Chordability

8/9/2019 Chordability

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Chordability Mastering the Art of Jazz Voicings for the Guitar Roni Ben-Hur


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Chordability: Mastering Te Art of Jazz Voicings for the Guitar

©2010 Bohobza Music, PO Box 745 Teaneck, NJ 07666

Produced by Roni Ben-Hur

Film editor: Rob Haines

Booklet editors: Mercer Sullivan and Lance Goler

Booklet design: Anne Furuya

Cover photo: John Abbott

Special thanks to Jana Herzen, Bill Wurtzel, Mercer Sullivan, Anne Furuya, Lance Goler, and always to my family.

www.ronibenhur.com


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Table of Contents

1 Chord Voicings That Work: Drop 2 and Drop 3 1

Drop 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Practicing Drop 2 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Drop 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Practicing Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Root Position of the Drop 2 and Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . 9

Drop 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Drop 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2 Inverting Chord Progressions That Use Five-Note Chords 13

3 The Diminished 21

In Drop 2 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

In Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Practicing the Diminished with Borrowed Notes . . . . . . . . . . . . . . . . . . . . . 22

In Drop 2 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

In Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

4 The Major 6/Diminished/Major 6 Progression 25

Practicing the Major 6/Diminished/Major 6 Progression . . . . . . . . . . . . . . . . . . 27

Drop 2 Voicings, alternating between the root and the 5th in the base . . . . . . . . . . 27

Drop 2 Voicings, alternating between the 6th and the 3rd in the base . . . . . . . . . . 28

Drop 3 Voicings, alternating between the 5th and the root in the base . . . . . . . . . . 29

Drop 3 Voicings, alternating between the 6th and the 3rd in the base . . . . . . . . . . 30

5 The Major and Minor 6 Diminished Scales 31

Practicing The Major and Minor 6 Diminished Scales . . . . . . . . . . . . . . . . . . . 32

The Major 6 Diminished in Drop 2 Voicings . . . . . . . . . . . . . . . . . . . . . . 32

The Minor 6 Diminished in Drop 2 Voicings . . . . . . . . . . . . . . . . . . . . . . 35

The Major 6 Diminished in Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . 38

The Minor 6 Diminished in Drop 3 Voicings . . . . . . . . . . . . . . . . . . . . . . 41


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CHORDABILITY | 1

1Chord Voicings That Work:

Drop 2 and Drop 3 When playing chords on the guitar, one always faces the challenge of how to invert a chord and still have it voiced in a way that is practical for the guitar. Tis chapter presents two chord formats that are practical to play and invert on theguitar and, more importantly, sound good.

Drop 2

Te first step in creating chords for the guitar is to open up the voicings, in other words, make a wider distance between

the low note and high note of the chord. When we do this , the chord sounds better and is voiced in a way that is com-fortable to play. o see what this means, first look at a C6 chord in the standard “closed” voicing:

Here are the basic chord voicing and inversions of the C6 chord:

& c wwww wwww wwww wwww

Root Position 1st Inversion 2nd Inversion 3rd Inversion

Drop 2 means taking the second note from the top of these voicings, and moving it to the bottom of the chord. Nowcompare the closed voicings with their corresponding Drop 2 counterparts:

Tese are the basic voicings and Drop 2 voicings of the C6:

wwww

55

55

wwww

5

5

555fr.

wwww

w

ww

w

5

5

5

5

2fr.

wwww

w

ww

w

55

5

5

5fr.

Root Position w/ the drop 2 1st Inversion

w/ the drop 2

2nd Inversion w/ the drop 2 3rd Inversion w/ the drop 2

As you see, the drop 2 chords lay well on the fingerboard. Some of them may require your fingers to stretch, but they allare possible to play.


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2 | Drop 2 and Drop 3

If some of these chords looked to you like Am7 chords, it is because they are. e C6 chord and the Am7 chord are identical. Any voicing of C6 you know is also avoicing of Am7, and vice versa. We will discuss this more later in the book.

Te drop 2 voicings follow the same pattern with every quality of a four-note chord. (Te 3 can be a major 3rd in a majorchord, or a minor 3rd in a minor chord. Te 5 can also be the 5 or #5, and the 6 can be the 7 or maj7). Here are the voic-ings for sixth chords:

5 1 3 6

6 3 5 1

1 5 6 3

3 6 1 5

When you play a drop 2 voicing the chord always falls on four consecutive strings. On a six-string guitar there are threesets of four consecutive strings: the bottom four (E, A, D, and G); the middle four (A, D, G, and B); and the top four(D, G, B and E). Tis means that every drop 2 voicing has three different fingerings, one for each set of four strings. Herethey are for C6, in all inversions:

Let’s use the C6 chord, and see the different forms on each group of strings.

&

&

&

&

55

55

wwww

5

5

555fr.

wwww

5

5

5

5

7fr.

wwww55

5

5

10fr.

wwww55

5

5

8fr.

wwww

5

5

5

512fr.

wwww

5

5

5

5

2fr.

wwww55

5

5

5fr.

wwww5555

3fr.

wwww

5

5

557fr.

wwww5

5

5

5

10fr.

wwww55

5

5

5 1 3 6

Form

1 5 6 3

Form

6 3 5 1

Form

3 6 1 5

Form


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CHORDABILITY | 3

Practicing the Drop 2 Voicings

In order to get a good handle on all the different inversions and shapes of these chords, follow this exercise.

Play four drop 2 inversions of a major 6 chord. Te lowest note in each key will have to be a note between F and A on

the 6th string. Play no more than two inversions on each set of strings. Start with the C6 chord with the fifth as the lownote (G) and play the four inversions, plus the first one again an octave higher. Next, play the F6 chord starting with thetonic as the low note, and do the same as with the C6. After that comes the Bb6 with the sixth as the low note. Continuethrough the cycle of fourths.

Here is the exercise in the first four keys:

& ˙

˙

˙˙

˙˙˙

˙

C6

˙˙˙

˙

˙

˙˙˙

˙˙˙˙

˙

˙˙˙

˙˙˙

˙

˙

˙

˙

˙˙

˙˙ Ó

˙

˙˙

˙

˙

˙˙˙

F6

˙˙˙˙

˙˙˙

˙

˙

˙˙

˙

˙˙˙

˙

˙˙˙˙

˙

˙˙˙

˙

˙˙

˙

Ó

˙˙˙

˙

b ˙˙˙

˙bBb6

˙

˙˙˙

b ˙˙˙˙

˙˙˙

˙

b ˙

˙˙˙

˙

˙˙˙

b ˙˙˙

˙b ˙˙˙˙

b Ó

˙

˙˙˙

bb ˙˙˙˙b

Eb6

˙˙˙

˙

bb ˙˙˙˙b

˙

˙˙˙bb ˙˙˙

˙bb ˙˙˙

˙

bb ˙˙˙˙bb ˙˙˙

˙

bb Ó


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Te following is the same exercise as the one in the previous page, but this time using the minor 6 chords. I have outlinedthe first four keys, but you should do it in all keys, following the cycle of fourths.

& ˙˙˙˙b ˙˙˙˙

Cm6

˙˙˙

˙b ˙

˙˙˙b

˙

˙̇

˙b ˙

˙˙˙b

˙˙˙

˙b ˙˙˙˙b ˙˙˙˙b Ó

˙

˙˙

˙

b ˙˙˙˙b

Fm6

˙˙˙˙

b ˙˙˙˙

˙

˙˙

˙

b ˙

˙˙

˙

b ˙˙˙˙

b ˙˙˙˙b

˙

˙

˙˙

b Ó

˙˙˙

˙

bb ˙˙˙˙bb

Bbm6˙

˙˙˙

bb ˙

˙˙˙

b ˙˙˙˙

bb ˙˙˙˙b ˙˙

˙˙

bb ˙˙˙˙bb

˙˙˙

˙

bb Ó

˙

˙̇

˙bbb ˙

˙

˙˙bb

Ebm6

˙˙˙

˙

bbb

˙

˙˙

˙

bb ˙

˙˙˙

b

bb ˙˙˙

˙

bbb

˙˙˙

˙

bbb

˙˙

˙˙bb

˙

˙̇

˙bbb Ó Te next thing to do to help us get familiar with the different shapes of the drop 2 voicings is to work on changing thequality of each chord. ake a C6 chord and change it to all the different C chords you can think of.

Following is an example using one of the voicings. Do it with all the voicings and shapes.

˙˙˙˙

˙

˙˙˙

C6 CMaj7

˙˙˙˙

b ˙˙˙˙

Cm6 Cm(maj7 )˙

˙˙˙

b b ˙˙˙˙ b

Cm7 C ø

˙˙˙˙

b b

Ó

Co

˙

˙˙˙

b ˙˙˙˙#

C 7 C 7 (# 5)˙

˙˙˙ b

b Ó

C 7 ( b5)


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CHORDABILITY | 5

Drop 3

Drop 3 means taking the third note from the top of the basic voicings, and moving it to the bottom of the chord.

Tese are the basic voicings and Drop 3 voicings of C6:

wwww

wwww

Root Position w/ the drop 3 1st Inversion w/ the drop 3

2nd Inversion w/ the drop 3 3rd Inversion w/ the drop 3

wwww

ww

w

w

wwww

ww

w

w

5

5

5

55fr.

5

55

5

ww

w

w

ww

w

w

Te drop 3 voicings also lay well on the fingerboard. As with the drop 2 voicings, some may require your fingers to stretchbut they all are possible to play.

Te drop 3 voicings also follow the same pattern with every quality of a four-note chord. (Te 3 can be a major 3rd in amajor chord, or a minor 3rd in a minor chord. Te 5 can also be the 5 or #5, and the 6 can be the 7 or maj7). Here arethe Drop 3 voicings:

3 1 5 6

5 3 6 1

6 5 1 3

1 6 3 5

When playing a drop 3 voicing the chord stretches over five strings, with the second lowest string muffled. On the sixstring guitar, there are two sets of five strings, which means that every drop 3 voicing has two different fingerings, one foreach set of five strings.


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Practicing the Drop 3 Voicings

Te following exercise follows the same principle of the one for the drop 2. In it you play four inversions of major 6chords in drop 3 voicings. Te starting points will all be in the same area of the fretboard, forcing us to learn all the differ-ent fingerings as we practice in different keys.

& ˙˙˙

˙

˙˙

˙

˙

G6˙˙˙

˙

˙˙˙

˙

˙˙

˙

˙

˙˙˙

˙

˙˙˙

˙

˙˙

˙

˙

˙˙

˙

˙

Ó

˙

˙˙

˙

˙˙

˙

˙

C6˙˙

˙

˙

˙˙

˙

˙

˙˙˙

˙

˙˙

˙

˙

˙˙

˙

˙

˙˙

˙

˙

˙

˙˙

˙ Ó

˙˙

˙

˙

˙˙˙

˙

F6

˙˙˙

˙

˙˙

˙

˙

˙˙

˙

˙

˙˙

˙

˙

˙˙˙

˙

˙˙˙

˙

˙˙

˙

˙

Ó

˙˙˙

˙

b ˙˙˙

˙bBb6 ˙˙

˙

˙

b ˙˙˙˙

b ˙˙˙˙

b ˙˙˙

˙

˙˙

˙

˙

b ˙˙˙

˙b ˙

˙˙

˙

b ÓDo the same with drop 3 voicings of Major 6 chords in all other keys. Start each key from the inversions below:

wwww b b

E b6 5

5

5

5

wwww b

bA b6

5

5

5

5

3fr.

wwww b

b b

D b6

5

55

5

wwww b

b

b b

G b6

5

5

5

5

wwww#

# #

B65 5 55

wwww#

# E6

5

5

5

5

wwww#

# A6

5 55 5

wwww

#

D6 5

55

5 3fr.

wwww

G6 5

5

5

5


Remember, if some of these chords looked to you like an Am7 chord, it is because they are. e M6 chord and the m7 chord are identical. Any voicing of M6 youknow is also a voicing of m7, and vice versa.


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CHORDABILITY | 7

Te following is the same exercise as the one in the previous page, but this time using the minor 6 chords. I have outlinedthe first four keys, but you should do it in all keys, following the cycle of fourths.

& ˙˙˙˙

b ˙˙˙˙b

Gm6˙˙˙

˙

˙̇

˙

˙b ˙

˙˙

˙b ˙̇

˙

˙

˙˙˙

˙b ˙˙˙

˙b ˙

˙

˙

˙

b Ó

˙˙˙

˙

b ˙˙˙˙

bCm6

˙˙

˙

˙

b ˙˙˙

˙b˙˙˙

˙

b ˙˙˙

˙b ˙

˙

˙

˙

b ˙˙˙

˙

˙˙˙

˙

b Ó

˙˙

˙

˙b˙˙˙

˙

bFm6

˙˙˙

˙

b ˙˙˙

˙

˙˙

˙

˙b ˙

˙

˙

˙

b ˙˙˙

˙

b ˙

˙˙

˙

b ˙˙˙

˙b Ó

˙

˙̇

˙bb ˙

˙

˙

˙b

Bbm6

˙˙

˙˙bb

˙˙˙

˙

bb

˙˙˙

˙

bb ˙˙˙

˙b ˙˙

˙˙bb ˙

˙

˙

˙bb ˙

˙̇

˙bb ÓDo the same with drop 3 voicings of minor 6 chords in all other keys. Start each key from the inversions below:

www

w b

b b

E b

m6

www

w b

b bA b

m6

www

w b

b b b

D b

m6

www

w

# #

#

F# m6

www

w#

#

Bm6

wwww

# Em6

5

5

5

5

wwww#

Am65 55

5

wwww

Dm6 5

5

5

53fr.

If some of these chords looked to you like a m7(b5) chord, it is because they are. e m6 chord and the m7(b5) chord are identical. Any voicing of m6 you know isalso a voicing of m7(b5), and vice versa.


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As with the drop 2, work on changing the quality of each voicing. Here is an example:

& wwwwG6

wwww# GMaj7

wwwwb

Gm6

wwww#

Gm(Maj7)

wwwwbb

Gm7 (b5)

Gdim wwwwG 7 wwww

# G7 (# 5) wwww

bG7 (b5)wwww

bb With the knowledge of the drop 2 and drop 3 voicings, you can now construct any four-note chord. ry naming a four-

note chord. Ten play it in these voicings in all inversions. Te chords can be random, or they can be a part of a chordprogression. You can use chords from a lead sheet, or just make ones up. When you discover a chord you really like, writeit down and incorporate it into your playing. Te more you do this, the easier it will get.



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CHORDABILITY | 9

Root Position of the Drop 2 and Drop 3 Voicings

Te root positions of the drop 2 and drop 3 chords are easy to use and are very practical. Following are a series of exercisesto help you incorporate them into your playing.

Drop 2

Using the common progression of II V I*, here are the drop 2 voicings in root position. o make sure we cover all the dif-ferent fingerings of these chords, this exercise goes down in whole steps from one key to the next.

& ˙

˙˙

˙

˙˙˙

˙

Dm7 G 7

wwww

CMaj7

˙˙˙

˙

bb ˙˙˙˙

Cm7 F 7

wwwwbBbMaj7

˙˙˙

˙bbb ˙˙˙

˙

bbBb

m7

Eb7

wwwwbbAb

Maj7

˙˙˙

˙

b

bbb ˙˙˙

˙

bb

Abm7 D

b7

wwwwbbb

GbMaj7

* II V I is one of the most common chord progressions. e II, V and I are roman numerals that represent the degree of these chords in the scale you are in. Forexample, in the key of G major the II is Am7, the V is D7 and the I is G major.


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&

˙˙˙

˙

# #

˙˙˙

˙

# F# m7 B 7

wwww

# # EMaj7

˙˙˙

˙

˙˙˙

˙

Em7 A 7 wwww# #

DMaj7

˙̇˙

˙

˙

˙̇

˙

Dm7 G 7

wwww

CMaj7

You can add color and texture to this chord progression by creating movement in the inner voicing. For example, whenplaying the II chord, first play it as a minor with a Maj7, then a m7 then a m6. You can do something similar with theMajor chord. Play it first as a Maj7 then a Major 6.

Another way to add color and texture is by altering the dominant 7 chord. For example, play it as a 7 with a sharp 5.

Here is an example with a II V I in the key of C Major:

3

œœœœ# œœœœ

n œœœœ

˙˙˙

˙

#

Dm(maj7 ) Dm7 Dm6 G 7 (# 5)

˙˙˙

˙

˙

˙˙

˙

CMaj7 C6

You can also create an inner voicing movement in the dominant 7 chord using the #5, 5 and b5.

˙˙˙

˙

3 œœœœ# œœœœ n

œœœœ bD m7 G 7 (# 5) G 7 G 7 ( b5)

˙˙˙

˙

˙

˙˙

˙

jC Ma 7 C6

Practice these patterns in descending whole steps as in the exercise in the previous page.



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CHORDABILITY | 11

Drop 3

Tese are voicings using the root position of Drop 3 over II V I progressions in minor keys.*

Te exercise goes down in whole steps from one key to the next.

& ˙˙˙˙

b ˙˙˙

˙

# Dm7 (b5) G 7 (# 5)

˙˙˙

˙

b ˙˙˙

˙

Cm(maj7 ) Cm6

˙̇˙

˙bbb ˙

˙˙

˙#

Cm7 (b5) F 7 (# 5)˙̇

˙

˙bb ˙

˙

˙

˙

Bbm(maj7 ) Bbm6

˙˙˙

˙bbbb ˙˙˙

˙bBbm7 (b5) Eb7 (# 5)

˙˙˙

˙bbb ˙˙

˙

˙

Abm(maj7 ) Abm6

˙˙˙

˙bbb ˙˙˙

˙bAbm7 (b5) Db7 (# 5)

˙˙˙

˙bb ˙

˙

˙

˙

bGbm(maj7 ) Gbm6

˙˙˙

˙

# ˙

˙

˙

˙#

F# m7 (b5) B 7 (# 5)

˙˙

˙

˙# ˙˙˙

˙#

Em(maj7 ) Em6

˙˙˙

˙

b ˙

˙˙

˙

# Em7 (b5) A 7 (# 5)

˙˙

˙

˙

˙˙˙

˙

# Dm(maj7 ) Dm6

*In a minor key the II is almost always a m7(b5) chord. e V chord is played with the #5 many times to relate to the minor third of the I chord.


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12 | Chord Progressions That Use Five-Note Chords


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CHORDABILITY | 13

2

Inverting Chord Progressions That UseFive-Note Chords

Chord progressions tend to sound fuller when you add color notes beyond the 7th or the 6th, like the 9th for example.Since this creates chords with five notes that are harder to invert, the average guitarist usually sticks to just one way ofplaying these kinds of progressions. Here is an outline of ways for you to be able to play advanced and hip chord progres-sions in all their inversions with relative ease. It’s based on the fact that the top four notes of many five-note chords have

voicings that are identical to some of the more basic four-note chords. Tis lets you make use of voicings that you mayalready know, which is nice, but the really great thing is that it makes them much easier to invert. Confused? Follow thislesson step by step, and you will see how this works.

Te major 6 chord is easy to construct and invert using the drop 2 and drop 3 structures. What makes it even better is thefact that this chord also represents other chords.

Te notes in the C6 chord are the same notes as in the Am7 chord and are also the same notes as the top four notes of theFmaj9 chord.

w

C 6w

Am7w

FMaj9

Tis tells us that all the major 6 chords we have to practice are also m7 or Maj9 chords. Te relationship between thechords is that the m7 is the relative minor of the major 6 chord, and the Maj9 chord is a 4th above the major 6 chord.

Tis is a very important thing to remember. It will allow you to triple your chord vocabulary instantly.

Let’s put these chords in the context of the II V I progression.

We’ll use the key of G as an example. Te II is Am7, which is the same chord as C6. Te V is D7. Since jazz harmonygravitates toward altered chords, let’s play the D7(b5) chord. Te I is a G major, and for added color, let’s use the Gmaj9,

which without the root is the same as D6. We now have three chords that are easily constructed in a drop 2 or drop 3 voicing.

Here they are in a drop 2 structure:

Am75fr.

D 7(b5)5fr.

”

GMaj94fr.


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14 | Inverting Chord Progressions That Use Five-Note Chords

Te next thing to do is to play this progression in all the different inversions and across the guitar fretboard.Let’s start high on the fretboard and keep inverting these chords until we reach the low end of the guitar.

Keep in mind that Am7 is the same as C6 and that GMaj9 is the same as D6 without its root.

ry this progression with D7(#5) instead of D7( 5).


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CHORDABILITY | 15

Let’s develop this concept even further. o give the m7 chord more texture, we can use the m9 chord. Te m9 is a chord with five notes, but if we don’t play the root the four notes that are left create a maj7 chord.

Let’s use the Am9 as an example.

Am9

CMaj7

As you see, the top four notes of the Am9 chord are the same as the CMaj7. Tat gives us a four-note chord that we caneasily invert and play all over the fingerboard using the drop 2 and drop 3 voicings.

Now let’s add texture to the 7 chord. Te general approach jazz musicians take when dealing with a 7 chord is to addaltered notes e.g. the 9 & #9, the 5 & #5. Tis is something you can’t do all the time, but many times it does work andgives you a hipper sound. When the 7 chord acts as leading chord, which means as V chord (or its tritone), you can alter

the 7 chord. What you want to watch out for is that in cases where you are accompanying a melody, as opposed to a solo, you don’t want the altered notes to clash with the melody. For example, if the melody note is the five of the chord, youshouldn’t play the b5 or #5.

One effective variation of an altered 7 chord is the 7(#5 9) chord. Tis sounds like a complicated chord that is hard toinvert and play all over the fret board. But is it really? Again, by looking at the top four notes of the chord we discover asimple four-note chord. In this case it is a m6 chord.

Using the D7(#5 9) chord as an example.

w w

Look closely at these two chords. Te four top notes of the altered D7 chord are the same notes that make up the E m6. Tey are enharmonic, but they are the same chord. So now you can play many different inversions and voicings of a 7chord with its #5 and 9 by simply playing a m6 chord a half step higher.


20/47


Let’s do one more thing with the 7 chord. A very common alteration to the 7 chord is adding the b9. Tat leaves us witha five-note chord. Te top four notes, though, spell out a diminished chord.*

Here it is with the D7(b9) chord.

w

D7

(

b

9

) w

F# dim

Now we have a way to play a m9, a Maj9, a 7( 9) and a 7(#5 9) chords using four-note chords. Te trick is to remember which is which.

Te m9 is the same as a Maj7 chord, and the relation between the two is that they are the relative minor and relative majorof each other. Am9=Cmaj7.

Te Maj9 is the same as a major 6 chord, and the relation between them is that the major 6 chord is a fifth above the Maj9

chord. Gmaj9=D6.

Te 7( 9) is the same as a diminished chord, and the relation between them is that the diminished chord is built from the3rd, 5th, 7th or b9 of the 7 chord. D7( 9)=F#dim, Adim, Cdim, Ebdim.

Te 7(#5 9) is the same as a m6 chord and the relation between them is that the m6 is a half step above the altered 7chord. D7(#5 9)=Ebm6.

Using another very common progression, the I, VI, II, V, I, we can apply all the different chords we discussed. We’ll do itin the key of G, using D6 for the Gmaj9 (the I), G#dim for the E7( 9) (the VI), Cmaj7 for the Am9 (the II), and E m6for the D7(#5 9) (the V). Tese are all drop 2 voicings in this example.

When using this approach we need to understand these new four-note chords in terms of the underlying original harmonybut see them as we play in terms their new equivalents. For example, when we want to play D7(#5 9) we should see it asE m6. For that reason I will notate the chord using the notes that relate to E m6 so it will have an G instead of a F#, anda B instead of an A#.

*e diminished chord is one that is used extensively. It is composed of four notes, symmetrically divided by equal intervals of a minor third each. An important fact about the diminished chord is that because of its symmetrical structure, any note in it can function as the root.


21/47

CHORDABILITY | 17

As much as some of these chords present a technical challenge, they are all possible to play, and, more importantly, they areeasy to invert using the method we discussed.

Te next step is for us to play this progression starting from high up on the fret board, and moving down as low as wecan. Again, what we are using are inversions of major 6, diminished, major 7 and minor 6 chords. In the case of the keyof G, remember that we see these chords as we play as D6, Fdim, CMaj7 and Ebm6, even though they are standing in for

Gmaj9, E7( 9), Am9, and D7(#5 9) respectively. Before we play the whole progression, we should practice inverting eachone of these chords in the drop 2 voicings.


22/47


Here is the whole progression, except that, in order to create a nice lead in, I have started on the II V. Tese two chordslead to the I and help orient the ear. Te progression is now II/V/I/VI, over and over again. In the key of G it is Am9/D7(#5 9)/GMaj9/E7( 9). Remember, for Am9 we play CMaj7, for D7(#5 9) we play E m6, for GMaj9 we play D6 andfor E7( 9) we play Fdim.


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CHORDABILITY | 19

We can play all these progressions using the drop 3 voicings. Tis is the same basic progression as the one from the lastexercise, but with two changes. One is that instead of playing the D7 with its #5 and 9, which spells out the E m6, I amusing the D7(#5) without the 9. It is a very useful chord that we should also practice. Te other is that I am using the

Am7 instead of the Am9 chord. Te Am9 as you remember is the CMaj7 chord, and that is a chord that can be challeng-ing in some positions in drop 3. It is still possible, and if you are up to it, then try it. Te progression now is Am7(C6) /D7(#5) / GMaj9(D6) / E7( 9)(Fdim).

First practice the different inversions of each chord.


24/47

Tis is the whole progression, II/V/I/ IV over and over again in the key of G using drop 3 voicings.

Just a reminder, for Am7 we play C6, for GMaj9 we play D6 and for E7( 9) we play Fdim.

71

73

75

77

79



25/47

CHORDABILITY | 21

3 The Diminished Te diminished chord is used a great deal in jazz improvisation and harmony. It can be used in different contexts and is a

musical element absolutely worth mastering. Te diminished triad (three notes) is made of the 1, flatted 3rd and flatted 5th of the major scale. Te diminished chord(four notes) has the 6th added to the triad. Tese four notes create a cycle of minor thirds (a step and a half interval),meaning the distance between each of these notes is a minor third. Consequently, when you build a diminished chord,each one of the notes in that chord can be the root, since you’ll get the same four notes, regardless which of these notes

you start from.

& 44 œ œb œb Œ œ œb œb œ e C Diminished Triad e C Diminished Chord

Let’s construct a diminished chord starting from each of the notes in the Cdim chord. We’ll do that by starting from eachof these notes and going up in minor thirds. As you see, they all have the same notes.

& œ œb œb œCdim

œb œb œ œEbdim

œb œ œ œbGbdim

œ œ œb œbAdim

Since each diminished chord is identical to three other diminished chords and there are 12 notes in an octave, there areonly three different Diminished chords, each with four different names:• Cdim (which is also Ebdim, Gbdim, and Adim)• Dbdim (which is also Edim, Gdim, and Bbdim)• Ddim (which is also Fdim, Abdim, and Bdim)

Another very important point about the diminished is that when any of the four notes in the diminished chord is lowereda half step, it changes the diminished into a 7th chord, with the lowered note as the root. And when all the notes of thediminished chord are played along with the root, we get a 7th chord with a flatted 9th. Tat is why the diminished is oftenplayed over 7th chords.

Here is an example of the diminished chord, the 7th chord that we get when we lower one of the notes a half step.

In Drop 2 Voicings

& ˙

˙˙

˙bb ˙̇

˙

˙# #

Cdim2

1

3 4

B7 1

3 4

1

˙

˙˙

˙bb ˙

˙˙˙

Cdim2

1

3 4

F7

˙

˙˙

˙bb ˙

˙˙

˙b

Cdim2

1

3 4

Ab7˙

˙˙

˙bb ˙̇

˙˙#

Cdim2

1

3 4

D7

In Drop 3 Voicings

& ˙˙˙˙

bb ˙˙˙

˙

# # Cdim B7

˙˙

˙

˙

bb ˙˙˙

˙

bCdim Ab7

˙˙

˙

˙

bb ˙˙˙

˙

# Cdim D7

˙˙

˙

˙

bb ˙˙˙

˙

Cdim F7


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22 | The Diminished

Practicing the Diminished with Borrowed Notes

When playing a diminished chord you can add interesting colors to it by substituting one of its notes with a note a wholestep above it. Tat note represents the root of one of the 7th chords which can be derived from this diminished. Beloware the notes and diagrams for practicing the C diminished chords with borrowed notes and then resolving back tothe regular diminished chord. Each diagram includes the borrowed note as well as the note of the diminished chord itreplaces. Te note that is part of the diminished chord, the latter one, is marked with a hollow circle. Te borrowed notesare the solid circles two frets up on the same string.

In Drop 2 Voicings

5

5

5

5

`10fr.

5

5

5

5

`7fr.

5

5

5

5

`

9fr.5

5

5

5

`

5fr.5

5

5

5

`7fr.

5

5

5

5

`4fr.

5

5

5

5` 10fr. 5

5

5

5` 7fr. 55 5 5

` 8fr. 55 5 5

` 5fr. 555

5` 7fr. 55 5

5`3 4fr.

5 5

5

5

`10fr.

5 5

5

5

`7fr.

5

5

5

5

`

8fr.5

5

5

5

`

5fr.5

5

5

5

`

7fr.5

5

5

5

`

4fr.

` 55

5

5

10fr. ` 55

5

5

7fr.

` 5

5

5

5

8fr.

` 5

5

5

5

5fr.

` 5

5

5

5

7fr.

` 5

5

5

5

4fr.

Borrowing the top note

Borrowing the second note from the top

Borrowing the third note from the top

Borrowing the lowest note

& œœœb œœœb œœœb œœœbœ œb œ œ œ œ œb œb œœœb œœœb Óœ œb œ œ Ó

&œœœbb œœœb œœœb œœœbœ œ œb œb œ œb œ œ œœœbb œœœb Óœ œ œb œb Ó

&

œœœb œœ

œ

b œœœbb

œœœb

œ# œb œ œb œ œ œ œ

œœœb œ

œœb

Ó

œ# œb œ œb Ó

&œœœbb œœœb œœœ œœœœ œ œ œ œb œb œ œb œœœbb œœœb

Óœ œ œ œ Ó


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CHORDABILITY | 23

In Drop 3 Voicings

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

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

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

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

& ˙˙˙bb ˙˙˙bbœ œ œ œ

˙

˙

˙

b ˙

˙

˙

bœb œb œ œb

& ˙

˙

˙bb ˙˙˙bœ œ œ# œb ˙˙

˙

bb˙˙˙

b œ œb œ œ

& ˙

˙

˙b ˙˙

˙bbœ œ œ œ ˙

˙

˙bb ˙̇

˙œ œ œb œb

& ˙

˙˙

b ˙˙

˙

bœb œb œ œb

˙˙

˙

b˙˙

˙

bb œ œ œ œ

Borrowing the top note

Borrowing the second note from the top

Borrowing the third note from the top

Borrowing the lowest note.


28/47

24 | The Diminished


29/47

CHORDABILITY | 25

4 The Major 6/Diminished/

Major 6 Progression A close relationship exists between two Major 6 chords that are a 4th or a 5th away from each other. A detailed explana-tion with many examples is found on the DVD. Here is a brief description of this concept.

Te F6 chord and B 6 chords are related to each other because the B 6 is an inversion of Gm7, the II chord for F. Almostall jazz tunes will have an instance in which the II chord goes to the I chord. For example, in the key of F, the Gm7 chord(which has exactly the same notes as B 6) will resolve to an F major chord.

Te F6 chord and C6 chord also have a close relationship since the C6 chord is the upper extension of the FMaj9 chord

(see earlier chapters for a more detailed explanation). So when you move from an F6 chord to a C6 chord it is as if you aremoving from a F6 to an FMaj9.

Looking at the F6 and B 6 chords we see that they have two notes in common, and two notes that are a whole step awayfrom each other. Te notes in common are the F & D, the notes a whole apart are the C & A in F6 and the B and G inB 6. Below the chords are shown first in closed root position and then again in the second bar in Drop 2 voicings, withthe F in the bass for both the F6 and the B 6.

c

F 6 B

6

5fr.

F 63fr.

B

6

1fr.

If we change from B 6 to F6 and move the two notes that are a whole step from each other a half step at a time, then inbetween the two 6 chords we will find a diminished chord that is made up of the two notes that are in common and thetwo notes that are between the ones that are a whole step apart. Tat diminished is the Bdim chord.

Here are these chords, again in a Drop 2 voicings.

n

B

6

1fr.

B dim3fr.

”

F 63fr.

Tis progression, B 6/Bdim/F6, is the one used for the famous Count Basie ending, the IV/#IVdim/I progression. Tisprogression is also often played at bars 5, 6 & 7 of a blues. It can also replace a II V I progression. For example, instead ofplaying Gm7/C7/F6, you can play B 6/Fdim/F6. Tese are not identical progressions in the sense that Fdim is the sameas C7. It isn’t, but it can replace the C7, creating a different sound, and giving you another way to move from the II to theI that can sound great and fit in nicely.


30/47

26 | The Major 6/Diminished/Major 6 Progression

Te same relationship that exists between F6 and B 6 also holds for F6 and C6. Tese two chords also have two notes incommon, A and C, and two notes that are a whole step away, F and D in F6, and G and E in C6. When you move thetwo notes that are different a half step at a time, you get an F#dim chord in between.

Below are the F6 chord and C6 chords in root position closed voicings and then in Drop 3 voicings. Te second line ofmusic shows, in Drop 3 voicings, the F6/F#dim/C6 progression. Te diminished chord is the one you get if you move thedifferent notes a half step at a time.

7fr.

F 6 C 6

F 6 C 6

F 6 F

dim

”

C 6

Harmonically, the relationship between F6 and C6 could be looked at the same way as the relationship between F6 andB 6. If we are in the key of C, the F6/F#dim/C6 is the Count Basie ending, the IV/#IVdim/I progression, and a substitutefor a II/V/I progression, since F6 is Dm7.

Te other relationship between F6 and C6 is that C6 has the top four notes of an FMaj9 chord, so when you go from F6to C6 it is as if you are going form F6 to an FMaj9.

When we changed F6 to a B 6 the two notes that moved in F6 were the A and C. When we changed F6 to a C6, thesetwo notes were the one that stayed, and the other two notes are the one that moved. Following this logic, if we start at C6to get to F6 we move the notes G and E down a whole step and keep the notes C and A the same. o change the F6 to aB 6, the C and A will move down a whole step, and the F and D will stay the same. Again, if we move these notes a halfstep at a time, we will end up with a diminished chord in between. So, moving around the cycle of 4ths, from one Major6 chord to the next, first we keep two notes and move two notes down. Ten we move the notes that had stayed downand keep the notes that moved before the same. Here’s what it looks like moving from C6 to F6 then to B 6, all with thediminished chords that lie between them, and in Drop 2 voicings.

C 65fr.

F

dim4fr.

b

F 63fr.

B dim3fr.

b ”

Bb

61fr.


31/47

CHORDABILITY | 27

Practicing the Major 6/Diminished/Major 6 Progression

Here is the way you should practice the transitions from one Major 6 chord to the next. Start in C6 and go around thecycle of 4ths till you arrive at C6 again. Tis exercise is written in Drop 2 and Drop 3 voicings. Te inversions alternatebass notes as they move through the progression in two ways: either between the root in the base and the 5th in the base,

or, between the 3rd in the base and the 6th in the base.

Drop 2 Voicings, alternating between the root and the 5th in the base

b

C 610fr.

C dim10fr.

b

F 610fr.

B dim9fr.

b

Bb

68fr.

Bb

dim8fr.

b

b

Eb6

8fr.A dim

7fr.

b

Ab6

6fr.Abdim

6fr.

Db6

10fr.G dim

9fr.

b

Gb

6 8fr.

Gb

dim 8fr.

n

B 6 8fr.

F dim 7fr.

n

E 6 6fr.

E dim 6fr.

n

A66fr.

Eb

dim5fr.

n

D 69fr.

D dim9fr.

b

G 69fr.

Db

dim8fr.

”

C 67fr.


32/47


Drop 2 Voicings, alternating between the 6th and the 3rd in the base

b

C 67fr.

A dim7fr.

F 66fr.

Ab

dim6fr.

b

b

Bb

65fr.

G dim5fr.

b

Eb

64fr.

Gb

dim4fr.

b

Ab

68fr.

F dim7fr.

b

Db

66fr.

E dim6fr.

G

b

6

6fr.

D

dim

5fr.

B 64fr.

D dim4fr.

E 64fr.

C

dim

A 62fr.

C dim2fr.

D 67fr.

B dim6fr.

G 65fr.

Bb

dim5fr.

”

C 65fr.

3fr.


33/47

CHORDABILITY | 29

Drop 3 Voicings, alternating between the 5th and the root in the base

b

C 6 8fr.

Gb

dim 8fr.

b

F 6 7fr.

F dim 7fr.

b

Bb

6 6fr.

E dim 6fr.

b

b

Eb

65fr.

Eb

dim5fr.

b

Ab

64fr.

D dim4fr.

b

b

Db

63fr.

Db

dim3fr.

b

G

b

6 7fr. C dim 7fr.

n

B 6 6fr. B dim 6fr.

E 6 5fr. A

dim 5fr.

A 6 4fr.

A dim 4fr.

n

D 6 3fr.

Ab

dim 3fr.

b

G 6 G dim

”

C 6


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Drop 3 Voicings, alternating between the 6th and the 3rd in the base

b

C 6 12fr.

A dim 11fr.

F 6 10fr.

Ab

dim 10fr.

b

b

Bb

6 10fr.

G dim 9fr.

b

Eb

68fr.

Gb

68fr.

b

Ab

68fr.

F dim7fr.

b

Db

64fr.

E dim6fr.

b

Gb

6 6fr.

Eb

dim 5fr.

B 6 4fr.

D dim 4fr.

E 6 9fr.

C

dim8fr.

A 67fr.

C dim7fr.

D 67fr.

B dim6fr.

G 65fr.

Bb

dim5fr.

”

C 65fr.


35/47

CHORDABILITY | 31

5 The Major and Minor 6Diminished Scales Te scales we are about to discuss will enrich your harmonic concepts enormously. We are all indebted to the wonderful

work of Barry Harris, who discovered these scales. By showing us the possibilities they offer, he made it possible for all ofus to incorporate them into our playing.

Te major and minor 6 diminished scales are a combination of the 6 chord and the diminished chord that belongs to thedominant (the V) of the 6 chord. Tus the C6 diminished scale consists of the C6 chord, and the Ddim chord.

Note: e Ddim chord contains the top four notes of the G7b9 chord, which is the dominant of C.

& 44 œ œ œ œ e C6 chord

œ œ œb œ e Ddim chord

When we combine these two chords we get the major 6 diminished scale. It has the same notes as the major scale, with

the flatted 6th added, making it an eight-note scale. By playing the inversions of the two chords on the successive notes ofthe scale, we get a set of chords built on each degree of the scale.

The C6 Diminished Scale

& œ œ œ œ œ œb œ n œ œ Œ Ó

& œœœœ œœœœb œœœœ n œœœœb

C62fr.

Ddim

4fr.

C6

5fr.

Fdim

7fr.

œœœœ œœœœb œœœœ n œœœœb

C6

5fr.

Abdim6fr.

C6

7fr.

Bdim

9fr.

˙

˙˙

˙ Ó

C6

10fr.

Te minor 6 diminished scale is based on the same principals as the major one, but the third is flatted to make it into aminor.

& œ œb œ œ œ œ œb œ e Cm6 chord e Ddim chord

The Cm6 Diminished Scale

& œ œ œb œ œ œb œ n œ œ Œ Ó

& œœœœ

b œœœœb œœœœ nb

œœœœb

Cm6

2fr.

Ddim

4fr.

Cm6

5fr.

Fdim

7fr.

œœœœb œœœœb

œœœœ n œœœœb

Cm6

4fr.

Abdim

6fr.

Cm6

7fr.

Bdim

9fr.

˙

˙˙

˙

bÓ

Cm6

10fr.


36/47

32 | The Major and Minor 6 Diminished Scales

Practicing The Major and Minor 6 Diminished Scales

The Major 6 Diminished in Drop 2 Voicings

& œœœœ œœœœb

œœœœ n œœœœ

bC6

2fr.

Ddim

4fr.

C6

5fr.

Fdim

7fr.

œœœœ œœœœb


C6

5fr.

Abdim4fr.

C 6

7fr.

Bdim

9fr.

˙

˙˙

˙ Ó

C6

10fr.

& b œœœœ œœœœb

œœœœ n œœœœ

b

F 6 Gdim F 6

3fr.

Bbdim5fr.

œœœœ œœœœb


F 6 Dbdim3fr.

F 6

5fr.

Edim

˙˙

˙Ó

F 6

˙

3fr.

& bb œœœœ œœœœb

œœœœ n œœœœ

bBb6

5fr.

Cdim

7fr.

Bb68fr.

Ebdim10fr.

œœœœ œœœœb


Bb67fr.

Gbdim8fr.

Bb610fr.

Adim

7fr.

˙

˙˙

˙ Ó

Bb68fr.

& bbb œœœœ œœœœb

œœœœ n œœœœ

bEb6

5fr.

Fdim

7fr.

Eb68fr.

Ab

dim

11fr.

œœœœ œœœœb


Eb

6

8fr.

Bdim

9fr.

Eb

6

10fr.

Ddim

12fr.

˙

˙˙

˙ Ó

Eb

6

13fr.

C6 Diminished scale

F6 Diminished scale

B 6 Diminished scale

E 6 Diminished scale


37/47

CHORDABILITY | 33

& bbbb œœœœ œœœœb œœœœ n œœœœb3fr. 5fr. 6fr. 8fr.

œœœœ œœœœb œœœœ n œœœœb5fr. 6fr. 8fr. 5fr.

˙

˙˙

˙ Ó6fr.

& bbbbb œœœœ œœœœ n œœœœ œœœœ n

3fr. 5fr. 4fr. 8fr.

œœœœ œœœœ n œœœœ œœœœ n

6fr. 7fr. 7fr. 10fr.

˙

˙˙˙ Ó

& bbbbbb œœœœ œœœœ n œœœœ œœœœ n

3fr. 4fr. 6fr.


3fr. 4fr. 6fr. 1fr.

˙

˙˙

˙ Ó

4fr.

& # # # # # œœœœ œœœœ n œœœœ# œœœœ n

3fr. 4fr. 6fr.

œœœœ œœœœ n œœœœ# œœœœ n

5fr. 6fr. 8fr.

˙

˙

˙˙ Ó

7fr.

A 6 Diminished scale

D 6 Diminished scale

G 6 Diminished scale

B6 Diminished scale


38/47


& # # # # œœœœ œœœœ n œœœœ# œœœœ n

4fr. 5fr. 7fr.


9fr. 10fr. 11fr. 13fr.

Ó˙

˙˙

˙

14fr.

& # # # œœœœ œœœœ n œœœœ# œœœœ n

4fr. 9fr. 7fr. 9fr.


6fr. 7fr. 9fr. 4fr.

˙

˙˙

˙

Ó

7fr.

& # # œœœœ œœœœb œœœœ n œ

œœœb

4fr. 6fr. 6fr. 9fr.

œœœœ

œœœœb

œœœœ n

œœœœb


˙

˙˙

˙

Ó

12fr.

& # œœœœ œœœœb œœœœ n œœœœb

2fr. 4fr. 5fr. 7fr.

œœœœ œœœœb œ

œœœ n œ

œœœb

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

˙

˙˙

˙

Ó

5fr.

E6 Diminished scale

A6 Diminished scale

D6 Diminished scale

G6 Diminished scale


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CHORDABILITY | 35

The Minor 6 Diminished in Drop 2 Voicings

Cm6 Diminished scale

Fm6 Diminished scale

B m6 Diminished scale

E m6 Diminished scale

& bbb œœœœ n œœœœ nb

œœœœ n œœœœ

2fr. 4fr. 5fr. 7fr.

œœœœ n œœœœ n

œœœœ n œœœœ nb

4fr. 6fr. 7fr. 9fr.

˙

˙˙

˙

n Ó10fr.

& bbbb œœœœ n œœœœ nb

œœœœ n œœœœ

3fr. 5fr.


œœœœ n œœœœ nb

3fr. 5fr.

˙

˙˙

˙

n Ó3fr.

& bbbbb œœœœ n œœœœ nb œœœœ n œœœœ


œœœœ n œœœœ n œœœœ n œœœœ nb6fr. 8fr. 10fr. 7fr.

˙

˙˙

˙ n Ó

8fr.

& bbbbbb œœœœ n œœœœ n n œœœœ œœœœ n


œœœœ n œœœœ n n œœœœ n œœœœ n n

7fr. 9fr. 10fr. 12fr.

˙

˙˙

˙ n Ó

13fr.


40/47

& # # # # # œœœœ# œ

œœœ n n œœœœ# # œ

œœœ n

G#

m6 A#

dim G#

m6 C#

dim

œœœœ# œœœœ n œœœœ# # œœœœ n n

G#

m6 Edim G#

m6 Gdim

˙

˙˙

˙

# Ó

G#

m6

& # # # # œœœœ# œœœœ n n œœœœ# # œœœœ n

C#

m6 D#

dim C#

m6 F#

dim


C#

m6 Adim C#

m6 Cdim

˙˙˙

˙# Ó

C#

m6

& # # # œœœœ# œœœœ n n œœœœ# # œœœœ n

F#

m6 G#

dim F#

m6 Bdim


F#

m6 D dim F#

m6 F dim

˙

˙˙

˙# Ó

F#

m6

& # # œœœœ# œœœœ# n œœœœ# œœœœ

B m6 C#

dim Bm6 E dim

œœœœ# œœœœ# œœœœ# œœœœ# n

Bm6 G dim Bm6 A#

dim

˙

˙˙

˙# Ó

Bm6

G#m6 Diminished scale

C#m6 Diminished scale

F#m6 Diminished scale

Bm6 Diminished scale



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CHORDABILITY | 37

& # œœœœ# œœœœ# n œœœœ# œœœœ

2fr. 4fr. 5fr. 7fr.


8fr. 10fr. 11fr. 13fr.

˙

˙˙

˙# Ó

14fr.

& œœœœ# œœœœ# n œœœœ# œœœœ

4fr. 9fr. 7fr. 9fr.


5fr. 7fr. 9fr. 6fr.

˙

˙˙

˙# Ó

7fr.

& b œœœœ n œœœœ# b œœœœ n œœœœ

4fr. 6fr. 7fr. 9fr.

œœœœ n œœœœ# œ

œœœ n œ

œœœ# b


˙

˙˙

˙

n Ó

12fr.

& bb œœœœ n œœœœ# b œœœœ n œœœœ

2fr. 4fr. 5fr. 7fr.

œœœœ n œœœœ# œœœœ n œ

œœœ# b

3fr. 5fr. 7fr. 4fr.

˙

˙˙

˙

n Ó

5fr.

Em6 Diminished scale

Am6 Diminished scale

Dm6 Diminished scale

Gm6 Diminished scale


42/47

The Major 6 Diminished in Drop 3 Voicings

& œœœœœœœœb œœœœ

n œœœœb

7fr. 9fr. 10fr. 12fr.

œœœœœœœœb

œœœœ nœœœœb

8fr. 10fr. 12fr. 13fr.

˙˙

˙

˙ Ó14fr.

& b œœœœœœœœb œœœœ

n œœœœb

3fr. 5fr.

œœœœ œœœœb œœœœ n œœœœb4fr. 6fr.

˙˙

˙

˙Ó

7fr.

& bb œœœœ œœœœb œœœœ n œœœœb3fr. 5fr.

œœœœ œœœœb œœœœ n

6fr. 8fr. 10fr.

œœœœb11fr.

˙˙

˙

˙ Ó12fr.

& bbb œœœœ œœœœ n œœœœb œœœœ n




˙˙

˙

˙Ó

10fr.

C6 Ddim C 6 Fdim C6 Ab

dim C 6 Bdim C6

F 6 Gdim F 6 Bbdim F 6 Dbdim F 6 E dim F 6

Bb

6 Bb

6 Ebdim Bb6 Gbdim Bb6 Bb6

Eb6 Fdim Eb6 Abdim Eb6 B dim Eb6 D dim Eb6

C6 Diminished scale

F6 Diminished scale

B 6 Diminished scale

E 6 Diminished scale

Cdim A dim



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CHORDABILITY | 39

A 6 Diminished scale

D 6 Diminished scale

G 6 Diminished scale

B6 Diminished scale

& bbbb œœœœ œœœœ n œœœœb œœœœ n

3fr. 5fr. 6fr. 8fr.


9fr. 6fr. 8fr. 9fr.

˙˙

˙

˙ Ó

10fr.

& bbbbb œœœœ œœœœ n œœœœb œ

œœœ n


œœœœ n

œœœœ œœœœ

9fr. 11fr. 13fr. 7fr.

˙˙

˙

˙ Ó

8fr.

& bbbbbb œœœœ œœœœ n œœœœb œœœœ n

4fr. 6fr.

œœœœ œœœœ nœœœœ

œœœœ n

7fr. 9fr. 11fr. 12fr.

˙˙

˙

˙ Ó

12fr.

& # # # # # œœœœ œœœœ n œœœœ# œ

œœœ n

6fr. 8fr. 9fr. 6fr.

œœœœ

œœœœ n

œœœœ#

œœœœ n

7fr. 9fr. 11fr. 12fr.

˙˙

˙

˙

Ó

13fr.

œœœœ


44/47

E6 Diminished scale

A6 Diminished scale

D6 Diminished scale

G6 Diminished scale

& # # # # œœœœ œœœœ n œœœœ# œœœœ n




˙˙

˙

˙Ó

11fr.

& # # # œœœœ œœœœ n œœœœ# œœœœ n

4fr. 6fr. 6fr. 9fr.



˙˙

˙

˙ Ó

11fr.

& # # œœœœ œœœœb œœœœ n œ

œœœb


œœœœ

œœœœb œœœœ œœœœ

10fr. 12fr. 7fr. 8fr.

˙˙

˙

˙ Ó

9fr.

& #

œœœœ œœœœb œœœœ n œ

œœœb

4fr. 5fr. 7fr.

œœœœ

œœœœb

œœœœ n

œœœœb

8fr. 10fr. 12fr. 8fr.

˙˙

˙

˙

Ó

9fr.



45/47

CHORDABILITY | 41

The Minor 6 Diminished in Drop 3 Voicings

& bbb œœœœ n œœœœ n

œœœœ n œœœœ

nb7fr. 9fr. 11fr. 7fr.


œœœœ nœœœœ nb

8fr. 10fr. 11fr. 13fr.

˙˙

˙

˙

n Ó12fr.

& bbbb œœœœ n œœœœ n

œœœœ n œœœœ

nb3fr. 5fr.


œœœœ nœœœœ nb

3fr. 4fr. 6fr.

˙˙

˙

˙

n Ó5fr.

& bbbb bœœœœ n œœœœ n

œœœœ n œœœœ nb3fr. 5fr.

œœœœ n œœœœ n œœœœ n œœœœ nb6fr. 8fr. 9fr. 11fr.

˙˙

˙

˙

n Ó12fr.

& bbbbbb œœœœ n œœœœ n n œœœœ nb œœœœ n n5fr. 7fr. 8fr. 10fr.

œœœœ n œœœœ n n œœœœ n œœœœ n n


˙˙

˙

˙ n Ó

10fr.

Cm6 Diminished scale

Fm6 Diminished scale

B m6 Diminished scale

E m6 Diminished scale


46/47

G#

m6 A#

dim G#

m6 C#

dim G#

m6 Edim G#

m6 Gdim G#

m6

C#

m6 D#

dim C#

m6 F#

dim C#

m6 Adim C#

m6 Cdim C#

m6

F#

m6 G#

dim F#

m6 Bdim F#

m6 D dim F#

m6 F dim F#

m6

B m6 C#

dim Bm6 E dim Bm6 G dim Bm6 A#

dim Bm6

G#m6 Diminished scale

C#m6 Diminished scale

F#m6 Diminished scale

Bm6 Diminished scale

Ó

Ó

Ó

Ó

& # # # # # œœœœ# œœœœ nb œœœœ# # œœœœ n

3fr. 5fr. 6fr. 8fr.

œœœœ# œœœœb n œœœœ# # œœœœ n n

9fr. 6fr. 5fr. 9fr.

˙

˙˙

˙#

10fr.

& # # # # œœœœ# œœœœ# œœœœ# œœœœ n n

8fr. 10fr. 11fr. 8fr.

œœœœ# œœœœ n œ

œœœ# # œœœœ n n

9fr. 11fr. 12fr. 7fr.

˙

˙˙

˙#

8fr.

& # # # œœœœ# œœœœ n œœœœ# # œœœœ n n

4fr. 6fr.

œœœœ# œœœœ n œœœœ# # œ

œœœ n n

7fr. 9fr. 10fr. 12fr.

˙˙

˙

˙#

13fr.

& # # œœœœ# œœœœ# œœœœ# œ

œœœ#

n

6fr. 8fr. 9fr. 6fr.

œœœœ# œœ

œœ# œœ

œœ#

œœœœ# n

7fr. 9fr. 10fr. 12fr.

˙˙

˙

˙

#

13fr.



47/47

CHORDABILITY | 43

Em6 Diminished scale

Am6 Diminished scale

Dm6 Diminished scale

Gm6 Diminished scale

Ó

Ó

Ó

Ó

& # œœœœ# œœœœ# œœœœ# œœœœ# n




˙˙

˙

˙#

11fr.

& œœœœ# œœœœ# œœœœ# œœœœ# n

4fr. 6fr. 7fr. 9fr.



˙˙

˙

˙#

11fr.

& b œœœœ n œœœœ# œœœœ n œ

œœœ# b


œœœœ n

œœœœ#

œœœœ n œœœœ# #

10fr. 12fr. 6fr. 8fr.

˙˙

˙

˙ n

9fr.

& bb œœœœ n œœœœ# œœœœ n œœœœ# b

4fr. 5fr. 7fr.

œœœœ n œ

œœœ# œ

œœœ nœœœœ# b

8fr. 10fr. 11fr. 8fr.

˙˙

˙

˙

n

9fr.

Chordability

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