Fretboard

Arcanum
by
Scott Hubbell
Please note: The page numbers correspond with the TOC and NOT the
Acrobat program numbers.
 Arcanum 1: mysterious knowledge known only to the initiate

Prepare to be initiated!

Cover Design by Tom Boyles

www.boylesdesign.com

Copyright © 2006 by Hick Jazz Music

All Rights Reserved

No parts of this publication may be reproduced, stored in a retrieval system, or

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or otherwise, without prior written permission of Hick Jazz Music except in the case of
brief quotations embodied in critical articles and reviews.
 FORWARD

If your goal is to...

1. develop your melodic sense

2. improve your ability to solo
3. improve your ear training
4. improve your fretboard knowledge

... then Scott Hubbell's "Fretboard Arcanum" is the place to start. Scott
has written an "exhaustive" and "comprehensive" method for anyone willing
to "do the work"!!!

Scott has wisely broken everything down into small, concise "bite size"
chunks that you can easily digest and apply to virtually everything you'll
ever play.

Now it's up to you to "apply" all this great information and "do the
work"... success is guaranteed!!

Enjoy!

Todd Johnson

Todd Johnson is recognized as a pioneer of the six-string bass. With his Zon
signature model six-string bass, Johnson uses an innovative technique where
he plays chord changes and bass lines simultaneously, giving him an
uniquely rich and fuller sound that proves extremely useful in both solo and
small combo work. He is also a member of the critically acclaimed jazz trio
of guitarist Ron Escheté, with whom he has recorded several albums. Also
available is Todd’s solo album “A Solo Offering” and the The Kristin
Korb/Todd Johnson Trio "Get Happy." Todd is not only respected as a
player, but also as an educator and clinician. Currently he has two
excellent DVD instructionals on the market, “Walking Bass Line Module
System” and “Technique Builders.” For more information on Todd, visit
his website at www.toddjohnsonmusic.com
 TABLE OF CONTENTS

Vertical Harmony Concepts ………………………………………………. 1

The Major Scale …………………………………………………………… 2
Chords ……………………………………………………………………... 3
Inversions ………………………………………………………………….. 4
Triad Exercises ……………………………………………………………..5
C Major Triad ………………………………………………………………8
Approach from below, 1 tone ………………………………………….. 9
Approach from below, 2 tones ………………………………………… 10
Approach from above, 1 tone ………………………………………….. 11
Approach from above, 2 tones ………………………………………… 12
Combination approach, 1 tone ………………………………………… 13
Combination approach, 2 tones ………………………………………... 14
Double chromatic approach, 1 tone ……………………………………. 15
Double chromatic approach, 2 tones …………………………………... 16
Double chromatic combined approach, 1 tone ………………………… 17
Double chromatic combined approach, 2 tones ……………………….. 18
C Minor Triad ……………………………………………………………... 19
Approach from below, 1 tone ………………………………………….. 20
Approach from below, 2 tones …………………………………………. 21
Approach from above, 1 tone …………………………………………...22
Approach from above, 2 tones …………………………………………. 23
Combination approach, 1 tone …………………………………………. 24
Combination approach, 2 tones …………………………………………25
Double chromatic approach, 1 tone ……………………………………..26
Double chromatic approach, 2 tones ……………………………………27
Double chromatic combination approach, 1 tone ……………………….28
Double chromatic combination approach, 2 tones ……………………...29
C Diminished Triad ………………………………………………………...30
Approach from below, 1 tone ………………………………………….. 31
Approach from below, 2 tones …………………………………………. 32
Approach from above, 1 tone …………………………………………...33
Approach from above, 2 tones …………………………………………. 34
Combination approach, 1 tone …………………………………………. 35
Combination approach, 2 tones …………………………………………36
Double chromatic approach, 1 tone ……………………………………. 37
Double chromatic approach, 2 tones ……………………………………38
Double chromatic combination approach, 1 tone ……………………… 39
Double chromatic combination approach, 2 tones …………………….. 40
C Augmented Triad ……………………………………………………….. 41
Approach from below, 1 tone ………………………………………….. 42
Approach from below, 2 tones …………………………………………. 43
Approach from above, 1 tone ………………………………………….. 44
Approach from above, 2 tones …………………………………………. 45
Combination approach, 1 tone …………………………………………. 46
 Combination approach, 2 tones …………………………………………47
Double chromatic approach, 1 tone ……………………………………. 48
Double chromatic approach, 2 tones ……………………………………49
Double chromatic combined approach, 1 tone ………………………… 50
Double chromatic combined approach, 2 tones ………………………... 51
4 Note Chords ……………………………………………………………... 52
7th Chords ………………………………………………………………….. 54
C Major 6 Arpeggio ……………………………………………………….. 58
CM6 exercises 1 & 2 ……………………………………………………59
CM6 exercises 3 & 4 ……………………………………………………60
CM6 summary …………………………………………………………. 61
C Minor 6 Arpeggio ……………………………………………………….. 62
C-6 exercises 1 & 2 …………………………………………………….. 63
C-6 exercises 3 & 4 …………………………………………………….. 64
C-6 summary …………………………………………………………… 65
C Major 7 Arpeggio ……………………………………………………….. 66
CM7 exercises 1 & 2 ……………………………………………………67
CM7 exercises 3 & 4 ……………………………………………………68
CM7 summary …………………………………………………………. 69
C Minor 7 Arpeggio ……………………………………………………….. 70
C-7 exercises 1 & 2 …………………………………………………….. 71
C-7 exercises 3 & 4 …………………………………………………….. 72
C-7 summary …………………………………………………………… 73
C Dominant 7 Arpeggio …………………………………………………… 74
C7 exercises 1 & 2 ……………………………………………………... 75
C7 exercises 3 & 4 ……………………………………………………... 76
C7 summary ……………………………………………………………. 77
C Half-Diminished 7 Arpeggio ……………………………………………. 78
C-7b5 exercises 1 & 2 ………………………………………………….. 79
C-7b5 exercises 3 & 4 ………………………………………………….. 80
C-7b5 summary ………………………………………………………… 81
C Diminished Arpeggio …………………………………………………… 82
Cdim7 exercises 1 & 2 …………………………………………………. 83
Cdim7 exercises 3 & 4 …………………………………………………. 84
Cdim7 summary ………………………………………………………... 85
Conclusion ………………………………………………………………….86
Acknowledgements ………………………………………………………... 87
 Vertical Harmony Concepts

The purpose of this book is to familiarize the bassist with chord structures and to enhance his ability to
solo intelligently and effectively. While many of these concepts can be applied to bass lines and fills,
these exercises will focus more on soloing.
The words "horn-like" are often used to describe solos that are fluid and graceful. To achieve this type
of description, one needs to listen to, practice, transcribe and ultimately understand what a soloist is playing.
The first step to understanding is knowing chord structures. As bassists, we typically aren't called upon
to play chords. So why even know them? That is the question I get from many of my beginning students.
Or, "just tell me the root, I'll figure it out from there" which usually means "I'll plod along on the root."
We bassists are not only responsible for holding things together rhythmically; we are also the keepers of
the harmony. If you don't understand how chords are constructed, how are you going to hold things together?
Let alone solo? Playing root notes will only get you so far. Fortunately, knowing what it takes to construct
a chord is easy, and by knowing the construction (quality), you should never play a "wrong" note.
Intervals are what make up any type of musical structure. Everything you play will involve intervals. An
understanding of intervals is essential for understanding music. An interval is the distance between two notes.
In Western music there are twelve intervals. Each interval has a numerical identity. A chromatic scale is constructed
of all twelve intervals played consecutively in half-steps. From the root they are:
1 half step = minor 2nd ( 2 )
2 half steps = major 2nd (2)
3 half steps = minor 3rd ( 3 ) or augmented 2nd (#2)
4 half steps = major 3rd (3) or diminished 4th ( 4 )
5 half steps = perfect 4th (4)
6 half steps = augmented 4th (#4) or diminished 5th ( 5)
7 half steps = perfect 5th (5)
8 half steps = minor 6th ( 6 ) or augmented 5th (#5)
9 half steps = major 6th (6) or diminished 7th ( 7)
10 half steps = minor 7th ( 7 )
11 half steps = major 7th (7)
12 half steps = octave or perfect unison

If you purchased my 1st book, the above information is a review. If you haven't purchased my 1st book, you will
be hopelessly lost in bass purgatory and be forced to listen to a beginning guitarist play the blues scale over every
known song in existence. Ok, seriously, my 1st book will really help you get your intervals together in a diatonic
fashion and it makes a good companion to this one. And since this isn't a scale book, how else are you going to
learn how to play the blues scale so you can be just as annoying as the aforementioned guitarist? I stated that this
isn't a scale book, so now it is time to look at:

1
 The Major Scale!
(But I thought he said it wasn't a scale book?)

And it isn't. Our focus will be on chords, but, the major scale is going to be used as a reference for constructing
chords and as a visual guide for intervals. For those of you who already know this information, consider it a
refresher course.
Most tunes are based out of the major scale, so in order to build chords; we will start at the source.

C Major Scale
ex.1

1 2 3 4 5 6 7 1(8)

2 4 5
2 3 5
3 5

1 2 3 4 5 6 7 1(8)

The numbers under the notes represent the interval number. Notice that there are no accidentals. That is due to
the intervals all being major intervals, hence, the MAJOR scale. If you take every other note (1-3-5-7) and stack
them on top of each other you have just made a chord.
ex.2

1 3 5 7 = 7
5
3
1
The interval numbers mean: 1= root note, 3=major 3rd, 5=perfect 5th, 7=major 7th. By knowing the intervals
and their number you can easily construct chords. The same thing can be done with the other numbers,
2-4-6-8, 3-5-7, etc...however, that is looking at the intervals in relation to the key or their TONALITY.
This book will focus on MODALITY or how a chords intervals relate to its own root. Since we are looking at the
modality of each chord, each root number will be a 1. Using the scale (ex.1) example, a chord starting on the 2 note (D),
would be numerically spelled like this:
1- 3-5- 7 instead of 2-4-6-8

By thinking of the numbers, you will know that it is a minor type chord, and if you follow this book in order, hopefully
you will be able to HEAR the difference of chord qualities by the end of the next section. This isn't a magic "perfect pitch"
lesson, but, if you practice things in order, your relative pitch should improve dramatically.
If you are unfamiliar with this terminology, I suggest that you get together with a good instructor and go through
this together. It is very important to understand the number system. Your understanding of the rest of this book will
depend on it. While things will start out on a "basic" level, future sections will be very advanced. I recommend that you don't
skip over the fundamentals and head straight to the advanced section.

2
 Chords

At their most basic, chords are a set of notes stacked in 3rds and played simultaneously. Usually a chordal instrument
like guitar or piano is responsible for playing chords. As a rule, bassists do not play stacked (block) chords. But then
again, neither does a horn player, but I guarantee that the horn player knows what the chords are in a song. Bass players
should be no different. Since we are not playing block chords, then how do we outline the harmony? The answer is simple.
We play the chord one note at a time. This is called an arpeggio. Arpeggios will be the foundation for every exercise in
this book. This first exercise section will feature triads. Triads are basic, 3-note chords. There are 4 different types or
qualities of triads. They are:
ex.3 1. Major triad 2. Minor triad 3. Diminished triad 4. Augmented triad

By interval number they are:

Major triad 1-3-5 or a major 3rd and a minor 3rd
Minor triad 1- 3-5 or a minor 3rd and a major 3rd
Diminished triad 1- 3- 5 or a minor 3rd and a minor 3rd
Augmented triad 1-3- 5 or a major 3rd and a major 3rd

All triads contain a root, some type of 3rd, and some type of 5th. The root tells us the letter name of the chord. The 3rd
tells us what the quality is (major or minor), and since the major and minor triads both contain a perfect 5th, the only time
a 5th is used to describe a triad is if it is diminished (lowered) or augmented (raised). Now pick up your bass and play them.
ex.4 1. C major triad 2. C minor triad 3. C diminished triad 4. C augmented triad

1 1
2 5 5 2 1 5 5 1 1 4 4 1 2 2
3 3 3 3 3 3 3 3

Listen carefully to how each triad sounds. Hear the difference? If not, play them again and again until you can really
HEAR the difference. It wouldn't be a bad idea to play them on a keyboard as arpeggios and as block chords as well.
If you don't have a piano or keyboard or even a guitar, find someone that does and have them play them for you. The
root notes from here on out will all be the same, a C. The reason for that is: one, we are studying modality, two, it will
let you compare and contrast the different qualities from the same root note. Very good for ear training. Now go back
and play example 4 several more times and really concentrate on the quality of each triad. Practice each one several times
before moving onto the next one. Once you feel that you have them under your fingers and in your ear it is time to move
onto:

3
 Inversions
A triad that has a chord tone other than the root on the bottom or lowest note is an inversion. An inversion contains all
of the same notes of the triad, just in a different order. There are 2 inversions of a triad. The first one ironically, is called
first inversion and it looks like this:
ex.5 C/E Cm/Eb Cdim/Eb Caug/E

The funny little symbols above the notes are chord symbols. A slash ( / ) is used to indicate an inversion. Do not confuse
it with a straight line (--) as that is used to indicate a poly-chord, something that will not be discussed here in detail. Play
the inversions (ex.5) on the piano to get them in your head. Then play the arpeggios on your bass.
ex.6 C/E Cm/Eb Cdim/Eb Caug/E

5 5 5 5 5 5 5 5
5 5 5 5 4 4 6 6
7 7 6 6 6 6 7 7

When the 5th is the lowest note, it is in 2nd inversion. Bassists are expected to play the bottom or bass note of the
inversion while playing bass lines. When soloing, any of the chord tones may be played. Of course a bass line can be
played using all of the chord tones as well, but usually the composer has a specific reason for the inversion and that particular
note being in the bass. Here is what 2nd inversion looks like:
ex.7 C/G Cm/G Cdim/Gb Caug/G#

Notice that the chord symbol has changed to represent the inversion. Once again play the inversions (ex. 7) on the
piano. If you are having troubles hearing the difference of this inversion, move it up an octave and see if that helps. When
you are done at the piano it is time to play the arpeggios on your bass.
ex. 8 C/G Cm/G Cdim/Gb Caug/G#

2 2 1 1 1 1 2 2
3 3 3 3 3 3 3 3
3 3 3 3 2 2 4 4

When you feel comfortable playing and hearing the inversions, move on to the next section.

4
 Triad Exercises
approach notes

This next section is intended to get your ears and hands warmed up. You will be utilizing all that you have learned
previously as well as some new concepts. Triads are used in all types of soloing situations, and even though they are
a basic structure, they can be used in highly advanced playing. In order to keep triads from sounding stale and over
used, previous generations of improvising masters came up with a way to "dress" up the triads and other chords while
playing melodies and soloing. The most common of these methods is using approach notes. Approach notes approach
the chord tone in a variety of ways. The exercises will focus on what I consider the main (but not only) way to approach
chords.
The 1st one is by approaching each chord tone from a half step below. These notes can be chromatic or diatonic
( belonging to the key). It could be a passing tone or in some instances, like 7th chords ( more on them later), a chord tone.
A normal person's ear will subconsciously hear the resolution of approach notes, so even the chromatic ones will sound
perfectly fine. The other nice thing about approach notes for bassist is that it makes playing arpeggios easier. Due to the
physical nature of the bass, and its tuning, arpeggios are not the easiest thing to play. Approach notes help to make the
angular nature of arpeggios more linear, thus easier to play. For the examples below I will only use the major triad, but,
the concept can be applied to the other type of chords as well. For illustrations sake, there will be no time signature. The
eighth note (s) is the approach note, and the half note is a chord tone.
ex. 9 C 1 3 5

4 5
6 7
7 8

Play this several time through and pluck/pick each note as well as play them legato. For those that don't know,
playing legato means using hammer ons and pull-offs. Playing legato makes a line smoother and is part of blowing that
"horn-like" solo.
The second type of approach is diatonically from above. This usually is a whole step. Chromatics from above are
not very common, unless they are also diatonic. Since we are looking at the modality of each chord, I'll let you figure
out the key or scale. Bet you wish you had my other book now don't you?
ex. 10 C 1 3 5

7 5
8 7
10 8

5
 The third type of approach is a half step from below and diatonic from above, or vice versa. I will show both in the
examples below, but in the exercises only the half step from below and diatonic from above will be notated. Be sure
to practice both ways. Write the diatonic from above and half step below out if need be. This type of active participation
will help you retain more and help with your musical development.
ex. 11 C 1 3 5

4 7 5
6 8 7
7 10 8

ex. 12 C 1 3 5

7 4 5
8 6 7
10 7 8

Approach number four involves two notes from above the chord tone. One of them will be chromatic. This type of
approach works best when the original diatonic approach is a whole step. The major and augmented triads require a different
treatment on the 3rd chord tone. If you go clear back to the major scale (ex. 1), you will see that there is a half step between
the 3rd and 4th interval. In order for there to be a chromatic approach, the 4th has to be raised. In some situations, the raised
4th is actually the diatonic note, in other situations it is a chromatic note. Both situations work fine for this application.
ex. 13 C 1 3 5

7 6 5
9 8 7
10 9 8

The final approach method is a 3 note approach or double chromatic combined approach. The approaches will be from
a half step below and the double chromatic from the last example. They may also be reversed and be double chromatic from
above and a half step from below. The same rule applies to the triads with a major 3rd as it did in the double chromatic
approach.

6
 ex. 14 C 1 3 5

4 7 6 5
6 9 8 7
7 10 9 8

ex. 15 C 1 3 5

7 6 4 5
9 8 6 7
10 9 7 8

The following exercises will cover all triad types and all approach note methods. They are meant to be played over and
over. While I'll admit that they are not very exciting, it is crucial that they be followed in order. Play them slow and focus on
the chord tones. I can't stress enough the importance of being able to hear the chord tones.
The tab is only a guide, there is no special way to finger the examples, but do try to play them in an efficient manner. Also
note that for the most part all of the exercises ascend. This is where your active participation comes in...play them descending
as well. Write them out if need be. Even though the tab is for 4-string, the exercises are for any number of strings.

7
C Major Triad

3 3
3 3
3 3 3 3
1.

3 3 3 3 3 3 3 3

9 9
10 10 10 10 10 10
7 10 7 10 10 10 7 10 7 10 10 10
8 12 8 12

1st inversion
3 3
3 3 3 3
3 3
2.

3 3 3 3 3 3 3 3

9 9 12 9 9 9 12 9
10 10 10 10 10 10 10 10
7 10 10 10 7 10 10 10

2nd inversion 3 3
3 3 3 3
3 3
3.

3 3 3 3 3 3 3 3

12 12 17 12 12 17
14 14 14 17 14 14 14 17
15 15 19 15 15 19
15 20 15 20

8
C Major Triad approach from below, 1 tone

1.

9 12 9 12 12 12 9 11 12 9 11 12
9 10 9 10 10 13 14 10 13 14 10 10 10

1st inversion
2.

5 5 5 5 4 5 4 5
5 5 4 5 4 5 5 5
6 7 6 7 7 7 7 7 7

2nd inversion
3.

9 9 9 9
10 10 9 10 9 10 10 13 14 10 13 14
9 10 9 10 10 10 10 10 10

9
C Major Triad approach from below, 2 tones

1.

12 9 11 12 11 12
9 10 13 14 9 10 10 13 14 10

1st inversion
2.

5 4 5 4 5
4 5 5 4 5
6 7 6 7 7 7

2nd inversion
3.

9 8 9 8 9
9 10 10 9 10
9 10 9 10 10 10

Summary
4.

16 17
16 17 13 14 16 17
14 15 18 19 14 15 14 15 18 19
11 12 14 15 14 15

10
C Major Triad approach from above, 1 tone

1.

7 5 9 12 9 12 10 9 12 11 9 12 9 14 12 9 14 12
12 10 10 10 10 10 10

1st inversion
2.

5 5 5 5 7 5 7 5
5 5 7 5 7 5 5 5
8 7 9 7 7 7 7 7 7

2nd inversion
3.

9 9 9 9 10 9 11 9
10 10 12 10 12 10 10 10
12 10 12 10 10 10 10 10 10

11
C Major Triad approach from above, 2 tones

1.

10 9 12 9 14 12 10 9 14 12
12 10 12 10 10 10

1st inversion
2.

5 7 5 7 5
7 5 5 7 5
8 7 8 7 7 7

2nd inversion
3.

9 10 9 10 9
12 10 10 12 10
12 10 12 10 10 10

Summary
4.

19 17 10 9 7 5 10 9 14 12
15 14 19 17 12 10 7 5
17 15 12 10
13 12

12
C Major Triad combination approach, 1 tone

3 3
3 3
3 3
1.

3 3 3 3 3 3

9 12 9 12 10 8 9 12 10 8 9 12 9 14 11 12 9 14 11 12
12 9 10 12 9 10 10 10 10 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 5 5 5 7 4 5 7 4 5
5 5 7 4 5 7 4 5 5 5
8 6 7 8 6 7 7 7 7 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

9 9 9 9 8 9 8 9
10 10 12 9 10 12 9 10 10 15 10 15
12 9 10 12 9 10 10 10 10 10

13
C Major Triad combination approach, 2 tones

3 3
3 3
3 3
1.

3 3 3 3 3 3

10 8 9 12 10 8 9 14 11 12 9 14 11 12
12 9 10 10 12 9 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 7 4 5 7 4 5
7 4 5 7 4 5 5
8 6 7 7 8 6 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

9 10 8 9 10 8 9
12 9 10 12 9 10 10
12 9 10 10 12 9 10

Summary 3
3 3
3 3 3
3 3 3 3 3 3
4.

3 3 3 3 3 3 3 3 3 3 3 3

14 19 16 17 10 9 14 11 12
15 13 14 16 17 12 9 10 12 15 13 14
17 14 15 12 9 10 17 14 15
13 11 12 17 14 15

14
C Major Triad double chromatic approach, 1 tone

3
3
3 3
1.

3 3
3 3 3 3

5 5 5 5 7 6 5 7 6 5
7 7 9 8 7 9 8 7 7 7
10 9 8 10 9 8 8 8 8 8

3 3

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 5 5 5 7 6 5 7 6 5
5 5 7 6 5 7 6 5 5 5
9 8 7 9 8 7 7 7 7 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3
9 9 9 9 11 10 9 11 10 9
10 10 12 11 10 12 11 10 10 10
12 11 10 12 11 10 10 10 10 10

15
C Major Triad double chromatic approach, 2 tones

3 3 3 3 3 3
1.

3 3 3 3 3 3

7 6 5 7 6 5
9 8 7 10 9 8 7 7
10 9 8 8 10 9 8

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 7 6 5 7 6 5
7 6 5 7 6 5 5
9 8 7 7 9 8 7

2nd inversion 3 3
3 3 3 3
3.

3 3 3 3 3 3
9 11 10 9 11 10 9
12 11 10 12 11 10 10
12 11 10 10 12 11 10

Summary
3 3 3 3 3 3 3
4.

3
3 3 3 3 3 3 3

7 6 5
7 6 5 7 6 5 10
9 8 7 9 8 7 7 10
10 9 8 10 9 8

16
C Major Triad double chromatic combination approach, 1 tone

1.

5 5
7 10 7 10 9 8 6 7 6 9 8 7 7 9 12 11 10 7 12 11 9 10
7 10 9 8 10 9 7 8 8 8 8 8

1st inversion
2.

10 10 10 10 9 12 11 10 12 11 9 10
10 10 9 12 11 10 12 11 9 10 10 10
11 14 13 12 14 13 11 12 12 12 12 12

2nd inversion
3.

9 9 9 9 8 11 10 9 11 10 8 9
10 10 9 12 11 10 12 11 9 10 10 10
9 12 11 10 12 11 9 10 10 10 10 10

17
C Major Triad double chromatic combination approach, 2 tones

1.

5 4 7 6 5 4 7 6 5
6 9 8 7 6 9 8 7 7
7 10 9 8 8 7 10 9 8

1st inversion
2.

5 4 7 6 5 4 7 6 5
4 7 6 5 4 7 6 5 5
6 9 8 7 7 6 9 8 7

2nd inversion
3.

9 8 11 10 9 8 11 10 9
9 12 11 10 9 12 11 10 10
9 12 11 10 10 9 12 11 10

Summary
4.

7 6 12 11 9 10
9 8 6 7 9 10 12 11 9 10 9 8 7 6 10 7
7 10 9 8 11 9 7 8 8

18
C Minor Triad

3 3
3 3
3 3 3 3
1.

3 3 3 3 3 3 3 3

8 8
10 10 10 10 10 10
6 10 6 10 10 10 6 6 10 6 10 10 10 6
8 8

1st inversion
3 3
3 3 3 3
3 3
2.

3 3 3 3 3 3 3 3

8 8 12 8 8 8 12 8
10 10 10 10 10 10 10 10
10 10 10 10 10 10
11 11

2nd inversion 3 3
3 3 3 3
3 3
3.

3 3 3 3 3 3 3 3

17 17
13 13 17 13 17 17 13 13 13 17 13 17 17 13
15 15 15 15 15 15
15 15

19
C Minor Triad approach from below, 1 tone

1.

8 12 8 12 12 12 8 11 12 8 11 12
9 10 9 10 10 12 13 10 12 13 10 10 10

1st inversion
2.

5 5 5 5 4 5 4 5
5 5 4 5 4 5 5 5
5 6 5 6 6 6 6 6 6

2nd inversion
3.

8 8 8 8
10 10 9 10 9 10 10 12 13 10 12 13
9 10 9 10 10 10 10 10 10

20
C Minor Triad approach from below, 2 tones

1.

12 8 11 12 11 12
9 10 12 13 9 10 10 12 13 10

1st inversion
2.

5 4 5 4 5
4 5 5 4 5
5 6 5 6 6 6

2nd inversion
3.

8 7 8 7 8
9 10 10 9 10
9 10 9 10 10 10

Summary
4.

16 17
16 17 12 13 16 17
14 15 17 18 14 15 14 15 17 18
10 11 14 15 14 15

21
C Minor Triad approach from above, 1 tone

1.

8 12 8 12 10 8 12 10 8 12 8 14 12 8 14 12
12 10 12 10 10 10 10 10 10

1st inversion
2.

5 5 5 5 7 5 7 5
5 5 7 5 7 5 5 5
8 6 8 6 6 6 6 6 6

2nd inversion
3.

8 8 8 8 10 8 10 8
10 10 12 10 12 10 10 10
12 10 12 10 10 10 10 10 10

22
C Minor Triad approach from above, 2 tones

1.

10 8 12 8 14 12 10 8 14 12
12 10 12 10 10 10

1st inversion
2.

5 7 5 7 5
7 5 5 7 5
8 6 8 6 6 6

2nd inversion
3.

8 10 8 10 8
12 10 10 12 10
12 10 12 10 10 10

Summary
4.

19 17 10 8 14 12
15 13 19 17 12 10 15 13
17 15 12 10 17 15
13 11 17 15

23
C Minor Triad combination approach, 1 tone

3 3
3 3
3 3
1.

3 3 3 3 3 3

8 12 8 12 10 7 8 12 10 7 8 12 8 14 11 12 8 14 11 12
12 9 10 12 9 10 10 10 10 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 5 5 5 7 4 5 7 4 5
5 5 7 4 5 7 4 5 5 5
8 5 6 8 5 6 6 6 6 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

8 8 8 8 10 7 8 10 7 8
10 10 12 9 10 12 9 10 10 10
12 9 10 12 9 10 10 10 10 10

24
C Minor Triad combination approach, 2 tones

3 3
3 3
3 3
1.

3 3 3 3 3 3

10 7 8 12 10 7 8 14 11 12 8 14 11 12
12 9 10 10 12 9 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 7 4 5 7 4 5
7 4 5 7 4 5 5
8 5 6 6 8 5 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

8 10 7 8 10 7 8
12 9 10 12 9 10 10
12 9 10 10 12 9 10

Summary 3
3 3
3 3 3
3 3 3 3 3 3
4.

3 3 3 3 3 3 3 3 3 3 3 3

19 16 17 10 7 8 14 12
15 12 13 19 16 17 12 9 10 15 12 13 15
17 14 15 12 9 10 17 14 15
13 10 11 17 14 15

25
C Minor Triad double chromatic approach, 1 tone

3
3
3 3
1.

3 3
3 3 3 3

7 6 5 7 6 5
6 10 6 10 8 7 6 10 8 7 6 10 6 6
10 9 8 10 9 8 8 8 8 8

3 3

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 5 5 5 7 6 5 7 6 5
5 5 7 6 5 7 6 5 5 5
8 7 6 8 7 6 6 6 6 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3
9 9 9 9 10 9 8 10 9 8
10 10 12 11 10 12 11 10 10 10
12 11 10 12 11 10 10 10 10 10

26
C Minor Triad double chromatic approach, 2 tones

3 3 3 3 3 3
1.

3 3 3 3 3 3

5 7 6 5 7 6 5
8 7 6 8 7 6 6
10 9 8 8 10 9 8

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 7 6 5 7 6 5
7 6 5 7 6 5 5
8 7 6 6 8 7 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3
9 10 9 8 10 9 8
12 11 10 12 11 10 10
12 11 10 10 12 11 10

Summary
3 3 3 3 3 3 3
4.

3 3 3 3 3 3 3
7 6 5 5
7 6 5 7 6 5 5
8 7 6 8 7 6 6
10 9 8 10 9 8

27
C Minor Triad double chromatic combined approach, 1 tone

1.

5 5 5 5 4 7 6 5 7 6 4 5
6 6 5 8 7 6 8 7 5 6 6 6
7 10 9 8 10 9 7 8 8 8 8 8

1st inversion
2.

5 5 5 5 4 7 6 5 7 6 4 5
5 5 4 7 6 5 7 6 4 5 5 5
5 8 7 6 8 7 5 6 6 6 6 6

2nd inversion
3.

5 8 5 8 8 8 7 10 9 8 10 9 7 8
4 7 6 5 7 6 4 5 9 12 11 10 12 11 9 10 10 10
10 10 10 10

28
C Minor Triad double chromatic combined approach, 2 tones

1.

5 4 7 6 5 4 7 6 5
4 8 7 6 6 8 7 6 6
7 10 9 8 8 7 10 9 8

1st inversion
2.

5 4 7 6 5 4 7 6 5
4 7 6 5 4 7 6 5 5
6 8 7 6 6 6 8 7 6

2nd inversion
3.

8 8 10 9 8 8 10 9 8
9 12 11 10 9 12 11 10 10
9 12 11 10 10 9 12 11 10

Summary
4.

7 6 4 5 5
4 7 6 5 7 6 4 5 5
8 7 4 6 5 9 7 6 6
7 10 9 8 10 9 7 8

29
C Diminished Triad

3 3
3 3
3 3 3 3
1.

3 3 3 3 3 3 3 3

8 8
10 10 10 10 10 10
6 9 6 9 9 9 6 6 9 6 9 9 9 6
8 8

1st inversion
3 3
3 3 3 3
3 3
2.

3 3 3 3 3 3 3 3

8 8 11 8 8 8 11 8
10 10 10 10 10 10 10 10
9 9 9 9 9 9
11 11

2nd inversion 3 3
3 3 3 3
3 3
3.

3 3 3 3 3 3 3 3

17 17
13 13 16 13 16 16 13 13 13 16 13 16 16 13
15 15 15 15 15 15
14 14

30
C Diminished Triad approach from below, 1 tone

1.

8 11 8 11 11 11 8 10 11 8 10 11
9 10 9 10 10 12 13 10 12 13 10 10 10

1st inversion
2.

5 5 5 5 4 5 4 5
4 4 3 4 3 4 4 4
5 6 5 6 6 6 6 6 6

2nd inversion
3.

8 8 8 8
10 10 9 10 9 10 10 12 13 10 12 13
8 9 8 9 9 9 9 9 9

31
C Diminished Triad approach from below, 2 tones

1.

11 8 10 11 10 11
9 10 12 13 9 10 10 12 13 10

1st inversion
2.

5 4 5 4 5
3 4 4 3 4
5 6 5 6 6 6

2nd inversion
3.

8 7 8 7 8
9 10 10 9 10
8 9 8 9 9 9

Summary
4.

16 17
15 16 12 13 15 16
14 15 17 18 14 15 14 15 17 18
10 11 13 14 13 14

32
C Diminished Triad approach from above, 1 tone

1.

8 11 8 11 10 8 11 10 8 11 8 13 11 8 13 11
12 10 12 10 10 10 10 10 10

1st inversion
2.

5 5 5 5 7 5 7 5
4 4 6 4 6 4 4 4
8 6 8 6 6 6 6 6 6

2nd inversion
3.

8 8 8 8 10 8 10 8
10 10 12 10 12 10 10 10
11 9 11 9 9 9 9 9 9

33
C Diminished Triad approach from above, 2 tones

1.

10 8 11 8 13 11 10 8 13 11
12 10 12 10 10 10

1st inversion
2.

5 7 5 7 5
6 4 4 6 4
8 6 8 6 6 6

2nd inversion
3.

8 10 8 10 8
12 10 10 12 10
11 9 11 9 9 9

Summary
4.

19 17 10 8 13 11
15 13 18 16 12 10 15 13
17 15 11 9 17 15
13 11 16 14

34
C Diminished Triad combination approach, 1 tone

3 3
3 3
3 3
1.

3 3 3 3 3 3

8 11 8 11 10 7 8 11 10 7 8 11 8 13 10 11 8 13 10 11
12 9 10 12 9 10 10 10 10 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 5 5 5 7 4 5 7 4 5
4 4 6 3 4 6 3 4 4 4
8 5 6 8 5 6 6 6 6 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

8 8 8 8 10 7 8 10 7 8
10 10 12 9 10 12 9 10 10 10
11 8 9 11 8 9 9 9 9 9

35
C Diminished Triad combination approach, 2 tones

3 3
3 3
3 3
1.

3 3 3 3 3 3

10 7 8 11 10 7 8 13 10 11 8 13 10 11
12 9 10 10 12 9 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 7 4 5 7 4 5
6 3 4 6 3 4 4
8 5 6 6 8 5 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

8 10 7 8 10 7 8
12 9 10 12 9 10
11 8 9 9 11 8 9 15

Summary 3
3 3
3 3 3
3 3 3 3 3 3
4.

3 3 3 3 3 3 3 3 3 3 3 3

19 16 17 10 7 8 10 7 8 13 10 11
15 12 13 18 15 16 12 9 10 12 9 10
17 14 15 11 8 9
13 10 11 16 13 14

36
C Diminished Triad double chromatic approach, 1 tone

3
3
3 3
1.

3 3
3 3 3 3

6 5 4 6 5 4
6 9 6 9 8 7 6 9 8 7 6 9 6 6
10 9 8 10 9 8 8 8 8 8

3 3

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 5 7 6 5 7 6 5
10 10 6 5 4 6 5 4 4 4
8 7 6 9 8 7 6 9 6 6 6 6

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3
8 8 8 8 10 9 8 10 9 8
10 10 12 11 10 12 11 10 10 10
11 10 9 11 10 9 9 9 9 9

37
C Diminished Triad double chromatic approach, 2 tones

3 3 3 3
1.

3 3
3 3 3 3

6 5 4 6 5 4
8 7 6 9 8 7 6 6
10 9 8 8 10 9 8

3 3
1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 7 6 5 7 6 5
6 5 4 6 5 4 4
8 7 6 6 8 7 6

2nd inversion
3 3
3 3 3 3

3 3 3 3 3 3
8 10 9 8 10 9 8
12 11 10 12 11 10 10
11 10 9 9 11 10 9

Summary
3 3 3 3 3 3
4.

3 3

3 3 3 3 3 3
7 6 5
6 5 4 6 5 4 10
8 7 6 8 7 6 6 9
10 9 8 10 9 8

3 3

38
C Diminished Triad double chromatic combination approach, 1 tone

1.

6 9 6 9 5 8 7 6 9 8 7 5 6 9 6 8 11 10 9 6 11 10 8 9
7 10 9 8 10 9 7 8 8 8 8 8

1st inversion
2.

5 5 5 5 4 7 6 5 7 6 4 5
4 4 3 6 5 4 6 5 3 4 4 4
5 8 7 6 8 7 5 6 6 6 6 6

2nd inversion
3.

8 8 8 8 7 10 9 8 10 9 7 8
10 10 9 12 11 10 12 11 9 10 10 10
8 11 10 9 11 10 8 9 9 9 9 9

39
C Diminished Triad double chromatic approach, 2 tones

1.

4 3 6 5 4 3 6 5 4
5 8 7 6 5 8 7 6 6
7 10 9 8 8 7 10 9 8

1st inversion
2.

5 4 7 6 5 4 7 6 5
3 6 5 4 3 6 5 4 4
5 8 7 6 6 5 8 7 6

2nd inversion
3.

8 6 10 9 8 7 10 9 8
9 12 11 10 9 12 11 10 10
8 11 10 9 9 8 11 10 9

Summary
4.

7 6 4 5 5
4 7 6 5 7 6 4 5 5
8 7 4 6 5 9 7 6 6
7 10 9 8 10 9 7 8

40
C Augmented Triad

3 3
3 3
3 3 3 3
1.

3 3 3 3 3 3 3 3

9 9
10 10 10 10 10 10
7 11 7 11 11 11 7 7 11 7 11 11 11 7
8 8

1st inversion
3 3
3 3 3 3
3 3
2.

3 3 3 3 3 3 3 3

9 9 13 9 9 9 13 9
10 10 10 10 10 10 10 10
11 11 11 11 11 11
12 12

2nd inversion 3 3
3 3 3 3
3 3
3.

3 3 3 3 3 3 3 3

13 13 17 13 13 17
14 14 14 18 14 14 14 14 18 14
15 15 15 15 15 15
16 16

41
C Augmented Triad approach from below, 1 tone

1.

9 13 9 13 13 13 9 12 13 9 12 13
9 10 9 10 10 13 14 10 13 14 10 10 10

1st inversion
2.

5 5 5 5 4 5 4 5
6 6 5 6 5 6 6 6
6 7 6 7 7 7 7 7 7

2nd inversion
3.

9 9 9 9 8 9 8 9
10 10 9 10 9 10 10 10
10 11 10 11 11 11 11 11 11

42
C Augmented Triad approach from below, 2 tones

1.

13 9 12 13 12 13
9 10 13 14 9 10 10 13 14 10

1st inversion
2.

5 4 5 4 5
5 6 6 5 6
6 7 6 7 7 7

2nd inversion
3.

9 8 9 8 9
9 10 10 9 10
10 11 10 11 11 11

Summary
4.

16 17
17 18 13 14 17 18
14 15 18 19 14 15 14 15 18 19
11 12 15 16 15 16

43
C Augmented Triad approach from above, 1 tone

1.

9 13 9 13 10 9 13 10 9 13 9 14 13 9 14 13
12 10 12 10 10 10 10 10 10

1st inversion
2.

5 5 5 5 7 5 7 5
6 6 7 6 7 6 6 6
8 7 8 7 7 7 7 7 7

2nd inversion
3.

9 9 9 9 10 9 10 9
10 10 12 10 12 10 10 10
12 11 12 11 11 11 11 11 11

44
C Augmented Triad approach from above, 2 tones

1.

10 9 13 9 14 13 10 9 14 13
12 10 12 10 10 10

1st inversion
2.

5 7 5 7 5
7 6 6 7 6
8 7 8 7 7 7

2nd inversion
3.

9 10 9 10 9
12 10 10 12 10
12 11 12 11 11 11

Summary
4.

19 17 10 9 14 13
15 14 19 18 12 10 15 14
17 15 12 11 17 15
13 12 17 16

45
C Augmented Triad combination approach, 1 tone

3 3
3 3
3 3
1.

3 3 3 3 3 3

9 13 9 13 10 7 9 13 10 7 9 13 9 14 12 13 9 14 12 13
12 9 10 12 9 10 10 10 10 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 5 5 5 7 7 4 5
6 6 7 5 6 7 5 6 6 9 10 6
8 6 7 8 6 7 7 7 7 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

9 9 9 9 10 8 9 8 9
10 10 12 9 10 12 9 10 10 10 15
12 10 11 12 10 11 11 11 11 11

46
C Augmented Triad combination approach, 2 tones

3 3
3 3
3 3
1.

3 3 3 3 3 3

10 8 9 13 10 8 9 14 12 13 9 14 12 13
12 9 10 10 12 9 10

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 7 4 5 7 4 5
7 5 6 7 5 6 6
8 6 7 7 8 6 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

9 10 8 9 10 8 9
12 9 10 12 9 10 10
12 10 11 11 12 10 11

Summary 3
3 3
3 3 3
3 3 3 3 3 3
4.

3 3 3 3 3 3 3 3 3 3 3 3

19 16 17 10 7 9 14 12 13
15 13 14 19 17 18 12 9 10 15 13 14
17 14 15 12 10 11 17 14 15
13 11 12 17 15 16

47
C Augmented Triad double chromatic approach, 1 tone

3
3
3 3
1.

3 3
3 3 3 3

6 6 6 6 8 7 6 8 7 6
7 7 9 8 7 9 8 7 7 7
10 9 8 10 9 8 8 8 8 8

3 3

1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3

5 5 5 5 7 6 5 7 6 5
6 6 8 7 6 8 7 6 6 6
9 8 7 9 8 7 7 7 7 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3

9 9 9 9 11 10 9 11 10 9
10 10 12 11 10 12 11 10 10 10
13 12 11 13 12 11 11 11 11 11

48
C Augmented Triad double chromatic approach, 2 tones

3 3 3 3
1.

3 3

3 3 3 3
6 8 7 6 8 7 6
9 8 7 9 8 7 7
10 9 8 8 10 9 8

3 3
1st inversion
3 3 3 3 3 3
2.

3 3 3 3 3 3
5 7 6 5 7 6 5
8 7 6 8 7 6 6
9 8 7 7 9 8 7

2nd inversion
3 3
3 3 3 3
3.

3 3 3 3 3 3
9 11 10 9 11 10 9
12 11 10 12 11 10 10
13 12 11 11 13 12 11

Summary
3 3 3 3 3 3
4.

3 3

3 3 3 3 3 3
7 6 5
8 7 6 8 7 6 10
9 8 7 9 8 7 7 11
10 9 8 10 9 8

3 3

49
C Augmented Triad double chromatic combined approach, 1 tone

1.

6 6 5 8 7 6 8 7 5 6
7 11 7 11 6 9 8 7 9 8 6 7 7 7
7 10 9 8 10 9 7 8 8 8 8 8

1st inversion
2.

5 5 5 5 4 7 6 5 7 6 4 5
6 6 5 8 7 6 8 7 5 6 6 6
6 9 8 7 9 8 6 7 7 7 7 7

2nd inversion
3.

9 9 9 9 8 11 10 9 11 10 8 9
10 10 9 12 11 10 12 11 9 10 10 10
10 13 12 11 13 12 10 11 11 11 11 11

50
C Augmented Triad double chromatic combined approach, 2 tones

1.

6 5 8 7 6 5 8 7 6
6 9 8 7 6 9 8 7 7
7 10 9 8 8 7 10 9 8

1st inversion
2.

5 4 7 6 5 4 7 6 5
5 8 7 6 5 8 7 6 6
6 9 8 7 7 6 9 8 7

2nd inversion
3.

9 8 11 10 9 8 11 10 9
8 12 11 10 9 12 11 10 10
10 13 12 11 11 10 13 12 11

Summary
4.

7 6 4 5
5 8 7 6 8 7 5 6 10
9 8 6 7 6 9 8 7 7 11
7 10 9 8 10 9 7 8

51
 4 Note Chords
Four note chords are a triad with an added note at the top. By adding another note, the chords become "richer" or more
complex and dissonant. The 1st two break the every other note rule by adding an interval of a 6th on top. The 6th will always
be the distance of a major 6th from the root. There are only two types of 6th chords, major and minor. If you have ever
played the standard "boogie" walk line, you have played a major 6th arpeggio.
ex. 16

7 10 7 7 10 7
7 10 10 7 7 10 10 7
8 8

Sound familiar? I thought so. Let's look at both types of 6th chords and their arpeggios:
ex. 17 C6 C-6

ex. 18 C6 C-6

1 3 5 6 6 5 3 1 1 b3 5 6 6 5 b3 1

2 2 2 2
2 5 5 2 1 5 5 1
3 3 3 3

As with the triads, 6th chords have inversions as well. The interesting thing with 6th chords is that the last or 3rd inversion
is actually another chord type. That is why it helps to know what the chord symbols are. It is a bit more difficult to figure out
the intent of the composer when transcribing a piece, but that comes with experience. Play the chords first on the piano then
play the arpeggios. 1st inversion:

ex. 19 C6/E C-6/Eb

ex. 20 C6/E C-6/Eb

7 10 10 7 7 10 10 7
7 10 10 7 6 10 10 6

52
2nd inversion:

C6/G C-6/G
ex. 21

ex. 22 C6/G C-6/G

9 9 8 8
7 10 10 7 7 10 10 7
10 10 10 10

The 3rd inversion can be 2 different chords. The 1st is the standard inversion or C6/A or C-6/A. But if you look at how
the chord is constructed, it is all in thirds. This type of chord is called a 7th chord due to the added 7th interval. A major 6th
chord in 3rd inversion can also be a minor 7th chord and a minor 6th chord in 3rd inversion can be a minor 7 flat 5 or half
diminished chord! The function of the chord will tell you if it is an inversion or a 7th chord. For now, think of them as 6th
chords as 7th chords are coming up next.
ex. 23 C6/A C-6/A

ex. 24 C6/A C-6/A

5 5 5 5
7 7 6 6
5 8 8 5 5 8 8 5

6th chords are used quite frequently in all genres of music. The lack of a 7th interval allows the soloist to use a variety of
methods (note choices) when playing over them. Practice these chords until you can SING them without your bass in hand.
And while you are practicing your singing, go back and sing the triads as well. Make sure you sing the inversions of each one.
You do not need to have a spectacular voice. Singing helps you internalize the pitch or interval. If you can sing it, you can play
it. A good improviser will hear internally what he is going to play before he plays it. That is part of the puzzle to good
improvisation. When you are comfortable playing AND singing the triads and 6th chords, move on to the next section.

53
 7th Chords
7th chords bring us back to the every other note formation. They all contain a root (1), a major or minor 3rd, some type of
5th and a type of 7th. 7th chords are the most common "full" chords that you will encounter. There are many variations that
you will encounter in the real world. I am going to focus on 5 basic chords. By knowing them, you will be able to play the
variations. The chords are: major 7th, minor 7th, dominant 7th, half-diminished 7th (minor 7 b5) and diminished 7th. The
block chords look like this:
CM7 C-7 C7 C-7b5 Cdim7
ex. 25

And the arpeggios:

ex. 26 CM7 C-7 C7

1 3 5 7 7 5 3 1 1 b3 5 b7 b7 5 b3 1 1 3 5 b7 b7 5 3 1

5 9 9 5 5 8 8 5 5 8 8 5
7 7 6 6 7 7
8 8 8 8 8 8

C-7b5 Cdim7

1 b3 b5 b7 b7 b5 b3 1 1 b3 b5 bb7 bb7 b5 b3 1

8 8 7 7
6 9 9 6 6 9 9 6
8 8 8 8

By now you know that the next examples are going to be the inversions. Like the 6th chords, 7th chords have 3 inversions.
1st inversion:
CM7/E C-7/Eb C7/E C-7b5/Eb Cdim7/Eb
ex. 27

The arpeggios:
ex. 28 CM7/E C-7/Eb C7/E

5 5 5 5 5 5
5 9 9 5 5 8 8 5 5 8 8 5
7 7 6 6 7 7

54
 C-7b5/Eb Cdim7/Eb

5 5 5 5
8 8 7 7
6 9 9 6 6 9 9 6

2nd inversion:
CM7/G C-7/G C7/G C-7b5/Gb Cdim7/Gb
ex. 29

The arpeggios:
CM7/G C-7/G C7/G
ex. 30

9 9 8 8 9 9
9 10 10 9 8 10 10 8 8 10 10 8
10 10 10 10 10 10

C-7b5/Gb Cdim7/Gb

8 8 8 8
8 10 10 8 7 10 10 7
9 9 9 9

3rd inversion:
ex. 31 CM7/B C-7/Bb C7/Bb C-7b5/Bb Cdim7/Bbb

The arpeggios:
ex.32 CM7/B C-7/Bb C7/Bb

5 5 5 5 5 5
7 7 6 6 7 7
7 8 8 7 6 8 8 6 6 8 8 6

55
 C-7b5/Bb Cdim7/Bbb

6 9 9 6 6 9 9 6
6 8 8 6 5 8 8 5

If you were to build a chord in 3rds past the 7th, you would be adding tensions. As the name implies, tensions add tension
to the chord and make the overall sonority richer. There are so many ways to voice a chord and tensions. I will be presenting
the most common ones here. Tensions are also called extensions, upper-structures and secondaries. When tensions are added,
it is understood that the underlying chord is a 7th chord. For example, a C9 is a dominant 7th chord with the added tension 9.
Tensions usually come from the other notes of the major scale and are compound intervals. To keep it simple, if you moved the
2nd interval (2) up an octave, it would become a 9, a 4 would become an 11 and a 6th would become a 13th. More than one
tension may be added to the chord. Not all tensions sound good on a given chord, the ones in the example are considered to be
the most "stable" tensions for the chord. Don't feel like you have to use only the tensions shown here. Use your ear and play
what you hear. The notes in parenthesis are considered chord tones. They were not covered in the basic chords, but, you
should be aware of them. Play the arpeggios and add the tensions one at a time.

ex. 33 CM7

1 3 5 #5 7 9 #11 13

11 14
9 12
7 10 11
8

C-7

1 b3 5 b7 9 11 13

10 14
8 12
6 10
8

C7

1 3 b5 5 #5 b7 b9 9 #9 #11 b13 13

11 13 14
8 11 12 13
7 9 10 11
8

56
 C-7b5

1 b3 b5 b7 9 11 b13

10 13
8 12
6 9
8

Cdim7

1 b3 b5 bb7 7 9 11 b13

10 13
7 9 12
6 9
8

Some of the tensions are natural, others are altered. The altered tensions are derived from modes of the Melodic and
Harmonic Minor scales. There will be some tensions sprinkled throughout the following exercises. And speaking of exercises,
the next ones will be different than the ones on the triads. These exercises will be more technically demanding. The approach
notes that were practiced on the triads are going to be used here as well. The main difference is that these exercises are more
like etudes. The progression of approaches will be similar except for the last 2. They will be a summary of all approach
methods. Take your time on all of them. They are not easy by any means. If you are having problems, go back and practice
the triads some more.

57
C Major 6 arpeggio

1.

9 9 12 9 9 12
7 7 10 7 10 7 10 7 7 10 7 10 7 10
7 10 7 10 10 7 10 7 10 10
8 8

1st inversion
2.

9 9 12 9 12 14 9 9 12 9 12 14
7 10 7 10 7 10 10 7 10 7 10 7 10 10
7 10 10 7 10 10

2nd inversion
3.

9 9 12 9 12 14 12 14 17 9 9 12 9 12 14 12 14 17
7 10 7 10 10 14 7 10 7 10 10 14
10 10

3rd inversion
4.

5 5 9 5 5 9
5 5 7 5 7 5 7 5 5 7 5 7 5 7
7 7 7 7 7 7
5 8 8 5 8 8

58
C Major 6 chromatic from below and diatonic from above

1.

11 12 13 14 12
9 10 13 14 13 14 16 13 14
9 10 11 12 11 12 14 15 14 15
7 8 11 12 11 12 14 15

9 10
11 12 9 10 11 12 9 10 6 7 6 7 9 10
11 12 7 8 4 5 7 8 8

2.

10 9 14 12 16 14 7 5 10 9 14 12 10 9
7 5 9 7 12 10 9 7 12 10
8 7 12 10
10 8 13 12

7 5
9 7 7 5 9 7 5 9 7 7 5
12 12 10 8 7 8 7 3
13 12 10 8

59
C Major 6 combination and double chromatic approach

3 3
3
3 3 3 3 3 3 3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

4 7 10 8 9 14 16 13 14
7 4 5 6 7 9 10 16 17 7 9 12 9 10
8 6 7 8 6 7 9 10 11 12
10 7 8

3 3
3 3 3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

10 8 9 8
7 9 10 7
9 10 9 14 8 6 7 7 10 9 10 9 6 7
11 12 16 17 10 7 8 7 4 5 8 10 7 8

3 3
3 3 3 3 3 3 3 3
4.

3 3
3 3 3 3 3 3 3 3 3 3
9 12 11 10 9 7 6 5
7 6 5 9 8 7 10 9 8 7 7 6 5 9 8 7
9 8 7 9 8 7
10 9 8 10 9 8

3 3
3 3
3 3 3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3
7 6 5
7 6 5 9 8 7 9 5 9 8 7 6 5 5
9 8 7 9 8 7 10 9 8 7
7 6 5 8 10 9 8 5 8

60
C Major 6 summary

5.

9 7 6 5
9 7 6 4 5 5 9 8 6 7 6 6
8 7 5 7 6 7 7 7
7 9 8 8 5 7 8 8

7 8 9
11 9 10 9 8 6 7 5 5 7 5
8 6 7 7 5 4 9 8 6 7
7 8 8 4 5 7 8 8

6.

8 9
9 8 6 7 8 10 10 8 6 7 6 9 8 6
8 12 10 9 10 9 8 7 6 7 9 10
10 9 7 8

7 6 5 8 11 10 9 11 12 14 12
7 14
14 15 9 10 9 8 7
17 15 14 13 11 12 12 11 9 7 8 8

61
C-6 Arpeggio

1.

8 8 12 8 8 12
7 7 10 7 10 7 10 7 7 10 7 10 7 10
6 10 6 10 10 6 10 6 10 10
8 8

1st inversion
2.

8 8 12 8 12 14 8 8 12 8 12 14
7 10 7 10 7 10 10 7 10 7 10 7 10 10
6 10 10 6 10 10

2nd inversion
3.

8 8 12 8 12 14 12 14 17 8 8 12 8 12 14 12 14 17
7 10 7 10 10 13 7 10 7 10 10 13
10 10

3rd inversion
4.

5 5 8 5 5 8
5 5 7 5 7 5 7 5 5 7 5 7 5 7
6 6 6 6 6 6
5 8 8 5 8 8

62
C-6 chromatic from below and diatonic from above

1.

11 12 13 14 13 14 11 12
9 10 13 14 13 14 16 17 13 14 13 14
9 10 11 12 14 15 14 15
7 8 10 11

8 9 11 12 12
9 10 6 7 9 10 14
11 12 9 10 11 12 9 10 6 7 9 10 14 15 14 15
11 12 7 8

2.

7 10 8 14 12 16 14
7 5 9 7 12 10 9 7 7 5 9 7 10 12 10 9 7
8 6 12 10 8 6
10 8

10 8 7 7 10 8 7
10 7 9 7 7 5 9 7 10 10 9 7
10 8 6 5 8 6 8 7 8 6 5
8 8

63
C-6 combination and double chromatic approach

3
3 3 3 3 3 3 3 3 3 3
3.

3
3 3 3 3 3 3 3 3 3 3 3

4 7 10 7 8
7 4 5 6 7 9 10 9 6 7 12 9 10 9
8 5 6 12 9 10 11 12 9
10 7 8 10 11 10 7 8

3
3 3 3 3
3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

7 10
7 9 6 7 9 10 12 13
8 6 9 10 15 12 5
7 4 5 8 10 14 15 13 10 11 10 7 8 7 4 5 8 7 8

3
3 3 3 3 3 3 3 3 3
4.

3 3
3 3 3 3 3 3 3 3 3 3

7 6 5 10 9 8
7 6 5 9 8 6 10 9 8 7 6 5 7 6 5 9 8
8 7 6 8 7 6 6
10 9 8 10 9 8

3 3
3 3 3 3
3 3 3 3
3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

7 6 5 8 12 10 9 8 7 6 5 10 9 8 12
7 12 11 10 9 8 7 5 9 8 7 10
11 10 8 7 6 6
8 5 8

64
C-6 summary

5.

8 8 12 12 14 17 17
10 10 9 10 12 13 16 17 19 18 19
10 12 10 12 9 10 12 11 12
7 8 11 10 11

20 19 18 16 17
19 18 17 15
17 18 17 14 15 14 12 10 8 7 6 9 10 12 10
18 17 14 8 10 11 11 8

6.

10 8 7 6 7 6 7 8
10 9 10 9 8 7 9 10
9 10 9 12 11 10 11 12
10 11 10 9 7 8 10 11

11 12 10 9 7 8 7 7
9 10 9 8 7 7 6 9 10 6 7 6
9 10 8 7 9 10 11 12 6
10 11 8

65
CM7 arpeggio

1.

9 9 12 9 9 12
9 9 10 9 10 9 10 9 9 10 9 10 9 10
7 10 7 10 10 7 10 7 10 10
8 8

1st inversion
2.

9 9 12 9 12 16 9 9 12 9 12 16
9 10 9 10 9 10 10 9 10 9 10 9 10 10
7 10 10 7 10 10

2nd inversion
3.

12 12 16 12 16 17 12 12 16 12 16 17
14 14 14 14 14 14 14 14
14 15 14 15 15 14 15 14 15 15
15 15

3rd inversion
4.

9 9
9 9 10 9 10 9 9 10 9 10
7 10 7 10 7 10 10 7 10 7 10 7 10 10
7 8 8 7 8 8

66
CM7 chromatic from below and diatonic from above

1.

8 9 8 9 11 12 16 17
8 9 8 9 9 10
9 10 9 10 9 10 9 10 14 15
7 8 11 12 11 12 11 12

11 12 8 9 11 12
13 14 10 8 9 8 9 10 13 14
9 10 13 14 9 10 6 7 7 10 9 10 14 15
7 8

2.

7 7 11 9
7 10 9 10 9 7 7 7 10 9
9 7 10 10 9 7 9 7 10 9 7 10 9 7
10 8 10 8

7
9 10 9 7 10 9 7 7 7 10
9 7 10 10 9 7 10 10 9 7 7 10 10 9 7 10 9 7
10 8 10

67
CM7 combination and double chromatic approach

3 3 3 3 3 3 3 3 3 3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

9 12 10 8 10 9 7 8 10 9
12 9 10 9 9 12 10 9 7 5 9 10 9 6 7
11 12 10 7 8 11 8 5 7 7 8

3
3 3
3 3
3 3 3 3 3

3 3
3 3 3 3 3 3 3 3 3 3

7 8 11 8 14 15 17 16 14 12 11
9 10 16 17 16 13 14 12 10 8 10 9 7
14 9 10 9 7
11 10 7 8 7 10 8

3 3

3
3 3
3 3 3 3 3 3 3 3
4.

3
3 3 3 3 3 3 3 3 3 3 3

11 10 9 14 13 12 11 10 9
11 10 9 12 11 10 12 11 10 9 7 6
9 8 7 12 11 10 9 8 7 12 11 10
10 9 8

3
3 3
3 3 3 3 3 3 3 3

3 3
3 3 3 3 3 3 3 3 3 3

7 6 12 11 10 9
7 6 11 10 9 10 9 10 9 7 6 5
10 9 8 7 10 10 9 8 7 9 8 7 5 4 3
10 9 8

3
3

68
CM7 summary

5.

12 9 7 6 8 9 7 8 9
10 9 8 9 10 10 9
12 11 9 10 9 10 9 8 7 7 10
10 9 7 8

8 9 11 12 11 10 9 7
8 9 12 10 9 10 12 10 9 10
12 11 10 12 10 9 8 7 7 10
11 7 8

6.

8 11 10 9 11 14 12 15 16 17 16
9 12 11 10 11 10 9 10 16 17 13 14 12 11 9 10
7 9 10
8

9 7 6 10 9 12 10
7 9 10 9 10 9 8 6 7 6 9 7 12 10 9 7 12 10
9 8 7 8 10 8

69
C-7 arpeggio

1.

8 8 12 8 8 12
8 8 10 8 10 8 10 8 8 10 8 10 8 10
10 10 10 10 10 10
8 11 11 8 11 11

1st inversion
2.

8 8 12 12 15 8 8 12 12 15
8 10 8 10 8 10 10 13 8 10 8 10 8 10 10 13
10 10 10 10
11 11

2nd inversion
3.

8 8 12 12 15 12 15 17 8 8 12 12 15 12 15 17
8 10 8 10 10 13 13 8 10 8 10 10 13 13
10 10

3rd inversion
4.

8 8
8 8 10 8 10 8 8 10 8 10
6 10 6 10 6 10 10 6 10 6 10 6 10 10
6 8 8 6 8 8

70
C-7 chromatic from below and diatonic from above

1.

8 11 12 14 15 11 12
9 10 12 9 10 12 13 12 13 10
12 13 9 10 12 13 14 12 13 9 10
7 8 10 11

11 12 14 15
9 10 9 10 12 13 9 10
12 13 9 10 12 13 9 10 12 13 9 10 12 13
10 11 7 8 10 11

2.

10 8 10 8
10 8 10 10 8 12 10 10 8 12 10
8 12 10 12 10 8 12 10 8 12 10
8 11 11 10 8 11

14 12 10 8 10 8
10 12 10 10 8 7 10 9 12 10 12 10
10 10 8 8 12 10
11 8 7 11 8 10 8 11

71
C-7 combination and double chromatic approach

3 3 3
3 3 3
3 3 3
3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

7 10 8 14 11 12 10 14 12 14 17 15 19 16 17 14 17 15 14 11 12 10 9
12 9 10 10 8 9 12 10 12 13 16 12
12

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

12 9 10 10 8 7 10 8 10 12 10
12 9 10 8 6 8 6 8 9 12 10 12 9 10 12 12 13 14
10 10 7 8 10 10 11

3 3
3 3 3 3 3 3 3 3 3
4.

3
3 3 3 3 3 3 3 3 3 3 3

10 9 8 10 9 8
10 9 8 12 11 10 10 9 8 12 11 10 10 9 8
12 11 10 8 7 6 12 11 10
13 12 11 10 9 8

3
3 3
3 3
3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

10 9 8 14 13 12 10 9 8
12 11 10 12 11 10 12 11 10 9 8 10
13 12 11 10 12 11 10 8 7 6 10
11 10 9 8

72
C-7 summary

5.

8
9 10
9 10 12 13 10 12 14 15 17 15 14 15 17 15 14 15 17 15 14 15 18
7 10 9 8 9 11

12
12 13 15 13 12 13 15 13 12 13 15 13 12 13 14 15 17 15 12 13 15 13 12 11 10
14 14 12 11 8

6.

12 8
10 8 9 12 11 10 7 6 12 10 8 10
10 6 8 7 6 9 10 9 10 11 13
8 6 7 10 9 8 10

10 8 7 8 10 8 14 12 11 12 16 17
12 11 10 10 8 12 10 9 10 12 13
13 12 11 10 9 10 12 13

73
C7 arpeggio

1.

9 9 12 9 9 12
8 8 10 8 10 8 10 8 8 10 8 10 8 10
7 10 7 10 10 7 10 7 10 10
8 8

1st inversion
2.

9 9 12 9 12 15 9 9 12 9 12 15
8 10 8 10 8 10 10 8 10 8 10 8 10 10
7 10 10 7 10 10

2nd inversion
3.

9 9 12 12 15 15 17 9 9 12 12 15 15 17
8 10 8 10 10 14 14 17 8 10 8 10 10 14 14 17
10 10

3rd inversion
4.

9 9
8 8 10 8 10 8 8 10 8 10
7 10 7 10 7 10 10 7 10 7 10 7 10 10
6 8 8 6 8 8

74
C7 chromatic from below and diatonic from above

1.

11 12 14 15 16 17 14 15 16 17
9 10 13 14 9 10 13 14 16 17 16 17 13 14
9 10 12 13
7 8 11 12

9 10 9 10 9 10 9 10
12 13 9 10 12 13 9 10 12 13 12 13 9 10
11 12 14 15 7 8 11 12 11 12

2.

7 7 7 11 9 14 12 11 9
7 7 10 8 10 8 7 10 10 8 12 10 7
9 7 10 9 7 10 8 7 10
8

11 9
10 8 7 12 10 8 10 8 7
10 9 7 7 9 7 10 9 7 12 10 12 10 10 9 7
10 8 8 10 8

75
C7 combination and double chromatic approach

3
3 3 3 3 3 3 3 3 3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

11 7
9 10 9 12 10 13 14 12 9 10 7 8 10 8 9
10 11 12 13 12 9 10 9 6 9 7 9 12 10
11 12 7 10 8

3 3
3
3 3
3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

9 11 14 12 14 17 15 16 17
10 13 14 16 17 14 12 9 10 10 8
12 9 10 12 12 9 10 9 6
11 12 8 5 6 7 8

3 3
3
3 3
3 3 3 3 3 3
4.

3
3 3 3 3 3 3 3 3 3 3 3

11 10 12 17 16 15 17 14 13 12
12 11 10 14 16 15 14 8 12 11 10
13 15 13 15 12 11 10 7 10
14 13 12 10 9 8

3
3
3 3 3 3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

7 6 11 10 9
8 7 6 10 9 8 10 8 8 10 12 11 10
9 8 7 10 10 9 8 7 10 12 11 10 9 8 7
10 9 8

76
C7 summary

5.

7 8 7 8 9 8 11 10 9
8 9 10 11 10 10 8 7 8 10 9 10
10 9 8 9 10 11 9 10 12
11 12

12 11 10 9 7 8 9 11 9 8
7 8 9 10 9 10 11 9 10
9 7 6 7 9 7 9 10 12
10 8 7 8

6.

11 13 11 15 13 17 15 13
10 13 11 14 13 14 13 14 12 10 8 7
9 10 9 7 6 7 6
9 8 7 8 11

11 10 9 14 13 11 12 17 16 15 16 17 16 15
8 9 10 12 10 9 10 13 14 17
9 10 19 17 15
12

77
C-7b5 arpeggio

1.

8 8 11 8 8 11
8 8 10 8 10 8 10 8 8 10 8 10 8 10
9 9 9 9 9 9
8 11 11 8 11 11

1st inversion
2.

8 8 11 8 11 15 8 8 11 8 11 15
8 10 8 10 8 10 10 8 10 8 10 8 10 10
9 9 9 9
11 11

2nd inversion
3.

8 8 11 8 11 15 11 15 17 8 8 11 8 11 15 11 15 17
8 10 8 10 10 13 8 10 8 10 10 13
9 9

3rd inversion
4.

8 8
8 8 10 8 10 8 8 10 8 10
6 9 6 9 6 9 9 6 9 6 9 6 9 9
6 8 8 6 8 8

78
C-7b5 chromatic from below and diatonic from above

1.

14 15
9 10 9 10 12 13 12 13 15 16 12 13 15 16
12 13 12 13 14 15 12 13 14 15
10 11 13 14 13 14

16 17
12 21 22
12 13 14 12 13 14 15 17 18 20 12 13 14 15 17 18 20 21
11 13 14 8 10 11 13 14 14

2.

10 8 10 8 13 12 17 15 19 17
12 10 12 10 10 8 10 8 12 10
11 9 11 9 8 8 11 9
11 10 8 11

17 15 10 8
18 16 15 13 12 10 10 8 12 10 10 8 12 10
15 13 11 9 9 8 9 11 10 8
11 11 10 8

79
C-7b5 combination and double chromatic approach

3 3
3 3
3 3
3 3 3 3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

10 8 10 13 11 13 14 17 15 17
7 10 8 9 12 10 12 9 10 12 12 13 15 15 16 19 20
8 11 8 9
7 10 8 10 11

3 3
3
3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

16 19 17 19 16 17
20 16 13 12 9 10 10
12 13 11 11 9 11 8
13 14 13 10 11 13 13 14 13 10 11 10 11 10 7 8

3
3 3 3 3 3 3 3 3 3 3
4.

3
3 3 3 3 3 3 3 3 3 3 3

10 9 8
12 11 10 10 9 8 10 9 8 12 11 10 10 9 8
11 10 9 11 10 9 8 11 10 9 8
12 11 12 11 10 9 8

3
3
3 3 3 3 3 3 3 3 3 3

3
3 3 3 3 3 3 3 3 3 3 3

10 9 8
10 9 8 12 11 10 10 9 8 12 11 10 10 9 8
8 11 10 9 11 10 9 11 10 9 8 7 6
12 11 10 9 8

80
C-7b5 summary

5.

15 19 17 16 17 16 17 16 15 11
16 16 16 15 12 10
15 18 18 20 18 17 15 9
18 16 14 11 10 13 11

13 14 15 16 19 18 17 14 15 19 18 17 14
15 16 16 15 14 13 16 16 13 16 15 13
15 18 15 14 15 15

6.

8 10 13 11 15 16 19 17 16 17
9 12 11 10 16 13
8 11 10 9 8 9 12 13
10 9 8 6 7 8 10 11

12 11 10 9 10 9 10 8
12 13 11 10 9 8 9 8 8 9 9 12 13 9 6
12 10 11 10 7 8 11 11 8

81
Cdim7 arpeggio

1.

8 8 11 8 8 11
10 10 10 10 10 10
9 12 9 12 9 12 12 9 12 9 12 9 12 12
8 11 11 8 11 11

1st inversion
2.

14 14
13 13 16 13 16 13 13 16 13 16
12 15 12 15 12 15 15 12 15 12 15 12 15 15
11 14 14 11 14 14

2nd inversion
3.

14 14 17 14 14 17
13 13 16 13 16 13 16 13 13 16 13 16 13 16
12 15 12 15 15 12 15 12 15 15
14 14

3rd inversion
4.

8 8
7 7 10 7 10 7 7 10 7 10
6 9 6 9 6 9 9 6 9 6 9 6 9 9
5 8 8 5 8 8

82
Cdim7 chromatic from below and diatonic from above

1.

13 14 16 17
9 10 9 10 12 13 12 13 15 16
8 9 11 12 11 12 11 12 14 15
7 8 10 11 10 11 13 14

13 14
15 16 12 13 15 16 12 13 12 13
14 15 11 12 14 15 14 15 11 12 11 12 14 15
13 14 13 14 10 11

2.

7 7 10 8 7
7 9 7 10 7 7 9 7 10 10
8 6 9 9 8 6 8 6 9 8 6
10 8 10 8 10 8

10 8 7 14 16 14 19 17 16 14 14
9 7 10 16 15 13 15 13 16 15 13 12 10 12 10
12 12
14 13 11 14

83
Cdim7 combination and double chromatic approach

3
3 3
3
3 3 3 3 3 3 3 3
3.

3 3 3 3 3 3 3 3 3 3 3 3

16 16 19 17
12 9 10 9 9 12 10 9 12 9 10 12 15 13 15 18 16 18 19
11 8 9 8 11 12 11 12 17 14 15
10 11

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

12 10 9
14 11 12 14 11 8 8 11 9 11 12 11 8 9 8
13 10 11 13 14 13 10 11 10 7 8 10 11 10 11 10 7 8

3
3 3 3 3 3 3 3 3 3 3 3
4.

3 3 3 3 3 3 3 3 3 3 3 3

10 9 8
12 11 10 9 8 7 9 8 7 12 11 10 12 11 10 9 8 7
8 7 6 11 10 9 11 10 9 11 10 9
10 9 8

3
3 3
3
3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

10 9 8 13 12 11 16 15 14 19 18 17
9 8 7 9 8 7 12 11 10
8 7 6 11 10 9 11 10 9 8 7 6
10 9 8

84
Cdim7 summary

5.

7 9 10 7 12 11 9 10 11 10 9 8 7
9 11 10 9 9 8 11 10 8 9 10 11
8 10 11 11 10 11

10 12 9 10 7 9 12 11 10
10 12 11 10 8 9 6 8 7 6 8 9 10 12 14
11 13 10 11 10 9 7 8

6.

17 17 20 19 18 17 16 15 14 12 14 13
16 16 19 16 19 19 15 16 13 12 10 9 10 12 13 15 13
15 18 18

8 7
12 11 10 9 12 10 9 10
11 12 8 9 8 9 11 12 9 6 5
13 14 11 10 7 8 10 11 7 8

85
 Conclusion
Whew! That is a lot of material to digest. Your chops should have
benefited from all of the exercises, and your ears should be in fine shape
now. If you still can't hear the difference between the chords, maybe you
would have a better future as a drummer. Seriously, go back to the
beginning and play through all of the triads until you can really HEAR the
difference.
Practice singing them in your car, shower, cubicle, etc... Find a good
instructor to help you. He wouldn't necessarily have to be a bassist.
Look for someone that can play the keyboard, and speaking of keyboards,
learn to play at least basic chords and progressions on the keys yourself.
Integrate scales in with the arpeggios. Too much of one or the other
can get boring. Play along with the vamps on my website. Improvise on
the chords everyday if you can. Make sure to practice in all of the keys.
Take the exercises on the 4 note chords and change them around, make
them yours. Just make sure you know what you are playing. Soloing as a
bassist is a privilege. We are not called upon very often to do it. And if you
over do it, your chances of getting to do it again are very bleak. By
following the method presented here, you should be able to play a melodic
and fluid “horn-like” solo, which in turn will make you a featured soloist
more often.
Now that you are initiated, it is your duty to continue your studies. There
really aren’t any mysteries or arcane knowledge when it comes to music.
The knowledge comes from study and practice. So get to it!

About the Author

Scott Hubbell www.scotthubbell.com is a freelance bassist based in
Northwest Kansas. Scott actively performs and records on 4-, 5-, 6- and 7-
string electric bass as well as piccolo bass, baritone guitar, and Dan-electro
6-string “bass” guitar.

Published by:
Hick Jazz Music
1101 Court Pl.
Colby, KS
67701

86
 Acknowledgements
I would like to thank my beautiful wife Kristie for her patience on yet another project.
My son Taylen for his patience and inspiration. My parents Ken and Peggy Hubbell.
Kerry and Barb Turner. My brother Tom and his family. My sisters Nancy and Penny
and their families. The Perez family. Norm and Colleen Travis. Laurie, Kaitlyn and
Dave Williams. Jason (Yo, Dude ) Johnson. Todd Johnson www.toddjohnsonmusic.com
for honoring me with the forward, Cliff Engelwww.instituteofbass.com for his insight,
knowledge and friendship. Craig Walton www.wearthatshoe.com for the encouragement
and friendship. Fred Bolton at Bee Basses www.beebasses.com. Kyley Boyd at
www.boydbasses.com. Kellie Stoelting at www.basslines.com. Eddie Speedy at SIT
Strings www.sitstrings.com. Wes Watson at www.weswatsonweb.com for the great site.
Tom Boyles at www.boylesdesign.com for yet another cool cover. Byron Santo
www.byronsanto.com for always amazing me. Brian Forinash for his friendship and
melodic sensibilities. Chris Brungardt at www.chopsfromhell.com I still need to send
those dental bills. Dan Weller at www.danweller.com. Chris Hay (where you been
man?) David Patton. Marv Pape. Dave and Dan at www.bassbooks.com. Cindy Black
and crew at High Plains Printing. And last but certainly not least, I would like to thank
God for giving me the ability to make a joyful noise and share it with the world.

Scott Hubbell plays and uses Bee Bass guitars. Boyd Bass Design basses. Basslines
pickups and electronics. SIT strings. SWR amps and cabs. DiMarzio instrument cables.
Line 6 Bass POD. SansAmp. MusEdit.

87
 Also available:

“FRETBOARD ALCHEMY for 4, 5, and 6-String BASS”

A no nonsense comprehensive study of scales, modes, chords, arpeggios, extended

fingerings, diagonal fingerings, functional harmony, theory and more. All examples
shown in standard notation and fretboard diagrams. Ever wonder how to play a Phrygian
Dominant? It’s there on page 25. How about the 4th mode of the Melodic Minor? Page
16 in all of its glory. Scott Hubbell has stripped away all of the fluff associated with
scale theory and brought it into the new century with style.