1. WHAT IS TECHNIQUE?
  2. WHAT IS TAPPING?
  3. ADVANCED TECHNIQUE. RIGOROUS APPROACH
  4. WHAT-ME IMPROVISE?
  5. THE MOST BASIC EXPRESSION OF A SCALE
  6. THE VALUE OF JOHN DENVER
  7. WHAT ABOUT MODES?
  8. HOW DO WE BUILD CHORDS?
  9. CHORDS IN A GIVEN KEY.HARMONIZE THE SCALE
  10. WHAT ABOUT THE RIGHT HAND?
  11. WHAT ABOUT Eb? ALL POSITIONS
  12. WHAT ABOUT THE EMI7 GOLDMINE? ALL POSITIONS
  13. GREEN DOLPHIN STREET DECONSTRUCTING A CHART
  14. THE GUITAR UNIVERSE
  15. WORKING A CHORD BY ITS QUALITIES
  16. OH, YES. THERE IS STILL MORE HARMONY




CAN YOU COUNT TO FOUR?
[E] [A] [D] [G] [B] [E]
1 1 1 1 1 1
2 2 2 2 2 2
3 3 3 3 3 3
4 4 4 4 4 4
  • THIS INVALUABLE 1234 EXERCISE CAN BE PRACTICED ANYWHERE ON THE FINGERBOARD.
  • THE CENTRAL IDEA IS TO ENGAGE THE FINGERS OF THE LEFT HAND EVENLY.
  • ONE FINGER ASSIGNED PER FRET AT ANY POSITION ON THE BOARD
  • AT ANY POSITION YOU WILL COVER EVERY POSSIBLE NOTE WITHOUT SHIFTING THE HAND
  • KEEP THE LH THUMB BEHIND THE FRETBOARD. DROP THE WRIST FOR BALANCE
  • SLOW EVEN UP/DOWN PICKING
  • MAINTAIN CURVATURE OF LH FINGERS. DO NOT LET JOINTS "COLLAPSE."
  • ASCENDING KEEP EACH FINGER IN ITS ASSIGNED FRET TO BUILD STRETCH GRADUALLY.
  • FORCE NOTHING. IF ANY STRETCH IS TOUGH TRY THE EXERCISE HIGHER ON FRETBOARD.

DETAILS REGARDING TECHNIQUE
  • BY "TECHNIQUE" WE WILL MEAN A PERSONAL PROCESS OF EXPLORING AND EXTENDING ONE'S LIMITS IN A MANNER CONDUCIVE TO ENHANCING THE BODY'S LONGEVITY IN DOING SO.


  • ALL POINTS REGARDING THE ARCHITECTURE OF THE HAND'S POSITION ARE INDICATIONS, NOT ABSOLUTES. STUDY YOUR OWN HANDS WHILE YOU PRACTICE.

  • SOME INITIAL STIFFNESS IS INEVITIBLE FOR THE AMBITIOUS STUDENT. UNABASHEDLY MASSAGE THE LEFT HAND INTERIOR MUSCLES. ESPECIALLY THE NODE WHERE THE THUMB CARPAL MEETS THE POINTY FINGER. DON'T GO SO DEEP AS TO CAUSE PAIN. ACUPRESSURE POINTS ARE INVALUABLE. TAI CHI AND/OR YOGA IS GOOD.

  • THE THUMB OF THE LEFT HAND IS USUALLY PHOTOGRAPHED AT THE NECK'S CENTER. HOWEVER, IN THE COURSE OF PLAYING, IT IS MORE DYNAMIC, AND DESCRIBES AN ESS CURVE. IT OPPOSES LEFT HAND FINGERTIPS. I.E., IT'S CLOSER TO THE UPPER STRINGS WHEN YOU PLAY LOWER END NOTES, AND VICE VERSA.


  • THE 1234 EXERCISE AND ALL ITS 24 VARIANTS IS A WONDERFUL WAY OPEN THE DOOR. FIVE MINUTES OF THIS AT RANDOM TIMES AROSS ONE'S DAY WILL GENERATE STRIKING RESULTS OVER THE COURSE OF THE YEAR.

  • KEEP THE LH FINGERS CURVED.


  • THINK ARCHES FRO THE FINGER. TRY TO AVOID "COLLAPSING" ANY OF THE JOINTS WHEN TRYING TO ACHIEVE A NOTE.


  • CUT NO CORNERS, AND YOU WILL LEARN HOW FAST SLOW CAN BE, IN TERMS OF THE BODY'S MUSCLE MEMORY LEARNING CURVE.

  • DROP THE WRIST TO ACQUIRE LEVERAGE


  • TRY TO SUSTAIN THE 4/1 INTERVAL AS YOU MOVE TO ADJACENT STRING TO “RING“ AS A “CHORD“ FOR A MORE FLUID, LESS CHOPPY EFFECT


  • SLOW PRACTICE WILL RESULT IN FASTER DEVELOPMENT. USE THIS TO EXPLORE ALL THE “COLORS“ OF A GIVEN PITCH, AND EMPHASIZE A CLEAN EVEN SOUND FOR YOURSELF.


  • REMEMBER THAT THIS IS ABOUT FINDING YOUR PERSONAL “VOICE,” NOT WINNING A HORSERACE.


  • UP/DOWN PICKING IS PREFERRED FOR THE MOMENT, EVEN IF IT GOES COUNTER TO YOUR HABITS.


  • PRACTICE ASCENDING, I.E. 1234, AND DESCENDING 4321. WHEN ASCENDING 1234, KEEP THE FINGERS “DOWN, EVEN AFTER YOU PLAY THE NOTE. I.E. WHEN YOU PLAY THE 2 FINGER, STILL KEEP THE 1 IN PLACE


  • UNDER NO CIRCUMSTANCE SHOULD YOU “FORCE“ THE EXERCISE TO THE POINT OF PAIN. IF A STRETCH IS TOO GREAT TRY TO DO THE EXERCISE IN ANOTHER POSITION.


  • APPLY ALL OF THESE PRINCIPLES TO EVERY SCALE STUDY.



  • WHAT ARE MODES?

    SINCE THERE ARE SEVEN NOTES IN THE DIATONIC SCALE, THERE WILL BE SEVEN WAYS YOU CAN EXECUTE A COMPLETE CYCLE OF THE NOTES IN THE TONALITY. EACH MODE STARTS AND ENDS ON ITS CORRESPONDING SCALE STEP. ALL OTHER "MODES" YOU READ ABOUT ARE SYNTHETIC.FOR EXAMPLE, THE DIMINISHED SCALE OR THE WHOLE TONE SCALE ARE ELEMENTARY AND CIRCULAR, BUT NONETHELESS VERY RICH SYNTHETIC MODES.
    • MAJOR C-D-E-F-G-A-B-C


    • DORIAN D-E-F-G-A-B-C-D


    • PHRYGIAN E-F-G-A-B-C-D-E


    • LYDIAN F-G-A-B-C-D-E-F


    • MIXOLYDIAN G-A-B-C-D-E-F-G


    • AEOLIAN A-B-C-D-E-F-G-A


    • IONIAN B-C-D-E-F-G-A-B


    • ALL MODES IN C ILLUSTRATED TOGETHER THE FIRST POSITION IN C MAJOR GIVES US A LYDIAN


    • FAQ: "Hey, how come this doesn't sound like music? ANSWER: Because it's not music. Never forget that harmony is an analytic tool that comes after music, and explains it. Nevertheless, sometimes it can inspire creativity. Beware of the tendency for its overemphasis to generate contrived pieces that satisfy your mind but not your ear.


    • Nevertheless, this does not mean that this knowledge needs to be stifling to your creativity. We can use it to create new possibilities that experiment and experience will verify as being something we want to use or cast aside.


    • "THERE ARE TWO KINDS OF WRONG NOTES, THE ONES THAT WORK AND THE ONES THAT DON'T." Thelonious Monk

    IMPROVISE?

    Improvisation is a key for self learning. It is not the sole domain of arcanely educated jazz musicians. It is something more like an accelerated process of trial and error.

    There is nothing intrinsic to the worthiest aspets of music which require "knowledge" or "understanding." These are conditions which can enhance the primal experience, but they will never be its substrate.

    This is may be why the Academic Serial movement of the early 20th century was a noble, overly intellectualized failure. Music is of the ear, and pseudo-rationalist templates, which "look good on paper," have yet to do anything but impotently defy it. Nevertheless, I recommend you study it.

    We will immediately leap on the notion of tension and release and employ the tools we've always had available, chords and scales, to generate an opportunity to both learn and relax every time we pick up an instrument.

    This can be a can opener for changes as complex and challenging as Giant Steps, but it will never lose sight of the importance of seeing and hearing as a child.

    Thus we will start with nothing but an easily fingered Fma7 to Cma7 progression(also known as a vamp), and see how far that can lead us. below are the chords:

    Below is a Cma7 chord. You can play all the other strings open with a simple strum. The 3rd finger is a c, the 2nd finger is an e, the open g stiring and the open b string fulfill a complete spelling of chord.

    Movement between two rudimentary chords is sufficient to establish the fundamental rhythmic balance of tension and release. With the addition of more chords we are allowed to enhance this into larger structures with more elaborate orientations, but the fundamental organic quality of tension release starts here. Practice the movement between any two chords relentlessly, so that you develop rhythmic dynamics. In other words, a groove, or vamp. This notion will return when we look at jazz.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 2 * * *
    * 3 * * * *
    * * * * * *
    * * * * * *

    Now get ready for some fun. The 2nd and third fingers will "hop" to the Fmaj7 chord. "Add" the first finger and you're home free to a core improvository structure.

    Now that's just a fancy way of saying do four beats of one and then four beats of the other. As you get bored, start finding other voicings that work for you.

    Think about the Fma7 as tension and Cma7 as release. You will later find in the chord building section that Fmaj7 is the same as a G9 without the root. Generally, we can get away with eliding either the root or the fifth from our voicings. If you are playing with a keyboard, s/he will love you for it. They tend to peg the root in the left hand anyway. YOU CAN ALSO SEEHOW IT'S SPELLED
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * * 2 * *
    * * 3 * * *
    * * * * * *
    * * * * * *

    PHRYGIAN: AKA "SPANISH," THE THIRD SCALE DEGREE

    MAJOR MODE
    [E] [A] [D] [G] [B] [E]
    1 1 * * 1 1
    * * 2 2 * *
    3 3 3 3 3 3
    * * * * * *
    4 4 4 (4) 4 4
    DORIAN MODE
    [E] [A] [D] [G] [B] [E]
    1 1 1 1 1 1
    * * * * * *
    3 3 3 3 3 3
    4 * * * 4 4
    * (4) (4) (4) * *
    [E] [A] [D] [G] [B] [E]
    1 1 1 1 * 1
    2 * * * 2 2
    * 3 3 3 * *
    4 4 4 * 4 4

    LYDIAN: AKA "THE MODE OF MANY FINGERINGS," THE FOURTH SCALE DEGREE
    [E] [A] [D] [G] [B] [E]
    1 * * * 1 1
    * 2 2 2 * *
    3 3 3 * 3 3
    * * * 4 * *
    (4) (4) (4) * (4) (4)
    THE MIXOLYDIAN THE FIFTH SCALE DEGREE
    [E] [A] [D] [G] [B] [E]
    1 1 1 1 1 1
    * * * 2 * *
    3 3 3 3 3 3
    * * * * 4 *
    (4) (4) (4) (4) * (4)
    AEOLIAN MODE: AKA "RELATIVE MINOR," SIXTH SALE DEGREE
    [E] [A] [D] [G] [B] [E]
    1 1 1 1 1 1
    * * * * 2 *
    3 3 3 3 * 3
    4 4 * * 4 4

    THE F WHOLE TONE SCALE: PLEASANTLY RESOLVES TO C MAJOR

    Here's where synthetics get interesting, so perk up, plague puppies!!

    • ANY PART OR PATTERN CAN BE MOVED UP OR DOWN 2 FRETS AND THE TONALITY REMAINS THE SAME.
    • ERGO THE F WT SCALE ALSO IS, AMONG FIVE OTHERS, A G WT. AND THE G WT SALE IS A POWERFUL EXPRESSION OF THE AUGMENTED AND DIMINISHED 5 G DOMINANT 7 FORMS.
    • THIS WORKS OUT PERFECTLY UNDER ARITHMATIC NOTE ANALYSIS.
    • OUR TEMPERED SCALE SYSTEM EMPLOYS 12 TONES.
    • THERE ARE EXACTLY TWO WT SCALES POSSIBLE, EACH WITH 6, OR HALF OF THE AVAILABLE NOTES.
    • IF YOU ARE GEOMETRICALLY ORIENTED THIS IS LOADED WITH “SHAPES” ARTICULATING IMPLICIT TENSION. BEWARE OF BEING OVERLY MECHANICAL R CONTRIVED. TEST LINES AGAINST YOUR EAR TO FIND YOU ROWN VOICE.

      [E] [A] [D] [G] [B] [E]
      F * D# * * F
      * B * A C# *
      G * F * * G
      * C# * F# D# *
      * * * * * *
      [E] [A] [D] [G] [B] [E]
      1 * 1 * * 1
      * 2 * 2 2 *
      3 * 3 * * 3
      * 4 * 4 4 *
      * * * * * *

    DIMINISHED SCALE
    [E] [A] [D] [G] [B] [E]
    1 1 * * * *
    * 2 * * * *
    3 * 1 1 1 1
    4 4 * 2 * 2
    * * 3 * 3 *
    * * 4 4 4 4

    DIMINISHED SCALE
    [E] [A] [D] [G] [B] [E]
    1 1 * * * *
    * 2 * * * *
    3 * 1 1 1 1
    4 4 * 2 * 2
    * * 3 * 3 *
    * * 4 4 4 4

    THIS GRID READ FROM LEFT TO RIGHT IS NOTHING MORE THAN ALL POSSIBLE WAYS TO WORK THE FOUR FINGERS OF THE LEFT HAND IN THE MOVABLE ONE POSITION TECHNICAL EXERCISE THAT WE LEARNED AT THE BEGINNING.
    1 2 3 4
    1 2 4 3
    1 3 4 2
    1 4 3 2
    1 3 2 4
    1 4 2 3
    2 3 4 1
    2 3 1 4
    2 4 3 1
    2 4 1 3
    2 1 3 4
    2 1 4 3
    3 4 2 1
    3 4 1 2
    3 2 1 4
    3 2 4 1
    3 1 2 4
    3 1 4 2
    4 3 2 1
    4 3 1 2
    4 2 1 3
    4 2 3 1
    4 1 3 2
    4 1 2 3

    MORE? E Mi 7 IN ALL POSITIONS CAN BE EXPLOITED DIAGONALLY FOR WONDERFUL SWEEP EFFECTS. THIS APPROACH CAN BE APPLIED TO ANY TONALITY, AS WE WILL DO LATER. LEARN THIS FIRST, AND NOTE THAT IT’S STILL JUST THE NOTES IN G MAJOR.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    F# B E A C# #
    G * * * D G
    * C# F# B * *
    A D G * E A
    * * * C# * *
    B E A D F# B
    * * * * G *
    C# F# B E * C#
    D G * * A D
    * * C# F# * *
    E A D G B E

    ANOTHER LOOK AT ALL SEVEN MODES TOGETHER. WHEN WE START IN THE FIRST POSITION, IN C MAJOR, OPENS WITH THE LYDIAN MODE
    [E] [A] [D] [G] [B] [E]
    1 * * * 1 1
    * 2 2 2 * *
    3 3 3 * 3 3
    * * * 4 * *
    1/4 1/4 1/4 1/4 1/4 1/4
    * * * * 2 *
    3 3 3 3 * 3
    1/4 1/4 * * 1/4 1/4
    * * 2 2 * *
    3 3 3 3 3 3
    * * * * * *
    4 4 4 4 4 4

    WHAT ABOUT CHORDS?

    How do we form chords?

    • Write out the scale in two octaves.
    • For example, the chords derived from C in c major.
    • C-D-E-F-G-A-B-C-E-F-G-A-B-C.
    • Starting with the note name, or root, we take C and build by alternate steps.
    • C-D-E-F-G-A-B-C-D-E-F-G-A-B-C.
    • The C major triad is C-E-G
    A C maj chord is any combination of these notes on the fretboard. Any distinct combination will be referred to as a "voicing" of the chord.
    • The C major seventh chord is C-E-G-B
    • The C major ninth chord would be C-E-G-B-D
    • The C major eleventh chord would be
    • The C major thirteenth chord would be C-E-G-B-D-F-A
    • Go back and assign a number to each note in the original writing of the two octave scale and you should see that the "number" associated with the chord is the same as the "number" of the final note.
    • For a Cma7 explodeddiagram across all positions.

    MORE ON "TECHNICAL" EXERCISES. WE CAN WORK THE ONE FINGER ONE FRET BUSINESS ACROSS ALL PERMUTATIONS. THEY ARE VERY CONDUCIVE TO KEEPING THE FINGERS FROM LOCKING INTO RUTS, AND SOMETIMES CAN GENERATE NEW AND PLEASANT SOUNDS. HERE ARE SOME EXAMPLES:
    [E] [A] [D] [G] [B] [E]
    1 * 1 * 1 *
    2 * 2 * 2 *
    * 3 * 3 * 3
    * 4 * 4 * 4
    * * * * * *
    [E] [A] [D] [G] [B] [E]
    * * 1 1 * *
    * * 2 2 * *
    3 3 * * 3 3
    4 4 * * 4 4
    * * * * * *
    [E] [A] [D] [G] [B] [E]
    1 * 1 * 1 *
    * 2 * 2 * 2
    * 3 * 3 * 3
    4 * 4 * 4 *
    * * * * * *

    LOOK AT EACH COLUMN AS A SEPERATE EXERCISE IN THE BELOW FIGURE
    [E] [A] [D] [G] [B] [E]
    1 1 1 1 1 1
    3 4 2 4 4 2
    2 3 4 2 3 3
    4 2 3 3 2 4

    SEE HOW IT'S SPELLED
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * * A * *
    * * F * * *
    * * * * * *
    * * * * * *

    WHOLE TONE SCALE
    [E] [A] [D] [G] [B] [E]
    F * Eb * * F
    * B * A C# *
    G * F * * G
    * C# * B D# *
    A * G * * A

    DIAGRAM

    CMAJ 7 12 POSITIONS
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    * C * * * *
    * * * B * *
    * * G C E *
    * * * * * *
    B E * * * B
    C * * * G C
    * * B E * *
    * G C * * *
    * * * * * *
    E * * G B E

    Cmi 7-5 4 VOICE 12 POSITIONS
    • REMEMBER THAT THERE ARE FOUR NOTES IN Cmi7, the G/fifth is lowered one fret/half step to Gb/F#: C-Eb-Gb/F#-Bb
    • YOU MIGHT NOTICE THAT THIS FUNCTIONS AS Ab9 WITHOUT THE ROOT NOTE Ab. C is third, Eb is fifth, Gb is 7th, and Bb is 9th
    • THIS TONE COMBINATION ALSO CAN FUNCTION AS Ebmi6 CHORD. Eb/root, Gb/third, Bb/fifth, and C/sixth.
    • YOU MIGHT EXPERIMENT WITH RUNNING THESE NINTHS PARALLEL HARMONY BY MINOR THIRD(YEAH, THREE FRET) INTERVALS.
    • ANALYSIS WILL HOLD IN MOST CASES
    NOTE NAMES
    [E] [A] [D] [G] [B] [E]
    * * Eb * C *
    Gb * * * * *
    * * * Bb * *
    * * Gb * Eb *
    * * * C * *
    Bb * * * * *
    * * * * Gb *
    C * Bb Eb * *
    * * * * * *
    * * C * * *
    Eb * * Gb Bb *
    * * * * * *
    NOTE ANALYSES
    [E] [A] [D] [G] [B] [E]
    * * 3 * R *
    -5 * * * * *
    * * * 7 * *
    * * -5 * 3 *
    * * * R * *
    7 * * * * *
    * * * * -5 *
    R * 7 3 * *
    * * * * * *
    * * R * * *
    3 * * -5 7 *
    * * * * * *
    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * 1 * 1 *
    2 * * * * *
    * * * 3 * *
    * * 1 * 1 *
    * * * 2 * *
    3 * * * * *
    * * * * 1 *
    2 * 3 4 * *
    * * * * * *
    * * 1 * * *
    2 * * 3 4 *
    * * * * * *

    MORE?

    GREEN DOLPHIN STREET DECONSTRUCTING A CHART

    Okay. We've taken a look at the basic four voice chord forms employed by jazz guitarists since the fifties. This was common knowledge in the first place. We've also looked at a grand total of eight scalar/modal patterns.

    Although we know that we have just scratched the surface, we also know that many of the "greats" have done spectacular work with fewer tools. How is this accomplished, short of an appeal to nebulous terms like "soul?"

    CMA7 CMA7 CMIN7 CMI7
    DMA7 C#MAJ7 CMA7 A7
    DMI7 G7 CMA7 CMA7
    FMI7 Bb7 EbMAJ7 G7

    TO SKIP THE MEANDERING AND VIEW SOME SUGGESTED COMPING VOICINGS. BUT REMEMBER THESE ARE ONLY A MICRO RXPRESSION OF THE POSSIBILITIES. THE MEANDERINGS ARE DESIGNED TO REMIND YOU OF HOW MANY MORE THERE ARE YET TO BE DISCOVERED.

    Guitarists in particular often become so preoccupied with overintellectualizing theory that they forget where the instrument's greatest expressive powers reside: shaping a note with the right hand and angle of approach to a note from the left employing knowledge of scalar patterns. A pattern alone is nothing but a sterilizing influence without a guiding intelligence.

    When you hear about the "lyricism" of great soloists like Parker and Coltrane, it is worthwhile to realize that much of that mystical sounding term means nothing more than the investment of personalized licks against the original melody itself.

    Paul Hindemith once pointed out that at the end of the day, no musical conception, no matter how intricately and studiously arrived at, has value at all, if it cannot be hummed. There is no magic bullet for originality. All that the tools we have so far can do is shuffle and reshufle notes like a deck of cards. Your originality will reside in which of the "hands" you find suit you most effectively.

    Towards that end, when we begin to break down a chart, we will find that the most powerful can opener of all will be simplifiying it, rather than introducing a multeity of passing chords and substitutions.

    In keeping with the KISS (keep it simple stupid) rule, let's examine one of the simplest and richest tunes of all: Green Dolphin Street.

    Reviewing this chart reminds me of what Itzhak Perlman said of playing Beethoven. The difficulty resides in the feeling one has that there is barely anything tangible there at all.

    I believe that the average four bar to the line chart for verse one of this notorious improvisation template (which you've no doubt already heard butchered by countless clinics and workshop groups) looks like the following in the key of C Some of you may notice I have studiously avoided the final "tag". We'll get to that later.

    Looking for ten thousand passing chords in the first four bars will hobble the budding improviser. And don't worry, we've got thousands of those available from the wealth of work already accomplished by a half a century of post bop keyboard players. (I would especially refer you to Bud Powell.)

    You can also hop on over to the plague bunnies section for entertaining parallel voicings that may be applied after other dominant voiings have grown tiresome. Take the long shot for a second, and think simply. The movement from two bars of Cmaj7 to two bars of Cmi7 is really nothing more than a major sale to minor built on the same root. However, if you look at CMi as equivalent to Eb major(relative minor from lesson 4) for some reason this catalyzes other angles on runs that already lie easily under the hands. In other words you will play any notes in C major for the first eight beats, and any notes in Eb major for the next two bars. Juggling these as permutations provides different angles on your target lyrical sounds much as a skillful pool player takes different angles on the cue ball.

    WHAT ABOUT THE RIGHTHAND?
    • PARDON MY DEXTERPHILIA, OR IS THAT SINISTERPHOBIA? ANYWAY, WE'RE TALKING THE PICKING HAND.
    • THIS IS THE WILD CARD IN THE PLAYER'S HAND, SO TO SPEAK.
    • THERE IS NO "RIGHT" WAY HERE. ONLY AN ENORMOUS SOURCE OF POSSIBILITY WHICH THE PLAYER PARTICIPATES IN ACCORDING TO THEIR NATURE.
    • IT IS THE SOURCE OF THE PLAYER'S "FEEL." TECHNIQUE WILL FOCUS ON MINIMIZING MOVEMENT, BUT IT IS A MEANS, NOT AN END TO YOUR PROCESS OF DEVELOPING YOUR VOICE.
    • VIRTUOSITY PROVIDES NO DIVIDING LINE. THERE ARE PROBABLY MORE VIRTUOSOS IN NY AND LA THAN THERE ARE IMPROVISERS, BUT THAT SAYS MORE ABOUT AN IMPOVERISHMENT OF EDUCATION THAT ANYTHING ELSE.
    • WHEREAS CHARLIE PARKER WAS DOUBTLESS A VIRTUOSO, MILES DAVIS WAS AT BEST COMPETENT BY THOSE STANDERDS. BOTH PARTIIPATED IN WHAT COLERIDGE TERMED THE "GENIAL," OR IF ONE PREFERS IT -THE "CREATIVE" SPIRIT.
    • TOWARDS THAT END, WITH ALL THE PERMUTATIONS OF THE 1234 EXERCISE BELOW, YOU CAN EMPLOY A TREMOLO.
    • KEEP YOUR UP DOWN PICKING FROM THE FOREARM, AND MINIMIZE THE LARGER MOVEMENTS OF THE HAND.
    • DONE PROPERLY, THERE WILL BE ALMOST NO VISIBLE UP DOWN MOVEMENT OF THE PICKING HAND. SEE, THEORETICALLY, THE RIGHT HAND ONLY NEEDS TO MOVE A LITTLE MORE THAN THE DIAMETER OF THE STRING ITSELF BEFORE IT COMES BACK FOR ANOTHER STROKE.
    • FOR THE LOVE OF GOD, DON'T TURN THIS THING INTO SOME INTERMINABLE, MALEVOLENT FLIGHT OF THE BUMBLE BEE, THOUGH.
    • NOTICE THAT AS YOU GET BETTER AT THE TREMOLO EXERCISE, THAT YOU WILL BEGIN TO APPREHEND HOW GIVING THE STRING A LITTLE MORE ROOM TO "BREATH" WITH THE PICK AT SLIGHTLY GREATER DISTANCES, PROVIDES THE PLAYER WITH A GREATER PALETTE OF TONES.

    WHAT ABOUT THE RIGHTHAND?
    • PARDON MY DEXTERPHILIA, OR IS THAT SINISTERPHOBIA? ANYWAY, WE'RE TALKING THE PICKING HAND.
    • THIS IS THE WILD CARD IN THE PLAYER'S HAND, SO TO SPEAK.
    • THERE IS NO "RIGHT" WAY HERE. ONLY AN ENORMOUS SOURCE OF POSSIBILITY WHICH THE PLAYER PARTICIPATES IN ACCORDING TO THEIR NATURE.
    • IT IS THE SOURCE OF THE PLAYER'S "FEEL." TECHNIQUE WILL FOCUS ON MINIMIZING MOVEMENT, BUT IT IS A MEANS, NOT AN END TO YOUR PROCESS OF DEVELOPING YOUR VOICE.
    • VIRTUOSITY PROVIDES NO DIVIDING LINE. THERE ARE PROBABLY MORE VIRTUOSOS IN NY AND LA THAN THERE ARE IMPROVISERS, BUT THAT SAYS MORE ABOUT AN IMPOVERISHMENT OF EDUCATION THAT ANYTHING ELSE.
    • WHEREAS CHARLIE PARKER WAS DOUBTLESS A VIRTUOSO, MILES DAVIS WAS AT BEST COMPETENT BY THOSE STANDERDS. BOTH PARTIIPATED IN WHAT COLERIDGE TERMED THE "GENIAL," OR IF ONE PREFERS IT -THE "CREATIVE" SPIRIT.
    • TOWARDS THAT END, WITH ALL THE PERMUTATIONS OF THE 1234 EXERCISE BELOW, YOU CAN EMPLOY A TREMOLO.
    • KEEP YOUR UP DOWN PICKING FROM THE FOREARM, AND MINIMIZE THE LARGER MOVEMENTS OF THE HAND.
    • DONE PROPERLY, THERE WILL BE ALMOST NO VISIBLE UP DOWN MOVEMENT OF THE PICKING HAND. SEE, THEORETICALLY, THE RIGHT HAND ONLY NEEDS TO MOVE A LITTLE MORE THAN THE DIAMETER OF THE STRING ITSELF BEFORE IT COMES BACK FOR ANOTHER STROKE.
    • FOR THE LOVE OF GOD, DON'T TURN THIS THING INTO SOME INTERMINABLE, MALEVOLENT FLIGHT OF THE BUMBLE BEE, THOUGH.
    • NOTICE THAT AS YOU GET BETTER AT THE TREMOLO EXERCISE, THAT YOU WILL BEGIN TO APPREHEND HOW GIVING THE STRING A LITTLE MORE ROOM TO "BREATH" WITH THE PICK AT SLIGHTLY GREATER DISTANCES, PROVIDES THE PLAYER WITH A GREATER PALETTE OF TONES.

    .

    THIS LIES BEAUTIFULLY UNDER THE HANDS.

    • IF YOU CHECK THIS AGAINST EVERYTHING IN C MAJ ON BOARD YOU CAN SEE THAT YOU MAY ALSO PLAY THIS EXACT PHYSICAL FORMATION IN THE VII AND IX POSITIONS AS WELL.
    • E A D G B E
      * * * * * *
      * * (1) (1) * *
      * (2) * * (3) (4)
      * * * * * *
      * * * * * *
    • Notes involved are C-D-E-F-G-A-C-D-A
    • Please note they are in the order C-E-A-D-G

    THE GUITAR UNIVERSE
    [E] [A] [D] [G] [B] [E]
    F Bb Eb Ab C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb Ab Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E

    4 VOICE MOVEABLE C MAJOR7 SETS: E,D,G, AND B STRINGS
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    G * * * * *
    * * * B * *
    * * G C E *
    * * * * * *
    B * * * * *
    C * * * G *
    * * B E * *
    * * C * * *
    * * * * * *
    E * * G B *

    4 VOICE MOVEABLE C MIN7 SETS: E,D,G, AND B STRINGS
    [E] [A] [D] [G] [B] [E]
    * * Eb * C *
    * * * * * *
    G * * Bb * *
    * * * * Eb *
    * * G C * *
    Bb * * * * *
    * * * * * *
    C * Bb Eb G *
    * * * * * *
    * * C * * *
    Eb * * * Bb *
    * * * G * *

    A HARMONIC MINOR

    • Here we have isolated in red the the three upper components of the infamous A mi/ma 7 chord. It is an augmented triad.
    • Spelling is A-C-E-G#
    • I call the Ami maj 7 chord infamous because of its crucial role in really sappy ballads like "Feelings" as well as the opening to the dreaded "Stairway to Heaven."
    • Both songs are characterized by what is called a "thumb line." This term goes back to the days of saloon jazz pianists who would run a chromatic descending bass line against a minor chord by having the thumb of the left hand go down one key at a time.
    • It didnt't take long to figure out that it sounded really cool to the practioners of music in those troubled times to do that with the right hand formations of the chord. Salsa music is loaded with them. Cf Sofrito, I might add a wonderful tune to sink your teeth into.
    • This an be seen as an A mi 7 (just like the one in C ma)with a G# instead of a G.
    • Despite its oft hackneyed applications, take a look at the table to the left and the three note combinations. These are powerful cadences that resolve to Ami,rife with four fret(red-augmented triad) parallel displacements. Also notice how effective the open strings are here.
    • The table on the right superimposes the remaining notes of the E7 chord in white against the previously cited notes.
    • Begin by experimenting with resolving these combinations to A minor. However, parallel displacement suggests that these chords can also be employed to resolve to other keys. An E augmented triad is equal to a C augmented triad and is equal to a G# augmented triad.
    • I will discuss this in further length at leisure. Indubitably the ramifications are massive. Exploration is wide open to the hunger driven student.

    E/G#/C aug
    [E] [A] [D] [G] [B] [E]
    F Bb Eb G# C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb G# Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E
    E7+5
    [E] [A] [D] [G] [B] [E]
    F Bb Eb G# C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb G# Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E

    And there is so much more. For example, by only using the Augmented triad, C, E,AND G#outlined in white in the preceding table on the a, g, and d strings, in conjunction with the open b and e strings, one gets a powerful E dominant effect gravitating towards A minor. This can be applied to environments like the opening Ami/E7 vamp in Summertime. And hey, you can "hammer on" the G#, B, and D on the low E at will.
    [0] [A] [D] [G] [B] [0]
    F Bb Eb G# C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb G# Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E

    C INTO G

    • C MAJOR TRIAD IS IN WHITE
    • THE G MAJOR TRIAD IS IN BLACK
    • NOTICE THAT THE NOTES IN BLUE ARE ALL "IN BETWEEN" NOTES
    • NOTICE THAT THE G IS AN EXTENSION OF THE C, AND THAT ANY CHORD CAN BE OBSERVED AS AN EXTENSION OF ANOTHER.
    [E] [A] [D] [G] [B] [E]
    F Bb Eb Ab C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb Ab Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E
    [E] [A] [D] [G] [B] [E]
    F Bb Eb Ab C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb Ab Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E
    [E] [A] [D] [G] [B] [E]
    F Bb Eb Ab C F
    F# B E A C# F#
    G C F Bb D G
    G# C# F# B D# G#
    A D G C E A
    Bb Eb Ab Db F Bb
    B E A D F# B
    C F Bb Eb G C
    C# F# B E G# C#
    D G C F A D
    D# G# C# F# A# D#
    E A D G B E

    FUN CHORDS FOR PLAGUE BUNNIES

    • G DOMINANT 7 FORM. B BASS CENTER.
    • TRY RUNNING THIS IN THREE FRET CYCLES.
    • IT WILL RESOLVE TO CMA PLUSHLY.
    • ALL PERMUTATIONS ANALYZE.
    • E [A] [D] [G] [B] [E]
      * * * * (1) *
      * (2) * (3) * *
      * * (4) * * *
      * * * * * *
      * * * * * *

      FIRST POSITION SPELLING G11
      E A D G B E
      * * * * (C) *
      * (B) * (A) * *
      * * (F) * * *
      * * * * * *
      * * * * * *

      ANALYSIS
      E A D G B E
      * * * * (11) *
      * (3) * (9) * *
      * * (7) * * *
      * * * * * *
      * * * * * *
      [E] [A] [D] [G] [B] [E]
      * * * * (1) *
      * (2) * (3) * *
      * * (4) * * *
      * * * * * *
      * * * * * *

      FOURTH POSITION SPELLING G ALT
      [E] [A] [D] [G] [B] [E]
      * * * * (Eb) *
      * (D) * (C) * *
      * * (Ab) * * *
      * * * * * *
      * * * * * *

      ANALYSIS
      [E] [A] [D] [G] [B] [E]
      * * * * (#5) *
      * (5) * (11) * *
      * * (b9) * * *
      * * * * * *
      * * * * * *

    [E] [A] [D] [G] [B] [E]
    * * * * (1) *
    * (2) * (3) * *
    * * (4) * * *
    * * * * * *
    * * * * * *

    SEVENTH POSITION SPELLING G MA7+5
    [E] [A] [D] [G] [B] [E]
    * * * * (F#) *
    * (F) * (Eb) * *
    * * (B) * * *
    * * * * * *
    * * * * * *

    ANALYSIS
    [E] [A] [D] [G] [B] [0]
    * * * * (#7) *
    * (7) * (#5) * *
    * * (3) * * *
    * * * * * *
    * * * * * *
    AN A DOMINANT FORMATION FOR YOU EMINOR FANS
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * C# *
    * * * Bb * *
    * C# * * * *
    * * G * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 1 *
    * * * 2 * *
    * 3 * * * *
    * * 4 * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 3 *
    * * * b9 * *
    * 3 * * * *
    * * 7 * * *
    What do you get when you kick it up a minor third?
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * E *
    * * * C# * *
    * E * * * *
    * * Bb * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 1 *
    * * * 2 * *
    * 3 * * * *
    * * 4 * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 5 *
    * * * * * *
    * 5 * * * *
    * * b9 * * *
    ANOTHER MINOR THIRD ANYONE?
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * G *
    * * * E * *
    * G * * * *
    * * C# * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 1 *
    * * * 2 * *
    * 3 * * * *
    * * 4 * * *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * 7 *
    * * * 5 * *
    * 7 * * * *
    * * * * * *

    CMAJ 7 4 VOICE 12 POSITIONS

    • REMEMBER THAT THERE ARE FOUR NOTES IN CMA7: C-E-G-B
    • THE BELOW WILL CONSTITUTE SOME OF THE FORMS WE CAN GENERATE TAKING THOSE FOUR NOTES ACROSS ANY 4 STRINGS AT A TIME
    NOTE NAMES
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    G * * * * *
    * * * B * *
    * * G C E *
    * * * * * *
    B * * * * *
    C * * * G *
    * * B E * *
    * * C * * *
    * * * * * *
    E * * G B *
    NOTE ANALYSES
    [E] [A] [D] [G] [B] [E]
    * * * * R *
    * * 3 * * *
    5 * * * * *
    * * * 7 * *
    * * 5 R E *
    * * * * * *
    7 * * * * *
    R * * * 5 *
    * * 7 3 * *
    * * R * * *
    * * * * * *
    3 * * 5 7 *
    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * 2 * * *
    3 * * * * *
    * * * 4 * *
    * * 1 1 1 *
    * * * * * *
    3 * * * * *
    1 * * * 3 *
    * * 4 3 * *
    * * 1 * * *
    * * * * * *
    2 * * 3 4 *

    C 7 4 VOICE 12 POSITIONS (NOTA BENE: FEY OF F MAJ)

    • REMEMBER THAT THERE ARE FOUR NOTES IN C7: C-E-G-Bb
    • THE BELOW WILL CONSTITUTE THE FIRST SET OF THE FORMS WE CAN GENERATE TAKING THOSE FOUR NOTES ACROSS ANY 4 STRINGS AT A TIME
    NOTE NAMES
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    G * * Bb * *
    * * * * * *
    * * G C E *
    Bb * * * * *
    * E * * * *
    C * Bb * G *
    * * * E * *
    * * C * * *
    * * * * Bb *
    E * * G * E
    NOTE ANALYSES
    [E] [A] [D] [G] [B] [E]
    * * * * R *
    * * 3 * * *
    5 * * 7 * *
    * * * * * *
    * * 5 R E *
    7 * * * * *
    * * * * * *
    R * 7 * 5 *
    * * * 3 * *
    * * R * * *
    * * * * 7 *
    3 * * 5 * *
    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * 2 * * *
    3 * * 4 * *
    * * * * * *
    * * 1 1 1 *
    2 * * * * *
    3 * * * * *
    1 * 2 * 3 *
    * * * 3 * *
    * * 1 * * *
    * * * * 2 *
    3 * * 4 * *

    Cmi 7-5 4 VOICE 12 POSITIONS

    • REMEMBER THAT THERE ARE FOUR NOTES IN Cmi ma 7: C-Eb-Gb/F#-Bb
    • THE CLEVER AMONG YOU MIGHT NOTICE THAT THIS FUNCTIONS AS Ab9 WITHOUT THE ROOT NOTE Ab
    • THE TWISTED AMONG YOU MIGHT EXPERIMENT WITH RUNNING THESE NINTHS PARALLEL HARMONY BY MINOR THIRD(YEAH, THREE FRET) INTERVALS.
    • ANALYSIS WILL HOLD IN MOST CASES
    NOTE NAMES
    [E] [A] [D] [G] [B] [E]
    * * Eb * C *
    Gb * * * * *
    * * * Bb * *
    * * Gb * Eb *
    * * * C * *
    Bb * * * * *
    * * * * Gb *
    C * Bb Eb * *
    * * * * * *
    * * C * * *
    Eb * * Gb Bb *
    * * * * * *
    NOTE ANALYSES
    [E] [A] [D] [G] [B] [E]
    * * 3 * R *
    -5 * * * * *
    * * * 7 * *
    * * -5 * 3 *
    * * * R * *
    7 * * * * *
    * * * * -5 *
    R * 7 3 * *
    * * * * * *
    * * R * * *
    3 * * -5 7 *
    * * * * * *
    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * 1 * 1 *
    2 * * * * *
    * * * 3 * *
    * * 1 * 1 *
    * * * 2 * *
    3 * * * * *
    * * * * 1 *
    2 * 3 4 * *
    * * * * * *
    * * 1 * * *
    2 * * 3 4 *
    * * * * * *

    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * 1 * 1 *
    * * * * * *
    3 * * * * *
    * * * 4 1 *
    * * 2 3 * *
    * * * * * *
    4 * * * * *
    1 * * 2 3 *
    * * 4 * * *
    * * 1 * * *
    2 * * * * *
    * * * 3 4 *

    Cmi maj 7 4 VOICE 12 POSITIONS

    • REMEMBER THAT THERE ARE FOUR NOTES IN Cmi ma 7: C-Eb-G-B
    • THE BELOW WILL CONSTITUTE SOME OF THE FORMS WE CAN GENERATE TAKING THOSE FOUR NOTES ACROSS ANY 4 STRINGS AT A TIME
    NOTE NAMES
    [E] [A] [D] [G] [B] [E]
    * * Eb * C *
    * * * * * *
    G * * * * *
    * * * B Eb *
    * * G C * *
    * * * * * *
    B * * * * *
    C * * Eb G *
    * * B * * *
    * * C * * *
    Eb * * * * *
    * * * G B *
    NOTE ANALYSES
    [E] [A] [D] [G] [B] [E]
    * * 3 * R *
    * * * * * *
    5 * * * * *
    * * * 7 Eb *
    * * 5 R * *
    * * * * * *
    B * * * * *
    R * * 3 5 *
    * * 7 * * *
    * * R * * *
    3 * * * * *
    * * * 5 7 *
    NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * 1 * 1 *
    * * * * * *
    3 * * * * *
    * * * 4 1 *
    * * 2 3 * *
    * * * * * *
    4 * * * * *
    1 * * 2 3 *
    * * 4 * * *
    * * 1 * * *
    2 * * * * *
    * * * 3 4 *

    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    * * * * * G
    * * * B * *
    * * G C E *
    * * * * * *
    * * * * * B
    * * * * G C
    * * B E * *
    * * C * * *
    * * * * * *
    * * * G B E
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    G * * * * *
    * * * B * *
    * * G C E *
    * * * * * *
    B * * * * *
    C * * * G *
    * * B E * *
    * * C * * *
    * * * * * *
    E * * G B *
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * E * * *
    G C * * * *
    * * * * * *
    * * G C * *
    * * * * * *
    B E * * * *
    C * * * * *
    * * B E * *
    * G C * * *
    * * * * * *
    E * * G * *

    G13 UNIVERSE

    PRETTY DARN CONFUSING HUH? MODERN HARMONY HAS JUSTIFIED EVERY NOTE. THE F# BEING THE ONLY REALLY SORE SPOT. Bb IS, OF COURSE, THE "RAUNCHY" +9 INTERVAL. EVERYTHING CAN BE JUSTIFIED AS "CHROMATICISM." THEREFORE THE PROCESS OF SELECTION IS THE PROCESS BY WHICH YOU DEFINE YOUR OWN VOICE. THE PURPOSE OF ALL OF THIS IS TO BREAK ONESELF OUT OF THE ONFINES OF ACQUIRED "LICKS" AND THEREBY TO FIND NEW METHODS AND CONTEXTS TO EMPLOY THEM.
    MASS CONFUSION
    [E] [A] [D] [G] [B] [E]
    7 Bb +5 -9 11 7
    F# 3 13 9 -5 F#
    R 11 7 Bb 5 R
    -9 -5 F# 3 +5 -9
    9 5 R 11 13 9
    Bb +5 -9 -5 7 Bb
    3 13 9 5 F# 3
    11 7 Bb +5 R 11
    -5 F# 3 13 -9 -5
    5 R 11 7 9 5
    +5 -9 -5 F# A# +5
    13 9 5 R 3 13
    Isolating the triad in gold.
    [E] [A] [D] [G] [B] [E]
    7 Bb +5 -9 11 7
    F# 3 13 9 -5 F#
    R 11 7 Bb 5 R
    -9 -5 F# 3 +5 -9
    9 5 R 11 13 9
    Bb +5 -9 -5 7 Bb
    3 13 9 5 F# 3
    11 7 Bb +5 R 11
    -5 F# 3 13 -9 -5
    5 R 11 7 9 5
    +5 -9 -5 F# Bb +5
    13 9 5 R 3 13
    7/9 IN CHOPIN SHOKING PINK
    [E] [A] [D] [G] [B] [E]
    7 Bb +5 -9 11 7
    F# 3 13 9 -5 F#
    R 11 7 Bb 5 R
    -9 -5 F# 3 +5 -9
    9 5 R 11 13 9
    Bb +5 -9 -5 7 Bb
    3 13 9 5 F# 3
    11 7 Bb +5 R 11
    -5 F# 3 13 -9 -5
    5 R 11 7 9 5
    +5 -9 -5 F# Bb +5
    13 9 5 R 3 13

    Chord Qualities Here we will examine how to build every possible 7th chord starting with a G Ma 7 chord. Please note that none of the remaining chords actually exists in the key of G maj. As usual, try to do this with every Ma 7 chord you find.
    This is a g major 7.
    The I of G and IV of D.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (1) * * * (2) *
    * * (3) (4) * *
    * * * * * *
    This is a G dom 7
    The V of C
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (1) * (3) * (2) *
    * * * (4) * *
    * * * * * *
    This is a G mi 7
    II of F, ETC.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (2) * (3) (3) (3) *
    * * * * * *
    * * * * * *
    This is a G mi6
    AKA C9/Eb9/
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 1 * * *
    (2) * * (3) (4) *
    * * * * * *
    * * * * * *
    This is a G mi7-5
    VII OF Ab,ETC.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * (1) *
    (2) * (3) (4) * *
    * * * * * *
    * * * * * *
    This is a G DIM7
    Bb,C#,E DIM7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * (1) * (1) *
    (2) * * (3) * *
    * * * * * *
    * * * * * *

    WE'LL DO THE SAME NOW WITH ANALYSIS:
    This is a g major 7.
    The I of G and IV of D.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (R) * * * (5) *
    * * (7) (3) * *
    * * * * * *
    This is a G dom 7
    The V of C
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (R) * (7) * (5) *
    * * * (3) * *
    * * * * * *
    This is a G mi 7
    II of F, ETC.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * * *
    (R) * (7) (3) (5) *
    * * * * * *
    * * * * * *
    This is a G mi6
    AKA C9/Eb9/
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 6 * * *
    (R) * * (3) (5) *
    * * * * * *
    * * * * * *
    This is a G mi7-5
    VII OF Ab,ETC.
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * * * -5 *
    (R) * (7) (3) * *
    * * * * * *
    * * * * * *
    This is a G DIM7
    Bb,C#,E DIM7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * o7 * -5 *
    (R) * * (3) * *
    * * * * * *
    * * * * * *

    THE INFAMOUS G OR “DOMINANT” CHORD IN THIS SONG IS BUILT ON THE FIFTH SCALE NOTE. IT IS CALLED DOMINANT BECAUSE IN THE EUROPEAN TRADITION, THIS WAS CONSIDERED THE MAXIMUM POINT OF “TENSION” BEFORE THE “RELEASE” CONSTITUTED BY THE C MAJOR.
    GMAJ
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * [B] * * * *
    [G] * * * [D] [G]
    * * * * * *
    * * * * * *
    GMAJ-fingering
    [E] [A] [0] [0] [0] [E]
    * * * * * *
    * [1] * * * *
    [2] * * * [3] [4]
    * * * * * *
    * * * * * *

    AGAIN, REMEMBER HOW CHORDS ARE BUILT and HARMONY WORKS.

    WHEN WE EXTEND THE G TRIAD INTO ITS SEVENTH INTERVAL, THE SEVENTH DOES NOT SOUND AS “SWEET” AS THE SEVENTH INTERVALS SOUND AGAINST THE C MAJ AND FMAJ TRIADS. THIS IS SOMETIMES REFERRED TO AS A “FLATTED” SEVENTH. HOWEVER, THERE HAS BEEN NO MANIPULATION OF “FLATTENING” OF THE NOTE POOL (C MAJ SCALE) FROM WHICH WE HAVE BEEN BUILDING THE CHORDS. NOTHING HAS BEEN ALTERED AT ALL. WE’LL TALK ABOUT THIS, AND OTHER FORMS OF MUSICAL SLANG IN GREATER DEPTH LATER.

    Below we have both a G and rudimentary G dom 7 chord. For convenience sake the G dominant seventh hord is also referred to simply as a G seventh chord.

    Both blues and “folk” music spring from the same impulses, but we will find that generally bues is more flexible in its application of combinations of notes. However, the G7 indicated here also can function as a rudimentary “blues” chord, as we shall discuss later.
    G7
    [E] [A] [D] [G] [B] [E]
    * * * * * [F]
    * [B] * * * *
    * * * * * *
    * * * * * *
    * * * * * *
    G CHORD (NO SEVENTH
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * [B] * * * *
    [G] * * * * [G]
    * * * * * *
    * * * * * *

    At any time you can play all the other strings open with a simple strum. In the case of the G, the SECOND finger expresses a G, which is the root. The 1st finger is a B, or third. The open D string is a FIFTH, and the open G string acts as a another root. The open B string acts as yet another third. And the final fourth finger expresses yet another G root. As we will see there are many ways we can combine the notes G-B-D in the first position of the guitar. These different combinations are all legitimate, and they are what are referred to as “inversions” and/or “voicings” of the G chord.
    G CHORD ALL NOTES
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * [B] * * * *
    [G] * * * [D] [G]
    * * * [B] * *
    * [D] [G] * * *
    G7 ALL NOTES
    [E] [A] [D] [G] [B] [E]
    [F] * * * * [F]
    * * * * * *
    [G] * [F] * [D] [G]
    * * * [B] * *
    * [D] [G] * * *

    Every generation is blessed with certain rare individuals in whom the roles of writer, performer, and teacher intersect. Denver’s work is a transparent representation of his profound love of nature, poetry and music. His art resides in the simplicity and elegance with which he unifies these threads across the canvas of his life and music.

    Great songwriters often build on deceptively simple foundations. John Denver is no exception. Even if one has just purchased a guitar and is bewildered by the plethora of diagrams, scales, and chords with names it would seem only a mathematics major could figure out, one will find that a study of his work will reward both the beginning and intermediate guitarist with a wealth of insights into their own possibilities.

    We will start with Leaving on a Jet Plane because it is so accessible to the beginning guitarist that one might be tempted to the conclusion that Denver intended it to be so. This song has the additional advantage of being in the key of C major, which will provide us with easy levers into how chords are built and harmony works.

    Take heart. Once you have learned one song well, you will be astonished at how that knowledge ramifies. The verses of Leaving on a Jet Plane consist of Cmaj, Fmaj and G chords. In the key of C these would be the chords built on the first, fourth and fifth scale degrees.

    Below we have the Cma7 and Fma7 chords. Begin by simply practicing playing these chords for four beats (one "measure)per chord.

    Don't forget to count with the "ands." (1 "and" 2 "and" 3 "and" 4 "and."" It's a good habit. People you jam with later will love you for it.
    CMA7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 2 * * *
    * 3 * * * *
    * * * * * *
    * * * * * *
    FMA7
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * * 2 * *
    * * 3 * * *
    * * * * * *
    * * * * * *

    At any time you can play all the other strings open with a simple strum. In the case of the Cma7 the 3rd finger expresses a C, which is the root. The 2nd finger is an E, or third. The open G string is the fifth, and the open B string acts as a MAJ seventh. Together they fulfill a complete spelling of the Cma7 chord.
    CMA7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 2 * * *
    * 3 * * * *
    * * * * * *
    * * * * * *
    FMA7
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * * 2 * *
    * * 3 * * *
    * * * * * *
    * * * * * *

    THE FMA7 CHORD WORKS THE SAME WAY. NOTICE HOW THE FINGERS OF THE LEFT HAND "HOP" OVER TO ADJACENT STRINGS. THE FORMATION OF THE FINGERS REMAINS THEE SAME. THE THIRD FINGER AGAIN HAS THE "ROOT" OF THE CHORD. NOW IT'S ON THE D STRING INSTEAD OF THE A STRING. BUT IT IS STILL ON THE THIRD FRET AND IT STILL IS THE ROOT.

    THE SECOND FINGER HAS SIMILARLY "HOPPED." NOW IT IS ON THE SECOND FRET OF THE G STRING INSTEAD OF THE D STRING AND IT IS HOLDING DOWN THE NOTE, A , WHICH IS THE THIRD OF THE FMA7 CHORD. THEN YOU ADD THE FIRST FINGER, WHICH HOLDS DOWN THE FIRST FRET OF THE B STRING AND THAT IS THE FIFTH OF THE CHORD. THE OPEN E STRING COMPLETES THE SPELLING OF THE FMA7 CHORD.

    THE SAME CHORDS WITH THE NOTE SPELLING:
    CMA7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * E * * *
    * C * * * *
    * * * * * *
    * * * * * *
    FMA7
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * * A * *
    * * F * * *
    * * * * * *
    * * * * * *

    THE PERCEPTIVE STUDENT WILL NOTICE WITH A SMILE THAT THIS REMAINS A VERY SIMPLE PHYSICAL MOVEMENT, DESPITE THE CUMBERSOME QUALITY OF ITS HARMONIC CONTENTS. YOU WILL FIND THAT SIMPLE CHORDS CAN SOMETIMES BE HARDER TO FINGER THAN THE CHORDS WITH THE "NUMBERS" IN THEM.

    ANOTHER THING YOU SHOULD NOTICE IS THAT THE INITIAL LYRICS ARE MISSING. THIS IS BECAUSE THEY WILL START ON A FRAGMENT OF A MEASURE CALLED AN UPBEAT. WE'LL TALK ABOUT THAT LATER AS WELL. FOR THE STUDENT LEARNING FROM SONGS, IT CAN BE A BIT DISORIENTING. THINK ABOUT ALMOST ANY SONG YOU LIKE AND NOTICE THAT SONG PHRASES ALMOST NEVER BEGIN ON THE "1" OR FIRST BEAT OF A MEASURE.
    CMA7
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * 2 * * *
    * 3 * * * *
    * * * * * *
    * * * * * *
    FMA7
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * * 2 * *
    * * 3 * * *
    * * * * * *
    * * * * * *

    SUFFICE FOR THE MOMENT THAT THE VOCAL PHRASES AND THE CHORDS DO FALL AS INDICATED BELOW. RIGHT NOW JUST CONCENTRATE ON GETTING THE MOVEMENT BETWEEN CMA7 AND FMA7 SMOOTH AND FLOWING.

    FINALLY NOTE THAT THE G CHORD, WHICH I'LL DISCUSS LATER, TAKES UP TWICE AS MUCH SPACE, EIGHT BEATS, INSTEAD OF THE FOUR THAT HAS BEEN ALL THAT WAS ASSIGNED TO THE OTHER CHORDS IN THE SONG.

    AT THE END OF THAT SECOND MEASURE OF THE G MAJ CHORD IS WHERE WE WILL PLACE THE "UPBEAT" OR "PICK UP" LYRICS THAT ARE MISSING FROM OUR RUDIMENTARY "CHART."

    Leaving, On A Jet Plane
    CMA7FMA7
    bags are packed, I'mready to go, I'm
    CMA7FMA7
    standing here out- side your door, I
    CMA7FMA7
    hate to wake you up to say good
    GG
    -bye. (-bye.)

    C MAJ 7
    I POSITION
    [E] [A] [D] [G] [B] [E]
    * * * * C *
    * * E * * *
    G * * * * *
    * * * B * *
    CMI 7
    I POSITION
    [E] [A] [D] [G] [B] [E]
    * * Eb * C *
    * * * * * *
    G * * Bb * *
    * * * * * *
    D MAJ6/9
    IV POSITION
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * F# B * *
    * D * * E A
    * * * * * *
    Db MAJ6/9
    III POSITION
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * F Bb * *
    * Db * * Eb Ab
    * * * * * *
    C MAJ6/9
    II POSITION
    [E] [A] [D] [G] [B] [E]
    * * * * * *
    * * E A * *
    * C * * D G
    * * * * *
    A7+5
    V POSITION
    [E] [A] [D] [G] [B] [E]
    A * G * * *
    * * * C# F *
    * * * * * *
    * * * * * *
    DMI7
    III POSITION
    [E] [A] [D] [G] [B] [E]
    * * F * * *
    * * * * * *
    * D * C * *
    * * * * F *
    G13
    III POSITION
    [E] [A] [D] [G] [B] [E]
    G * F * * *
    * * * B * *
    * * * * E *
    * * * * * *
    CMA9
    II POSITION
    [E] [A] [D] [G] [B] [E]
    * * E * * *
    * C * * D *
    * * * B * *
    * * * * * *
    C7+9
    II POSITION
    [E] [A] [D] [G] [B] [E]
    * * E * * *
    * C * Bb * *
    * * * * Eb *
    * * * * * *
    FMI9
    VI POSITION
    [E] [A] [D] [G] [B] [E]
    * * Ab * * *
    * * * * * *
    * F * Eb G *
    * * * * * *
    Bb13
    VI POSITION
    [E] [A] [D] [G] [B] [E]
    Bb * Ab * * *
    * * * D * *
    * * * * G *
    * * * * * *
    EbMA9
    V POSITION
    [E] [A] [D] [G] [B] [E]
    * * G * * *
    * Eb * * F *
    * * * D * *
    * * * * * *
    DMI9
    III POSITION
    [E] [A] [D] [G] [B] [E]
    * * F * * *
    * * * * * *
    * D * C E *
    * * * * * *
    G7+5
    III POSITION
    [E] [A] [D] [G] [B] [E]
    G * F * * *
    * * * B D# *
    * * * * * *
    * * * * * *

    SOUNDING NOTES WITHOUT PICKING AT ALL BY MEANS OF RIGHT HAND TAPPING CAN EITHER BE A LOVELY FRIEND, OR YOUR GREATEST MUSICAL ENEMY. INDUBITABLY, THERE IS SOMETHING MANY GUITARISTS FIND VAGUELY NAUSEATING ABOUT THE "OOH, OOH, I'M CHATTER THE CHIMPANZEE WAVING A FRESH BUNCH OF BANANAS" QUALITY TO SOME OF THIS KIND OF WORK.

    THE SUDDEN BRUTE FORCE APPROACH TO VELOCITY CAN IMPEDE THE DEVELOPMENT OF NOTE AMBIENCE AND PERSONALITY, BUT IT SURE IS FUN, AND WE ALL WANT SOME OF IT IN OUR BAG OF TRICKS.

    TO AVOID THE "COLD FISH" EFFECT, GET SOME VIBRATO INTO THE RIGHT HAND.

    TOWARDS THIS END, TRY THE BELOW DIAGRAMS OF 4 VOICE MA 7 AND PRATICE TAPPING THE CHORD MEMBER IMMEDIATELY ABOVE. YOU AN START WITH THE TAP AND PULL OFF TO THE LH HORD VOICES AS WELL.

    TRY TAPPING TWO NOTES OF THE CHORD ABOVE FOR SOME LOVELY GLASSY BELL LIKE TONES.

    AND YES, YOU CAN DO THIS WITH ANY OF THE DIAGRAMS. NOTE FINGERING
    [E] [A] [D] [G] [B] [E]
    * * * * 1 *
    * * 2 * * *
    3 * * * * *
    * * * 4 * *
    * * T T T *
    * * * * * *
    T * * * * *
    1 * * * 3 *
    * * 4 3 * *
    * * T * * *
    * * * * * *
    T * * T T *