Rhythms for Practice

See Gary Chaffee "Rhythm and Meter, Volume 1" Rick Peckham
Ronan Guilfoyle "Creative Rhythmic Concepts for Jazz"

Carnatic (South India) syllabic counting system:

TA=1, TA KA=2, TA KI TA=3, TA KA DI MI=4. TA DI GE NA KA=5

24 .. .. .. 3:2
3:2
.. .. ..
1 2 3
Ta ka Ta ka Ta ki ta Ta ki ta Ta ka di mi Ta ka di mi

.. 5:4
5:4
.. .. 6:4 6:4 .. .. 7:4 7:4 ..
4 5 6
Tadi ginakaTadi ginaka Taki taTa ki taTaki taTa ki ta Taka dimiTa ki taTakadimiTaki ta

.. .. .. 3:2
.. .. ..
7 8 9
Ta ka di mi Ta ka di mi Ta ka di mi Ta ka di mi

.. 5:4
.. .. 6:4 .. .. 7:4 ..
10 11 12

.. .. .. 3:2
.. .. 3:2
5:4
..
13 14 15

.. 3:2
6:4 .. .. 3:2
7:4
.. .. 3:2
..
16 17 18

.. 5:4
.. .. 6:4 .. .. 7:4 ..
19 20 21

.. .. .. 5:4
6:4 .. .. 5:4
7:4 ..
22 23 24

..
5:4
.. ..
6:4

7:4
.. ..
6:4
.. ..
7:4
..
25 26 27 28
Use metronome marking 52
1. Use syllables
2. Play scales or melodies, restarting on each beat of the measure (1 2, 1 2)
3. Play scales or melodies, continuing through the second beat (1 2 3 4)
 Rick Peckham
Jazz Chord Summary

G G G G G G
3 fret 2 fret 2 fret 2 fret 3 fret
1 342 2 131 2 333
2 341 2 143
2 341

w bw ww bb ww b www
V c .. # ww # ww w w
b www
w w w w w w
T . 34 2
4
3
4
2
3
3
3
1
3
A . 4 4 2 2 3 3
B 3 3 3 3 3 3

G G
1

G G G7 G\
3 fret 3 fret 2 fret 3 fret
2 fret 3 fret 1 234
1 243 2 341
2 341 2 334 1 243

bb www bb www ww
w
ww
w
b ww
w w w w
2 4 3 3
3 3 4 5
3 3 3 3
3 3 3 3
w
# ww
w
w w
2 4
4 4
3 3
3 3

G
7

G; G G G G[ G;
3 fret
3 fret 3 fret
3 fret 3 fret
T 1324 1 2333 T 2334 T 1243
1 234 3 42
bw 3 421
b ww bb www b ww b ww www www
ww ww w w ww w w ..
w w w w w w w
4 4 6 4 0 0
5 3 4 4 5 1 0 .
4 4 4 4 4 2 2
3 3 3 3 3 3 3 .
3 3 3 3 3 3 3
13

C C C C C C
3 fret 2 fret 3 fret 3 fret
3 fret 2 fret
1324 1234 2314 2314 1312
1314
.. www ww
# ww
w
www
bw
b www bb www b www
w w w
. 5 5 5 4 4 6
4 4 2 2 3 3
. 5 4 5 4 5 5
3 3 3 3 3 3
20

2004 Peckham Music

 Jazz Chord Summary, Page 2

C C C7 C\ C
C 3 fret 3 fret 3 fret 3 fret
3 fret
3 fret
1314 1214
1324 1214 1412 1314

bw w b#b www b www b www ww

V bb ww bb ww
w w
4 6
3 3
4 4
3 3
w w
4 5
3 3
6 5
3 3
b
# ww
w
6 5
3 3
5 4
3 3

C C
26

C C9 C C C[
3 fret 2 fret 2 fret
3 fret 2 fret 2 fret
2131 21314 21344 2 341
2133 21314
1413
bw w
w
#b ww b ww bb ww bb ww #b# www bb ww bwww ..
w ww ww ww ww ww w
4 4 5 1
5 3 2 2 4 2 3 .
3 3 3 3 3 3 3
6 2 2 2 2 2 .
3 3 3 3 3 3 3
32
 43 ..
FRL R L R L R L RL R L R L R L RL R L R L R L R L R
L L R R L L R R L L R R L L R R L L R R L L R R L R L

L R L R L R L R L R L R L R L R L R L R L R L R L
R R L L R R L L R R L L R R L L R R L L R R L L R

R L R L R L R L R L R L R L R L R L
L R R L L R R L L R R L L R R L L R

R L R L R L R L R L R L R L R L R L R L R L R
L L R R L L R R L L R R L L R R L R L R L R L

> >

pL R L R L R L R L R L R L R L R L R L R L R L
R L R L L R R L L R R L R L R L L R R L L R R

> j >
.
R L R L R L R L R L R L R L R
L R L R L L R R L L R R L R L

f L R L R L R L R L R L RL RL R L R L R L R L R L R L R L R L R L R L R L R L R
R L R L R L R L R R L L RR L L R R L L R R L L R R L L R R L L R R L L R R L L

..
L R L R L R L R L R L R L R L R L R
R L L R R L L R R L L R R L L R R L
 Song Progression with Kicks
Rick Peckham

A7 C7 F5 E5
5fr. 3fr.
1 243

b
& 44 # | . j
1314 134 11

|
J J J J

T
A
5
6
5
5
6
5
5
6
5
5
3
5
5
3
5
5
3
5 3 3 3 3 3 3 3 3 2 2 2 2

B 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2
5 5 5 1 1 1 1 1 1 1 1 0 0 0 0

( ) ( )
2 3 4 5 6 7 8

F Maj7 E min7 F Maj7 D m7 b5 D m7 b5

8fr. 7fr. 8fr. 5fr. 4fr.

.. .. b ww
1 243 1324

. .. . w
1 342 1 342 2 341

& . ..

| . b www w
w
J J J
8 8 8 8 8 8 4
T 10 10 10 8 8 10 10 10 6 6
9 9 9 7 7 9 9 9 5 5
A 9 9 6
B 8 8 8 7 7 8 8 8 5 5
9 10 11 12 13 14 15 16

A7 G7 F5 E5
5fr. 3fr.
1 243 1 243

134 11

& # | J J |
J J
T
A
5
6
5
5
6
5
5
6
5
3
4
3
3
4
3
3
4
3 3 3 3 3
2 2 2 2

B 3 3 3 3 2 2 2 2
5 5 5 3 3 3 1 1 1 1 0 0 0 0
17 18 19 20 21 22 23 24

A min7
5fr.
2 333

w ww
& ww w
w w
T 5
5
A 5
B 5
25 26
 Open String Dissonance Etude
B minor pentatonic over open strings (E minor pentatonic) Rick Peckham
6 fret 6 fret

13 4
0 1 1 0 0 1 1 0
0 1 1 0 0 1 1 0 b
0 1 1 0 b
b b
&c b
b b
b#
b
0 6 0 9
0 6 0 6 0
0 6 0 6 0
0 6 0 6 8
0 6 0 6
6
1 8 fret
8 fret
0 2

1 2 0
0 1 1 0 0 1
b b
1 0 0 2 1 0 b b 2 0 b 13 4

0
b n b b n
b n

0 9 0 11
0 9 0 9 0
0 8 0 8 0
0 8 0 8 10
0 8 0 8 8
9
4 11 fret
11 fret
0 1 1

0 1 1 0
0 1 1 0
0 1 1 0 0 1
b b 1 0 b b 0 bn 13 24

b b b b b b
b b n

n
0 11 0 13
2 0 11 0 11 11
0 11 0 11 0
0 11 0 13
0 11 0 11 11
11 0
7
4 fret
3 fret
1 4
0 1 1 0 0 2 2 0 0 2 2 0
0 2 0 0 1 2 0
2
b b #
# b n # #
b # n
0 4 0 0
0 4 0 4 6
0 3 0 3 0
0 3 0 3 4
0 4 0 4 0
4
10

13 24
0 1 1 0 0 2 0 0 2 0 1
0 1 1 0 1
1 0
0 1
b b
b b b b n
b b b
0 1 0 4
0 2 0 2 0
0 1 0 1 0
0 1 0 1 0
0 1 0 1 3
1 1
Note: Add G and C for entire chromatic scale to be represented
13
2001 Peckham Music
Swing: 200 > >
Side Effects Rick Peckham

>
j
? c .. . . j n j b j>
>
j j
>
b . . b .
1
> > . > >j > .
b . . n j
. J J b . J n ..
5
{Me|l|o|d|y}
. . b . .
.. b b
b n b J b b
J

J # .
J

> > > > >
j j >j
.. . . b j . j
n b . j
b .
9

. .
# # b
# b
> > . > >j
b . . n . j
13
. J J b . J n
3
b b b j b # b b b b b
> > > > >
j j >
. . b j . n j b . j
j b .
17
b b b b b ..
b

> > . > >j
b . . j
. J J b . n J . n ..
21

{S|o|l|o|s |o|v|e|r| |B|a|s|s| |F|i|g|u|r|e| |o|r| F|r|ee}

. U
b b b b b
b
b # #n
n
> > . > >j
b . . u
25
. J J b
1992 Peckham Music BMI
 Uses for Harmonic Major
Rick Peckham

1. Minor II V resolving to major ('Night and Day')

. D G CJ [C\ \H\a\r\m\o\n\i\c\ \M\a\j\o\r]

& c . .. b
1
2. Dominant b9 #9 b13 (Stella By Starlight)

G7 C
(b9, #9, b13)

b
& b b b b
6
Eb Harmonic Major or G Mixo 9 #9 13 Eb Major

3. Non Dominant Diminished Chords: bIII dim 7 going to II

E ! B ! E ! D D !J G !
'Body and Soul'

Eb harmonic minor D lydian b7 Db melodic minor
bbbb
F E * E ! E !/D !
& b
10

Ab major Db melodic minor #4

bbbb (A Harmonic Major)
& b
13

Melodic minor #4 (Lydian diminished) starting from the tonic of the key of the moment

D melodic min #4 or Lyd. dim. (A is "avoid note") * same notes as Ab Harmonic Major (Ab is "avoid note")
b
& b b b b b b b b b b b
15

D G7 CJ E ! *
C melodic minor #4
D G7
G Harmonic Major
&
17

Melodic minor #4 (Lydian diminished) starting from the tonic of the key of the moment
C melodic min #4 or Lyd. dim. (G is "avoid note") * same notes as G Harmonic Major (G is "avoid note")

b #
&
20
b #
'Avoid note' or 'special consideration note': Scale note that is a half-step above a chord tone. Any scale
note may be played over a chord, but avoid notes sound questionalble if sustained.
 Uses of Harmonic Major page 2

4. Non Dominant Diminished Chords: Tonic Diminished

D D !J
Upper Manhattan Medical Group: last 8 bars
!
bb
& b b b .. ..
22

Db Sym Diminished (W,H) OR Db Mel min #4 (mode 4, Ab Harmonic major

n n b
& n n n b b n # b b b b b b
26

5. Non Dominant Diminished Chords: Chromatic resolution bVI dim 7

DJ B ! * A D7
'Wave'

D Harm. Maj (D is "avoid note")

#
& #
28
D Harm. Maj. (D is "avoid note") G melodic min #4 or Lyd. dim. (D is "avoid note")
nn b # b # #
& #
32

'Corcovado'

D7/A A ! * G C7 FJ
F melodic minor #4 or C Harm. Major

&
34
F melodic min #4 or Lyd. dim. (C is "avoid note") F melodic minor #4 or C Harm. Major

& b N b
42
 Approaches to Chromaticism on the Guitar: Tension/Release
Use neighboring pentatonic scales to create hybrid scales for tension--resolve to C minor

Rick Peckham
[C\ \m\i\n\o\r\ \p\e\nt]
b b
& 44 b b
b
8 11
T 8 10
8 11
A 8 10
B 8 10
8 11
[D\b\ \m\i\n\o\r\ \p\e\nt] b b b
b b b b
b b b b
b
9 12
9 12
9 11
9 11
9 11
9 12
[C\ m\i\n\ p\e\n\t\ \o\n\ \b\o\t\t\o\m\ \a\n\d\ \D\b\ \m\i\n\o\r\ \p\e\n\t\ o\n\ \t\o\p] missing 'D' and 'A'
#
b b b
b

First note from , second note from
8 12
8 12
8 11
8 11
8 11
8 12

[D\b\ m\i\n\ p\e\n\t\ \o\n\ \b\o\t\t\o\m\ \a\n\d\ \C\ \m\i\n\o\r\ \p\e\n\t\ o\n\ \t\o\p] b b missing 'D' and 'A'
b b

b b #
First note from , second note from
9 11
9 11
9 10
9 10
9 10
9 11

[B\ \m\i\n\o\r\ \p\e\nt]

#

#
7 10
7 10
7 9
7 9
7 9
7 10

[B\ m\i\n\ p\e\n\t\ \o\n\ \b\o\t\t\o\m\ \a\n\d\ \C\ \m\i\n\o\r\ \p\e\n\t\ o\n\ \t\o\p] b missing 'C#' and 'G#'
# b n

b n
First note from , second note from
7 11
7 11
7 10
7 10
7 10
7 11

[C\ m\i\n\ p\e\n\t\ \o\n\ \b\o\t\t\o\m\ \a\n\d\ \B\ \m\i\n\o\r\ \p\e\n\t\ o\n\ \t\o\p] missing 'C#' and 'G#'
b n
# b n

First note from , second note from
8 10
8 10
8 9
8 9
8 9
8 10