Chord Emulation Exercises

8
Chord
Emulation
Exercises
• Resonating A Single Chord
• Pentatonic Setup Tones And Target Tones
• Pentatonic Chord Emulation
• Pentatonic Setup Tones And Target Tones
• Heptatonic Chord Emulation
• Lower Neighbor Tertian Quadrad Setup Tones
• The Melodic Function Of Pentatonic Tones
• The Melodic Function Of Heptatonic Tones
©2009-2011 Jim Gleason. All Rights Reserved.

page 98 Chord Emulation Exercises
RESONATING A SINGLE CHORD

Learn The First Arpeggio And Scale
learn the E minor form barré chord
The first two Em chord fingering below use one of the standard fingerings. The third one, fretted
with the third and fourth fingers, is intended to prepare you for the fourth and last chord, the Am (“A”
minor). The Am chord uses a six string barré with the first (index) finger.
The Am barré chord below is said to be in “Em form” because it is based on the open Em chord shown
in the first three diagrams.
Em I Em I Em I Am V
elaborate the E minor form barré chord into an arpeggio

Am chord V Bm chord VII Cm chord VIII Dm chord X Fm chord XIII
Am arpeggio V Bm arpeggio VII Cm arpeggio VIII Dm arpeggio X Fm arpeggio XIII

Chord Emulation Exercises page 99
learn the E minor form pentatonic scale, called “pentatonic fingering 1”
The diagrams below show the open position Em pentatonic scale. Open position implies that a fingering
includes open strings. I give it the full name “Em7/11 pentatonic” scale, which exactly specifies the
notes using generally accepted chord-naming conventions. In its movable form the key is named after
the note fretted with the index finger on the sixth string.
Em7/11 pent. I Em7/11 pent. I movable m7/11 pent. movable m7/11 pent.
fingers formula fingers formula
evolution of the Em7/11 pentatonic fingering
Each arpeggio adds notes to the chord shown above it. The notes are added on the first and sixth string.
The arpeggio plays every “1, b 3 and 5” tone within reach, while the chord plays only one note per string.
The minor 7/11 pentatonic scale adds “4 “ and “ b 7” to the arpeggio, in every octave (throughout).
Em chord I Am chord V Bm chord VII Cm chord VIII Dm chord X Fm chord XIII

Em arpeggio I Am arpeggio V Bm arpeggio VII Cm arpeggio VIII Dm arpeggio X Fm arpeggio XIII
Em7/11 pent. I Am7/11 pent. V Bm7/11 pent.VII Cm7/11 pent. VIII Dm7/11 pent. X Fm7/11 pent. XIII

Minor Chord Tone Melodic Examples

First improvise on a single minor chord or a chord progression that would be compatable with a minor
chord . Improvise with another musician or with a rhythm track. You can use a recording of a popular
song, but that is not ideal, since other melody is likely to be played while you are improvising.
Play each individual tone of the minor chord against the rhythm track. The tones of the minor chord
are “1, b 3 and 5” of the pentatonic scale named after it.
Minor Chord Tone Melodic Examples
Bob Marley
Bob Minor
Marley style exampleChord
in Em Tone Melodic Examples
Bob Marley
# 4 œE‹œ œ œ œ œ œ œ
E‹
œ œœ œ œœœ œ™ œ œ
& # 4 œ œ œ œ ≈ Rœ ≈ œ œ œ œ œ Œ œr ≈ œj œ œ œ œ Œ œ œ ≈ Rœ ≈ œ œ œ œ œ œ™ œ œ œ œ Œ
& 44 ≈ R ≈ œ œ Œ r ≈ j œ œ œ Œ
œ œ ≈ R ≈ œœ œœ Œ
33 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00
⁄
00 00 00 00
00 00 00 00
3 0 0 0 0 0 0 0 22 22 0 0 0 0 0 0 0 0 0
⁄
0 0 0 0
0 0 0 0
2 2
Bob
BobMarley
Marleystyle
with example in Em with slide options
slide options
# œE‹œ œ œ œ œ œ œ œ œ
Bob Marley
E‹ with slide options
œ œœ œ œœœ œ™ œ œ œJ œ œ Œ
& # œ œ J œ œ ≈ Rœ ≈ œ œ œ œ Œ œr ≈ œj œ œ œfij œ œ Œ œJ œ œ ≈ Rœ ≈ œ œ œ œ œ
œ
J
œ ≈ R ≈ œ œ Œ r ≈ j œ œ œfij œ Œ œJ ≈ R ≈ œœ œ œ™ œ œ œJ œ œ Œ
& J
œ œ J
33 00 00 00 00 00 00 00 00 00 00 00 00
⁄
33 55 00 33 55 00 33 55 00 33 55
00 00 00 22 44 00
3 0 0 0 0 0 0 22 22 0 0 0 0 0 0
⁄
3 5 0 3 5 0 3 5 0 3 5
0 0 02 4 0
2 2
Jeff Beck
Jeff Beck style example in Am
4 œ œœ
œ œœœœœ œ
Jeff A5
Beck 3
œœœœ œœœœœ œœ
œ œ œ œ œ œ œ œ
3
A5 J ‰ ‰ Œ
3 3
& 4 œ œ œ œ œ œ œ œ œ œ3 œ œ
3 3
J œ œ œ œ œ œ œ œ œ œ œ œ
3œœ
4
& 4 33 J 33 33œ œ œ œ œ œ œ œ33 ‰ œ33 œJ ‰ œ œ 33œ œ œ œ33 33
3
œœ Œ
3
3 œ œ œ œ
3 355 55 55 3
35 5 55 5 55
⁄
3 3 3 3
55 55 55
55 55 55 5 5 5 55 3
55 55 55 55 55 55 55 55 55 55 55
5 5 5 5 5
⁄
77 77 77 77 77
5 5 5 5 77 5 5 5 5 5 5 77 77 77 77
5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7
7 7 7 7 7
œ A5
œ ÆœJ œ œ œ œ œ œ œ œ œœ
ÆœJ Jœ œ ÆJ œ ÆJ œ œ œ 3 œ œ œ ‰ œ œ ‰ 33œ œ œ œ ÆœJ œ œ œ œ ÆœJ œ œ œ œ ÆJ œ œ œ œ 33
3
3
& œ Œ
œ J œ œ
3œœ
A5
ÆœJ 3 Æœ œ œœ œ œ œ œ œ œ Æ
œ œ
& J J 33 ÆœJ œ33 ÆœJ œ œ œ œ œ 33œ ‰ œ33 œ ‰ œ œ œ33 ÆœJ œ œ œ 33ÆœJ
3
J œœ Œ
œ J œ œ œ œ
3 3
3
full
full full
full full
full full
full
3
3 full
full full
full full
full
3 3 3
55 3 full 5 55 5 8 full
⁄
3 full 3 3 3 full
88 full 88 full 55 full 55 55 5 5 8 55 3
77 55 77 55 55 55 55 55 55 55 55 77 55 77 55
5 5
⁄
77 77 77 77 77
8 8 5 5 77 5 5 5 8 5 77 77 77 77
7 5 7 5 5 5 5 5 5 5 5 7 5 7 5
7 7 7 7 7
©2009-2011
7 Jim Gleason. All Rights Reserved. 7 7 7 7
U2
3 3 3 3 3 3 3
3 3
5 5 5 5 5
⁄
5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 Chord Emulation7Exercises page 101
7 7 7 7 7
Jeff Beck style example in Am with bend options
œ œ ÆœJ œ œ œ œ œ œ œ
ÆœJ
A5 3
œ œ ÆœJ œ œ œ œœ œ
œ œ œ œ ÆJ
& J Æ œ Æ œ œ œ œ œ œ ‰ œ œ ‰ œ
3
œ œ œ Æ œ œ
3
Œ
J J
œ J J
œ œ œ œ
3 3 3 3 3 3 3
full full full full full 3 full full 3
5 5
⁄
8 8 5 5 5 5 5 8 5
7 5 7 5 5 5 5 5 5 5 5 7 5 7 5
7 7 7 7 7
7 7 7 7 7
U2
U2 style Example in Bm
#
# 44
& Hendrix
Jimi ∑ example in Cm
style ∑ ∑ ∑
Kenny Burrell style example in Cm
⁄
Pink Floyd style example in Dm
George Benson style example in Fm
SETUP TONES AND TARGET TONES

Chord Tones Are Target Tones
The backbone of melody is chord tones. Prepare for improvising by learning where the chord tones are
for each chord in the fretboard area where you are planning to improvise. Play many versions of the
chords in the area, then arpeggios. Develop exercises that play the arpeggios rhythmically.
melodic and harmonic agreement

Melody suggests chords. Usually, a melody does so by emphasizing one or more of the notes in the
chord played in the accompaniment. The chords suggested by the accompaniment and the chords
suggested by the melody don’t have to match exactly. Either the melody or the accompaniment may
express incidental chords that the other doesn’t represent. However, the chords suggested by melody
and accompaniment usually show a strong correspondence.

target tones common to the scale and the chord

Generally, the more chord tones that are common with the scale you are using it on, the better the scale
works melodically. However, it is also preferred to use certain scales more appropriate to the style you
are playing. If, for example, you are playing to a traditional blues audience, they may prefer hearing key
minor pentatonic during a IV9 chord, even though minor 6/11 pentatonic (minor pentatonic with a “6”
instead of a “b7”) has the exact same notes as a IV9 chord.
cell, motif and phrase

A phrase is what someone might sing or blow on a mouthpiece instrument in one breath. In spoken
language, phrases of words are separated by commas and periods. Similarly in music, phrases are
separated by a lack of activity in the form of a silence or sustain.
Rhythmic words are derived from groups of three, four or six regular pulses. Four pulse rhythmic words,
for example can choose attackes on any combination of four regular pulses during a period of time. A
phrase designed with many rhythmic words.
A motif is a single idea within a phrase. It has enough design element that it is thematic. Therefore,
motifs commonly repeat, with or without varation.
A cell is the smallest melodic unit. They don’t have enough detail to constitute a notable idea, such as
a motif would. Cells would commonly have few notes, say four notes or less. To have more than four
notes and not be a motif, they would have to be of an incidental design such as consecutive scale tones
or a regular sequence of every other scale tone.
metric emphasis
Exercises in this chapter train you to target a chord tone on the first beat of the bar. Preceeding the
target tone, one two or three consecutive scale tones will lead up or down to the target. To spice it up
a bit, we’ll also abstractly back up the notes in the cell so the target tone is “pushed” and comes in a half
beat early. This creates a cool syncopated rhythm, where the focus in intentionally on the offbeat (the
last half of the beat), instead of on the beat.
Once you develop a facility to emphasize chord tones on the first beat of a bar, you can apply the same
principle to the beat halfway through the bar, typically the third beat in four beat bars or the fourth beat
in six beat bars.
upper and lower neighboring tones

Neighboring tones are one scale tone above or below a chord tone. In seven tone scales (heptatonic
scales) such as the major scale, these notes are a whole step (two frets) or a half step (one fret) away from
the chord tone. With common pentatonic scales, neighboring tones are a whole step or a step and a half
(three frets) away from chord tones.

scalar setup tones

With scalar setup tones, one or more consecutive scale tones is (are) played immediately before a chord
tone. The movement to the chord tone following the consecutive scale tones can be in the same direction
they were moving or can change direction.
Pentatonic
Pentatonic SetupSetup
ToneTone Examples
Melodic Examples
Bob
BobMarley
Marley style example in Em
Œ™ j œ ™ œ œ œ œ œ œ œ œ ≈ œ œ œ œ ™
#4
E‹
œ œ ≈ œ ≈ œ œ ˙
& 4Ó œ œ™ œ
j œ˙
œ R
0 2 0 2 0 2 0 2 2 1 2 2 0 0 2 0 2 2 2 2 2 1 3
⁄
3 3 5
0 2 0 0 2 4 4 2 0 0 2 4 4 4 4
0 2 2 0 2
Jeff Beck
4 style example in4Em #

Jeff Beck
&4 ∑ 4 ∑ ∑ ∑
U2 style Example in Bm
⁄
Jimi Hendrix style example in Cm
Kenny Burrell style example in Cm

#
& Floyd style∑example in Dm
Pink ∑ ∑ ∑
George Benson style example in Fm
U2
# ∑ ∑ ∑ ∑
&
⁄
PENTATONIC CHORD EMULATION

same side of the hand, opposite side of the hand
In-position scale fingerings are fretted within the span of four consecutive frets. Each of the five fin-
gerings for the common minor and major pentatonic scales (minor 7/11 and major 6/9) are reachable
within a span of four or five frets.
Each of the five in-position fingering patterns for the common pentatonic scales has two notes per
string. The two notes could then be differentiated by referring to them as being toward the guitar body
or the head of the guitar. Of the pair of notes on each string, the note on the higher numbered fret is
“on the body side” and the note on the lower-numbered fret is “on the head side” of the guitar.
the “head side” notes are circled below
fingring 1 fingring 2 fingring 3 fingring 4 fingring 5
the “body side” notes are circled below

fingring 1 fingring 2 fingring 3 fingring 4 fingring 5
Now that we have the definitions out of the way, here are the rules:
An odd number of consecutive pentatonic scale tones (including the target tone) begin
and end on the same side of the hand. An even number of consecutive pentatonic scale
tones (including the target tone) begin and end on opposite sides of the hand.
Counting the tones includes the target tone. If you play three notes up or down a scale,
then continue one last note to the target tone (chord tone) up or down (in pitch) in the
same direction, the total number of notes is four.
These rules are surprisingly useful.

Visualizing Minor Chord Subsets Of The Minor Pentatonic Scale

1 b3 5 minor m7/11
arpeggio pentatonic
E form

D form
C form
A form
G form

Visualizing All Tones Of The Minor Pentatonic Scale
1 b3 5 minor 4 b7 m7/11
arpeggio pentatonic

E form

D form
C form
A form
G form

Pentatonic Chord Emulation On A Single Chord

fifth position a minor chord and arpeggio
Am V The numbers on the body of each

diagram are finger numbers. The
Am V
numbers below the diagrams are the
tones of the A major scale, named
after the chord root (“A”).
Fret the minor chord at the left. Notice
the added notes in the diagram at the
right. Play the arpeggiated version of
the arpeggio shown in the tablature
below.
Pentatonic Chord Emulation Cells On Am

   
A minor arpeggio
   
    
   
1 4 3 3 1 1 1 4 1 1 1 3 3 4 1
5 8 5
5 5

5 5
7 7
7 7
5 8 8 5
           
A
 
minor 7/11 pentatonic scale,
        1      chord
fingering


    emulation exercises -
scale tones V fingers V ascending and descending
 5 7 5 7 7 57 5 7 5  8 5 8
 7 
 
5
3 5 8 5 5 8
5
8
5 7
   
 
   1 4 131313 14 1 4 1 413 13131 4 1
         5 8 5
     5 7      7  5 75
58 85
 5 8 5 7
5 7
 7 5
8 5
5 8 5
8 5 5

7 7 5 5 5
7 7 5 7 5
7 5 7 5
8 5 8 8 5
  
   
                           
  ©2009-2011 Jim Gleason. All Rights
 Reserved.
1 4 1 3 1 3 2 4 1 4 1 4 2 3 1 3 1 4 1 4 1 4 1
B2 B2 B2 121512 B2
1315 1513
Pentatonic Chord Emulation Exercises, Fingering 1
œ œ œ œ œ œ œ
A minor and C major pentatonic scale
& œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙
5
⁄
5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
œ œ œ œ
A minor arpeggio C major arpeggio
4
œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ
5 8 5 8 12 8
⁄
5 5 5 8 8 5
5 5 5 5
7 7 5 5
7 7 7 7
5 8 8 5 8 8
8 target 5 of minor, 3 of major

Œ ‰ j ˙™
& Ó œ œ œ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙
œœœœ w
⁄ 5 7 5 7
8
5
8
5 7
5 8
5 7
5 8
5 7
15
& Ó Œ ‰ œj ˙ ™ œ œ ˙™ œœ ˙ œœœœ ˙
œ
œ œœ ˙
œœœ
œ w
⁄
5 5
5 5 7 5 7 5 7 5 7 5
7 7 7 7 7 7

2 Pentatonic Chord Emulation, Fingering 1
target b7 of minor, 5 of major

Œ ‰ j ˙™
œ œ ˙™
22
& Ó œ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w
⁄ 7
5
7
5
5 7
5
5 7
5
8
5 7
5
8
5 7
5
Œ ‰ œ ˙™ œ œ ˙™
j
29
œœ ˙ œ œœœ
& Ó œœœœ ˙ œ œœ ˙ œ w
⁄
5 5 7 5 7 5
7 5 7 5 7 5 7 5 7 5 7 5
& Ó Œ ‰ œj ˙™ œ œ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w
⁄ 5 7 5 7
7
5 7
7
5 7
5 7
5 7
5 7
5 7
43
œ œœ œ
& Ó Œ ‰ œJ ˙™ œ œ ˙™ œ œ ˙ œ œ œ œ ˙ œ œ œ ˙ œ ÆJ œ œ ˙ œ œ œ œ
full full
⁄
5
5 5 7 5 7 5 7 5 7 7 5 7 7 5
7 7 7 7 7 7
50
œ œœœ œœœ œœœ œœœ
& ˙ œœ œ œ ˙ œ ˙ ÆœJ œ ˙ œ
œ ˙ œ
œ w
full full full full
⁄
5
7 7 5 7 5 7 7 5 7 7 5 7 7 5
7 7 7 7 7 7

Pentatonic Chord Emulation, Fingering 1
page 110 Chord Emulation Exercises 3

Œ ‰ œj ˙™
56
& Ó œ œ ˙™ œœ ˙ œœœœ ˙ œ œœ ˙
œ œœœ
œ w
⁄
5 5 5 5 5 5
7 7 5 7 5 7 5 7 5 7
7 7
63
œ œ œ ˙™ œ œ œ ˙™ œ œ œ ˙ œ œ œ œ ˙ œ ÆœJ œ œ œ
& Ó Œ ‰ œJ ˙™ œ œ ˙™ œ ˙™ ÆœJ
full full full full
⁄
5 5
7 5 7 5 7 5 7 7 5 7 7 5 7 7 5 7 5 5 7 7 5
71
œ œœœ œ œœœ œ
& ˙ œœœ œ œ ˙ œœ œ œ œ ˙ œ ÆœJ œ œ œ ˙ œ œœ ˙ œ ÆJ ˙ œ
full full full full full
⁄
8 5 8 8
7 7 5 7 7 5 7 7 5 7 5 7 7 5 7 7
œ œœ œ œ ˙ œœœœ ˙ œœœ œ œ ˙ œœœ œ œ ˙ œœ œ œ œ w

77
& ˙ ÆJ
full full full full
⁄
8 8 5 8 8 8
5 7 7 5 7 5 7 7 5 7 7 5 7 7 5
Œ ‰ œ ˙™ œ œ ˙™
& Ó J œœ ˙ œœœœ ˙ œ œ œ œ ÆœJ ˙ œœœœ w

full
⁄
5 7 5 7 5 7 5 7 5 5 5 7
7 7 5 7 5 7
œ ˙ ™ ÆœJ œ œ ˙ ™ ÆœJ œ œ ˙ ™ œ œ œ ˙ ™ œ œ ˙ ™ œ ÆœJ œ ˙ œ œ œ œ ˙ œ œ ÆœJ œ œ

90
& Ó Œ ‰J
full full full full full
⁄
5 8 5 8 8 5 8
7 7 7 7 7 7 7 7 7 7 7 7 7

4 Pentatonic Chord Emulation, Fingering 1
œ œ œœ œ ˙ œœœœ ˙ œ ÆœJ œ œ œ ˙ œ œœœ œ ˙ œ œœœ œ w

98
& ˙ ÆJ ÆJ
full full full full
5 5 5
⁄
8 8 5 8 8 5 8 8
7 7 7 7 7 7 7 7
104
target 5 of minor, 3 of major
œ ˙™ œ ÆœJ ˙™ œ œ ˙™ œ ÆœJ œ ˙™ œ œ ˙™ œ œ ÆœJ ˙ œ œ œ œ ˙ œ œ œ ÆœJ œ
& Ó Œ ‰J
full full full full
⁄
5 5 5 5
7 7 7 7 7 7 5 7 5 7 7 5 7 5 7 7
112
˙ œ ˙ œ ˙ œ ˙ œ ˙
& œ œ œ œ œ œ ÆœJ œ œ œ œ œ œ ÆœJ Ó
full full
⁄
5
5 7 9 5 7 7 5 7 5 7 7
7 7 7 7
117
œ œ œ œ ˙™ œ œ œ ˙™ œ œ ˙™ œ œ ˙™ œœ
& Ó Œ ‰ J ˙™ ÆœJ
˙™ ÆJ
ÆœJ ÆœJ
full full
5 5 5
⁄
8 5 8 8 5 8 8 5 8 5 8
7 7
œ œ
œœœœ ˙ œ œ œ ÆœJ œ ˙ œ ÆœJ œ œ œ ˙ œ ÆœJ œ œ ÆœJ œ ˙ œ œœ ˙ œ œœ
124
Æ̇
˙
&
full full full full
5 5 5 8 5 8 5
⁄
8 5 8 8 8 5 8 8 8
7 7 7
130 œ œœ œ œ œœ œ œœœ œœœ œ œœ œ

Æ̇
˙ œ ÆJ ˙ œ ÆJ
Æ̇
˙ œ ˙ ÆœJ
œ ˙ ÆJ
ÆœJ
œ w
&
full full full full full full full
8 8 8 5 8 5 8
⁄
8 8 5 8 8 8 5 8 8 8
7 7 7 7

Pentatonic Chord
Pentatonic Chord Emulation,
Emulation Fingering
Exercises, Fingering44

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 œ œ œ
&4 œ œ œ œ œ œ
12 15 12
⁄
13 15 15 13
12 14 14 12
12 14 14 12
12 15 15 12
12 15 15 12
& Ó Œ œ ˙™ œœ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w
⁄ 12
15
12
12 15
12
12 15
12
10 12 15
12
10 12 15
12
⁄ 15 12 15 12
12
15 12
12
15 12
14 12
15 12
14 12
15 12
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⁄
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12 12 14 12 14 12 14 12 14 12
15 15 15 15 15 15

©2010 Jim Gleason. All Rights Reserved.
Pentatonic Chord Emulation, Fingering 1Chord Emulation Exercises page 113
5

˙™ œ ˙™ œ œ ˙™ œ œ ˙™ œ œ ˙™ œ œ ˙™
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©2009-2011
©2010-2011Jim
JimGleason. All
Gleason. All Rights
Rights Reserved.
Reserved.
page
2 114 Chord Emulation ExercisesPentatonic Chord Emulation, Fingering 4
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Pentatonic Chord Emulation, Fingering 4 Chord Emulation Exercises page 3115
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©2010 Jim
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Jim All Rights
Gleason. All Reserved.
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Pentatonic Chord
Emulation Fingering
œ
& 44 œ œ œ œ œ œ œ œ œ œ œ
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Pentatonic Chord
Emulation Fingering
œ œ œ
œ
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10 12 10
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10 13 13 10
9 12 12 9
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12
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10 10 12 10 12 10 12 10 12 10
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12 10 12 10 12 10 12 10 12 10 12 10

2 120 Chord Emulation ExercisesPentatonic Chord Emulation, Fingering 3
page
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12 12 12 12 12 12

Pentatonic Chord Emulation, Fingering 3Chord Emulation Exercises 3
page 121
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Pentatonic Chord Emulation Exercises, Fingering 5
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Jim All Rights
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All Rights
THE MELODIC FUNCTION OF PENTATONIC TONES

The tables below show the correspondence between pentatonic scales and chords. Each table shows the
tones of the pentatonic scale in greyed columns among ordered columns for the twelve chromatic tones.

Melodic Function
Functions Of7/11
of Minor Minor 7/11 Pentatonic
Pentatonic Scale(bold)
Scale Tones Tones
Key Scale Tones ➝ 1 b2 2 b3 3 4 #4/b5 5 #5/b6 6 b7 7 1
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
I major tones ➝ 1 ➝ 3 ➝ 5 1
IV major tones ➝ 5 1 3 5
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
Im7b5 tones ➝ 1 b3 b5 b7 1
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV minor tones ➝ 5 1 b3 5
IV m7 tones ➝ 5 b7 1 b3 5
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
IIIm7 tones ➝ b7 ➝ 1 ➝ b3 5
IIm7 tones ➝ b7 1 b3 5 b7
bVII9 tones ➝ 9 3 5 b7 1 9
©1997-2008 Jim Gleason. All Rights Reserved

Melodic Function Of Dominant 7/11 Pentatonic Scale Tones

Functions of 7/11 Pentatonic Scale Tones (bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

Melodic Function
Functions Of Minor
of Minor 7/11b57/11b5 Pentatonic
Pentatonic Scale (bold)
Scale Tones Tones
Key Scale Tones ➝ 1 b2 2 b3 3 4 b5 5 #5/b6 6 b7 7 1
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

Melodic Function
Functions of MajorOf Major
6/9 6/9 Pentatonic
Pentatonic Scale
Scale Tones Tones
(bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

Melodic Function Of Minor 6/9 Pentatonic Scale Tones

Functions of Minor 6/9 Pentatonic Scale Tones (bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

THE MELODIC FUNCTION OF HEPTATONIC TONES

Heptatonic scales are seven tone scales. The most common heptatonic scale is the major scale (also
caled Ionian mode). Pentatonic scales are subsets of major scales.
It is generally easier to bring to mind which tones are in heptatonic scale tone since more often all of the
tones of a chord are in the scale. Scale tone chords are subsets of the scale from which they were built,
so all of their chord tones are in the scale. This is not the case with pentatonic scales, since they are also
subsets of heptatonic scales.
A chord and the pentatonic scale used to improvise melody on the chord may be a both be a subset of
the same heptatonic scale yet all of the note of the chord may not be in the pentatonic scale.
major (Ionian) scale-tone chords

stepwise order
scale tone I II III IV V VI VII
triad major minor minor major major minor diminished
key tones 135 2 4 6 357 4 6 1 5 7 2 613 724
seventh ma7 m7 m7 ma7 7 m7 m7b 5

key tones 1357 2461 3572 4613 5724 6135 7246
ninth ma9 m9 ma9 9 m9

key tones 13572 24613 46135 57246 61357
available others 2(4)6 246 b 24b6 2# 46 2(4)6 24b 6 b 24b 6
HEPTATONIC CHORD EMULATION

All the notes of a chord are typically in a heptatonic scale used to make melody on the chord, you just
need to emphasize the chord tones.

Chord Emulation Exercises

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8

©2009-2011 Jim Gleason. All Rights Reserved.

RESONATING A SINGLE CHORD

elaborate the E minor form barré chord into an arpeggio

Am chord V Bm chord VII Cm chord VIII Dm chord X Fm chord XIII

Am arpeggio V Bm arpeggio VII Cm arpeggio VIII Dm arpeggio X Fm arpeggio XIII

©2009-2011 Jim Gleason. All Rights Reserved.

learn the E minor form pentatonic scale, called “pentatonic fingering 1”

evolution of the Em7/11 pentatonic fingering

©2009-2011 Jim Gleason. All Rights Reserved.

Minor Chord Tone Melodic Examples

Jeff Beck style example in Am with bend options

George Benson style example in Fm

SETUP TONES AND TARGET TONES

melodic and harmonic agreement

©2009-2011 Jim Gleason. All Rights Reserved.

target tones common to the scale and the chord

cell, motif and phrase

upper and lower neighboring tones

©2009-2011 Jim Gleason. All Rights Reserved.

scalar setup tones

4 style example in4Em #

Kenny Burrell style example in Cm

PENTATONIC CHORD EMULATION

the “body side” notes are circled below

©2009-2011 Jim Gleason. All Rights Reserved.

Visualizing Minor Chord Subsets Of The Minor Pentatonic Scale

©2009-2011 Jim Gleason. All Rights Reserved.

Visualizing All Tones Of The Minor Pentatonic Scale

©2009-2011 Jim Gleason. All Rights Reserved.

Pentatonic Chord Emulation On A Single Chord

Am V The numbers on the body of each

Pentatonic Chord Emulation Exercises, Fingering 1

8 target 5 of minor, 3 of major

©2010-2011 Jim Gleason. All Rights Reserved.

©2009-2011 Jim Gleason. All Rights Reserved.

target b7 of minor, 5 of major

& Ó œ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w

36 target 1 of minor, 6 of major

& Ó Œ ‰ œj ˙™ œ œ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w

©2010-2011 Jim Gleason. All Rights Reserved.

©2009-2011 Jim Gleason. All Rights Reserved.

target b3 of minor, 1 of major

full full full full

œ œœ œ œ ˙ œœœœ ˙ œœœ œ œ ˙ œœœ œ œ ˙ œœ œ œ œ w

full full full full

& Ó J œœ ˙ œœœœ ˙ œ œ œ œ ÆœJ ˙ œœœœ w

œ ˙ ™ ÆœJ œ œ ˙ ™ ÆœJ œ œ ˙ ™ œ œ œ ˙ ™ œ œ ˙ ™ œ ÆœJ œ ˙ œ œ œ œ ˙ œ œ ÆœJ œ œ

©2010-2011 Jim Gleason. All Rights Reserved.

œ œ œœ œ ˙ œœœœ ˙ œ ÆœJ œ œ œ ˙ œ œœœ œ ˙ œ œœœ œ w

full full full full

130 œ œœ œ œ œœ œ œœœ œœœ œ œœ œ

©2010-2011 Jim Gleason. All Rights Reserved.

A minor and C major pentatonic scale

target 1 of minor, 6 of major

& Ó Œ œ ˙™ œœ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w

& Ó Œ œ ˙™ œœ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w

target b3 of minor, 1 of major

& Ó Œ œ ˙™ œœ ˙™ œœ ˙ œœœœ ˙ œœœœ ˙ œœœœ w 44

©2009-2011 Jim Gleason. All Rights Reserved.

target b7 of minor, 5 of major

& Ó Œ ‰ œJ ÆœJ ÆœJ œ ÆœJ œ

˙ œœ œœ ˙ œœœœ ˙ œœœœœ ˙ œœœœ ˙ œœ œœœ ˙ œœœœ ˙ œœœœœ w

full full full full