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 Tabte of Contents

I. lntroduction """"""""" 3

""""""""""""" 4
tr. Chord Consm¡ction
Itr. Diaonic ?tb cbords'. """"""""""""' 5

""""""""""""' 6
rv. Functional }larmooy
v.
1. Ctosed position """""""" 8

z.Dtr+.z.. " "' 3

3. Dror3 ;Á
"""""
4. DroP2 eod 4 """"-""""
vI. E¡rcnsion Chsr......-.-
"""""""""" 12

vtl. Harmonizing a Melody """""""""' 14

Humonizing NooGordTom ..""""""""'

""' 15
utr.
1. Diarmic EÉüod
2. Dominant ryp,roach....
"' l:il
3. Chroo¡tic aPProach'
"""' ¡v
4. Diminisbcd &PPÚoach
""" 18

D( ExploringtbeDiminisbcdchord""""' """"""" 19
"é
7
x. An examplc ooc with analysis
"""'Zl
e
)«. Tbe Tri-Tooc Subsiu¡tioa """""""U C
C
)ffL

)gtr-

}(rV.
Chcd Movecnt

ausrt¡l

Advanccd
HarmonY
Metbods
- """"
""""'
"""
26

28

30
1 é
é
motion......'
1. Contrary
""" 30

2. Chrom¡tic II-V's
"""""" jl 30 é
3. Slastt chord harmooization
""""" 33
é
4. Const¿nt stn¡cn¡re é
xv. Example Tune #2 wiü analysi§ """"""""' """"'¿""""' """'y é

xw. Solutions to Quesüons """""""""' """""""""'31

?q
About the Auüor

FCCUAZ
 Introducfion
This book is designed to te¿ch any guiunst to compose chord melody arrangements for üe _zuirar. Tbe pace of
the book will make a begrnner or advanced srudent comfortable. Every meüod used is discussed at length with
over 50 musical examples glven. The accompannng CD wiU assrre the sn¡dent that he or she is ptayrng the
ex2rñples correctly.

This is not a book of arrangements! This is a how-to book designed for any lcvel of guitar player. Topics
include: harmonrz¿tion and ¡s-[¿¡6snization meüods, ¡n¡lyzing melodies, deating wiü extensioos, cteating slash
chord harmony etc... This is a must have for any oric interestcd in pcrforming as a solo grritar player. TWo full
lengrh arrangements a¡e i¡cluded which cover the material presented.

FBO'AZ
- Chord Construction
is occessary'
the guitar, a thorough lnowlcdge of chord constn¡crion
rn ordcr .o bc masrcrful at arranging for Placing thirds above
Cnoros can bc constructcd from any scatc'
cbords arc dcrivcd from scales. As a ma.rcrorfñ,
bcrc is üe C major scale'
any scale dcgrec creatcs a chord' For i¡suoce'

the mqjor scale yield 6e tooes D' F A and c'

Thfuds placed above thc sccood dcgrec of

DminT

on tbc distance
Each oorc of thc chord is givcn a number bascd
This group of ootcs is callcd a Dnin? cho,rd- 7
from the boBom o* o', of the chorü They re lebeted ¡s foo{' 3, 5, atrd
-
Drún7

All chords bave a formula of thirds, whicb ct"¡rc üe difrereat cbord §'pcs'

They are as follows:

maj 3d, Eitr 3'ú, Eaj 3" CnejT CEGB 1357

Major ?t =
min E¡j 3", EiB 3d D'Ein7 D FAC rb¡sbz
Mi¡or 7. = Jnt,

Dominant ?Ú = maj 3d, Ein 3", ¡lin 3'd G7 GBDF 135b1

Ein maj 3d BBiD?bs BD FA rb¡bsbr

Minor 7L5 = BiD 3'Ú, 3'ú,

Dotes r¡¡e callcd extetuiotts since thcy

exrcnd bcyood thc
Thirds can be built bcyond the 7ó. Tbese additional
7ó. Tbey a¡e labeled
g, t 1, and 13. Thesc numbers reflect the dista¡ce from the root of the chord'

ffiI
DminT
t

Get comfort-
complex chords are formpd in this manner'
This is the basis of chord constn¡ction. Even the most
able with the precedrng It is essential for unders¡a¡¡ding the matcrial to fsllow
"on.rpO.
 Diatonic 7ü chords
A diatonic chord is a chord whose notes belong to a particular scale. For exampie. a DminT chord is diaron,c ro
üe keys of Bb ma¡or and F major. The example below is the Bb major scale harmonized with 7ü chords. This r¿ie
cre¿tes rwo major 7ü chords, th¡ec mlnor 7ü chords, one dominant chord, and one mi¡or 7b5 chord. Thesc are rhe
main rypes of chords we find in jw standards.

Bhrra¡7 CminT DminT EbrAaiT GminT nmzüs)

Here a¡e the diatonic 7ó chords in D harmonic minor.

Dm(mai7) emzüs) FMa¡zflS GminT Bfua¡7 CFz Dm(mai7)

Tbis scale inroduccs three ucw chords; the minor major JÜ, majorTth [5, and ¿ rlimini5[6{ chqd. All chords
h¿ve a scale thcy bclong to. Althougb this bookwill usc many chord t,"es in it's cxamplcs, it cliü not orrch on dl
of thcm. Even thc most complcx chords you might corc ¿rcroc¡r belong lo t pannt srale of somc sort For inst¿ncc:
BIC is derived from tbc C rliminishcd scale. Examinc thc folloc/ing eiamplc. This is an adva¡ccd chord form
dcrived from üe diminished scdc. Notice üat all úc toocs i¡ tbc chord are di¿tonic ¡s ths diminiqhed scale.

BrC

m-

F¡O\,A¡Z
 Functional Substitution
melodic lines. There sr" threc
Knowlcdge of major scalc harmony is paramount to succcssfully [¿¡6onizi¡g
thesc carcgories by their function. They arc as foüows:
famiües of chords in üe major scalc. Ticy are dividcd into

1. Tonic

2. Sub Domina¡t

3. Dominant

ilh¡stratcs rhis coocepl

In cach family, th¡ec notcs arc in common bctweca cach cbord. This exrmple

EminT FMa¡7 AminT amzüs)

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Dgittittott
_[
Dqttütstt

Tanúc Ta¡,ic
To¡tic

bttúottt Domin¿tu

bcrween any rwo of them

I-ook at the notcs in eech cbord family, tbcre a¡e always tb¡ee norcs in commoo
closc rclationsbip allows yol¡ to froely substitrtte onc chord for ¡notbcr'

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