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FOREU/ORD My objective in writing this collection of

studies is to outline some chordal techniquesthat


have practical application in contemporary styles
of guitar playing, value in fingerboardexploration
and the development of a senseof musical coher-
ence.
I have chosen to do this through example
rather than a discussionof harmonic theory with a
view that a lot is to be learnedsimply by producing
the soundsunder our fingersand in our ears.
Many guitarists accumulatea large repertoire
of "guitar
chords" which, in themselves, are
pleasant sounding and, perhaps, well suited to
rhythm playing and variousaccompaniments.But a
repertoire of "isolated" chords may remain in the
players mind as disconnectedchunks of harmony,
not easily applied to chord melody playing. The
main academicpoint of this book is the resolution
of this problem.
One improves his musical and instrumental
techniquesby acceptingthe challengeof more and
more difficult material. Therefore,the examplesin
this book have been developed, not for their
simplicity, but for their direct usefulnessin con-
temporary music thereby representingsomeof the
facets of advancedgtritar playing. ln view of this, I
believe the reader is embarking on an adventure
both musicallyand personallyrewarding.

My thanks to Mike Anthony for his contribu-


tion of Example38.
CONTEI\TS FINGERINGS ,1

CHORDMELODYDEVICES 5
Example
I
CloseBlock Voicings . )
Open Voicings . . 6
3 ParallelMotion . 6
A
t . ContraryMotion . , l
-7
CounterLines
6 CommorrTones . 8
1t . Block Chords . 8
8 SustainedChord Background . 9
0 Short Chord Punctuations . l0

CHORDMELODYSTUDIES l l
Example
1 0 l, r , 1 2 l l
3,l4 l:
5 ,l 6 l3
t 1
t a

1 8 ,1 9 l5
20, 2 l I (',
22 l-
z5 IE
1A
L- l9
)\ 26
)'7 28
to 30
3l

33
5+ ,c)
3 5 ,3 6 .3 7 3l
38 -)_

PROJECT STUDIES 36
Example
39,40,41. Instruction 3-
42.43.44. Proiects 38
45. ,19
46. Solution 39
4 7 , 4 8 , 4 9 . Projects .+0
50,51 Solutions +l
't l
5 2 , 5 3 ,5 4 . Projects
5 5 ,5 6 ,5 7 ,
58
5 9 ,6 0 ,6 1 , Solutions +(r
62,63,64
65

CHORDMELODYSOLO
FINGERINGS While it is true that the same chord voicings
can often be played on two or three dift'erentsets
of strings,it is seldom possibleto do so without
some change of the fingering. ln evaluating the
feasibility of a change, first consider musical
quality and mechanicalefficiency:
a. As a rule. the musical quality can be
etrhance d by choosrnga fingeringor a sct
of strings in which the greater string
lcrrgthis nraintained,thus permittingthe
stringsto "sing" and sustainlonger.
b, Meclianicalc-fficiencyis primarily a mat-
ter of' er,oiclingunnecessary or awkward
harrd or fingr.r movements.However,in
developinua senseof mechanicaleffi_
clcncy. tlo not also develop a tear of
radical jurltr-rsor large intcrvals on the
fingerboard. for these techniques are
frequcntll rcquired. For example,radi-
cal intcrval jLrrrps may supply a nice
coutrastto srnoothscalc-wise line move_
ment.
String numbers inciicetethe lower note of the
chord and are in circlcsunder the staff. Fingering
numbers are placed to thc lcft of the notes.The
thumb is frequently usccl throughout the studies
and is indicated(T).
CHORDMELODYDEVICES

Examples I through 9 demonstratesome structural devicesbasic to contemporary stylesof chord melody


playing. As you become acquaintedwith these devicesyou will observetheir practical application through the
studiesforming the main body of this book. Take plenty of time working through thesestudiesas the techniques
are highly concentrated.In order to better retain what you learn here, you should make a direct effort to put
these'devices'topracticaluseon a daily basis.

l l \ R ] I O N \ ' : \ E R ' l ' l (-,\ | . - H O I i I Z O N l ' \ t ,

Basicallythere are two conceptsof harmony:

(1) Its vertical structure which is nothing more than the stackingof notes into chords.Naturally, theseare
played simultaneously.

(2) Its horizontal movement which involvesthe way one chord progresses
to another.

VERTICAL structuresare usually expressedin one of two basicvoicings:

Example 1, CloseBlock Voicingsin which the notes are packedcloselytogether.

Ex. I

Thesevoicingscan also be played on the inside strings (5th, 4th, 3rd and secondstrings).
Example 2. Open Voicings in which the notes are spreadapart.

Ex.2

F m m
flH HT
ffiGnal fl-HlA,"z 6n? w Gm1

Closed voiced chords can be opened up as far as your reach will permit,
simply by movilg one or more
chordal tones up or down an octave.

HORIZONTAL movement. The melody lines formed by each


of the chordal tones is the most important
single factor linking one chord to another. In four part harmony,
for example, one is really dealing with four
separatemelody lines' It naturally follows that there would
be as many Inkage possibilitiesas melodies: a
study of this question in its entire scope comes under the
headingsof voice leading, harmony and linear
counterpoint (see Shaping Forces o.f Music, Ernest Toch). The
following example demonstratessome of the
primary melodic aspectsof chord connections.

Example3' PARALLEL MorIoN, a chord progression


in which each tone is movingthe samenumber
of scalestepsand in the samedirection.

Ex. 3

m
ffifl
ffi eo Pu,c't D'? at3
w't crg
Example4. CONTRARY MOTION is, as the word
implies,a situationin which the chordal tones
movingin oppositedirections.Example4 showsthe upper are
and lower linesin contrarymotion.

Ex. 4

E TE

bffl
,rlzffi
Gnn

Through experimentationwith paralleland contrary motion one can invent somepassages of considerable
interest to both player and listener.Such passages
are often quite useful as fingeringexercisesand for arrivine
at a better understanding of the fingerboardin general.

Example5. COUNTERLINES are usuallytreatedas a melodicaccompaniment to the main body of a


tune. They are also usedas connectinglines from one chord to anotherand, on guitar,are frequentlyfound
in the secondvoice from the top. When the main melody has little motion, the counterline can be
more
active.Example5 showsthe counterline (with stemsup) on the 3rd string.

Ex. 5

:r
rSrln
H+++t
I-H+H
ffi ffi
(%A1

I
@

A counter line may be higher or lower in pitch than the main melody, or placed somewhereinside the chord
as in Example5, or the bass line itself may sometimesbe treated as a counter line. Further, any choice of
melodicintervalscan be used to develop a counter line.
Example6. A COMMONTONE is a note that is relatedto, and sustainedthrough, a sequenceof
chords
playedin succession.
Example6 showsthe common tone on too.

Ex. 6

rtr^
m m !t
+]-+t]
l-.t4+.t-l
[Lu.]
ulJj-] ffiffi {TTTTI
ffi
l t t r l l
rrrrn
ffi1-fi
ffi.D.r ffioUo ffioh"'r ffiE/bs nffH
#
l r | | *^a"

Example 7. BLOCK CHORDS. Here is a rudimentary, yct eft'ectiveway of producing


melody and
harmotry simultaneously.This is done by placing a full chord underneatheach melody note.
The chordscan
be either close or open voicings.You rnight experimentwith picking techniqueshere: For
example,all dowl
strokes,or alternatc down and up strokes,or plucking all stringssimultaneously
with fingers.Note: The Gm7
in bar 3 is being usedas a substitute for Eb mai 9.

Ex. 7

Itr u, lrr
f f i f f i ffi ffin * , n
fr|t| H# rnflt
tf||af

Itr
rTln]
ffito ffi
ffiffi'ffi H+++{ rtrrn t-+++.1-1
ffrfl-l ffi H-t1+l
ilaatl nnn
D2* EV^*q6oa)
ffi
l a tI t l
r-t-Ffi-t
& e# ffi tine ?r{l
u-t-l-tl!.
L+-t-Ll-.] ri
ilil|

?oo R,ft
The block chord eff'ect is best achievedwhen thc chordal tones are made to move when the rnelocl-v1ro\'!'\.
atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripg
to change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc
tir
changethe voicing or inversionwith each new melody note. in order to createthe eff-ectof all lirresnro\lng
at once.

Example B. SUSTAINED CHORD BACKGROUND is a modification of the block chord stylc. in rh.ir
one chord is sustainedthroueh two or more melodv notes.

Ex. 8

g It gII' E-r
ffi [rrrn
ffiTF m-n |.T55n
f+++il
ffi
t a t l fl
|#

$ffi l.+1++l
ffi

ffi
i t l ? t l
,l
ffrrn
rnrn
, | | |
nrrn
|'..{'...+
l | | l l
mx
ffnn
bvb ngq 6hrn1 ??w ?h"fc

v
@

NOTE

Whett a chord is sustainedthroughout a long seqLrcnce of melody notes. tingr'ringrcquircnrcnt:tr.'t1.,-


m a k c i t n e c e s s a r tyo d r o p o n e o r m o r e o f t h c c h o r d a l t o n c s i n o r d e r t o r n a n i p u l l t et h c n r c i o c i r .I i , , .
especiallytrue in improvisingwith the alorernentionedcommon guitar voicingswhen thc voiec ltltl iirr :
not beett fully worked ottt. Howevcr.if each chordal tone is sustaincdfor as long as possiirle.tltc li\r..n..r',
r"rstrally rememberthose lrotesthat havc been droltped.
Exarnple9. SHORT CHORD PUNCTUATIONS. Becauscof thc listcncr'sability to remember the sorrn
of harmony. it is possible to outline tlic llow of harmony by short chorci pr-rr-rctuations.
Thesc can be usc
without sacrilicirrgharmoniccontinuity, whcn they are playcd with atrthority ancllppropriately placeclwitltir
the bar. This cor-rtinuitycan be lurther rcinfbrced by choosrrrgmclocliesrvhich ernphasizechordal tones.

Ex. 9

Itr Ea It It
NTTR rirn ltfrn
rrffn
l.H
t t I t a l
Ffi-TH
a tt a t l lTn]
t t a a t l
a t t t l l fffffl 5-tTfl
nfrtl iHtft |'.#
trl=n H+t+t rfffl-1 l t t t a l F+i-+-H
t+++-l
l i t t l l
rtn-n nrrn nrffl ffi ,
++-l-+-.t
l l l l l l
ffi

H+iflF IA
(l Bb''- 0' s0
Ydr
rrrrn >

l0
CHORDN{ELODY
STUDIES

Exanlplesl0 through l2 dcal with variottsapplicationso1-the devicesor-rtliledi1 ExamplesI tlrotrgS .)


The following studic'sare uot to be consideredas Llnaccolnpanied solos,but rather as eramplesof t6c *,r
otre night pcrlorm iu a combo. For cxantple,the basslines arc oflen incompletein that most corlttos hrrr.'
bass players filling this fiutction. lreeing the guitar playcr to work with rnelodies,ancl to clc'u,c6'r5-,
harmonic color residentin the llpper extensionsof the chords.E,xamplesl0 thropgh l2 presclt a fer.vo1 rlr.,
rnal1yways to treat thc root progressior-r(ll, V or Il. V, I) common to so many standarcltuncs.

Ex. l0

#-
i l I t a l
s,_
?+t#l
nwl_
ttaf tl
g.-
?.I.t!J *fr-
rffil
s-
atItaa
I+]JN
F+-t-+-Ft
ttalI
Frrrn F{-H
H-l-t+ [Hfl tf+N.l
fTlfFl
ffiT
ffTFH
rrrrn t-fH+l
ffi
H.H-H ffiil t-+-.t-.t-J-.1
ffnil fffff1 rnrn ffi-H-1 ffi ffil
fr*vs er'n4 E)ort
*5 bvts St ftbna'l Gm1

Ex.l1

'ffi s.,,
i l ?tIl
ffirn
i t ? t t l
l-#
l a t ? t l
rfi-fi-l
nffn
ffi
ffftfl
itt?I L
nTfn lFfrct
i l l l t i v '

Ex.12

s_
? tft | l
E^
|-|-ITr]
l.Frfn ffi
ttt?|
l#
fu-1t-l rrnTl
/ I I t a l
rFFFN eV'svq
HJ+H
m]l4 ffnn

l1
Examplc 13 illustratesclosc voicings.very effectivebrrt uot too often used,on the guitar.Thesecan bc
nsccl as tcxturc contrast to the big sor.tndof open voicings.Notc: T h c G 6 i n b a r 3 is lirnctioning as u
dominant chord (Eb + 7b9).

Ex. 13

Itr,
'fr*
r-H[
ffrTtl
ffirt
fffifi
Hffi
E,,,
t#++{ H+1{1 FffirlTm ][
mx
Iil ila

[H ffiH [ffi Hffi


ffi
| | l t f l

H+f+l rt-nTl
ffi |Trl-r ffi [fli ffi
Bb"q ovw Nnal ht.b W"t 6to

In Examplc 14. cach line is deccndirtgitr cc'rnsccrrtive n holr-'-stc1-r.


Iillf-step seqlleuces(symrnetrica
diminishcdscales).One linc ntoving whole-step.halt'-stcp.rvhilc lnothcr iinc is nrgvilg lalt--step.whole-step
producingthe chord changesas the symbolsincliclte.

Ex. 14

ffit
ffrrH
|.i'.{+
||tara
tu
i t t t a a
l-Hl

TTFFPI l-{+1-{.t
ITTII if+-t+l
t i | l t l ffi-rl
€h^a1 Drl gn4
f^o
r
I
L

tffitso tf+]tru t+fifiu


t-itt-H H+
FFFfN
ffi
xx
uJ-+-1..1
l t t t t ,
rfl-fh
H]#€b,nr ffililAb,oo ffi f1ttfi
nnF

ll
Example 15. This is a simple harmonization of the C (diatonic) scalewith some isolatedchromaticisnr.
The Eo and Dbo chords are both functioning as 1^7b9,and are being used to provide s o m ec h r o m r t i er c l i c l
from the monotony of diatonic lines. It is good ear training to improvise this sort of t h i n g i n a l l k e y s .u i t h
various diatonic melodies.

Ex. 15

s. rtr Itr
= rmm rnTn MH ulJ-ll ,t a | | |

ffi
F{**#
t+HJl
uJJl-.I
t t a a t l

t++l-H' g l f l ffi {fifil


l..+.{# ||tlta
rrffE
t-FFl-u ffi

ffi ffi ffnn


ga
Fnrn u+l+-l
| | l | l r

G'8.
gto D't Qnfl Dma loo 3m?

fr
Dnn 0n1 !rr
H-t-t+1
t+-{-.t-.|
t-t-ft-H
fftffl
LE 9vt
ffi

Example 16 illustrates(1) exaggeratedchromaticismand (2) the gradualaddition of notes (in eonrrurr


motion) to expand the voicingswithout opening them. Note: the spellingof the chord symbolsin Errnrfl:
l6 is lessimportant than the voice leadingwhich createsthem. Accordingly,symbol identificationof the.r
"sounds")
chords (more properly is awkward and unnecessary,Their functional or Roman NLrnrcr.-
identification(i.e. ll1, Vl. etc.) dependsupon analysisof thc entire phrasein which the chordsoccgr.

Ex. 16

l3
Example 17. A fingering exercisein short chord punctuations using a Cycle
of 5ths with #9 chords.

Ex. 17

e*q
F?*1'--:\

dfi*q

Ab?*q
Example 18. A fingering exercisefor running diminished chords acrossthe strings.Make a specialeffort
to sustaineach chord for its full time value.

Ex. 18

X.

ffi
Example 19 is a fingering exercisefor running augmentedtriads acrossthe strings.Play this in r \3rier!
of keys up and down the fingerboard.Sustain each chordal tone for as long as possible.In generll. r6i.
means to keep your fingers in place until it's absolutely necessaryto move them. This will contribur...
measurablyto the continuity of your chord melodl, style.

Ex. 19

ffi
H# Itr ]E
mm
ffi
9+ ffi ffi drfi

l5
Example 20' Short Chord pttnctltatiotrswith chords clcscenclirrg paralkl iu ntinor thirds. This typc t,
passagecan be very effectivc whctl playcclf'ast.Notc thc use o1'thc right hanclin ailclingthc buss1o1eut tlt.
end.

Ex. 20

Ot*q eilq

,FF;.
rrfiit
' i
Frrffi a

Itttfl
ffi
I t t ? | |
t++# TIn
-+-fir
rrFrn llftii
ffi
l l l l l t l #
ffffn
l..g
|#-{-{-{ tt I

. l l l l l j l - \

Co-01/'-L--
al

@
E x a n t p l c 2 1 . A s t r e t c h i r l ge x e r c i s ew i t l i s t a t i c i n t c r i o l r o i t f i l n r l ( ) r , l t . rv o i c c s i n c o n t l l r v r n o t i o n .

E x .2 l
T'T $,,
t t t t t !

f
Tt ul-tl] rTfn
ll-
ltTrn
ll I
[rn-n Itr L l l :r I IIIl i l
rrFrn rfl-tn m-fn [-|Ifr tlt_l1_i Fl-ITn
|..{.+-+.+-t t-{-+-Fl-1 il?ttl T''FN | | l Trn-n
t+.lJt-t tuu-j rrrrn ffffl-] itttt -Fr-FFt
rr rr | |
t-l4l-l-t t-l++1"1 rrnTl mrrFl
rfffi-1
|l-fffi
l -

$tH6'q HtH | | l
rrnF nn-h ell gYh
t - 2 b t

F;q wure

16
Example 22. A type of threc n o t c v o i c i r . r gc o u l l o l t t o c c l t a i n s t y l e s o f r h - v t h n rp l a y i n g .T h i s ' t L r . . i ,t ,\
basedon 12 bar blues.

Ex.22

F
It W. IIi, X.
rmiiffiffiffi
m-J'n rrrrn n-rfl-1 t-flfn
.g
ITITN r-ffi-rTTN-N
nrrn ffi m rrrrn {TTTN
[t111fTlil] n.ffi [1111
l-u-t+t-t-l-l+?il?ll ril tI
[Ht rrmt rfl1f1
l-.{-H
rfftf]
fiffi
t t l t t t H+N rrn'il
f_l_.l+l.l +ll+ l_l_l_ll_.1
t t t t t l r r r r r r l t t t r l
.r || rr
f f f m
IHT rrrrF
rrFrn rrnn nm ffi
| l | t l
F{-#
f t t ?I I
f{-.}-4-.f-t

ft11tl
ffi-rF
H++].1 nm
i l | l l

F ev&" w Ab r.#o bv F bb i a
Yfi I S.nn

Itr T
rJTilI
ffiH u,l+u
[ItE t t t a t l
t l t t t l
ffiil
ffi Frffi1
ov AobI
gfro

3F

Itr,
riTm
aIatl
Frm-1
mil
rffffi
r 6V" F1 61

tl
Example 23. The use of two notes to create the overall effect o t ' h a r m o n y h a s b e e n r e l a t i v c l , .
unexplored in guitar playing. particularly in inrprovisation,and could, w i t h p r a c t i c e .m a k e a v a l u a b l ,
contribution to the versatility of one's stylc..Example23 utilizesthis devicein the basic l 2 bar blues.

8x.23

c1

"*"
|..i++l
"*,
l-.ffi
i llil l u-lJ-J-.I
i+l-t#
ffi
i]#fl
rfl-1-F
itfifi Hffi
Abts G's

l8
"Full"
Example 24. block voicingsin a big band style. as m i g h t b e a p p l i e dt o a n e n d i n g .

Ex.24

IE E IE r
[I-rfr]
ffFFfl
TFI-TN
#H m
t+.1+.1-.t FM ffffi
TTITN
III,

ftfff+ ffi IItaaa |# |#


t t a l a l t a l a t l

MT ii++tl fffffi
ffi
Httr
Frffh
ffi-rn
f-t'ftfl
rffil
ffnFl nnn l#
l | | l | l l||ilr

dq
4
Cm? d*t
4'
Dn'7 etrA'7 Fnel .Jto
\f U"? #^,
4
?rn'l
4

II
t-ft-fR Jtr,, Itr g.
rrrml t ? t a t l
mriTt fi-t-iTt t-T-ITti
MH rnTn
mm
||tttl
ffiil H+1+l
ffi Htiu rrrrn
rrrrn
ffitr ffnn ffffn
$^n Fnl
ff,
7 . 9 dq Aq A,e
2

ffiffi
|# :E Itr Itr.
U]J]J II-TTN I-IFITI
l+tfil ffi
l t t a a l
l..#
[TI-N
I I taaI
fllTfl
t-ft-Fil
t-t-t-ff1
ffi
H+i#
Htil1DbttH1#l
l-l]-l-+..1 l-+-FtiH
l l l l l l ffffn nffn
P^n | | l l t l rffffi

lmT
flTTR
rrrfn
}#
rlll?l
t-l-{-l+
l t t t l
nrn-l

19
Example 25 offers exercisesin three areas:Contrary motion, parallelmotion
and expandedvoicinss.

8x.25

ffiffiffiffi ffifu ffi


wrf
rfI-TN
Ittffl
Itr
m rTm
??1+{1
rt[.

H#fr#ffiH# ffi#ffi#
rn-ffi ffr-fflffffn f{+++-l l-++++l ffiH
H-l-]-i{ rtfff1 ffi
F,H

F+lt-+-j t-ftrfl H++ll


nffi Hrr ffir HiH Hlt Hlil Hff, Hltr Httll Hffi

'*w
r l l

b8*s BWl Am? Ab^q Grt' g$V5 F+ e+tl


L ) ^

4 4 I 4

s?gfi-:
t / l

Example 26 is a study in parallel motion with the melody doubled on the bottom.
This entire phrase
could also be played over a G minor chord.

Ex.26

TI II It IIII,
ffi qTl-fr [m m-rn
rrffn
|.l.#t
laf| | | ffiffi fffi i.]=#
I t a r aI
rfl-ffl
ffi
rnfi
u-j-.t+
[tffi H+H
ffiff1
t-t-l-{-+-.]
rlilll
l i l | t

) =qz G^ de' A"0b Dt r 1\


.Yft'\ e bV Ar,

20
Example 27. Another version of the band type block chord style.

Ex.27 -*-
ffiffiffi t t a t a l
}++\ar+]
t++++]
ffiffiffi
ffig,o ffi ffi*o
t-fffH
rffrF1
ffffH
€^1-bbo

lE II
lrl-fn
|'.#
l t a t t t
l]Im
gj+fl
fft-tt1 t a t , a l
fflfil rrffF
rrrrn ffilt
ffffF Fnff:
F1

:E
IE
]II
ffi m
H++flffH+]
ffi fFm
ffi

FI+H
FFFTN
rrrrn trFFF
rrrFr
F+H] ffiil [ffi
ffit|l
ffrtn
t-ft-ffi
l#
t+Jl-u
t+ljt-l
fiIf,
i l aatl

Htt ffifl Hfifl Htt ITP111


rrnn
enq €m1 eblh f
t l l G6 d,

Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on tht
bottom next to the 3rd. This voicing can also be played nicely on the inside strings.

Ex. 28

ffi
ffiH
H-t-Ht
ffnn
Cn?
1\O
vfi'
€V*q

21
Example 29. Counter line accompaniment,The chords occllr aft 'r the initial
melody note. Slrstainthe
first note of each bar as long as possible.

Ex.29

gtr ][t
t-l-IT| I|ITN
rrHfl ffi

hffiff1 H+l]
ffHtl H+1+l
t-fT]T]
l l l l i l
ffi-ffi
#
l i l t i l

4 Y; F?bq
4 ,t tJ1! ;!* &'w
2 € ml-lTl--

Example 30 has the same melody as E,xample7 ancl r l t t t t o r . t sn t t L : l r t o t l t e r .


\\'av to approachthe final
chord via chords voiccd in Fourths ascendingchrontaticallr,.

Ex. 30

v]]T
TtiTn
Tr. g
rFtiT]
I' ffffn
|?rrl I l?..la rrrlTl |-i-.{-.'l.N
l | i l t
M I I r.L]-r.r.r
H f f *-ttl
i ffi
t t t t t l
nm
H]+fl H]l.]i l++m rj
ttft-t-l t-rft-tl t1ffi

Poco R r r

') -)
The following three pieces,Examples31, 32 and 33, are structurallyand harmonicallyfairly sintplci.ut
dentonstratesome ways to gcneratecolor and variety without destroyingthe basic simplicity of th.'ttrnr
Look for short chord punctuations,open and closedvoicings.

Ex.3l

--E-
il tarl
ffiH
l-+++.1-.1
ffiA"
rfrrn
9^Q- 9r9

7 : : + =:;F-
I oTrt-17 ir-.2ry

A.9

7I 7I +l \ - - -
T4 I

T. 7
I

- !L
TrrrSl
l+-l-ffl nftt1
l# l.l-.{-.B
t a a | |l t a aI | |
ffffn ,^ 'r
*"q FffiT Fffff1crn'
nri-n nFrn

f rr
1 a
Ex.3l (cont'dl
llt
TTTTFI
l\]fr1
Frrrh
rffffi
rrrrn
ffnl
bJs,x+

ffi
g ]E
TFITN
|# rl"r-ftl
? t i l t i
ffi
I | | I aa
ffl-t-H
f+f1{
|.]-{-#
t-ffi
l-t-+-+-l-.]
l | | t i t Gb+t*q epkq H.i1+1
rrn-l

$t x. .+! lL vTrr
[TI-N
f , l t al
frTlt1
ffiil
4++u
t ?I ? t I
itfrftg
tli,l,
t-uJ-I..t
frF
T*
**1"
[Hl
ffi-rh
t-Ft-FFt
tittfl Ililll il- r T
Llllr
l-ll-ll-l :T:*
rrrm lllrlLlil l, :rT-:
A o

Yf,e:r*'!'l{+= >r F.Yly


Am R_ Am
a " \ J m : >

@ @rc
0^'l hn'?

o-r- ---- = + -]r


|
J
Itr
t-I-tTrl
rrrFfl
ffn-h
I-FFT.H
t+-l-.I+
| ? t l
rrm

?I ?/ --:t-...-__...=g
, oW\__ :A
r
1/1
--
@
fr
illftI
rrrrn
-.s-
ataat I

+Hil
m+
tffffl
H+111
nnn
eV **

s zYrl'Y--T'
@r

H+++i
H4i+t
tt |?| |

MT
ftf1t1
ev Ab? EV

1zzTTt= -t-\-'
t./ I 3 3
L_l

hV f,c Ab1

q|.ffi7
@V L-J
ffirFn
r-FF+fl
H-1]+
LLLLIJ

,^A Ab,t tu* QItftl

H# Ab" Ab^*sAb"6
q - -:-'--t---t---q-t-
r r ft.f-_-Ta?--?
- - r b t I
a
l-s
W e, b't W1

qzg4TT
( LrJ

qzWT(
r H T

-'Tr+?"nT
(
r-
TP
Ab1
O,s.ar.eom

T- (zf.___._,f - f
D1 6/?

vfl r f @ @tV-

6?

? V"

4
0brg

w9o-^G

wt, F'3
zoC
Ex. 33 (cont'd)

FFFffi
u i-tt+u
ffi! uuu
t+lu]
ll.t+f.l
t-{-{-t+-l
FFI-FH
gbg4
ffi Abr rIl...l.'.l.'.U

Ab13 A"p _ 6$l ?*q-


, f-- i -r---

m
m"
, 7
I

FTFffi FFFFF
|# |.lJ-l-JJ

l-HT+]l+{+#
rrrrn fffffl
drtr-.e,s
t-ft-tgl l-{-i.#

trtr-t
ttt+r5|(3)' Dts
Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies.This i: d1.'
to the addition of extensions.i.e. +5, +9, etc. You will also observethat notes other than the roor rr:
frequently used to form the bass line. Thesehelp to produce harmonic textures presentin some of the mor:
recent jazz forms. In this example, make a specialeffort to sustainas many of the chordal tones as possib,le

Ex. 34

fr
tat?ll
Llt-fil
l-l-FfH
e?+a
-
ffilTl
,*ar7r- I As,

ffi Ff
ffftt1
f11+t1 rfffh

-f\.
ffirfi

ffiu" sffil
ffiD'oo(e)
l - l t \ * -

fi,, ,T[,,
1#+N a|.# t a i l l

mx
ta I I t(t,
F+-t-+iF{
Itt??l
rrrrn
HM t-+-{-.I-+-l

wtrF 9Y,
stl
'110t" at
^,:.'i

29
Ex. 34 (cont'd)

fRTT ffi RTM


t-t-l+lt H{$+l
Fffrfi [ffi t+..|+.1
IJJ+#f) ,

%ffi ffi ffiFfJ


\
A
O ( s t -

trFFF
|.#

t+{Jll
HH
*,o4D
Ir r,-,.-,
@
Example 35 shows the primary progressionconsistingof G6, Am7, Bm7, Cmaj 7 (one chorcl l.rcrl..,rr
being connectedby the passingchordsG#m7+5, A m 7 + 5 . e t c .

Ex. 35

trrm FFFfN FFFFFT


f-t-tffl
-w'
f | | i a l
ffi
uJ]+ ffiff1 ffi
a l t t a l rrTTI l-ftfH
t-fft-ti
I taa I
ffffh
[ffi
ffrffl
,tfatl
fftlfi
rTFff1 ffi
t-FFt-t-j
ifttti
_l
rrrm
G6 6^c* Aoa Af",*S bJ+s et"1Vr (nn'7
4

Example 36 is the same chord progression being connected by passingtones (forming .r ir.rl1
c o u n t e rl i n e ) a n d a l t e r i n gthe chord symbols as indicated Gmaj7, 4*(maj 7), etc.

Ex. 36

FFM
ffi

f+11-i.t
? I I I ' I
|rrtn
rFFTI
ffffr
(mrz)
Gb Gna1 At'f Ar(t^E bn',? g., Qne')

?'V
@
,& 2,7
@
t+
@

Example 37 shows further developmentof a counter line resultingfrom the extensignol rftc 1..i..1...
tones into a more melodic pattern.

Ex. 37

ob A^1 $.'z Cnfi

J I
E,xample38 is a chord melody solo embodyingthe structuraldevicesoutlined up to this point. Look f'or
vertical textures,contrary motion. parallelmotion, connter lincs, block chords,sustainedchord backgrounds
and short chord punctuations.

Ex. 38

fffr"
to
t{dttl
ffi iT-ffi rrrr-n
rrrrH
F+<l-+-H
# g
; l t t t t , l t l t t
|# Lt*-l-*.I
l l l l l
F + - t - + - F l
ll lll I
l

Ittt | |
mnTl I rlt+flH#N nnn
ffi d'rqus ffiffi --b_.-dtq'

"frrr
rrffn
|#

mm
I l a at I

ffii
-+ -a b2

.#"
t-ft-t-fi
l-{-.H
I | | aa l
fft-Ffl
nffru
nnn
Ab'r
G#vs

7
@
J ]
Ex. 38 (cont'd)

,ffi m FFFF
ffi
fffi-H [ffi
++ts ftfifl
(l
4lrr--:.
'''H<P-..
fftttl Ffft- ff++il

-+ - /':\
*. zvw
e @

FFFFFI
ft'rffl
mffi ffi
ffiffiH ffffn
ffiffi bs

@e@fl

ar>,/F
; d : @ @@ z
16)
1 a
JJ
rrm
tuJu
mm
|#
I t f ? I L
ffi
t t t t fl
tllilt
rft+1.1.1 rrnTl
| | | t l
ffi-rF rffifr
-G,6,

*@ @ @1-'
€,

nrm
H+1+1
ffifi1
l'{'..H

HilI
Dn*Vs

UL g
I I I I L
mm$ffi ffiffi
ftilf t-Ft-iH
ilftal
ffi
t+1.1+J H+1+1
mrrn r|rft1
ffifi-l fi1-rfi
ffnFHJtt-l
tr,Tn45 5-o
Ex. 38 (cont'd)

Ix. IItr st
l.i++Tlt+1+1{ ,s,, rlTrn u,
$Hfl ffi
rrfffl FrFrn
H+]
rttul
Llll.ll
ffi [Hil
F+]++
ffin ffiffi [ff; Htf [tt]-]
Hfl+l
/!-1mr z.-r rrm

@ 6 @dn-:/

r'Yh-7;, zffs*'c

,s[
I t a a| |
Itr,
%'=,e @
s,,
i I H ' I
ffffn rfnr
n-rfn *u-
1 | i l
rr*
rnn || tl*t-r-i-
TFTF rrFrfl Hll |#
I aa
r r l- r n r lllil rrrr:
ffn-n rf f 1r-rf lr- 1n rlllll :rn:
l r t t t l ,
ila|l
f f i

^ fi;., ^euylos ^nvs'1;gF+


.l-rt+ 'sfir*'r&,
4
aJ-- .or,ffi*#,,
t' u& ) + , ,t a 6) 3-
Ur

@ O @ O @
With few exceptiorrs,it is possible to find a
common. garden variety chord voicing for the
guitar (of the type found in many chord eucyclo-
pedias) that can be fingered to include all pos-
sible notes that may appearin the melody. It is
obvious that if the melody note is placedtoo low
ou thc staff, you will not have enough strings left
to form a satisfactory chord beneath it. There-
fore. you will often find it both helpful and
r-leccssilry to transposethe melody up an octave
(this is callcd "jumping octaves") severaltimes
throughout the courseof a solo. With experic'nce
and finesse. this carl be done without losir,g
nrelocliecontinlrity. lt is possiblchoweverto play
a lon rcgisterscaleor melody (as low as the 4th
string blrt no lower) with some fragment of the
chorclbtncath.
Erarnples39, 40 and 41 show a rnelodyline
u'rittcn high enough to play full chord voicings
bencath. and briefly explore the problem of
fincling chord fingerings that will accommodate
various melodic possibilities. These examples
'G'
shou, a diatonic scaleharmonizedwith the II,
V lnd I chords, the three basic chord types
fotrnd in diatonic harmony. Note: the addition of
t i r c c \ t ! ' n s i o n sM a j . J t h , 6 t h , 9 t h , etc., only
affcct the color and texture of the chord and do
not charrge its scale ftrnction or its role in the
prOgrr-SSloll.

36
ffi -*- tsr 'ffi..,

ffiffi t+++11
u++.1+
HH
t-H-.*{
t-H+tl
nrfl-l
4+
ffi
fl-fH+l
f i f fH-++l.l
rTNfi
4

*-6-
i
FFFi-H
, l r t l l r

1 r)

Ex. 40

--s- --E-. ,.8., -*-


ililil l-uJl H+#f u++N
filfl
ul+u
ftilil
u++t]
ffffft ffifn
FFF++I

[flt $tt H++N


ffffn
l-H+u
3

Ex. 41

m m m ffir ffiffi ffi ft


ffi',ffi ffi ffi ffiffi ffi ffi
v -
@ @

3 t
Example 42. Using the indicated chord, find a suitable fingering with which to harmonize the melodr
Refer to Examples 3 9 , 4 0 a n d 4 1 .

8x.42

Example 43. Now, as in Example 42 above.harmonize the melody to fit the chord symbolsindicated.
'A'
making the necessarytranspositionto the key of in bar l br.rtdo not changethe melody.

Ex. 43

gr{
n n
Hfn
Dq

Example 44. Any chromatic note within finger nlnge eln llrvays be harmonized with a given chord
form, although it mav occasionallvbe dissonant.

Ex.44

Fnal

vflT

ffi
F{-.{.#
u+Ifl
H+1+t
f-fl-ffl

3u
Example 45. Experiment finding chord voicings of Gm7 that can be
chromatic tones.

Ex. 45

r i
l l l , r l

-t*.1 -,1-
J*J lbL1- !

E,xample46 offers one possiblesolution to Example45.

Ex.46

ffirF
rrrrn
Frrm
|".#
FFFffi
Fffrft m fFm
ffn-F f f i f f i fr
l e a
F{-}-f*{
a t a l l l
u-lJJl
H+{+1 H+$+l FffIfi atafil ) t a a t l ffitffi :rr*
ffffn
ffffn
l l l l l l
ilx! Hfi
i l l | | l
fffff1 l..|-#
t-l-.t-l-t-l
l l l l l l
rTHTl
ffr|fl
ffrffl
ffif,
rrffn
[+r
trd
+F
ti-i-*
6m slo GJ+r Gn1 G#+s G^t? 6;r* G.("n) Grnl
t U r

ffi ,w, -* "ffT, rffi


f
l+1+l-1 f i m r-*-{# F}*{-Fl
ffffn
|'.#
||l tft
nfifl
tlnFl
IJJJt-t Llflll
IIH
frffi
Hl#
ffffn
H]+fl
rflrn
ffffi
nn-l-l
+H
illd
'J+tl e-q
G^1 I (&ra)
L 4d

39
Examples 47, 48 and 49 consist of the same melody with major, dominant and minor chordsdescenciin
chromatically. ln each case the melody and the harmony have their own force and are independentof cu.l,
SeeA maj. 7 in bar 3. ct.
other. Note the interestine extensionsthat occur as a result of this independence.

F.x.47

Dmn?Sme? Qnn't Brea gh,fi Amna hb^e'lG^e1 a


Gbne't

Ex. 48

f.]
$},3 Ara hbtr Gt7 Ghts ? t ?
Drs

F;x.49

..)
hrt hb,q 6* Gbnn G^1 ds^q Fhr erq 6bn1

+U
Example 50 consistsof the same melody as in Examples47, 48 and 49 and demonstratesone set of
voicingsof ntajor 7 chords ascendingchormatically.

Ex. 50

,,s,,
il lfal
NTFfi
ffttf1
l#
t a t t l a
Itiltl
l l l ! r
tl
^tt
ff ff ii f ff fi if ff fii r f ff if i
?Inet? Gm1 d^^'? h^e'l t),,,nta h^a?) y'o-^a * ^^
Wa{? r
4 d

Exantple51 showsalternativevoicingsand consistsof the samemelody as Example 50 above.

Ex.51

,*,,
il ttal
Frffn
t-+-l++.,1
tllllr
ffi ffi
rft
ffiil IHT H++H
*ff" -r-
H++N
rffil
fr
Ffl-TN
-$=
uJ-t-ll
t+++11H++{]
I a l | t t+++t-l
t ft l t +
mm i-H+fl +Hfl H+1fl
TFFN ffi-rl
|..+.4*
t{++fl ul-lJ.l I-Fi-FH n-ffil
l-fffft
l i | | ffffn f1t||l Hflil ffin tffi
?i:t^h1 Grt*'l d^et Amn? Wnal o.naa Qnal d^0, VmA?
4a_

4l
Examples 52,53,54, 55, 56,57 and 58 are short fragmentsconstructedto simulatestandardpop tunes.
Here the examples are presentedin lead sheet form showing only the melody and chord symbols. Using the
devices previously explored in this book, develop chord melody solos for each of these examples,keeping
them as simple as possible.Concentrate mainly on finding chord voicings that sound good to you and still
permit the melody to be played. You may then compare your choice of voicings to those found, respectively
i n E x a m p l e s5 9 , 6 0 , 6 7 , 6 2 , 6 3 , 6 4 a n d 6 5 . S e eP a g e4 6 .

Ex.52

flbq 6^'1 evq €na1 ht D1

D"7a D;tbs Gbr$1

Ex. 53

tn

6v7 ?1

42
Ex. 54

D^'l q 6*{? g

tx. 55

Ex. 56

Dha
Ex. 57

Gnel

g+rl Gne?
,,,4- --.*-

@1

++
Ex. 58

evcw

D/'r>\ d+W

G'b lbra)eq tF)

Eb-ar Bb-',: Ebr Abmrz

Ab,^7
Cryn7
- l
a?\ GrotT

F'm? p ^tbil Abnnt


E x a m p l e s5 9 , 6 0 , 6 1 , 6 2 , 6 3 , 6 4 a n d 6 5 o f f e r s o m e o f t h e p o s s i b i l i t i efso r h a r m o n i z i l gE x a m p l e s5 2
througli 58, respectively.See Page42.

Ex. 59

"ff* rffil t r I I t r E L g ,+, .fr"


,F,.
[Trn rffi{t
+Hfl H++fl
H# ffiff tftfl ffifl
rill?l ulJll
t??l I I
M?TI1
rrffH lll1l
i ? t t l l
HIFH
t a t a t a
nljlt illilt
H1#lr++f.+t
HJ+|ltrtt1l i+i++l ffffi H+++l
ffitn
fffff1
ffiffi fffi fftttl ftffi ffrrn
ffnn [Ifi lrft-l-l l l l l l l

flw G^1 Ch F,*a ?,*tc4D'? D?


zlF^ 4+

-r- -9-- I+,


ffiffi
Hlll-.t t-{+4.1-l
FFFFH +++-l-.i H+Hl
I I I tat
HUl
rllilt
lH | , I I
TfTTT]
rlflil
ffi
l-u-.ll-l
III
I-TTTI
mm
rlifll
? l t t t I
rrrrtl
t+*.I
TT*F
,s,,
rrm
TFNT1
ataa ftIill -
(+1-iJ-+-.1
t]-uu
itt | ||
l-+++ll H+t+ J-.I-lJ.t u+lll
'-{-#l l-l-#
ffi-ff1
nnfi Htl f1ffi tutt.l ffi l_|H1.i itHt ffif, [ttf]
l | | r_l_l
u*" c c n Wg !-r bs G."1 GVr*o

/A
\:/ a, I
,(

46
Ex. 60

u
|-ri-rfl ITITI-I
g .s,
tillu mmffi
il?atl lt??tl
rffifl
I t fa I I
nnTl l++{+1f+t+Jl
mx
ff-rr-
H+FH
Htft-j
fffrn ffn-F
TrTt-rl
H+fti
rrnn
mfr
ffi-rn
+flil
fftr|
F'fu, ,,r:% ,v'%v F?*q $hq

@ @ @ @'e
rfit ,8,, ,s,, ,F..
rrFn il?lll
illt|l ll+$t
ll-u.t-t
rlil II
u-lj.l-l
ffi+l
t+-.1-+-l-.1
rtfllt
t++ul ffi
I i I I aa
ffl1-H
Frffi
tt+-.lj.l
H+11+ffnn
H+111
rllfil
H++l
ffi rfl-Fn rrnn
ffi-rH
fnftl
.lA
6b%av
L't
+'b hb',/ob ?''ty"
+,d 4bo'r
C'*V
4 V-)
r'fo

@ 6\
\:-/ @
Ex.61

FFFffi
T I I I
FFFffi affi FFF* FFFffi FFffi
ffi
ffrrf T t r T
Fl-#
rl| l lt
t+++l-t l++11.1
|-#
ttt+i-.I
[ H f f i r i l f , f f i fft-rF
F{-**1
|#
t l a | l
I | | laa ftujl-l
f i f frililll
Ft-f#-t tft+H irfi ftrt ifld hffii f+-+-H
ffiil ffil
Itffi ffrfl-1 $ril $ri $ilt $fif +9 l l l l l l
lillr |||l
\

&naz A* Dnq GB $s) C,ne Gn19+s Frnlg q,6f)


, I
lv+
trVJ_
--r-
d-?-
g o? z r 7 2,+
L
@ @' @ @
@ @ @ @
uE g
FFFF
t-FFt-1-l mn
Hi+l]
[5[fn
rFilTI
FFffi
rrrn
FFFFF
Hl+*l
$fifl
t+ljtl [tffi
ffffi
ffffH
ffi
f t t a t l
rnn ffitr FFFFH
t-l++4-l
Hflfl HffI
ffi

HiH rFTFN
nffil
t"1++l-1
rnm
I t ft I I
[Fn-n
|TnTl
Arll, (h) Dt I l-t+ft-l
Cne'| 4+ bL I 6t+16t **o nb
l+
E x.62

ffi
ffi
nnn
#*n 1*ffi+sa#+s rnan4o
7+ .-* -4t

ffi -w-
rtrt4ll
| | t i t I
H-+lJ]
,H\,
t ? a a l l
ffnfl l t t t t a
l]]?fl
[ffi
ffnn
ffffh
ffffh
fffffl
ffi-rn
fffffl
ffrrn
u]2,
F{#

'Fr^rl.z , l l l l l l

i' ttfr+ ovq A

r>\
Rr{. I ( 5 J
q-

ffi
+t+i1
FFFffi
t-tffH
t'.Hl
FFFFN
Ffft-H
t#] ffi
Il
trFm
|-]-{-+ r-l++N
rfitF
ffiHffi l f t f |

ffi+ lflll
ffi HfN ffiH ffrT t.]i+
i1-nn
Ab^aq ptb6 N? F-q Fr\t
4 .

@' I
( 't@ @
@
"ffi ffiffi 1t+#1 -s- #" rIilTI
u nffi
MT [ffi [ff| fffffl ffffi [H
nrn-l tffl
ntTr
ffi
| l t t l l

[ffil H++H t+++11


Fffft1
rffrn rFn-Fll-ttltl rrn-n l-f+#l
TFFN H++fl FFFN
rrrrn
|i"+...+

ffl-tfl i-rnrl fltlfl tffat I


rFP1tl
S* hn dort Dhn I
?!$ cB&6boVq
rFFTN
t-l-.l-++l
l i l | l
4+- t W
4+- 3 t t
A
8x.64

I
trFFF r-lTfll RTM
ffitrffiH H+1+{
ffi ffi ffi
a)l Gme(l

6@b@e
![ IIt lltr
ttaaaa tltatt ataaal
iTt?l rrrrn rrFrr] II
Hi+l-t t-t+++] f+]{+
Hl# H+luH++11
HH ffilil H4
l r r r r l l | 1 1 i l i l
ffi
H!+.FH

Hti
eq

@ @ '6

F,,
ffi{ "s" '-ffi,
lll+ll
H{-{-11
l-lllJ.l
l-t+fl-l HM
Ffft-H rrrrFl
r-.r-r-r-Lr rrrrH ffiil
ffn-n
Clnntl fff,Fn
F+'l
Ex. 64 (cont'd)
,s . .

ffi ffi
il ilft

[ffi
rfttfl
rrffn
fftffl ffi
| .3 -,;'3
b'l s, Aol

@ @
-** -IT.

ffi
ilatt,
t+++t{
ffi ffffH
rrrrh
ffi t-t-t-fH
tilt
eb.,lD s e^1 *u*r,
+{--}.4+- |

Ex. 65

"*t JH ,$,,
H++u
,s,
t l a a t l
Itr
[T[n-] ,8,, I t?tt a -X"
rfiffl F{+H
u-lJ-l-] ffHTI n-rrn rrfn IItaaa
ffrrn
ffi
# H{-t-+t
H+fl1 $ilfl ffi{ | | I f f I
ffrrn
ffix rnrn
[ffi
TTFF

ffi HilI
|#

ffiil ffi t-.t++-]-l


l l ffnn
l l l L

Fn? &*t &^ort w drbq (qq)

ffi ffi rffi


f1-l-l-tl
FFFfN
|..H

HJ-1-1.1
ffifi Hffi tl-i-.1-1-.1 r
t.f+++l
H++H t-ftfH
ffrffr
f f i f f i
H#+
'' fffff1
rrnTl
lil|l
fttttl
Abn*1 C1.g z a
\rmt/-- \
ffffn
i.]++-:-1 c1+q

E'6
Ex. 65 (cont'd)

- FFFffi ffi ffiFM


T.if+11 rll'r nrffr l t a I l
fu
ffiil t++++{ flrFfl' ffiffi
H+tf
rrrrn H+++t
H1ffi
mf
rrrrlI it+t+t
ftffi
F,,'.'l

@ ' " @@ c '6


@l tl
vlTt
fTilN
*IE .ffhr -X-
Iffi ffiffiffi il llfa
ffi

H+11.1
TT
I-n-fn
ffi
u-t-.1-l-.1 fr
l{#+1
ffi ffi#ffi rrrrh
****.t
H+l+l
r|m
l-l-{-H
L lI l r t
ffirr ftff|
ffiil
l | | t
ilil|
HH-]
eVr*rl WriT eltbq
42 _ - .+ Abn*'7
,4
F

*-@
o 6 @ c
Itr.
rFh.' rffi-' TFl-fN
r
FH+1{
m m
mrr
rMTI
ntTn
ffnn
, rrnfi rn1-n rrnn
ffi rrFm
Ahr H1fi -*
4a ,,.1- t Qn1

@
@

t r f f r l lil l l tffi" r
ffTtn
Hfl H+HJ ilffi FM m
F++-{+-.1
Hti+t nnn
llllll
[ffi
|Im
il-]+il
tttt-l-l H++]l
Fl'#
rrrrn ffiffi ffin
ryT Mb>T A*V5 Ab^. ev
O C 3 + O
Example 66 is a chord melody solo basedon a standardcliord progressionand includesthe structural
devicespresentedthroughout this book. Continne to explore other possibilitiesof the material presented
here, in applicationto other tunes. The more of this you do, the more proficient you will becomeand you
will then begin to acquire an instinct for finding the right chord voicings.jr.rmpingoctaves,etc.. thus bringing
you within reachof extemporaneous improvisingin a chord melody style of your own.

Ex. 66

ffi
irfff
|-#+.1
l ?| t t I
FFffi
t-ffil
l-++lJ..l ffi
H#
t t a l t l
|-|FFN
rrnF rrnTl
! | a l
rrnTl n'rrn ffi-ffi
Ah,r Gtl fu"1

@O

I' nt
ffi [Tm
Iill|l
ffi
uj-ll.l | | | l f f
TFTF
H+++{ ffrrF
ffit-nD*th
ffftfl

trrrF
Frrrn
rfl-rn
t--t-'t--f-+{
ttatII
Frrrn
rnn
Abq

52
Ex. 66 (cont'd)

tu
u++fl
,,S,,
tttf|
l-t^ff1'1
| #
ttattt
"*.
++-++.t
iltttl
l l l l a l
t-t-.1+.1-l

H# | { ' . , #
I | | tal
| #
ttttil
[fffn 7fiullll
l l l l l l
l l l l l l
f++-{-t-.]

ab*'Z-nA*uGA't Eb^? Ab'7rT\ 6'g


4tu

It
FFFFFT {TITfl
l l l l l l l #
rrrrn
f f i
tltl!
l l l l l l
t t ? t t l
f f i l l l l l l
?tt?tt f.lj-]-l-.]
rrm illlll

61 a r^rT Q,u't
rrrrn

! ) d-rC.AiAAF'G)
llllrl

--rx J-:J
o( gT @
@l

r
[ffi
H-.4-+{
i | | a t l
rntn
fttffl
rfi-fl-1
/lh'sn c*,,t
aT - ^ 6

T E,
]L It mTn J. rFffn ^l l tsl l,t ,.8.,
ffiffi
ffi rETF] il?lff
ffi FTFJ'-1
H+]+
rnTn tflfl-l
llrrrl
rlil ll
nTrn ffiH
|#

FH+f] ril |lt utu.]


fH+t1 tlltr
ffi ffi ffi rrFrn tt+lt-t
$tr
fl-lJtl
H#
A&av rfi-Fn
L
tlDt.
ril'l+il +
Anl An
4
An'?
4 l.iH.

53
Ex. 66 (cont'd)

rE,
t t ? t a l rFffi
rrrtrn ffi

rrn-n
l-{-'t-{-{-{
H-t1+l
nffn
u-t-llt
t t t t t l
nnn ffi
T*1fi^, A'7*1 Mbq

-*-
-S'- a t r l t l

ffi
t t t t , , |#
ilt??l

ffi rFmll
ftt-tft Ft+-t+{
IHX l-fH.H
l-ffi Fl-t-fH

H{ nrm
€nq A+7
ffffF
!'''4

rffi
rr|n trrm
#
t a t | | l
l-fmn
rrn-n | t
rnrl
l l

ffi-ff1 i | | t
ffi
l t t t t t c a 4
rffn-]
ert D^q W F,r,'lr. - \ De
- a*4,
r t \ clv1

x Itr
FFTF []-TTT RTM u-?-t+] F

Htrl-t-t-ttl
|.{.,'l#

n-n'n 11++N
|??tl
ffnt1
l+-t++l
rffffl
ffftft rrrrr1

6fi ath
r|nn ftttfl ffi ffirn
il||ti

fr-
Artn Ab+tl Grl
6 Ff,',h 8*q

t+
@uo ot--.
@
Ex. 66 (c

(x)
m
i l t t l l
ffi
Iilill
ITTII]
I t r t l l

en't

m
It
r FFFFF

t-tfti-t m

ffi
liltr

ffi ataill
I]T1Tl
ffit Hffll
l l l l l l
#
| - . #
l l l l l l

ffi
l i l i l l
l-t-ltlt+i llllll
t. gt t t t l
i l l | l

4. c't- Cnq FneT

-+" ffi fr g
t{+u.l

ffiffiffi
l-tiFt+i
U]JJ]
LT'IU
t++t#
HJ+N
ffi ffitr
u-l+1..1
ffitl F-9ru
4- $)
a - l ,,ffff,0b'-......_.....
@ t3t*zE^ '

.>
Ex. 66 (cont'd)

! !Lr
l-I-n]t
Ia aI at
flTTN
ffi
l ? t t | l
|#
rHffl
FFF**I
t+++# H+]+l
H+f+l Htffi
l | | t
ghbs
% tl
4 ;l.at
Amf>f1
(
o . ' 1 f f 1t ffi fi"tl ' l F .
arT?d
\\-/-f 3

Itr.
[f]Tn
t t t t e a

ffi
rll?ll
t-ft-l-F1
rrnTl
H++l | | t l
nnn
H+u.]
nrfl-l c6/q
Gt?

IIt
TTITN #rn
rrfn
Fffi
FRTT ff,Tf1
ffffn
'#
ftffij
ffit flm
H-i-i-F
ffnn [fi| ffi
9ttl
Cn;7 *r{

@ @@ ' 6