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PART ONF: HARMONY f Inceligent improvising depends on a working understanding of the relationship between chords and melodie nes. The purpose of this section isto provide the necessary harmonic foundation for the solos in Part Two, ‘The chordal theory is presented in its briefest form, as it dreely relates to the guitar. If some of the explanations differ from those in “formal” theory books, you're free to change the words to suit your own way of thinking, Iti the idea tha’ important, not its explanation ‘This material is designed more as a reference than a method. If these ideas are TOTALLY new to yOu, there may be other books you might investigate before finishing this one. CHORD CONSTRUCTION ‘The C Major/Minor Seale oo wo @ a pop mes 4 8 6 7 om 8 8 a MAJOR CHORDS: add chord NAME to basie triad major 13S (basic triad) c cEG major 6th 13 Sande cs CEGA eos = major 7th 13° Sand ma? cma? CEG added 9th 13 Sando cad CEG major 9th 13.3 and ma? and 9 Cma9 cCEGBD - xnoth 13 Sand Gand 9 65/9 CEGAD SEVENTH CHORDS: add chord name to @ 7th (or 9th) chord ath 1357 a CEG B om 13 5 Tand9 ° CEG BD ithe 1357 Od Cu CEG BOF 1th ++ 1357 @)adi3s ca CEG RIDA in most guitar inversions, the Sed is omited from 11th chords, The 9th is often omitted from both Tht dnd 13th chords ** in thoory, @ 13th chord also contains the 11th, but that tone is normally omitted in guitar finger MINOR CHORDS: add chord name to basic triad minor 1 mid $ (basie wiad) cm ce ‘minor 6th 1 mis 5 and 6 m6 CEH GA minor (ma7eh) 1 m8 «3 and ma? cmt7 chmGB MINOR SEVENTH CHORDS: add chord name to a mTth chord minor 7th oma s 7 cm? cm G Bb minor 91h 1 omit 5 7 and 9 m9 cB G BD minor 11h Lomid SD and th Catt CEG By F 1 DIMINISHED SEVENTH chords are built by Matting all but the root of a 7th chord a 13059 cE G Bw 1c 18 55 667, CE Gs ABH) * may be written: Cum, Céim?, Crim, C%, C27, €7° ‘The word “AUGMENTED" in a chord name normally applies to the sharped (augmented) Sth chord c+, Caug 135 ce ©, CT, Chaug 13257 CE GB EXCEPTION: the AUGMENTED ELEVENTH chord is a regular 11th chord, but the 11th is sharped cu 13704 CE@® OM ALTERED CHORDS (sharp or flat Sth oF 9th): just do as inseusted crts-9 135 79 CE Gt BD 135-9 136s 7 9 13 © E Gr By Dy A “SHORTCUT" CHORD SYMBOLS cma? 7 Cm9 Co. cm? C7 CmI-s Ce ‘CHORD EMBELLISHMENT MAJOR CHORDS: sd 6, ma7, 9 and (in blues) 7. To C major chord add the notes A, B, Dor (blues) Bo. For © major, play cma ce cmao C68 cr SEVENTH CHORDS: add 9. 13 oF use IT in sets: 11 407. 11 109, 1140 13, To C7 add the notes D, A. or F. For C7, py co cu cu cr cu co cn cis MINOR CHORDS: edd 6, 7, ma7. 9 oF 11. To Cm ald the notes A, BS, B, D or F. For Cr, play: emi Cis? Coit Emit —Cmid emit Cit ALTERED CHORDS; the Sth may be sharped or flatted in any chord the 90h may be sharped or flaked in 7th chords. o Fmit pe? Eb? a» ‘This seauence crs. mites Boi9 Ren 0729 __Avmatl-s)_Abmat may be played, Reduce all chords to their baste form: CMa. C6. Cm, C6/9—* reduce to C MAJOR ©9..CH, C13-9..C9 5 reduce to © SEVENTH 7, Cm9, Ci. Cm? $ reduce to © MINOR cHoRD sunsTitUTION MAJOR CHORDS: Substitute RELATIVE MINOR or SECONDARY RELATIVE MINOR chords, For C use Am or Em © Far coat pm a7 Amit) Dai)? Emin at DmiyGr Optionat € MINOR CHORDS: Substiiote RELATIVE MAJOR. For Am use C This © Am Dm gt © becomes: € Pug € SEVENTH CHORDS: Substitute DOMINANT MINOR, For C7 use Gm This: et a ba ar becomes: Bmit_E9 min ag Ami Ami? Ams? Do _Dmio_Gi3.0 This rule may sometimes be reversed, as shown below: APA