edited by

 jonathan feist
 Berklee Press
Vice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath
Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen
Whalen

ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3

1140 Boylston Street

Boston, MA 02215-3693
02215-3693 USA
(617) 747-2146
Visit Berklee Press Online at Visit Hal Leonard Online at
www.berkleepress.com www.halleonard.com

Copyright © 2007 Berklee Press

All Rights Reserved

No part of this publication may be reproduced in any form or by

any means without the prior written permission
per mission of the Publisher.
 Berklee Press
Vice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath
Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen
Whalen

ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3

1140 Boylston Street

Boston, MA 02215-3693
02215-3693 USA
(617) 747-2146
Visit Berklee Press Online at Visit Hal Leonard Online at
www.berkleepress.com www.halleonard.com

Copyright © 2007 Berklee Press

All Rights Reserved

No part of this publication may be reproduced in any form or by

any means without the prior written permission
per mission of the Publisher.
Contents
Introduction iv
Part I. Chords
1. Move
Moveab able
le 7th
7th Ch
Chord
ord SShhape
apes 2
(each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 )

Major 7 2
Dominant 7 3
Minor 7 3
Minor 7%5 4
Major 6 5
Minor 6 5
Diminished 7 6
Dominant 9 7
Minor 9 7
Minor 11 8
Dominant 13 8
2. Domi
Domina nant
nt 7th
7th Cho
Chordrdss wit
with
h Alte
Altera
rati onss:
tion 9
two versions
versions each,
each, with roots
roots on 6 and 5
Dominant 7%5 9
Dominant 7(#11) 9
Dominant 7(9,  # 9) 10
Dominant 7#5 10
Dominant 7(%9, %13) 11
Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9)
Dominant 7(altered): 11
3. Guide Tone Chords 13
Root
Root 3 7 (Major
(Major 7, Domina
Dominant nt 7,
7, Minor
Minor 7, Minor 7%5, Major 6,
7, Minor 13
Minor 6, Diminished
Diminished 7)
Root
Root 7 3 (Major
(Major 7, Domina
Dominant nt 7,
7, Minor
Minor 7, Minor 7%5, Major 6,
7, Minor 14
Minor 6, Diminished
Diminished 7)
4. Triad
riadss over
over Bass
Bass-N
-Not
otee Voi
Voici
cing
ngss with
with Roo
Roots ts on
on 6 5 4 16
V /I 16
%VII/I 16
Other Common oicings: (III/I, II/I, # IV/I, VI/I, VII/I)
Common Voicings: 17
5. Inversions (each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 ) 19
Major 7 19
Dominant 7 20
Minor 7 21
Minor 7%5 23
Major 6 24
Minor 6 25
Part II. Exercises
6. QuQuararta
tall Voi
Voici
cing
ngss Exe
Exerrcise
cisess 28
C Dorian Voicings 28
7. Diatonic Exercises 30
B% Major on 5 4 3 2 30
E% Major on 4 3 2 1 31
F Major on 6 4 3 2 32
B% Major on 5 3 2 1 33
F Harmonic Minor on 6 4 3 2 34
F Melodic Minor on 6 4 3 2 35
G Major 6 Bebop Scale on 6 4 3 2 36
G Minor 6 Bebop Scale on 6 4 3 2 37
About the Author 38
 Introduction
The Berklee Jazz Guitar Chord Dictionary is a resource for 7th-chord
voicings and other frequently encountered jazz chord shapes on the
fretboard.

The following diagrams indicate what notes you should use for each
chord voicing. These chord blocks will
will show you the right shapes, but
as a musician, you owe it
it to your audience and
and yourself to hear the
music before you play it. This material will help you to map out the
sounds on your fretboard.
fretboard. With
With time, you will hear the chords before
before
you play them.

Strive
Strive to play
play these chords
chords with a solid
solid time
time feel, a full tone,
tone, and attacks
attacks
with your “picking hand” that match the level
level of intensity
intensity of the music
you’re attempting to play.

Some tips for getting a good chord sound:

• Take
ake spe
speci
cial
al care
care to
to play
play the
the note
notess req
reque
uest
sted
ed—a
—and
nd to
to leave out ,
or mute the strings with the x symbol above them. Keep the
extra strings out of the sound.

• Use
Use the
the edge
edgess of
of your
your fin
finge
gers
rs of your
your fret
fretti
ting
ng han
hand
d to
to mute
mute
unwanted strings. Focus your strumming (or finger-picking
attacks) on the indicated strings. Avoid sounding the others.

• When
When stru
strumm
mmin
ing
g acr
acros
osss the
the stri
string
ngs,
s, make
make the
the spe
speed
ed of you
yourr
stroke fast enough to give the illusion of one simultaneous
sound made up of all the chord voices.

iv
 • When you’re using your fingers to pluck chords, take care to
balance the level of each chord tone. A common tendency is to
hit the outermost notes with the most force, resulting in a
thinner texture. You’re working to put those notes on the frets;
make sure that the listener can hear them!

• While forming the chords, make sure that your fingers are as
close to the intended frets as possible.

• When changing chords, mute the strings by lifting your fingers

from the strings, but still touching them, to hold them still as
you slide to the next chord.

• Make sure all notes ring. If you’re not hearing all the notes
clearly, keep working to curve your fingers and adjust your
hand position on the intended frets to make the sound shine
through your instrument.

Playing chords effectively takes time, and the learning process requires
practice. There are three common stages of development.

• Physical Stamina: Building your hand muscles

• Muscle Memory: Memorizing the proper chord-voicing shapes

• Informed Musical Instincts : Using these chords to make

music

v
 Here are some other things to keep in mind:

• While practicing, stay vigilant, playing in time and using a

metronome or drum machine. Stay with a musical task until you
can make it groove with a strong time feel.

• Play with other musicians whenever possible, as often as you

can. Practicing by yourself is only part of the overall plan.

• Make sure that the chords that you play fit well into your
playing situation. Should your voicings contain a lot of notes
or a few? Listen to the overall texture, and make a musical
decision.

• Listen to the originators of the styles that you love. It’s one of
the best ways to keep yourself inspired—and to help you to
keep the highest musical values in mind.

• Listen to great guitarists, but don’t stop there. Focus on

performers of other instruments as well. Bring it all together
to help you to develop your own unique voice.

Keep working, and be patient with yourself. Having the physical

strength and the knowledge of the shapes provide means to musical
ends. With time, you’ll be able to choose from a variety of options.
If you keep at it, you’ll definitely get there!

—Rick Peckham

vi
PART I.
CHORDS
Chapter 1.
Moveable 7th Chord Shapes

Major 7

CMaj7 CMaj7
3fr 10fr


1324
 1333

   
12

 
5 12
4 12
5 10
3

CMaj7 CMaj7
8fr 3fr


 
1 3 42


 
1 3 42

 
8 5
9 4
9
3
8

2
 Minor 7

Dominant 7
C7 C7
3fr 10fr

 
1314

 
1324

  
12

 
5 11
3 12
5 10
3

C7 C7
8fr 3fr


 
1 2 43


1

 
2 43

 
8 5
9 3
8
3
8

Minor 7

C–7 C–7
3fr 10fr

 
1312

 
1423

  
11

 
4 11
3 12
5 10
3

3
MOVEABLE 7th CHORD SHAPES

C–7 C–7
8fr 3fr

 
2

  
333

 
  
1 243

 
8 4
8 3
8
3
8

Minor 7%5

C–7b5 C–7b5
3fr 10fr

  
1324 1222

  
   
11

 
4 11
3 11
4 10
3

C–7b5 C–7b5
7fr 2fr

 2

   3 41

 
   2 3 41

 
7 4
8 3
8
3
8

4
 Minor 6

Major 6
CMaj6 CMaj6
2fr 10fr


2314
 1314

   
12

 
5 10
2 12
5 10
3

CMaj6 CMaj6
7fr 2fr


 
2 1 43


 
2 1 43

 
8 5
9 2
7
3
8

Minor 6
C–6 C–6
2fr 10fr

 
2413

 1312

   
11

 
4 10
2 12
5 10
3

5
MOVEABLE 7th CHORD SHAPES

C–6 C–6
7fr 2fr


 
2 1 34


 
2 1 43

 
8 4
8 2
7
3
8

Diminished 7

Cº7 Cº7
2fr 10fr

 
2314

 1324

    
11

 
4 10
2 11
4 10
3

Cº7 Cº7
7fr 2fr


   2 1 31


   2 1 41

 
7 4
8 2
7
3
8

6
 Minor 9

Dominant 9

C9 C9
 2fr 9fr

 
2133

 2143

  
10

 
3 11
3 9
2 10
3

C9 C9
5fr

3 4 21 2 34


   
  
0

 
5 3
7 3
8
3
8

Minor 9
C–9 C–9
8fr

 
2134

  2143

  
10

 
3 11
3 8
1 10
3

7
MOVEABLE 7th CHORD SHAPES

Minor 11
C–11 C–11
6fr


2


   3 41

 
   2 3 41

 
6 4
8 3
8
3
8

Dominant 13

C13 C13
 2fr 8fr

21334


1 2 34

   
5

 
3 10
3 9
2 8
3
8

C13
3fr

1 2 44

 
5


5
3

8
Chapter 2.
Dominant 7th Chords
with Alterations

Dominant 7%5

C7b5 C7b5
7fr 2fr

2


  
3 41

 
2

  
3 41

 
7 5
9 3
8
3
8

Dominant 7(#11)

C7(#11) C7(#11)
7fr 2fr

2


   3 41

 2


   3 41

 
7 5
9 3
8
3
8

9
DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

C7(#9)

C9
2fr 2fr

2133 2134
§9 #9

   
 
 
3 4
3 3
2 2
3 3

C7(#9)
8fr

  1214

#9
 
11


8
9
8

Dominant 7#5

C7#5 C7#5
8fr 3fr

 
1

  
2 34
#5 1


  
2 43
#5

 
9 5
9 3
8
3
8

10
 Dominant 7 (altered)

Dominant 7 (%9, %13)

C7(b9,b13) C7(b9,b13)
8fr 2fr

 1 2 33 3

 21314

   
9 4

 
9 2
9 3
8 2
3
8

Dominant 7(altered)
7%5(%9)
C7b5(b9) C7b5(b9)
7fr 2fr

  T 2 31 4

  
21311

    
9 2

 
7 2
9 3
8 2
3
8

7%5(#9)
implied root
C7 5( 9)
C7 5( 9)
2fr
7fr

21341

  2314

  
    
11 2

 
7 4
9 3
8 2
3

11
DOMINANT 7th CHORDS

7#5(%9)

implied root C7 5( 9)
C7 5( 9)
2fr
8fr

21314

  1222

  
    
9 4

 
9 2
9 3
8 2
3

7#5(#9)
implied root C7 5( 9)
C7 5( 9)
2fr
8fr

21344

  1224

  
    
11 4

 
9 4
9 3
8 2
3

12
Chapter 3.
Guide Tone Chords

Root 3 7

CMaj7 C7
2fr 2fr

213 213

   
 
4 3
2 2
3 3

C–7 C–7b5 (incomplete)

213 213

   
 
3 3
1 1
3 3

13
GUIDE TONE CHORDS

CMaj6 C–6
2fr

312 312

   
 
2 2
2 1
3 3

Cº7

312

 

2
1
3

Root 7 3

CMaj7 C7
8fr 8fr

1 23 1 23


   
 

 
9 9
9 8

8 8

14
 Root 7 3

C–7 C–7b5 (incomplete)

8fr 8fr

2 34 2 34


   
  

 
8 8
8 8

8 8

CMaj6 C–6
7fr 7fr

2 13 2 13


  
 

 
9 8
7 7

8 8

Cº7
7fr

2 13


 


8
7

15
Chapter 4.
Triads over Bass-Note
Voicings: Roots on 6 5 4

V/I
GMaj/C GMaj/C GMaj/C
7fr 3fr 10fr

2 131 1321

  1341

     
7 10

  
8 3 12
7 4 12
5 10
3
8

%VII/I

BbMaj/C BbMaj/C BbMaj/C

6fr 3fr 10fr


4 21


1111

 
1121

 
 
  
10

  
6 3 11
7 3 10
8 3 10
3
8

16
 Other Common Voicings

Other Common Voicings

III/I
EMaj/C EMaj/C
8fr 3fr


1

 
3 33


 
1 2 43

 
9 5
9 4
9
3
8

II/I
DMaj/C DMaj/C
7fr 2fr


2

 
1 11


 
2 1 31

 
7 3
7 2
7
3
8

#IV/I
F#Maj/C F#Maj/C
6fr 2fr

 
 3 121

 2 3 11

     
6 2

 
7 2
6 3

3
8

17
 TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6 5 4

VI/I
AMaj/C AMaj/C
8fr 3fr

 1 4 23

 1 4 23

   
5

 
10 5
9 6
11
3
8

VII/I
BMaj/C BMaj/C
7fr 7fr



2 311

 2 4 31

   
7

 
7 7
8 8
9

8 8

18
Chapter 5.
Inversions

Major 7

CMaj7 CMaj7/E CMaj7/G CMaj7/B

3fr 5fr 9fr 12fr


1324

 2413
 2314
 3412

      
   
5 8 12 13
4 5 9 12
5 9 10 14
3 7 10 14

5 4 3 2

CMaj7 CMaj7/E CMaj7 CMaj7/B CMaj7/G

8fr 10fr 8fr 5fr

 1 3 42
 2 1 34

1 3 42


3 1 11 3 2 41


        
    
8 12 8 5 1
9 12 9 5 4
9 10 9 5 2

8 12 8 7 3
6 4 3 2

19
INVERSIONS

CMaj7 CMaj7/E CMaj9/E CMaj7/G CMaj7/B

3fr 5fr 7fr 8fr 12fr

 1 3 24

 2 1 43

 1 2 43

 3 2 41
 3 1 21

     
3 7 7 8 12

    
5 8 8 12 13
4 5 7 9 12

3 7 7 10 14

5 3 2 1

CMaj7 CMaj7/B CMaj7/G CMaj7/E

10fr 8fr 5fr

 1333

 2311

 1113


2413

      
12 8 7 3

   
12 8 5 1
12 9 5 4
10 9 5 2

4 3 2 1

Dominant 7
C7 C7/Bb C7/G C7/E
10fr 8fr 5fr

  1324

 1211

  1112


2314

      
12 8 6 3

   
11 8 5 1
12 9 5 3
10 8 5 2

4 3 2 1

20
 Minor 7

C7 C7/E C7 C7/Bb C7/G

8fr 10fr 8fr 17fr

1 2 43

 
3 1 42 1

 2 43


2 1 11 3 2 41


          
    
8 11 8 5 1
9 12 9 5 3
8 10 8 5 2

8 12 8 6 3

6 4 3 2

C7 C7/E C7/G C7/Bb

3fr 5fr 8fr 12fr

 1 2 43

  3 1 42

 3 2 41
 2 1 31

       
3 6 8 12

   
5 8 11 13
3 5 9 12

3 7 10 13

5 3 2 1

Minor 7
C–7 C–7/Eb C–7/G C–7/Bb
3fr 5fr 8fr 12fr

 
1312

 2314

 
2314
 2314


      
   
4 8 11 13
3 5 8 12
5 8 10 13
3 6 10 13

5 4 3 2

21
INVERSIONS

C–7 C–7/Bb
C–7/G C–7/Eb same as
10fr 8fr EbMaj6
4fr

   
1423 1111

 2314


1314

      
11 8 6 3

   
11 8 4 1
12 8 5 3
10 8 5 1

4 3 2 1

C–7/Eb C–7/Bb
same as
C–7 EbMaj6
C–7 C–7/G
8fr 10fr 8fr 4fr

  2 3 33

 
2 1 43

 
2 3 33

 
4 2 31 3 1 41

            
    
8 11 8 4 1
8 12 8 5 3
8 10 8 5 1

8 11 8 6 3

6 4 3 2

C–7/Eb C–7/Bb
same as
C–7 EbMaj6
C–7/G
3fr 5fr 8fr 11fr

 
1 2 43

  2 1 43

 3 1 41
  3 2 41

        
3 6 8 11

   
4 8 11 13
3 5 8 12

3 6 10 13

5 3 2 1

22
 Minor 7%5

Minor 7%5
C–7b5 C–7b5/Eb C–7b5/Gb C–7b5/Bb
same as
Eb–6
3fr 5fr 8fr 11fr

 
1324

 
2413

  2314

  

2314


        
   
4 7 11 13
3 5 8 11
4 8 10 13
3 6 9 13

5 4 3 2

C–7b5 C–7b5/Bb C–7b5/Gb C–7b5/Eb same as

Eb–6
10fr 7fr 4fr

     
1222 2314 1213 1312

  
   
   
 
11 8 6 2

   
11 7 4 1
11 8 5 3
10 8 4 1

4 3 2 1

C–7b5 C–7b5/Eb same as C–7b5 C–7b5/Bb C–7b5/Gb

Eb–6
7fr 10fr 7fr 4fr

  
2 3 41

  
2 1 34

  
2 3 41

 
3 1 21 2 1 31

            

    
7 11 7 4 1
8 11 8 5 3
8 10 8 4 1

8 11 8 6 2

6 4 3 2

23
INVERSIONS

C–7b5 C–7b5/Eb same as C–7b5/Gb C–7b5/Bb

Eb–6
2fr 5fr 8fr 11fr

 
2 3 41

 
2 1 43


2 1 41

 2 1 41

        
2 6 8 11

   
4 7 11 13
3 5 8 11

3 6 9 13

5 3 2 1

Major 6
CMaj6 CMaj6/E CMaj6/G CMaj6/A same as
A–7
2fr 5fr 9fr 12fr


2314

 2314

 2314
 1312

      
   
5 8 10 13
2 5 9 12
5 7 10 14
3 7 10 12

5 4 3 2

CMaj6 CMaj6/A same as CMaj6/G CMaj6/E

A–7
10fr 7fr 5fr

 1314

 1423


1111


2314

      
12 8 5 3

   
10 8 5 1
12 9 5 2
10 7 5 2

4 3 2 1

24
 Minor 6

CMaj6 CMaj6/E CMaj6/G CMaj6/A same as

A–7
2fr 5fr 8fr 12fr


2 1 43

 3 1 41

 3 2 41
 1 2 43

       
3 5 8 12

   
5 8 10 13
2 5 9 12

3 7 10 12

5 3 2 1

CMaj6 CMaj6/E CMaj6 CMaj6/A same as CMaj6/G

A–7
7fr 10fr 7fr 5fr

 2 1 43

3 1 41

 2 1 43

 2 3 33 4 2 31


        
    
8 10 8 5 1
9 12 9 5 2
7 10 7 5 2

8 12 8 5 3

6 4 3 2

Minor 6
same as
C–6 C–6/Eb C–6/G C–6/A A–7b5
2fr 5fr 8fr 12fr

 
2413

 2314

  2314
 1324

      
   
4 8 10 13
2 5 8 12
5 7 10 13
3 6 10 12

5 4 3 2

25
INVERSIONS

same as
C–6 C–6/A A–7b5 C–6/G C–6/Eb
10fr 7fr 4fr

 1312

 1222

  2314


1214

       
11 8 5 3

   
10 8 4 1
12 8 5 2
10 7 5 1

4 3 2 1

C–6 C–6/Eb C–6 C–6/A same as

A–7b5
C–6/G
7fr 10fr 7fr 4fr

  2 1 34


2 1 31

  2 1 34

 
2 3 41 3 1 21

         
    
8 10 8 4 1
8 12 8 5 2
7 10 7 5 1

8 11 8 5 3

6 4 3 2

same as
C–6 C–6/Eb C–6/G C–6/A A–7b5
2fr 5fr 8fr 11fr

 
2 1 43


2 1 41


3 1 41

  2 3 41

     
3 5 8 11

   
4 8 10 13
2 5 8 12

3 6 10 12

5 3 2 1

26
PART II.
EXERCISES
Chapter 6.
Quartal Voicings Exercises

C Dorian Voicings

(for use on C–7 or F7sus4)

3fr 5fr 6fr

1112 1112 1234

 
    
 

4 6 8
3 5 7
3 5 7
3 5 6

8fr 10fr 12fr 13fr

 

1113

 
1112


1112

1123


   
10 11 13 15
8 10 12 14
8 10 12 13
8 10 12 13

28
 C Dorian Voicings

3fr  5fr

 
1234


1123

 
1122

   
3 5 6


3 4 6
2 3 5
1 3 5

 7fr 8fr  10fr    12fr

 1122


1134

 
1122

1122

  
8 10 11 13
8 10 11 13
7 8 10 12
7 8 10 12

29
Chapter 7.
Diatonic Exercises

B%Major on 5 4 3 2

BbMaj7 C–7 D–7 EbMaj7 F7

3fr 5fr 6fr 8fr

  
1324 1312 1312 1324 1314

 
      

3 4 6 8 10
2 3 5 7 8
3 5 7 8 10
1 3 5 6 8

G–7 A–7b5 BbMaj7 A–7b5 G–7

10fr 12fr 13fr 12fr 10fr

 
1312

1324

1324

1324

 
1312

    
11 13 15 13 11
10 12 14 12 10
12 13 15 13 12
10 12 13 12 10

F7 EbMaj7 D–7 C–7 BbMaj7

8fr 6fr 5fr 3fr

 
1314


1324


1312 1312


1324


   
10 8 6 4 3
8 7 5 3 2
10 8 7 5 3
8 6 5 3 1

30
 E% Major

E%Major on 4 3 2 1
EbMaj7 F–7 G–7 AbMaj7 Bb7
3fr 5fr 6fr 8fr

  

1333

 
1423

 
1423


1333


1324

   
3 4 6 8 10


3 4 6 8 9
3 5 7 8 10
1 3 5 6 8

C–7 D–7b5 EbMaj7 D–7b5 C–7

10fr 12fr 13fr 12fr 10fr

 
1423

 
1222

 
1333

 
1222

 
1423

  
11 13 15 13 11
11 13 15 13 11
12 13 15 13 12
10 12 13 12 10

Bb7 AbMaj7 G–7 F–7 EbMaj7

8fr 6fr 5fr 3fr


1324

 

1333

 1423

 
1423


1333

  
10 8 6 4 3
9 8 6 4 3
10 8 7 5 3
8 6 5 3 1

31
DIATONIC EXERCISES

F Major on 6 4 3 2

FMaj7 G–7 A–7 BbMaj7 C7

3fr 5fr 6fr 8fr


  
1 3 42 2 3 33


2 3 33


1


3 42 1

 2 43

    

1 3 5 6 8
2 3 5 7 9
2 3 5 7 8

1 3 5 6 8

D–7 E–7b5 FMaj7 E–7b5 D–7

10fr 11fr 13fr 11fr 10fr

 2 3 33

 
2 3 41 1

3 42

 
2 3 41 2


3 33

    
10 11 13 11 10
10 12 14 12 10
10 12 14 12 10

10 12 13 12 10

C7 BbMaj7 A–7 G–7 FMaj7

8fr 6fr 5fr 3fr


1

 
2 43 1

 3 42 2 3 33


2 3 33


1 3 42


   
8 6 5 3 1
9 7 5 3 2
8 7 5 3 2

8 6 5 3 1

32
 B% Major

B%Major on 5 3 2 1

BbMaj7 C–7 D–7 EbMaj7 F7

3fr 5fr 6fr 8fr

 1 3 42


1 2 43 1


2 43
 
1 3 42

1 2 43

       
1 3 5 6 8


3 4 6 8 10
2 3 5 7 8

1 3 5 6 8

G–7 A–7b5 BbMaj7 A–7b5 G–7

10fr 11fr 13fr 11fr 10fr

 
1 2 43
 
2 3 41 1
 3 42
 
2 3 41

 
1 2 43

    
10 11 13 11 10
11 13 15 13 11
10 12 14 12 10

10 12 13 12 10

F7 EbMaj7 D–7 C–7 BbMaj7

8fr 6fr 5fr 3fr


1 2 43
 
1 3 42 1


2 43


1 2 43


1 3 42

    
8 6 5 3 1
10 8 6 4 3
8 7 5 3 2

8 6 5 3 1

33
DIATONIC EXERCISES

F Harmonic Minor on 6 4 3 2

F–(Maj7) G–7b5 AbMaj7#5 Bb–7 C7

2fr 4fr 6fr 8fr


  
1 4 23


2 3 41 1

 3 33

 
2 3 33 1
 2 43

    

1 2 5 6 8
1 3 5 6 9
2 3 5 6 8

1 3 4 6 8

DbMaj7 Eº7 F–(Maj7) Eº7 DbMaj7

9fr 11fr 13fr 11fr 9fr

 
1 3 42

 
2 1 31

 
1 4 23 2

 1 31

 
1 3 42

     
9 11 13 11 9
10 12 13 12 10
10 11 14 11 10

9 12 13 12 9

C7 Bb–7 AbMaj7#5 G–7b5 F–(Maj7)

8fr 6fr 4fr 2fr


1

 
243

 
2 333 1


333 2


341 1 4 23


   
8 6 5 2 1
9 6 5 3 1
8 6 5 3 2

8 6 4 3 1

34
 F Melodic Minor

F Melodic Minor on 6 4 3 2

F–(Maj7) G–7 AbMaj7#5 Bb7 C7

3fr 4fr 6fr 8fr


  
1 4 23 2


3 33 1

 3 33 1


2 43 1


2 43

    

1 3 5 6 8
1 3 5 7 9
2 3 5 6 8

1 3 4 6 8

D–7b5 E–7b5 F–(Maj7) E–7b5 D–7b5

9fr 11fr 13fr 11fr 9fr

 
2 3 41 2

 3 41

 
1 4 23

 
2 3 41 2

 
3 41

    
9 11 13 11 9
10 12 13 12 10
10 12 14 12 10

10 12 13 12 10

C7 Bb7 AbMaj7#5 G–7 F–(Maj7)

8fr 6fr 4fr 3fr


 
2 43


1 2 43 1

 3 33 2


3 33 1 4 23


   
8 6 5 3 1
9 7 5 3 1
8 6 5 3 2

8 6 4 3 1

35
DIATONIC EXERCISES

G Major 6 Bebop Scale on 6 4 3 2

GMaj6 Aº7 GMaj6/B Cº7

2fr 4fr 5fr 7fr

 
  
2 1 43 2


1 31 3


1 41


2 1 31

  

3 4 5 7
4 5 7 8
2 4 5 7

3 5 7 8

GMaj6/D D#º7 GMaj6/E same as E–7 F#º7

8fr 10fr 12fr 13fr

4 2 31 2


1 31 2

3 33

2 1 31

    
8 10 12 13
9 11 12 14
9 10 12 13

10 11 12 14

36