GUITAR CHORD & SCALE FINDER s=: A HANDBOOK FOR THE IMPROVISING GUITARIST OOK UP ANY CHORD to learn what scales will work LOOK UP ANY SCALE to learn every chord it works with! Easy-to-read Chord and Scale Charts The formula for every scale Two fingering diagrams for every scale Several voicings with fingerings for every chord JODY FISHERUITAR CHORD & SCALE FINDER JODY FISHER Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop. ‘Acquistion, ediorcl, music typeseting and internal design: Nathaniel Gunod, Workshop Arts Cover photos: Jelf Oshiro * Cover design: Maho Widmann CConsuling Eos: Link Harnsberger, Ren Menus Copyright © MCMXCY by Allred Publishing Co, Ine All ight ceserved Printed in USA.About The Author Reading the Chord and Scale Charts. Introduction Determining th Re suum How To Use This Book.. : Determining Chord FUMCtOR enn Reading Scale and Chord Diagrams, Temporary Key Changes... Seale Formulas and Roman Numerals eo ot se 0 oot om E08 eo ext Major Unattered Augmented Triads Major . 210 cesoe HT 6 cnn " Minor Maj? " Minor Triads nnn 39d? Maj. 210 enon HT min6 Majl3 soso 1 noe HL MINT soon MIN once AB Major Altered minlt 50... $0 Maj7*5 14 min 3 scx 5B ina 53 Mains Is min(Maj7) . 55 wae 5S Maj7#t 1 Is Maj wwe Diminished Maj7#S#1 1 Eee Diminished Triads.. se 56 dim7 se 58 Dominant Unaltered min?'5 (half-diminished) 56.58 T sa Ig 9 = 18 Quartal-3 ce 60 sn 60 ul V7 on 1B 13 VT oe 1B Tsus4 VT on 1B Dominant Altered rs eae Toucan 95 79 139. 79 759 rsi9 BIEN enn 739 739) ot 1341Scales Formulas and Uses Pentatonic Major Pentatonic. : U1, 15, 18, 34 Minor Pentatonic sone 19, 30, 40, 43, 45, 48, 50, 53, 60 Blues Seale nnn 19, 24, 31, 34, 36 Major and Minor Major sell Natural Minor (Aeolian 39, 47, 49, 52 Melodic Minor 40, 43, 55 Harmonic MINOF snenon 40, 55 Modes of the Major Scale Doran eee vu 2, 31, A, 44, 46, 49, 51, 54, 62 Phrygian AL, 46,51 Uydian.... wo 12,15 Mixolydian ss 20 Aeolian (Natural Minor) ww 39, AT, 49, 52 Locrian 58 Modes of the Melodic Minor Scale Dorian’2 41, 44,45, 49, 51, S4 Lydian Augmented 14, 16 Lydian '7, wu 20, 24, 36 Mixolydian'6 = 20,27 LOCTIAN 12 ovum 59 Super Locrian 24, 26, 30, 33, 35, 59 Modes of the Harmonic Minor Scale Locrian 4% 38 lonian #5 14 Lydian #317 .... ww 42, 44, 46, 49, 52, 54 Phrygian Dominant... 21, 27, 30, 35 Lydian 2 13 Tth Mode Harmonic Minor —_-—.58' Symetrical Scales Whole Tone Diminished... 22, 25, 37 23, 28, 32, 57ABOUT THE AUTHOR Jody Fisher has worked professionally in virtually all styles of music during his career, from straight ahead and contemporary jazz to rock’n’ roll, country, pop and show groups. He taught Guitar and Jazz Studies at the University of Redlands in Southern California and at the Idyllwild School of Music and the Arts (ISOMATA). An active performer in the Southern California area, he still maintains a private teaching practice, serves on the fac- ulty of the University of La Verne, and as an associate director of the National Guitar ‘Summer Workshop's California and Nashville campuses. Jody Fisher is also the author of the Guitar Mode Encyclopedia and the National Guitar Workshop’s jazz method series, Beginning, Intermediate, Mastering Improvisation and Mastering Chord/Melody Jazz Guitar, also published by the National Guitar Workshop and Alfred.INTRODUCTION The purpose of this book is to give you a single source to refer to when looking for information regarding the use of scales for improvisation. This is not a method. Rather, it isa reference book. Use it in the same way you would an encyclopedia. ‘The sections are arranged by chord type (major, minor, etc.) which are all shown with C as the root. Four voicings of each chord are shown. A quick-reference Chord and Scale Chart will allow you to easily find out what scale goes with each chord, depending on the chord's function (see page 8 for a thorough discussion of chord function). The Chord and Scale Chart is followed by the scales that can be used for improvisation. Scale construction Is covered in standard notation with a brief explanation about how to use the scale. Finally, ‘wo fingerings are illustrated in diagram form. Since all chords are shown with C as their root, it will be very important for you to transpose these fingerings into all the different keys. The chord and scale fingerings in this book are “moveable,” that is, they contain no open strings and therefore may be moved around the fingerboard freely While the use of scales in improvisation is important, it is only one of the many subjects you must study to become a proficient improvisor. Melodic patterns, arpeggios, composi- tion, technique and harmony are but a few of the other topies you should consider looking, into. For a detailed study of scales and modes, see my Guitar Mode Encyclopedia, available at stores everywhere, Practicing the use of all the scales is also very important, and there are many products on the market today that will help, such as the Stand Alone series pub- lished by Alfred and the National Guitar Workshop. Have fun and enjoy the sounds!HOW T0 USE THIS BooR at te and Cor iar Scale Formulas and Roman Numerals SCALES This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Ro- man numerals, ‘The root Scale tones First string §=§ ——— \ /\ Sixth string == ——— | Vil eile Frets Fret numbers CHORDS There are two to four voicings given for every chord type in this book, so there are lots of chord diagrams to read. They are similar to the scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines repre- sent frets, Roman numerals are used to num- ber the frets. SCALE FORMULAS Each scale in this book is shown in standard notation with its formula in whole steps and half steps. Here is an example showing a C Major scale and its formula _--Fingerings Sixth string yo 2) 0) | First string t— Fret number Frots— vet Barre ROMAN NUMERALS Here is a review of Roman Numerals, in uppercase and lowercase, and their Arabic equivalents. X x 10 £ XII xiii 13 EXVE xvi XI xi HE XIV xiv 14 2XVMN xvii 17 2 EXV w 153 VIL vii 7 VIII viii 8 IxReading the Chord and Stale Charts Every section in this book includes a Chord and Scale Chart. Use this chart to learn what scale(s) will work over the chord in question, To make proper use of the chart, you will have to determine what key the tune is in, or the key of the specific part of the tune you are working with (see Determining the Key below). This will then help you determine the exact function of the chord you want to improvise over. As soon as you know the key of the tune and the function of the chord, the Chord and Scale Chart will help you learn what seale(s) to use. Here is how the charts look: Function ‘Major or Minor key Scale or Mode Starting on, | os ii or vi Major osesnsennnmn Minor Pentatonic . The root of the chord ii Major wine Dorian. : The root of the chord rorenseumeonsrericoreie _saroinemenenaremonreintacecanrsend, ‘This chart explains that if the tune is in a major key,and a min9 chord is functioning as ii or Viin the key. you can improvise with a minor pentatonic scale built up from the root of the chord. You will also notice that the chart says you can use the Dorian mode starting on the root of the min9 chord if itis functioning as ii in the key. Sometimes the chart may indicate that a scale should start on a note other than the root. For instance, it may indicate that a scale can be used “starting on” the 4th of a chord. Just figure up a 4th from the root of the chord, and use the resulting note as the root of the indicated scale. For instance, a 4th up from the root of a C chord would be F Determining the fey ‘The overall key a song is written in can be determined by looking at the key signature which is located between the clef and the time signature. Every key signature has a corresponding major and minor scale. Since each scale contains a different number of sharps or flats, you can easily figure out what key the song is in Each key signature is shared by one major and one minor key. We call this relation- ship relative. In other words, we would say that D Minor is the relative minor key to F Major because they share the same key signature: one flat. If the key signature has three sharps, you know the song is in either the key of A Major or F Minor because both the A Major and the Fé Minor scales contain three sharps. Ifthe song ends fon an A Major chord, itis in the key of A Major. If it ends on an Finin chord, itis in the key of FiMinor.Determining Chord Function It is important to realize that the same chord can behave very differently in different keys and settings. In every major and minor key there are seven diatonic chords. We can find out what these chords are by stacking 3rds on top of each note in the scale. Three note stacks will give us triads, four note stacks will give us 7th chords and so on, Notice that if you harmonize each major scale this way, the harmonic pattern stays constant in every key. Each chord is given a coresponding Roman numeral, Major and Dominant chords will always use upper case numerals (for instance, in a major key: | and IV for major, V7 for Dominant). Minor and diminshed chords will always use lower case (again, in a major key: ii, ii, and vi for minor, vii for min?'5). In the harmonized major scale, the first and the fourth chords (I and IV) are always Maj7 chords. The second, third, and sixth chords (i, ii, vi) are always min7 chords. The fifth chord (V7) is always Dominant and the seventh chord (vii) is always min7'S (half dimin- ished). Check out these examples: © Major 1 ii ly V7 vi CMaj7 Dein? Emin7 FMaj7 G7 Amin? Bmin7's CMai7 g.—t bp F Major 1 lv v7 vi vii 1 FMajz BMaj? c7 min? Emin?'s FMai7 e G Major eA ii iii wv 7 vi vii 1 GMaj7 Amin? Bmin7 CMaj7_ o7 Emin? Femin7's GMaj7 A chord’s Roman numeral reveals its function in a key. An FMaj7 played in the key of C (IV) serves a very different role than the same chord in the key of F (I). An Amin7 is the vi chord in the key of C, the iii chord in the key of F and the ii chord in the key of G. ‘What this means is that when learning to improvise over a chord progression, you need to bbe aware of each chord's function.Roman numerals can be applied to minor chord progressions as well. Minor chord pro- gressions are based on the chords generated from the melodic and the harmonic minor scales, once again by stacking thirds. In the examples below, these scales are harmonized and the functions of the resulting chords are illustrated. THE HARMONIZED A MELODIC MINOR SCALE i it rs IW7 v7 vi7 vii? ! Amin? Bmin?—CMaj7#s o7 €7 Fimin?’S — Ghmin7’8 Amin A om THE HARMONIZED A HARMONIC MINOR SCALE i iv, mes iv v7 vt Mi? i Amin’? Bmin7’S — CMaj7#5 Dmin? e7 FMaj7 Gtoim7 Amin'7 = ee Temporary Key Changes You should be aware that while some songs stay in one key, some do not. If you are learning a progression that contains chords that fall outside of the key signature, you need to think of these sections as temporary key changes. The song below seems to be in the key of C because there are no sharps or flats in the key signature. The chord functions are shown above. As the progression continues, we find Gmin7 and C7 which do not belong to the key of C. While FMaj7 does appear in the key ‘of Cas the IV chord, it can also be seen as the I chord in the key of F when viewed in the context of the Gmin7 and the C7, InC: ii vr t ii v7 I Dminz a7 cMai7 Dmin7 G7 cMajz InF: ii v7 1 ii v7 1 In€:v7 ‘Gminz cr FMaj7 Gminr c7 FMej7 G7 So, from the improvisors point of view, the chord progression has actually changed from the key of C to the key of F (modulated). The Gmin7 functions as a ii chord, the C7 functions as a'V7 and the FMaj7 is now a I chord. When the G7 appears at the end, we would view this as the V7 chord in the original key of C A working knowledge of diatonic harmony makes it quite simple to determine chord func- tion. In time, you will be able to analyze a chord progression in this way very rapidly.MAORCHORDS = Snatered Major, 6, Mail, Maj9 and Maj Chords C Major: ° seo <= oe Ce: | 7 | : emair: “al ties CMaj9: ay a Ht} ; eo, TR, Se mimes | ff : a.Nai cadalendi edd licalbal _ Chords Function Major or Minor key Scale or Mode Starting on... anes MRJO assniiniinin MOT. he root of the chord | Tor IV. Major Major Pentatonic ‘The root of the chord i Major, 6 M3]7. 2 of IV cn. Major Major Pentatonic......... The 5th of the chord | Maja, Majl3 TV vrccnecannnin Major Major Pentatonic The 9th of the chord ' MA|OF ann Lydian .- The root of the chord sa MINOF sania LYDIAN sn .» The root of the chord Use a major scale from the root of a I chord in major keys. wow H Ww Ww W oH Use a major pentatonic scale from the root of a chord or the root of a IV chord in major keys. w WoW+H Wo W+HYou can also use the major pentatonic scale starting on the 5th of a L or a IV chord in major keys. ‘You can also use the major pentatonic scale from the 9th of a IV chord in major keys. w. WoWt+H Wo OWt+HLYDIAN Use the Lydian mode starting on the root of the IV chord in major keys. wow w H Ww W oH ae $pLAS LY > $a’ oe BAeanees Use a Lydian #2 mode starting on the root of a Maj7 when it functions as a VI chord in a minor key.14 (OR CHORDS Ml Meret Majl*5 Chords : i age nfo lime | va + x . am | . | ° # atl | joel —— Scale or Mode Starting on. : { Lydian Augmented...... The root of the chord i Any Tonian #5. . The root of the chord i Tessas sccansesnazoonasessomncameoroacioti¥seeneneuenbtsnneai ics onSSURAnEHSEGETESDA eer enetneeataenestacssaenenatoceal Use a Lydian Augmented mode starting on the root of a Maj7!5 chord. wow W W HW oH Use the lonian #5 mode starting on the root of a Maj7#5 chord. WoW oH WH HO oWoH5 Majt?S, Mail tt and Maj9* it Chords GMa tei) ee) CMayriits T. Malpttts ++ Gorda Sa — .~ _eesaanannenensensiacetes see ae fe Maja Any Scale or Mode Starting on. Major Pentatonic....The 9th of the chord Lydia The root of the chord ‘Senuosencororonneassni ccs sasenotbsi steamers 1 ROR FENTATONIC Hfoyn the 90h) Use a major pentatonic scale starting on the 9th of a Maj7'S, Maj7#l| or Maj9#I | chord. w WwoWtH WwW +H wow WwW oH oW W HMail? 54 tt Chords ere ee Function Major or Minor key ‘Scale or Mode Starting on... Maj7#5#1 | treeennane Both... i some The 9th of the chord LYDIAN AUGMENTED Use the Lydian Augmented mode starting on the root of a Maj7#5#!| chord,cr: ve a etapa ata art fel Be el hap) 14 cli: ae de C7sus4: fy fete lagglP oy daeCC Riis Function Major or Minor key Scale or Mode ‘Starting on... Major, Major Pentatonic... The root of the chord Major. Major Pentatonic The 4th of the chord Major Minor Pentatonic.. sm The root of the chord Major Minor Pentatonic... The 5th of the chord All unaltered domirane co M|OF Blues. nw The root ofthe chord chords: 7,9, 11, 13, Major. Mixolydian su The root of the chord and eet eee Minor... w~ Lydian "7. vou The root of the chord except where marked ‘not good for 11 or 7sus4 cho Venn ee MIRO on w Mixolydian ’6 w- The root of the chord ‘not good for 13 chords ou Phrygian Dominant® umm The root of the chord “not. good for 9 chords Dorian. : The root of the chord va Dorian, —— ‘The Sth of the chord EE ES REA IESE TTS TOON Use a major pentatonic scale starting on the root of any dominant chord in a major key. w. WoOWtH Wo OW+H You can also use a major pentatonic scale starting on the 4th of any dominant chord in a major key. w woOWtH WwW) oWtHMINOR PENTATONIC Use a minor pentatonic scale starting on the root of any dominant chord in a major key. WeH ow woWtH Ww i 4 ig Og 8 TA pag a You can also use a minor pentatonic scale starting on the Sth of any dominant chord in a major key. WH Ww wowtH w Use a blues scale starting on the root of any dominant chord in a major key. WtH W oH oH W+H20 Mies e1a 2) faint Use the Mixolydian mode starting on the root of the chord. Biers Use the Lydian '7 mode starting on the root any dominant chord other than an 11 chord. wow W H W H WwW DP aele abi iis Bes Use the Mixolydian °6 mode starting on the root any dominant chord other than a 13 chord. wow H W oH Ww ow24 BEA EOL IN Nee Use the Phrygian dominant mode starting on the root of any dominant chord, with the exception of 9 chords. eer Use the Dorian mode starting on the root of a 7sus4 chord, woH WwW W WwW HW2 DOMINANT CHORDS ted ACT CPs: : eee Scale or Mode Starting on. Whole Tone sn The root of the chord Whole Tone The 3rd of the chord Whole Tone The'S of the chord Whole Tone ....... The'7 of the chord Diminished ‘4 step above the root of the chord wulydian '7 .. The root of the chord Super Locrian...... The Foot of the chord Blues .. The root of the chord Use a whole tone scale from the root of a 7'5 chord. wow w Ww w Ww Use a whole tone scale from the 3rd of a 7'5 chord. wow Ww Ww Ww Ww23 You can also use a whole tone scale starting on the 5 of a 7'5 chord. Or, you can a whole tone scale starting on the '7 of a 7'5 chord. wow w ow Ww ow Use a diminished scale starting one half step above the root of a 7'5 chord. woHO OW H W HW oH24 ee) ine Use 2 Lydian 7 scale starting on the root of a 7°5 chord wow WwW oH W oH Ww Sigs Role are Use the super Locrian mode starting on the root of a 7'5 chord. HO oW H Ww Ww Ww Ww 8813S Use a blues scale starting on the root of a 7'5 chord, WtH W oH oH WH wW 4 A Ce nt oe28 /S.and 9#5 Chords cH Chords Major or Minor key S Starting on. Both Whole tone. .-The root of the chord sou Both snsnnnnannce WROIE CONE The 3rd of the chord 75 and 95, a Both w me Whole tone san enaam The *5 of the chord Both Whole ton@ wuemnnnnmn The "7 of the chord Both Mixolydian’6. we: The root of the chord Both Phrygian Dominant...... The root of the chord Super Locrian . The root of the chord wow w Ww w w You can also use a whole tone scale starting on the 3rd of a 7#5 or 945 chord. wow w Ww Ww Ww (continued)26 (Or.use @ whole tone scale starting on the #S of a 745 or 945 chord wow wow w ow It is also possible to use a whole tone scale starting on the ’7 of a 745 or #5 chord. wow w ow ow ow bo © eds e Olean Use the super Locrian mode starting on the root of a 715 chord H WwW H W Ww Ww ow vat27 MIXOLYDIAN '6 Use the Mixolydian °6 mode starting on the root of a 7#5 or 95 chord. wow H W oH Ww ow Use the Phrygian dominant mode starting on the root of a 7'5 chord. This does not work for the 95 chord. HOoW+tH HO OW oH WoW28 9 B°9 and 749 Chords a ar EE FT erie eae kos Chords Funetion Scale or Mode ‘Starting on... ANY srs “3 - Diminished .. The 3rd of the chord Any smsnee Ditminished , .-The Sth of the chord Any ss ae IMINISHEM va wnsnsnsnm ThE '7 Of the chord Any snes Diminished The "9 of the chord Any Diminished 1 step above the root of the chord Any sent Super Locrian The root of the chord Any sewn Phrygian Dominant*... The root of the chord not good for a 749 chord Any ae Minor Pentatonic.... The root of the chord Any : : snssmnnuen ThE Foot of the chord Ay nn = : swomm The FOOt of the chord Bl leiSa15 83 Use a diminished scale starting on the 3 of a 7°9, 13°9 or 749 chord, 79, 13°9 and 79 (except where marked *)29 Use a diminished scale starting on the 5 of a 79, 13°9 or 749 chord. woH Wo oH W H W oH Use a diminished scale starting on the '7 of a 7'9, 13°9 or 749 chord woH W oH W H W H Use a diminished scale starting on the ’9 or one half step above the root of a 7'9, 13°9 or 79 chord. woH W oH W HW oH30 SS fae Role aN Use the super Locrian mode starting on the root of a 7'9, 139 or 749 chord. H Ww H Ww Ww Ww w Use the Phrygian dominant mode starting on the root of a 79 or 13°9 chord. This does not work for a 749 chord. Ho W+H H Wo oH Wow ete 2 a6 pa ul vo iN eleaenteuceln Comes Use a minor pentatonic scale starting on the root of a 79 chord. W+H Ww Wo oWtHH ow3 Use a blues scale starting on the root of a 749 chord, WH W oH H W+H Use the Dorian mode starting on the root of a 79 chord woH Ww W W oH WwW32 C7+5)9. CP5t9: CTH5I9: Chords Major or Minorkey Scale or Mode Starting on. sis 760 Both or j-Diminished vou % Step above the root of the chord : ae Both _-Diminished ..um The 3 of the chord and 13*9#11 venBoth Diminished The'7 of the chord Both Diminished 1.0.00 The 9 of the chord Both Super Locrian...... The root of the chord 759 Both esnsnnnnnrnnenDMAjOr Pentatonic .. step above the root of the chord 7519 and IFO Both vom Blues swomm The root of the chord 7Sh .. i Both Super Locrian........ The root of the chord ‘DIMINISHED: Use a diminished scale starting on the 3 of a 7’5’9, 7'5*9 or 13#941| chord.3 Use a diminished scale starting on the '7 of a 7°5°9, 7°59 or 131911 chord. woH W H W H W oH Use a diminished scale starting one half step above the root of a 7S'9, 7°59 or 134941 chord. SUPER: LOCRIAN ‘Use the super Locrian mode starting on the root of a 7'5°9, 759, 134911 or 74549 chord. Ho oW H W Ww Ww w34 Use a major pentatonic scale starting one half step above the root of a 7°S'9 chord. w WoW+H Wo Wei Use a blues scale starting from the root of 7549 or 1395411 chord WH W oH H WH35 ScaleorMode Starting on... Super LOCrIAN ann. The root of the chord .Phrygian Dominant ... The root of the chord Use the super Locrian mode starting on the root of a 7'5'9 chord. Ho oW oH W Ww Ww Ww ee PRIMA eso MIN ge Use the Phrygian dominant mode starting on the root of a 7#5°9 chord, HoW+tH HO OW oH Ww ow36 S#ff ond B+ Chord oun Ras ‘Chords Function Mi Scaleor Mode Starting on. Any nnn Lydian 7 The root of the chord y H SMand BHT Vy BOth san sn BUCS sre The root of the chord Pe ge lesen Use the Lydian '7 mode starting on the root of a #11 or 13#1| chord. wow w oH Ww H Ww EsaS a9 Use a blues scale starting on the root of a 9411 or 13411 chord. WH W oH oH W+H Ww7 AUGMENTED TRIADS eaig Tb EE TE Function Scale or Mode Starting on, Any ‘ Whole Tone wrennnn The root of the chord { Any ne Whole Tone ww. The 3 of the chord Any ae .. Whole Tone... .. The 45 of the chord Rise) 5 5 E Use a whole tone scale starting on the root of an augmented triad (aug). wow Ww Ww w w38 You can also use a whole tone scale starting on the 3rd of an augmented triad (aug). Use a whole tone scate starting on the 15 of an augmented triad wow Ww Ww Ww Ww39 _ MINOR CHORDS Minor Triads 2 sF A CRS ALSRTL HAMEL ‘Major-or Minor key Scale or Mode Starting on... - oan ...Natural Minor (Aeolian) The root of the chord lajor Minor .. Harmonic Minor The root of the chord Minor Melodic Minor, ‘The root of the chord Minor triads (min) a | Minor Pentatonic The root of the chord MajOP so ssesnnenen Dorian, The root of the chord Hismnncnstarin MINOT Dorian '2 ‘The root of the chord : iii soe Major Phe YgiAM os . The root of the chord ‘i Minor .. Lydian ?°7 rn .. The root of the chord IRENE eaamenaae PEE Use a natural minor scale starting on the root of a minor triad when it functions as j ina minor key or vi ina major key. woH Ww ow40 HARMONIC: MINOR Use a harmonic minor scale starting on the root of a minor triad when it functions as i in a minor key. MELODIC:MINOR: Use a melodic minor scale starting on the root of a minor triad when it functions as i in a minor key, xX XI MINOR PENTATONIC Use a minor pentatonic scale starting on the root of a minor triad when it functions as ior ii in a minor key; or when it functions as ii, iii or vi in a major key. WH ow WowtH owple NTN Use the Dorian mode starting on the root of a minor triad when it functions as ii in a major key. woH W W W Hw Pe NUN) Use the Dorian '2 mode starting on the root of a minor triad when it functions as ii ina minor key. H Ww Ww W Ww H Ww42 PHRYGIAN Use the Phrygian mode starting on the root of a minor triad when ic functions as iii in a major key. Ho ow WwW W H W WwW Use the Lydian '3'7 mode starting on the root of a minor triad when it functions as iv ina minor key. WwoH WtH HW oH WwW8 mind Chords Major or Minor key Scale or Mode Starting on. z i a } Minor Pentatonic swe The root of the chord : lajor 2 Minor nm Melodie Minor wu The root of the chord 5 Minor Dorian '2 ‘The root of the chord 5 Dorian sm The root of the chord 5 Min OF nnn Lydian ?37 su: The root of the chord i anata omomeenererae: asaaenomi eed Use a minor pentatonic scale starting on the root of a miné chord when it functions as i, ii’or iv in a minor key, or when it functions as a ii in a major key. wWeH ow WwoWtH ow Use the melodic minor scale starting on the root of 2 miné chord when it functions asi in a minor key. Reece ty ete44 DORIAN Use the Dorian *2 mode starting on the root of a min6 chord when it functions as ii in a minor key, ele) rays Use the Dorian mode starting on the root of a miné chord when it functions as ii in a major key. eel Needs Use the Lydian "7 mode starting on the root of a min chord when it functions iv in a minor key. Ww oH W+H H WwW oH WwWFunction Major or Minor key Seale or Mode Starting on.. iy Ui oF vi ee } snomneeMinor Pentatonic The root of the chord Minor Min oF on Dorian ’2 ssinnnnne The root of the chord Major Dorian smn The root of the chord MalOP ews: PREYEIAM senses The root of the chord Minor... wo Lydian 1977 cen The root of the chord Natural Minor (Aeolian) ...mn The root of the chord DMSO aan Ay MEO. 1S Use a minor pentatonic scale starting on the root of a min7 chord when it functions as ii ina minor key, or when it functions as ii, iii or vi in a major key. WH ow wowtH ow Use the Dorian °2 mode starting on the root of a min? chord when it functions as ii in a minor key. Ho Ww WoW WH WwW 6 f <~ yo 22 SSA 4 oo {op Tt “e— ete] tag Pag | xu46 Use the Dorian mode starting on the root of 2 min? chord when it functions as ii ina major key. woH Ww WoW How Use the Phrygian mode starting on the root of a min7 chord when it funetions as iii in a major key.ANN Seed Use the Lydian’3"7 mode starting on the root of a min7 chord when it functions as iv ina minor key. woH W+H HOW oH OW (Vo Se] e mS) Use the natural minor scale (Aeolian mode) starting on the root of a min7 chord when it functions as vi in a major key.48 mind Chords ee Pee ead Function Major or Minor key Scale or Mode Starting on. ii or vi Major. Minor Pentatonic The root of the chord Major Dorian smu The root of the chord Minor. .. Lydian '37.. .. The root of the chord .- Natural Minor (Aeolian) ..m.m The root of the chord Use a minor pentatonic scale starting on the root of a min9 chord when it functions as it or vi in a major key. W+H ow WwoW+H owDORIAN Use the Dorian mode starting on the root of a min9 chord when it functions as ii ina major key. (eee) INBeug Use the Lydian'3'7 mode starting on the root of a min9 when it functions as iv ina minor key. WHH WoW WtH ow oA 2 NATURAL: MINOR (AEOLIAN) Use 2 natural minor scale (Aeolian mode) starting on the root of a min? chord when it functions as vi in a major key. woH Ww W H WwW Ww co50 mitt Chords He : gow Li Pw eS in Gminthe: [bees she tt é Function ‘Major or Minor key Scale or Mode Starting on. if an Leal Minor Pentatonic wr... The root of the chord Major i _— ee = v=. Dorian 2. The root of the chord : mint when the 9th isnot present FP sexcepe where marked J ii so MAJOF sss PREY _ The root of the chord i “hen the 90h ot present E iv . Lydian 37. The root of the chord E Natural Minor (Aeolian) ........ The root of the chord Use a minor pentatonic scale starting on the root of a min! I chord when it functions as ii in a minor key, or ii or 2 major key. wth ow wowtH owUse the Dorian mode starting on the root of a min! chord when it functions as ii ina major key, Use the Dorian’2 mode starting on the root of a min|| chord when the Sth is not present and it functions as ii in a minor key. Use the Phrygian mode starting on the root of a minII chord when the 9th is not present and it functions as ii in a major key. HOW Ww Ww oH Ww ow sl32 dere 4 Use the Lydian '3'7 mode starting on the root of a min! chord when it functions as iv in a minor key. Ww oH WtH H W Hw NATURAL MINOR (AEOLIAN Use a natural minor scale (Aeolian mode) starting on the root of a minI I chord when it, functions as vi in a major key. woH W W H W Wwmini 3 (*except where marked) Major or Minorlay Scale or Mode .. Minor } Major Major Minor... Minor. erenrenn (piles RT ae Starting on, ‘The root of the chord vue The root of the chord ssmnae The root of the chord The root of the chord MINOR: PENTATONIC: Use a minor pentatonic scale starting on the root of a min13 chord when it functions as ii ina minor key, oF ii or iii in a major key. W+H A w o54 Use the Dorian mode starting on the root of a min]3 chord when ic functions as ii in a major key. woH Ww Ww W HW Use the Dorian'2 mode starting on the root of a min 13 chord when the 9th is not present and ic functions as ii in a minor key. Ho Ww WwW W WwW HW x Xt a vo vit Use the Lydian '3'7 mode starting on the root of a min!3 chord when it functions as iv in a minor key. woH WtH HO OW HW55, inin(Maj7) Chords eet eee gen SO x pes Emin(maj7): * | ! ‘| . ve ee Function Maoror Minor key Seale or Mode Starting on. | Both... Harmonic Minor The root of the chord ‘The root of the chord Te ceease Use a harmonic minor scale starting on the root of a min(Maj7) chord, wWoH WoW oH W+H H Use a melodic minor scale starting on the root of a min(Maj7) chord woH WoW Ww W H56 Diminished, dim? and min?’ (haf-diminished) Chords © Cdim7: amie kien atlas Chord Function Major or Minorkey Scale or Mode Starting on.. snes BOtH a Diminished. ~The root of the chord Diminished triads aaacanece: Bothy Diminished... The'3 of the chord (dim) and dim? chords Both Diminished vm The" of the chord Both Diminished ..... The 7 of the chord -Both 7th Mode Harmonic Minor... The root of the chord Major Locrian “ The root of the chord Minor Locrian #6 vo nmnnnmmenrnrnrnres THE FOO Of the chord Minor Locrian #2. svwnsnnom The FOO of the chord Minor see SUPE LOCTIA sen The root of the chord min? (half-diminished)37 Use a diminished scale starting on the root of a diminished triad or a dim? chord. woH W H W H Ww 4 Use a diminished scale starting on the °3 of a diminished triad or a dim? chord. woH W oH W oH Ww oH Use a diminished scale starting on the 'S of a diminished triad or a dim? chord, w n /\ A Z* be bo Double flat. Lower the nae — note by one whole step t (two half steps).58 7TH-MODE-HARMONIC- MINOR: Use the 7th mode of the harmonic minor scale starting on the root of a diminished triad ora dim7 chord. Ho W oH W WH WH Use the Locrian mode starting on the root of a min7’S chord when it functions as vii ina major key. How WH ww w [Rela vn aS Use the Locrian % mode starting on the rot of a min?’S chord when it functions as ii ina minor key. HOW W oH WtH HO OW59 Use the Locrian #2 mode starting on the root of a min7*5 chord when it functions as vi in a minor key. Use the super Locrian mode starting on the root of a min7'S chord when it functions as vii in a minor key. How How = —. oo 8 oe »60 etek has ‘Chord Function Major or Minor key Scale or Mode Starting on. AY ee BOE nnn Minor Pentatonic The root of the chord Any sennnnseeBOth Minor Pentatoric .. The Ath of the chord aes Any “Both Minor Pertatonic The'7 of the chord Any. Both... Dorian The root of the chord Any. Both on Dorian... snonnnnnm ThE 4th OF the chord Any. Both Dorian. i sou The 7 of the chord Pe LOls Gdn BE CEO] tes Use the minor pentatonic scale starting on the root of a quartal-3 chord. WtH ow WwoWtH Ww61 You can also use a minor pentatonic scale starting on the 4th of a quartal-3 chord. WH ow WoWtH WwW TH (Or, use the minor pentatonic scale starting from the '7 of a quartal-3 chord, WweH ow WwowW+H Ww62 DORIAN Use the Dorian mode starting from the root of a quartal-3 chore. woH Ww oW W HOW You can also use the Dorian mode starting from the 4th of a quartal-3 chord. woH Ww ow W Ho ow‘Or, you can use the Dorian mode starting on the '7 of a quartal-3 chord, woH Ww WoW HO Ww 63Alfred's Basic Guitar Method (tAuberge/Manus) 304 BOOK 1, Book only Revised) Book 1, Bock and Cascette Tape Book 1, Book ana cD Book 2 (Revise) Book 3 (Revised Book a 200k Book 6 {14109 Afed’s Basle Gultar Theor (Merus/Menus) ‘M4149 Afe’s Basie Gultar Chord Dictionary Teach Yourself to Play Teach Yoursel to Play Guitar ‘Manus/Manus) 4409 Book and Cassette Tape 14104 Book and CO 4412 Book only ‘4431 Teach Yourself Gitar Theor (Esson) Jerry Snyder ‘altar Tod 344 Book 1, Book and Cassette Tape 18119 Book. Book and CD 348 Book 1 Book ony 347 Book 2, Book and Cassette Tape 16751 Classleal for Guitar — Tab Sry Rock Series 4436 Beginning Rock Gut tomar 4439 Intermediate Rock Guitar Howard ‘Mastering Contemparary Rock (Arela 4496 Book and Cassette Tape 4425 Book ony Blues Series ‘Beginning Bes Guitar (Hamburger) 8230 Book and CO 4479 Book only Intermediate ues Guitar (Smtr) 8233 Book and cD 4490 Book only Mastering Blues Guitar (ik) 8234 Book and CO 4482 Book only Jazz Series (she) ‘Beginning Jazz Gutar 414120. Book and CD 16114 Book only Intormediote Jazz Guitar 14123” Book and CD 14115 Book only Mastering Jazz Guitar Chord/Melody 14126 Book an CD 14118 Book only Mastring Jaz Gultar Improvisation 14129 Book an CO weeenn---5 Stand Alone Accompaniments Stand Alone—Bies (cn) 4448 Book an Compect Dis 4447 Book and Cosste Tope ‘Stand Alone—Funk 2000) 4477 Book and Compas ise 4478 Book and Cassete Tone Technique Series Speed Development Sith) 4454 "Book and Cassette Tape 11966 Book ony 4494 Fingerstyle (Mans) Slide er) 4496 Book only 14108 Book and tide Miscellaneous Books Introducing the Penttonc Sales Habie) 4463 Book nd Cassette Tape 11969 Book only omer Pentatontics (aie 4475 "Book and Cassette Tope 4471 Bookonly 4445 Made Eneclopedia for Guitar ish) 416108 aerate Tunings (02a) 7100 taza for the Rock Guitarist (8ovn Classical Guitar 7000 Pumping Nylon Tennant) Some Towns and Cts (Verde) AUG ass Ge 4490 Book and CO ony 4405 Book 2, Bacon ‘The Essent of Classical Gator 4437 Tab Guta Method Werte pigs oral 14110 VHS Video ony ' ' ' Guitar “Tab Licks” Series 3811 Jaze itor Lek t Hat/Manush 3809 Rock Guitar Licks t 470. Complets Acoust Gitarit 4402. Tab eks—Bies & Rock f (ans /Mans ; Chord Books 4427. Tab Lcks—County 3815 Complete Jaz Gitar Slot, The (Hayes Ha Menus) 4432 Guitar Chor Enyelopeda al) Eschete) 440%. Tab icksHeavy Meta 317 Gaitarchoré Dictionary (Manis) ee eee 4420 Tab Licks—Seales & Modes Joe Pass t 4446 Gta eo Pa aces 3320 Chord Solos 1 i Guitar “Licks” Series Guitar “In Tab” Series (Tieden 5819 Guitar Crore It 4467 Chistmas for Gultr—In Tab (en 23810. ‘BluesGuitr Licks 3318. Gata Sto i 4469. Hanon fr Guitor—to Tab (Manus) 812 Country Ger ik 3221. fe 4 4484 Wed for Guitar—In Tab (Snyder) 3813. Dynamite Guta Liks (co) 3318 Jane