes chord
progression. The voicings start very slow and easy, but get more complex
as the chorus moves along.
Please listen to the audio track and try to copy the rhythm of the demonstration
guitar track.
A-1 (simplified)
6 8 10 8 8 6 10 8 8 6
7 8 10 8 8 7 10 10 8 8
7 8 10 8 6 5 10 9 8 7
8 6
6 8 10 8 10 9 8 7
Bbmaj7 Cm7 Dm7 Cm7 Fm7/9 Ebj6/9 Dm7 Db7#11 Cm7 B7#11
A-2 6 6
6 8 8 10 10 11 8 9 8 8 8 7 6 8 6
7 7 8 9 10 10 8 8 8 7 7 6 7 8 5
7 6 8 8 10 9 8 7 6 6 8 8 7 6 5
10 8 8 7 6 6 8 5
6 7 8 9 10 8 6 6
Bbmaj7 Bdim Cm7 C#dim Dm7 G7#9 Cm7 F7#9 Fm7/9 E7#9 Ebmaj7 Ebm7 Bbmaj7 F11 Bb6/9
B
5 3 3 3 1
5 4 5 4 3 2 3 9
5 5 4 4 3 3 2 8
4 4 3 3 2 2 1 7
5 3 8
D7/9 D7/b9 G7/13 G7/b13 C7/9 b9 F7/13 F7#9
A-3 (embellished)
10 10 11 12 13 15 11 13
10 9 11 11 13 12 11 10 11 11 11 11 8 8 6
10 10 12 12 14 13 12 11 13 13 12 11 10 8 7
8 9 10 11 12 12 10 10 13 12 12 11 10 7 7
8
13 12 11 11 10 6
Bbj7 Bdim Cm7 C#dim Dm7 G7b9 Cm7 F7b9 Fm7/11 E7#11 Ebj7 Ebm7 Dm7/11 F9 Bbj7

Rhythm Changes 2
A-1 ...etc.... (2 chords per bar)
7 10 8 8 7 10 8 8 13 13 12 11 10 10 8 8
7 10 8 7 7 10 8 7 13 12 12 11 10 9 8 7
5 6 5 6 11 11 10 8 6
6 10 8 7 6 10 8 7 13 12 11 11 10 9 8 7
Bbj7 Dm7 Cm7 B7 Bbj7 Dm7 Cm7 B7 Fm7 E7 Ebj7 Ebm7 Dm7 Db7 Cm7 B7
=F7 =F7 =Bb7 =G7 =F7
A-2 6 6 6
3 3 4 5 86 4 9 9 9 8 7 6 8 6
2 1 3 3 58 6 4 8 7 7 6 5 8 5
3 3 5 5 8 7 3 7 10 9 8 8 7 6 5
1 2 3 4 5 6 8 7 6 6 5 8
8
Bbj7 Bdim Cm7 C#dim Dm7 G7alt Cm7 F7alt Fm7 E7 Ebj7 Ebm7 Dm7 F7/11 Bb6/9
B
7 5 10 13 10 5 3 8 8 8
5 5 8 11 10 3 3 6 7 8
5 5 9 11 10 3 3 7 8 8
5 4 7 10 9 3 2 5 6 7
Am7 D7/9 Am7/11 D7alt G7/9 Gm7 C7/9 Gm7/11 Ab7 F7/9
A-3
13 15 11 13 10 11 8 10 6 6 6 6 6 9 6
13 12 11 10 10 9 8 7 8 7 6 5 4 9 6
12 13 12 11 10 10 8 8 8 7 5 6 3 8 5
12 12 10 10 8 9 8 7 6 6 5 5 5 7 5
3
Bb6/9 G7b9 Cm7 F7b9 Bbj7 G7b9 Cm7 F7b9 Fm11 Bb7 Eb6/9 Eb7 Cm7 F7#9 Bb6/9
b13 b13 b13 b9 b13

from "El Hombre" - 1967
(transposed to F7)
Blues for Mickey-O Pat Martino
F7 I Bb7 F7 Bb7
         
1                  
1 1 1 1 3 1 3 3 1 3 3 1 3 3
3
F7 3 3 III
 
6 3 3 3 3 3 3
                                 
3 1 ........
3 2141
VI
Gm7 C7alt F7 D7#9 Gm7 C7alt 
 
     
9
 
3
    2 
 
3 1 3 3 2 1 4 1 1 4 1 2 1 4

F7 Bb7  F7 VIII
 
III 4
     
  

    
13
2    
3 1 4 2 4 1 3 2 1 4 3 1 1 3 1 - 1 1
IV         
Bb7 III I F7 D7#9

17
          

1 3 1 3 1 3 1 3 1 3 2 1 3 3 1
Gm7 C7alt F7 D7#9 Gm7 C7alt
              
3  
 
21

VIII
   
1 3 1 3 21 41 4
3 1
F7
 Bb7 F7
   
           
25
3    

4 3 1 1 1 3 4 3 1 3 1 3 1 3 3 4 1 4 1

           
F7

Bb7 VI
  
 3 
28
       
4
1 3 1 3 1 4 2 1 3 1 3 2 421 3 2 1 4 3 1 3 2 3 1 2

D7#9 Gm7 C7alt
31
     
3     
3
   
3
   
3
      
3
   
33
  
3
  
33
  
3 3

F7 D7#9 Gm7 C7alt Solo continue...............

8va...........................
                 
3

3 3 3 3 3 XIII

34
    
3
F7 mixolydian Phrase T4 - 6 5th Chorus
     
39
     
   

1 4 3 1 3 2 1 1 4 2 1 4 2 1
Bb7

40
             
       
1 2 4 1 2 3 3 1 3 4 1 2 4 2 1 1 4 1 3 4 3

BasiF Patterns in G major
Here are some examples for longer phrases that are always a mixture of the major scale and major arpeggio
 
II.
           
1 
             
    
2 1 2 4 1 2 4 1 3 4 3 1 4 1 3 1 3 4 3 2 1 2 1 4 2 4 1 4 2 421 4
2 3 2 2 5 3 5 3 2

3 5 3 5 5
2 4
2 4 5 4 2 2 4 4 5
2 3 5 5
3 2 3 5
    
      
        
  
2 3 1 4 3 4 3 1 4 1 4 2 1 2 1 4 3 4 1

3
4 2  
5 4 5 4 2 4 2
5 2 2 5 5
5 3 2 3
 
VII.        
    
        
2         
 
4 3 4 1 3 1 1 4 2 1 2 4 1 2 4 1 2 4 21 4 2 3 1 4 3 4 3 1 4 1 4 2
7 8 10 7 8 10 8 7

7 10 8 7 8 10 10 8
7 9 7
7 9 10 9 10 9 7
10 9 10 10 7
10 8
          
 
  
         
 
1 2 1 4 3 4 3 2 1 3 4 1 3 2 1 2 3 4 1 2 3 1 4 3 2
7 8 9 10 7

8 8 10 8
7 9 9 7 9
9 10 9 8 7 9 10
7 10
7 8

BasLF Patterns in C major

II.
3                 
        
     

1 2 1 4 3 4 3 1 4 1 4 2 1 2 1 4 2 4 1 4 2 1 4 3 2 3 4 2 3 4 1 3

3 3
4 5 4 2 4 4 5 4 2 4
2 5 5 2 2 5 5
2 3 5 3 2 3 2 2 5 3
5 3 5
       
          
    
4 1 2 4 1 4 3 2 1 2 1 4 1 2 3 4 1 2 4

4 5 6 7 4 
5 2 3 5 2 2 5 5 7 7
5 4 3 2 3
     IV.
V. IV.  V. V.
  
4                  
  
   
3 4 3 2 1 2 1 4 1 4 1 4 2 4 1 4 3 4 3 1 4 1 4 2 1 2 1 4 1 3 1 4
7 8 7 5

5 8 8 5
4 5 4 4 7 5 7 7 5 4 5 4
5 7 5 7 7 5
7 7 5
7 8 8
 IV. V.
                     
    
  
3 4 3 2 1 2 3 4 1 2 4 1 2 4 1 2 4 1 2 4 1 1 3 1 1 1

5 6 8 5 6 8 5 5 
4 5 6 7 4 4 5 7 5 7 5
5 5 7 5 5
7
7 8

DorLDQ PhraseV 1
Here you find dorian phrases for improvising over longer passages in minor (e.g. "Impressions"). The patterns
are similar to those in Pat Martino´s book "Linear Expressions"
  III.
G‹7
II. III. 
               
1                 
 
1 3 4 1 2 3 1 3 1 3 4 1 2 4 2 1 4 3 2 4 1 3 4 1 2 4 1 4 3 4 2 3
5 4

3 3 6 6 5
2 3 5 2 5 4 3 5 2 2 3 5
3 2 4 5 4 5
3 4 5 5
3 5 6
                     
         
1 4 1 3 1 2 3 4 1 4 1 4 2 3 2 1 4 3 2 4 1 2 1 2 3
V.
3 5 8 6 5

6 3 3 6 6 8 7 6 8 5 6 5
5 3 4 5 6 7 6 7
 V.      
             
  
2          

3
 
1 2 1 4 3 4 3 2 1 3 4 1 3 2 1 4 2 3 2 1 4 3 2 4 1 2 3 1 2 4 12 3
3
5 8 6 5 5 6 7

6 6 8 7 6 8 5 5 6 8
5 7 7 6 7
7 8 7 6 5 7 8
5 8
5 6
     IV.
      III.
              
  II.
      
4 1 1 4 4 1 1 4 3 4 1 2 1 4 1 2 3 1 3 2 1 4 1 3 4
8 5 4 7 4 3 5 6 5 4 3

7 6 6 3 4 5 3 6
5 4 3 2
4 5

This is the "trickiest" phrase...........

D‹7 VII. VI.
V. IV. V. V.
      3     3        

3            
1 3 4 1 2 3 1 3 1 3 4 1 2 4 1 1 4 1 1 4 1 1 4 3 2 4
3 3

5 6 8 5 10 7 6 9 6 5 8 7 6 8
5 4 6 7
5 6 7 7
5 7 8
       
VIII. 3
      3 VII. 3   3 V. 3  3 3

3
     

1 2 3 1 2 4 1 4 4 14 13 2 4 14 123 414123441234 1
3 3 3 3 3 3 3 3
5 8 12 8 12 8 10 7 10 7 8 5 8 5 8 5

5 5 6 8 10 8 6 8 6 8 5
6 7 10 9 7 7
How can I use these patterns?
1. over Gm7 (Phrase 3: Dm7)

2. over C7/9 (Phrase 3: G7/9)
3. over F#7alt (Phrase 3: C#7alt)
4. over Bbmaj7(#11) (Phrase 3: over Fmaj7(#11)
Explanation:
The used tonal material is a mixture of dorian and melodic minor, so you can use it over all the chords where
you would play the melodic minor scale:
root: minor7 - a fourth above: Dominant7 - minor third above: maj7(#11) - half step below: altered
Gm7 C7(9) Bbmaj F#7#9

$ltered phrases 1
Here are some examples for patterns using the altered scale over G7b9 (or #9)
 II.   
D‹7 G7(b9) CŒ„Š7
3 3
        
1              
4 2 1 4 4 1 2 1 4 4 1 4 3 2 1-1 4 3 1 2 4 1 4 3 2 4 3

3 3

5 6 5 4 3
2 5 4 3 4 5
3 2 5 2 3 6 5 2 3 5 2 5 5 5
5 5
     
II. D‹7 CŒ„Š7  G7(b9)
          
2               
4 1 2 4 1 2 1 4 4 1 2 4-4 2 1 4 3 1 4 1 2 421 4 2 4 3 4 1 4

3
3 7 3 5 7 5 3

5 8 6 5 3 6 5 5 3
5 7 4 5 4 2
7 5 2 3 5 6 5 5
8
 II. D‹7 G7(b9) C‹7
  
3      
            

4 4 1 2 4 1 4 1 4 1 4 3 1 3 4 1 1

2 5 3 3  
2 3 5 6 6 3 5 5
5 5 6 6 3
3

V. D‹7 G7(b9) C‹7
                 
4              
3
4 3 1 1 4 2 1 3 1 2 1 4 3 4 3 1 - 1 4 1 2 1 4 1 2 3 2 1
3

5 8 6 5 8
5 7 6 7 6 7 8 8 7 7
7 9 8 9 8 6 5 5 8
8 8 5 6


D‹7 G7(b9) CŒ„Š7
VII.
  
V. VI.
V.
                          3 
5  
2 4 1 2 3 1 2 4 - 4 1 3 4 1 3 4 1 - 1 2 3 4 3 1

3
6 6 7 3

6 8 5 6 5 6 8 9 8 9 6 8 9 5
7 5 4 
7

D‹7 G7(b9) CŒ„Š7
IV. III.
       
6           
4 1 2 4 2 1-1 4 - 4 2 1 4 2 1-1 4 3

5 4
4 5 7 5 4 4 3 4 3 
7 7 6 6 6 5

V. D‹7 G7(b9) C‹7
       III.
             
7     
4 2 3 1 1 2 1 3 1 2 1 4 1 2 4 1 4 2 4 1 2
3 4 6 3

8 6 5 6 5 3 6 6 4 6 3 4 4
5 7 5 4 
7

AlterHG PhraseV 2
These patterns show different options for playing over m7b5 - Dom7#9 progressions.
Examples 1+2 use G half tone - whole tone (equals D Whole tone - half tone)
  II.   
D‹7(b5) III. G7(b9)      C‹7  
  
   
1  
        

4 1 2 4-4 1 2 4 1 3 4 1 2 4 2 1 4 2 4 1 2 1 3
3 4 6 4 3 3

3 5 6 6 4 6 4 3
3 4 6 5 
2 3 5 6
5
 
D‹7(b5) G7(b9) C‹7

VII. III. VI.
II.   V.
           
2          

4 1 2 4-4 1 2 4 - 4 1 2 4-4 3 1 3 4 1 3 4 3

5 6 8 9 9 8 6
3 4 6 7 8 7 
2 3 5 6 10 9 10
5 10
Examples 3+4 use F dorian over Dm7b5
   V.
G7(b9) C‹7
D‹7(b5)
  
3                 
1 3 4 1 2 1 4 3 4 1 2 4 1 3 4 2 4

6 8
5 7 8 
5 6 5 5 6 8
5 7 8 8 7 8
 
D‹7(b5) C‹7 G7(b9)
V.       VI.
4                   
1 3 4 1 2 4 1 3 4 2 1 4 2 1-1 4 3 2 4 4 1 2 4

6 9 8
5 8 7 8 10 7 
5 6 5 6 10 8 10
5 7 8 8 7 8

Examples 5+6 use fourths and fifths upwards in minor thirds:
 
C‹7
V. D‹7(b5)
 G7(b9)       
      
5     
1 2 1 4 1 2 3 4 1 1 4 4 1 1 3 4 1
8 11 8

8 11 8 11 8 11 8
5 8 7 10 10 
5 6
 
D‹7 G7(b9) C‹7
V. VII.
      
Vi. ViII. 
    
6        
1 2 4 3 1 1 4 4 1 2 4 3 1 1 4 4 3
8 11 10

8 11 8 11
6 9 7 10 
6 9 6 9
5 8
Examples 7+8 use Abmaj7 as substitute for Dm7b5 (tritone substitution)
 
III. D‹7(b5) G7(b9) C‹7
    
7          
     
 
3 4 3 2 1 2 4 1 2 3 1 4 3 4 1 3 4 1
3 3

4 4 6 4
5 5 3  
5 6 6 5 3 5
6 6 3 3
        
III. D‹7(b5) G7(b9) C‹7
       
8       
   

4 3 2 1 4 1 2 4 1 2 4 1 2 1 1 4 3 4 2 1 3 4 2 4 1
3 6 3 4 6 3 3 6 3

4 4 6 4 4 6 4
5 4 3 5 3 5
6 6 5

MixolydiDQ PhraseV RYHU WZR OFtaveV
These patterns can be played over D7 or Am7....
 
D7
IV.
                   
1     
       
2 4 1 2 4 1 4 3 2 4 1 3 4 1 2 4 1 4 1 2 3 1 3 2 1 3 1 2 4

5 8 5 6 7 5
4 7 6 5 7 4 4 5 7 7 6 5 7 4
4 5 7 6 7 6 7
5 7
             
IV. D7
        
2         
3 4 1 3 4 1 3 2 1 1 4 1 2 4 1 2 1 4 1 1 4 3 1 4 3 1 3 2 1
7 5 7 5

8 7 8 5 7 5 5 8 8 7 5
7 5 7 4 5 4 5 7 6 5
7 5 4 7
                 
D7
IV.

3             
3 4 3 2 1 4 3 2 1 4 3 2 1 4 1 3 4 1 2 4 1 1 4 2 1 4
7 8 7 6 5


8 7 6 5 5
8 7 6 5 4 4 5 7 5 7 
7 6 7 7 5 4
 
D7
IV.
4                    
         
2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 421 2 1 4 2 1 4 1 1 3

5 
4 4 5 7 4 5 7 5 4 5 7
4 5 4 5 7 4 5 7 5 7 5 4 4 7
5 7 7 7 5

This phrase starts in Cmaj7 (which is 7/9/11/13 of D7)
 
D7
II. IV.
5                          
      
2 4 1 4 3 4 3 2 1 4 1 2 1 2 3 4 2 1 4 1 2 421 4 2 1 4 2

4 5 4 3 2 5 4 7 4 5 7 5 4
2 5 5 2 3 4 5 6 7 7 5 4
3 5 7 5 5
           
V. D7 II. IV.
V.
 
6      
       
 
1 3 2 4 1 1 3 4 1 2 4 4 1 2 1 2 2 4 1 2 4 1 2 4 2 4 3
5


7 8 5 5 8 7
7 5 7 4 4 5 7
7 5 7 4 2 4 5 7
7 5 3 5 7
   
This phrase makes use of a 7/#11 scale:
V. D7    
   
7 
        
 
3 2 1 3 1 4 3 4 1 4 1 1 2 2 1 4 3 1 1 4
7 8 4 7 5 4


   5 8 5
7 6 5 7 5 4 7 
7 5 4
7
Here the augmented scale is used:
                
D7
8       
4 1 2 4 1 2 4 1 2 1 3 1 1 2 4 1 2 3
7 4 5 7 4 4


5 7 5 5
5 7 5 5  
6 8 6
7

Dorian Phrases over two Octaves
These patterns can be played over D7 or Am7....
  II.
V.     II.
      
1 
      

       
  
 
1 3 5 1 2 4 1 4 1 3 4 1 2 4 1 4 3 2 1 4 1 2 1 4 3 1 1 2 4 1 1 3 4
7 6 5

5 8 8 5
4 4 5 7 5 4
2 5 6 7 7 5 4
2 2 3 5 7 5 7 3 2
4 5 4 5
 
II.
2          
  
                
4 1 2 4 1 2 1 4 4 1 2 4 1 4 3 4 3 2 1 4 1 2 1 4 4 1 2 4 1 2 4 1

4 5 4 3 2
2 2 5 5 2
2 3 5 3 2 5 2 3 5 3 2 5 2 3 5 2
5 5 5 3 5 5
 

V.
        
3  
   
         
 
1 4 3 2 1 3 4 1 2 4 1 4 3 4 1 2 1 214 2 1 4 1 1 4 1 1 4 3 2 1 1 1 4
7


5 8 8 5 5 5 8 7 5
4 4 5 7 5 4 5 4 5 5 7 5 4 
5 6 7 7 5 4 7 7 7
7
5 8

          II.       
V.


4                   

3 4 3 2 1 4 1 2 3 1 3 2 1 4 1 3 4 1 2 4 1 2 1 4 2 1 2 4 1 2 4
7 8 7 6 5
II.

8 5 6 7 5 5
7 6 5 4 4 5 7 5 4
7 6 7 7 5 4 5 7 4
5 7 7
     
V.
       
5      

3 1 1 4 3 2 1 1 1 214 2 1 2 4 2 4 1 2 1 2 4 1 4 2 1 3 4 4 1 3 1 3
5 7

5 8 7 5 5 7 8 5 7
5 7 5 4 5 4 4 5 4 7 5 7
7 7 5 4 5 7 4 5 7
5 7
    
V.
   
         
6       
1 3 1 4 3 2 1 1 4 1 4 2 1 2 1 4 1 2 1 4 3 4 3 2 1 4 1 1 1 4
5 7 8 7 6 5


7 5 8 7 5 5 8 8 5
7 5 7 4 5 4 4 5 5 4
7 5 4 7 7

Standard chord progressions:
1. Diatonic chords:
I IV VII III VI II V I
2. Diatonic II – V Progression ( like „Autumn Leaves“ )
II V I IV VII III7 VI VI
3. TURNAROUNDS:
a) I VI II V b) III VI7 II V
c) I VI7 II V d) I bIII
7
II bII
7
4. Rhythm Changes:
I VI II V III VI7 II V
7 7 7 7
or I bIII II bII III bIII II bII
or I bIIo II bIIIo
dann:
Vm7 I7 IVj7 IVm7 III VI7 II V

5. Blues :
I7 IV7 I7
IV7 I7
V7 IV7 I7
I7 IV7 I7 I7 b9
or
IV7 I7 VI7
IIm7 V7 I7 V7
I7 IV7 I7 Vm7 / I7b9

or
IV7 bV7dim I7 VI7 #9
IIm7 V7 #9 I7 / VI7 IIm7 / V7

Articulation and Phrasing:
1. Creating tension:
- suspension of target tone by using intervals of the chordal upper structure

- increase of rhythmical densitiy (vertical density) - more note events in the same
amount of time by doubling notes)
- increase of horizontal density by widening the range of used tones, larger intervals
or using notes from the higher range of the instrument
- use of dynamical means
- repetition of tones or phrases
- sequencing of phrases along with rhythmic variations of the same motif or variing
the rhythmic structure
2. Tonal material
- guide tone lines (melodic lines following the chord progression in small (often
chromatic) movements down or up.
- improvisation over scales, chords or arpeggios (following the chord structure)
- finding and improvising over tonal centres.
- using patterns
3. RHYTHM
- off beats
- laid back playing (playing behind the beat)
- repetitions:
giving the audience the opportunity of "being familiar with" something by
- repating a phrase melodically or rhythmically
- varying a phrase

SUBSTITUTIONS
An often discussed chapter of jazz theory. Here I will only roughly mention some commonly
used substitutions.
1. MEDIANTS
If you layer the notes of the major scales up in thirds you get the following chords:
C E G B = Cj7
E G B D = E-7
G B D F = G7
B D F A = B-7/b5
D F A C = D-7
F A C E = Fj7
A C E G = A-7
These chords only contain scale immanent tones. Neighbouring chords have three notes in
in common. The more thirds you move up or down, the more intervals of the upper structure
are included (9th, 11th, 13th)
In Cmajor you get the following intervaI relations:
e g b d f a c e g b
3 5 7 9 11 13 1 3 5 7 in Cj7
5 b7 9 11 b13 1 b3 5 b7 9 in A-7
7 9 #11 13 1 3 5 7 9 #11 in Fj7
9 11 13 1 b3 5 b7 9 11 13 in D-7
11 b13 1 b3 b5 b7 b9 11 b13 1 in B-7/b5
13 1 3 5 b7 9 11 13 1 3 in G7
1 b3 5 b7 b9 11 13 1 b3 5 in E-7
How to read the chart:
- tone "e" is "3rd" in chord "Cmaj", at the same time "e" is "5th in Am7 or
7th in Fmaj7
Notice the "3" means major third while "b3" means minor third (this applies
to all intervals and saves writing space)
An interval is always "major" unless there is a "b" in front of the number.

Usually the direct mediants are of special interest. In the following chart you can see what direct relations are of interest.
All the chords have at least three notes in common.
What you receive are chords with no root but a ninth in the upper voice instead.
A B
1. I maj7 VI m7/9
2. III m7 I maj7/9
3. VII m7/b5 V 7/9
4. IV maj7 II m7/9
5. VI m7 IV maj7/9
Especially important is the chord on the 4th scale degree.
F A C E
l 3 5 7 in Fmaj7
b3 5 b7 9 in D m7
b7 9 11 13 in G7
Regarding F as degree IV in C major, then D is degree II and G is degree V.

As a consequence of this you can use the arpeggio of the fourth degree to improvise over II and over V as well.
You can use the Fmajor7 arpeggio to solo over Dminor7th and G7th without any problems !!!

2. Diatonic Substitution
In einer diatonic progression Dm7 G7 Cj7 Fj7 Bm7/b5 E7 Am7

II V I IV VII III7 VI
you can replace the chords der V.,IV. und III. degree with a Sixth-chord of the II, I. und VII.degree.
II II m6 I maj7 I6 VII VIIdim VI

Dm7 Dm6 Cmaj7 C6 %m7/b5 %7dim Am7
= G 7/9 = Fmaj7/9 = E7/b9
=V = IV = III7 VI
The resulting substitutes haven´t got a root but a ninth instead.

There is another special chord in this progression.
It´s the diminished chord on the seventh scale degree.
Every dimished chord is at the same time a Dominant7th/b9 chord.
and can be repeated or moved at an interval of a minor third.
C7 dim = F 7/b9 = Ab 7/b9 = % 7/b9 = D 7/b9
So you can use it in a II - V - I progression leading to a I minor.
II V I
Dm7/b5 G7/b9 CmL7
or Dm7/b5 D7dim CmL7
Graphically the relations can be seen as follows::
III 7/b9 IV maj7/9 V 7/9 VI m7 VII dim I6 II m6

3. TRITONE-SUBSTITUTION
In a II-V-I progression the chord on the Vth degree can be replaced with a chord a tritone below.
Example:
II V I
D-7 G7 Cj7
D-7 Db7 Cj7
II bII I
You can get a colourful leading voice by changing the upper note.
D-7/9 Db7/#9 Cj7

XSSHUYRLFe: e e e
D-7/9 Db7/#9-b9 Cj7
e e d g

Diagrams
On the following pages you find diagrams based on the cycle of fifths. They are
meant to visualize melodic and chordal relations.

Chord reinterpretation video
IV
dim7 V
mmaj7
7b9 7
7#11 m6/9 6
7/9/13 5
m7 4
bVII m6 3
7b9 II
7/9 2
m7/9
7sus 1
7/9/11/13
m7b511
bIII dim7 maj7#11 maj6 maj7 m7b5 dim7
VI
7 6 5 4 3 2 1 1 2 3 4 5 6 7
maj7/9
1
7b9 2 7b9b13
bVI 3
III
4
7b13#9
5
6 7b13
7 7b9
bII dim7
VII
bV
C
F G
- Cut out the small cycle of fifths and place it in the center
of the large circle.
- Place the desired chord at "12 o'clock" on the large circle Bb D
and read the different chord interpretations from the subcircles.
Example: Eb A
- C is at the 12 o'clock position, you can see the following relations:

Cm7 = Abmaj7/9 = Ebmaj6 =Bb7/9/11/13 (subcircle 3) or: Ab E
Cm6 = F7/9 = Am7b5 = B7b9b13 (subcircle 2)
- At 12 o'clock you find variations of the minor chord. Db B
F#
- At 9 o'clock you find variations of the major chord.
- At 11 o'clock you find variations of the Dominant7th chord.
- At 3 o'clock you find variations of the m7b5 chord.
Diatonic chords in all drop3 and drop2 shapes
1. Drop3 - F shape with root in bass (intervals: 1 7 3 5)
intervals:
audio
I II III IV V VI VII
maj7 m7 m7 maj7 dom7 m7 m7b5
5
F 3
7
root: 1 1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12
2. Drop2 - F shape with root on top (intervals: 7 3 5 1)

intervals:
audio
root: 1 2 3 4 5 6 7
1
5
F 3
7
1 2 3 4 5 6 7 8 9 10 11 12
3. Drop3 - Bb shape with root in bass (intervals: 1 7 3 5)

intervals:
I II III IV V VI VII audio

5
3
Bb 7
root: 1
1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12
4. Drop2 - Bb shape with root in bass (intervals: 1 5 7 3)

intervals:

3
Bb 7
5
root: 1
1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12

Diatonic chords in all drop3 and drop2 shapes (2)
5. Drop3 - Eb shape with third in bass (intervals: 3 1 5 7)
intervals:
7
Eb 5
root: 1
3 1 2 3 4 5 6 7
3
1 2 3 4 5 6 7 8 9 10 11 12 13
6. Drop2 - Eb shape with third on top (intervals: 1 5 7 3)

intervals:

3
7
Ebroot: 5
1
1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12 13
7. Drop3 - Ab shape with third in bass (intervals: 3 1 5 7)

intervals:

7
5
Ab root: 1
1 2 3 4 5 6 7
3 3
1 2 3 4 5 6 7 8 9 10 11 12 13
8. Drop2 - Ab shape with third in bass (intervals: 3 7 1 5)

audio
intervals:
Ab root: 1
7
1 2 3 4 5 6 7
3 3
1 2 3 4 5 6 7 8 9 10 11 12 13

Diatonic chords in all drop3 and drop2 shapes (3)
9. Drop3 - C shape with fifth in bass (intervals: 5 3 7 1)
intervals:
1 2 3 4 5 6 7
root: 1
C 7
5 3
5
1 2 3 4 5 6 7 8 9 10 11 12 13 14
10. Drop2 - C shape with third in bass (intervals: 3 7 1 5)
intervals:
5
root: 1 1
C 7
2 3 4 5 6 7
3 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14
11. Drop3 - F shape with fifth in bass (intervals: 5 3 7 1)

intervals:
1 2 3 4 5 6 7
root: 1
7
F 3
5 5
1 2 3 4 5 6 7 8 9 10 11 12 13 14
12. Drop2 - F shape with fifth in bass (intervals: 5 1 3 7)

intervals:
7
F 3
5 root: 1
5
1 2 3 4 5 6 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14
13. Drop3 - Ab shape with 7th in bass (intervals: 7 5 1 3)

intervals:
audio
3
Ab 1 1 2 3 4 5 6 7
7 5
7
1 2 3 4 5 6 7 8 9 10 11 12 13
Scale Circle video
Detailed instructions for the use of the scale circle on the following page...
IV
maj7
ion V
maj7#11 dom7
lyd mixo
MMi
dom7
mixo#11 HM
bVII HM5 m7 II
dor
3
2
1
7#11 m7b5 m7
bIII lyd. augm. locr#2 aeol VI
1
2
3 m7
phryg
bVI III
dom7
alt
m7b5
locr
bII VII
bV
C C
F G F G
Bb D Bb D
Eb A Eb A
Ab E Ab E
Db B Db B
F# F#
The scale circle:

This diagram offers an overview of all scales from any root note.

Cut out the small cycle of fifhts and put it into the centre of the large circle.
-‐ Place the desired key onto the 12 oćlock position and read the scales in the three
outer circles.

Circle 1: all diatonic chords and scales that are part of the ionian scale
Circle 2: all scales that belong the melodic minor (MMi) scale
Circle 3: all scales that belong to the harmonic minor scale

Example:

If you put the small circle into the middle of the diagram and move it around until "F"
is at the 12 oćlock position, then you can find out all the scales that are derived from
the "F" ionian scale (outer circle) (Bb is at 11 oćlock = the chord is called Bb maj7#11
and the scale is called Bb lydian) -‐ C is at 1 oćlock, the chord is called C7 and the scale
is called C mixolydian) and so on.

If you look at the circle in the middle (which belongs to the melodic minor scale
MMŝ) you can read at 11 oćlock Bb7#11 which is a dominant7th chord, the name of
the scale is Bb mixolydian #11. At 1 oćlock you find no chord or scale, because there
is no scale derived from melodic minor on scale tone 5.
In circle #3 (the inner circle) you only find two scales. One is the regular harmonic
minor scale, the other is called "HM5" which means "harmonic minor from the fifth
scale degree". This scale is often used in gypsy jazz over a dominat7th (b9) chord.
So you play the "C" harmonic minor scale over a G7b9 chord.
The more you experiment with this scale circle the more relations and insights you
will get. At least it helps to get familiar with the circle of fifths in detail as well as with
the modes of the ionian scale and the derived scales of the melodic minor scale.

Which scale for which chord? video
ION -3 phryg
ixo
7m-
ION
MMA +5 mixo#11
MMA +1 alteriert
Dom7
m7
IO
ION +3 aeol
N-
2d
or
C
F G
Bb D
Eb A
Ab E
Db B
F#
Similar procedure here:

Cut out the outer diagrams, or print them onto a transparency film. Place them onto the cycle of fifths in the middle.
By turnig the transparency around you can find out which scales go with any given chord.ION stands for the ionian (major) scale.
MMA stands for the melodic minor scale
You find all the scales and their names in the overview on page 9 of the book.
ion
+1
ION ion
loc
r
lyd
-5
N
IO
m7b5
r#2
loc 3
MMA -3 lyd augm
+
MA M
maj
Drop2 and drop3 chords in detail

The following pages are intended to give a complete overview over the principle of drop2
and drop3 chords and how they are derived from each other. You will find a lot of chords in
their interval structure (no fingerings given)
The structure is always the same:
Row 1: major chords in four inversions

Row 2: dominant7th chords in four inversions
Row 3: minor chords in four inversions
Row 4: half diminished chords in four inversions
Row 5: diminished chords in four inversions

Example: drop2 voicings in C

Here you can see how the chords are derived from each other. The first row gives major7th
chords. By lowering the 7th into a minor7th you get dominant7th chords. (2nd row)
In the third row the third is lowered to a minor third, so you get minor7th chords.
In row 4 the fifth is lowered, the result are minor7/b5 chords.
Lastly in row 5 the minor7th is diminished (bb7) and what you get are diminished chords
which repeat every minor third, so they all look alike.
What you can visualize very nicely is where the chord specific intervals are. On each string
you will have an arpeggio that gives you the chord tones on one string.
The following pages are built the same way. All basic chord types (root, third, fifth and 7th -‐
no ninth, 11th and so forth) are placed on the fretboard in their four inversions.

Some are difficult to play, so if you don´t feel comfortable, don´t practise them, as you will
never play them in a jazz situation anyway.
But for studying the structure of the fretboard and the relations of chords and their
inversions these diagrams are of high importance.....

Drop2 Voicings 1 in C
5 7 1 3
1 3 5 7
7 1 3 5
maj7 3 5 7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
5 b7 1 3
1 3 5 b7
dom7 b7 1 3 5
3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
5 b7 1 b3
1 b3 5 b7
m7 b7 1 b3 5
b3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b5 b7 1 b3
1 b3 b5 b7
b7 1 b3 b5
m7b5 b3 b5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b5 bb7 1 b3
1 b3 b5 bb7
bb7 1 b3 b5
dim7 b3 b5 bb7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drop3 Voicings 1 in C
1 3 5 7
7 1 3 5
maj7 3 5 7 1
5 7 1 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 3 5 b7
dom7 b7 1 3 5
3 5 b7 1
5 b7 1 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 b3 5 b7
m7 b7 1 b3 5
b3 5 b7 1
5 b7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 b3 b5 b7
b7 1 b3 b5
m7b5 b3 b5 b7 1
b5 b7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 b3 b5 bb7
bb7 1 b3 b5
dim7 b3 b5 bb7 1
b5 bb7 1 b3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drop2 Voicings 2 in Bb
3 5 7 1
7 1 3 5
maj7 5 7 1 3
1 3 5 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 5 b7 1
dom7 b7 1 3 5
5 b7 1 3
1 3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 5 b7 1
m7 b7 1 b3 5
5 b7 1 b3
1 b3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 b5 b7 1
b7 1 b3 b5
m7b5 b5 b7 1 b3
1 b3 b5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 b5 bb7 1
bb7 1 b3 b5
dim7 b5 bb7 1 b3
1 b3 b5 bb7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drop3 Voicings 2 in Bb
5 7 1 3
3 5 7 1
7 1 3 5
maj7
1 3 5 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
5 b7 1 3
3 5 b7 1
dom7 b7 1 3 5
1 3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
5 b7 1 b3
b3 5 b7 1
m7 b7 1 b3 5
1 b3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b5 b7 1 b3
b3 b5 b7 1
b7 1 b3 b5
m7b5
1 b3 b5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b5 bb7 1 b3
b3 b5 bb7 1
bb7 1 b3 b5
dim7
1 b3 b5 bb7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drop2 Voicings 3 in Eb
3 5 7 1
7 1 3 5
maj7 5 7 1 3
1 3 5 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 5 b7 1
b7 1 3 5
dom7 5 b7 1 3
1 3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 5 b7 1
b7 1 b3 5
m7 5 b7 1 b3
1 b3 5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 b5 b7 1
b7 1 b3 b5
b5 b7 1 b3
m7b5 1 b3 b5 b7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b3 b5 bb7 1
bb7 1 b3 b5
b5 bb7 1 b3
dim7 1 b3 b5 bb7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drop3 Voicings 3 in Eb
7 1 3 5
5 7 1 3
maj7 1 3 5 7
3 5 7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b7 1 3 5
dom7 5 b7 1 3
1 3 5 b7
3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b7 1 b3 5
m7 5 b7 1 b3
1 b3 5 b7
b3 5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
b7 1 b3 b5
b5 b7 1 b3
m7b5 1 b3 b5 b7
b3 b5 b7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
bb7 1 b3 b5
b5 bb7 1 b3
dim7 1 b3 b5 bb7
b3 b5 bb7 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

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Guitar Training

a collection of material for the student of jazz guitar

copyright W. Kulawik 2012

copyright W. Kulawik 2012

Exercise 1 (Chromatic up):

You must be very patient, don´t take it too quick.....

Exercise 2 (Chromatic down):

copyright W. Kulawik 2012

1. Chromatische Übung 1 (chromatic exercise 1)

copyright W. Kulawik 2012

° œ œ œ œ#œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ œ

° #œ œ œ œnœ œ œ œ #œ œ œ œnœ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œnœ œ œ œ

2. Play the scales through all given fingerings and positions.

5. Try to play all the fingerings in one position on the fretboard.

scale : Bbmaj7 Cmaj7 Ebmaj7 Fmaj7 Abmaj7

6. Play the scales through the cycle of fifth

8. Play rhythmic structures

9. Transfer the phrases into different keys.

copyright W. Kulawik 2012

copyright W. Kulawik 2012

scale name interval structure options chordal function

melodic minor 1 2 b3 4 5 6 7 6, 7, 9 Im6, minor-maj

copyright W. Kulawik 2012

Scales derived from the ionian major scale:

step name chord relation

Scales derived from the melodic minor scale:

step name chord relation

Scales derived from the harmonic minor scale:

step name chord relation

copyright W. Kulawik 2012

scale practise + backing track

copyright W. Kulawik 2012

backing track starting in G, going up till F major

& b _ ÇÇÇ _ÇÇÇ _ÇÇöÇ ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈÈ ÈÈ ÈÈ

ÇÇ ÇÇ ÇÇ ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l ÈÈ ÈÈÈ ÈÈ ÈÈ È

& _ÇÇÇö_ÇÇöÇ ÇöÇ ÇöÇ öÇ öÇ l È ÈÈ È È

copyright W. Kulawik 2012

copyright W. Kulawik 2012

copyright W. Kulawik 2012

One octave higher:

Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7b5 Gmaj7

Gmaj7 F#m7b5 Em7 D7 Cmaj7 Bm7 Am7 Gmaj7

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Whole step up:

     

copyright W. Kulawik 2012

copyright W. Kulawik 2012

1. Gmajor scale in thirds up and down:

2. Gmajor scale in thirds up and down (Octave higher)

3. Gmajor scale in groups of four and thirds mixed

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5. Gmajor scale in arpeggios up:

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3. Practise the positions chromatically and diatonically up- and down.

copyright W. Kulawik 2012

copyright W. Kulawik 2012

copyright W. Kulawik 2012

backing track in Gminor

copyright W. Kulawik 2012

copyright W. Kulawik 2012

copyright W. Kulawik 2012

copyright W. Kulawik 2012

copyright W. Kulawik 2012

I. The Major – PENTATONIC

type 1B: