Jim Gleason’s GUITAR ENCYCLOPEDIA Chord Progression and … · PAGE 6 FRETBOARD DIAGRAMS Dots in these diagrams indicate fin- gered notes. Chord tones are fin-gered simultaneously.

Jim Gleason’s GUITAR ENCYCLOPEDIA

Chord Progressionand

Rhythm GuitarBy Jim Gleason

Version 2.1. July 1993. © 1983-1993 Rock Performance Music. All Rights Reserved

www.guitarencyclopedia.com

PAGE 2

This book contains the essential chord progressions used in Rock-related music from 1950 to the present.Each of the chord progressions in the book may be heard on the accompanying CD's.

Memorize every progression in this book or only those applicable to your personal style. If you wish tomemorize only selected progressions, listen to the entire tape first and take note of the ones you like.

You can transpose the progressions to other keys by moving each chord fingering used in the progressionup or down the neck a certain number of frets. This will enable you to use the progressions fluently in your ownarrangements and recognize them in other songs.

I used a guitar synthesizer in addition to my standard electric guitars. Synthesizer sounds (imitatingvarious instruments) were used to suggest instrumentation appropriate to the style of the chord progression.Without a synthesizer, you can broaden your musical skills by working out chord voicings on the guitar to beused on other instruments.

Here is a list of the guitars and guitar synthesizer patches that were used in recording the tape includedwith this book:

Charvel Soloist (Stratocaster type) with EMG pickupsCharvel Soloist (Stratocaster type) with Duncan Pearly Gates (bridge) and Ultrasonic Ref 1 pickupsCharvel Telecaster with Ultrasonic Ref 6, Ref 1, Duncan Hot Tele and Danelectro pickupsGibson ES335 with standard Gibson neck pickup and Duncan '59 bridge pickupRoland GR700 guitar synthesizer and GR707 guitar

ABBREVIATIONS & SYMBOLS USED IN CHORD NAMES

∆7 = major seventh chord∆9 = major ninth chord/9 = add nine chordm/9 = minor add nine chord6/9 = major sixth, add nine chordm6/9 = minor sixth, add nine chord°7 = diminished seventh chordR = chord rootNR = no chord root in this fingeringN3 = no third of the chord in this fingeringN5 = no fifth of the chord in this fingeringN9 = no ninth of the chord in this fingeringN11 = no eleventh of the chord in this fingering

INTRODUCTION

PAGE 3CONTENTSPage CD/Track

Tuning CPRG-1/1

Introduction ..................................................................................................................................................... 2Abbreviations & Symbols Used In Chord Names ........................................................................................... 2Contents ........................................................................................................................................................... 3Fretboard Diagrams ......................................................................................................................................... 6Fretboard Note Names ..................................................................................................................................... 8Tablature .......................................................................................................................................................... 9

Part 1: Rhythm Guitar Technique ............................... 10Techniques Of Strumming ............................................................................................................................ 10Left Hand Technique ..................................................................................................................................... 12Left Hand Muting .......................................................................................................................................... 12Right Hand Muting ........................................................................................................................................ 13Fingerpick Technique .................................................................................................................................... 13

Part 2: Counting Rhythm ............................................. 14

Part 3: Rhythm Guitar Examples ................................ 17Hard Rock Rhythm Guitar ExamplesAeolian .......................................................................................................................................................... 18 CPRG-1/2Dorian ............................................................................................................................................................ 20 CPRG-1/3Major ............................................................................................................................................................. 21 CPRG-1/4Mixed Minor .................................................................................................................................................. 24 CPRG-1/5Mixolydian .................................................................................................................................................... 25 CPRG-1/6Parallel 4ths ................................................................................................................................................... 28 CPRG-1/7Parallel 5ths ................................................................................................................................................... 30 CPRG-1/8Parallel Major Chords .................................................................................................................................... 31 CPRG-1/9

Metal Rhythm Guitar ExamplesAeolian .......................................................................................................................................................... 32 CPRG-1/10Dorian ............................................................................................................................................................ 34 CPRG-1/11Mixed Minor .................................................................................................................................................. 37 CPRG-1/12Mixolydian .................................................................................................................................................... 38 CPRG-1/13Parallel 4ths ................................................................................................................................................... 38 CPRG-1/14Parallel 5ths ................................................................................................................................................... 39 CPRG-1/15

Blues Rhythm Guitar ExamplesParallel 4ths ................................................................................................................................................... 42 CPRG-1/16Mixolydian .................................................................................................................................................... 42 CPRG-1/17Parallel 6th Chords ........................................................................................................................................ 44 CPRG-1/18Parallel 7th Chords ........................................................................................................................................ 45 CPRG-1/19Mixed Minor .................................................................................................................................................. 46 CPRG-1/20

Soft Rock Rhythm Guitar ExamplesAeolian .......................................................................................................................................................... 47 CPRG-1/21Dorian ............................................................................................................................................................ 48 CPRG-1/22Major ............................................................................................................................................................. 48 CPRG-1/23Mixed Minor .................................................................................................................................................. 51 CPRG-1/24Mixolydian .................................................................................................................................................... 52 CPRG-1/25

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Page CD/Track

Part 4: Chord Progression ..............................................53

Stepwise Chord ProgressionsMajor Scale Tone Stepwise Triads ................................................................................................................ 54 ........ CPRG-1/26Major Scale Tone Stepwise Seventh Chords ................................................................................................. 55 ........ CPRG-1/27Major Scale Tone Stepwise Triads constructed in thirds .............................................................................. 56 ........ CPRG-1/28Major Scale Tone Seventh Chords constructed in thirds .............................................................................. 57 ........ CPRG-1/29Stepwise Songform Examples ....................................................................................................................... 58 ........ CPRG-1/30

Parallel Chords Of The Same QualityParallel Major Chords .................................................................................................................................... 59 ........ CPRG-1/31Songform Examples: Parallel Chords Of The Same Quality ........................................................................ 60 ........ CPRG-1/32

Chord Progressions Using A Descending VoiceStepwise Bass Descending From A Major Chord Root ................................................................................ 63 ........ CPRG-1/33Songform Examples: Stepwise Bass Descending From A Major Chord Root ............................................ 63 ........ CPRG-1/34Stepwise Bass Descending From A Minor Chord Root ................................................................................ 64 ........ CPRG-1/35

Chord Progressions Using A Chromatic VoiceChromatic Descent From A Minor Chord Root ............................................................................................ 65 ........ CPRG-1/36Songform Examples: Chromatic Descent From A Minor Chord Root ........................................................ 66 ........ CPRG-1/37Chromatic Ascent From The Fifth Of A Major Chord .................................................................................. 68 ........ CPRG-1/38Chromatic Ascent From The Fifth Of A Minor Chord ................................................................................. 68 ........ CPRG-1/39Chromatic Descent From The Root Of A Major Chord ................................................................................ 68 ........ CPRG-1/40

I IV I7 IV Type Chord ProgressionsA D A7 D (I IV I7 IV) Progressions .................................................................................................... 69 ........ CPRG-1/41A D Ama7 D (I IV Ima7 IV) Progressions .......................................................................................... 69 ........ CPRG-1/42Am D Am7 D (Im IV Im7 IV) Progressions ........................................................................................ 70 ........ CPRG-1/43Am Dm Am7 Dm (Im IVm Im7 IVm) Progressions .................................................................................. 70 ........ CPRG-1/44A Dm A7 Dm (I IVm I7 IVm) Progressions ......................................................................................... 71 ........ CPRG-1/45

Root Movement Up In Perfect FourthsMajor Scale Tone Triads with Root Movement Up in Perfect 4ths .............................................................. 72 ........ CPRG-1/46Major Scale Tone 7th Chords with Root Movement Up in Perfect 4ths ....................................................... 72 ........ CPRG-1/47G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 1st through 4th strings ....... 73 ........ CPRG-1/48G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 2nd through 5th strings ..... 73 ........ CPRG-1/49G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 3rd through 6th strings ...... 73 ........ CPRG-1/50G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 1st through 4th strings ....... 74 ........ CPRG-1/51G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 2nd through 5th strings ..... 74 ........ CPRG-1/52G Major Scale Tone 7th Chords: Roots Up in 4ths, descending voices on the 3rd through 6th strings ...... 75 ........ CPRG-1/53

Stepwise Root Movement, Descending VoicesG Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 1-4 .................. 75 ........ CPRG-1/54G Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 2-5 .................. 76 ........ CPRG-1/55G Major Scale Tone 7th Chords: Stepwise Root Movemen, descending voices on strings 3-6 .................. 76 ........ CPRG-1/56

Root movement up in perfect fourths, Song form examples .................. 77 ...... CPRG-1/57

Blues Turnarounds...................................................................................... 78Blues Turnaround With Contrary Motion Of Voices .................................................................................... 78 ........ CPRG-1/58Blues Turnaround with Bassline 1, 3, 4, #4, 5 ............................................................................................. 79 ........ CPRG-1/59

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Page CD/Track

Descending Diminished Blues Turnaround (I7 I°7 IVm6 I) ...................................................................... 79 ........ CPRG-1/60Descending Diminished Blues Turnaround (I7 Im7b5 V9nr I) .................................................................. 80 ........ CPRG-1/61

Jazz TurnaroundsJazz Turnaround A6 A°7 Bm7 A°7 A6 (I6 A°7 IIm7 I°7 I6) ............................................................. 80 .......... CPRG-2/1Songform Examples Employing variations of the II V I Progression ....................................................... 81 .......... CPRG-2/2Jazz Turnaround variations of III VI II V I .............................................................................................. 82 .......... CPRG-2/3More Songform Examples Employing II V I ............................................................................................. 85 .......... CPRG-2/4

Jazz Turnarounds With Common TonesI VI II V Type Progressions With Common Tone “1” .............................................................................. 86 .......... CPRG-2/5I VI II V Type Progressions With Common Tone “2” .............................................................................. 87 .......... CPRG-2/6I VI II V Type Progressions With Common Tone “3” .............................................................................. 87 .......... CPRG-2/7I VI II V Type Progressions With Common Tone “5” .............................................................................. 88 .......... CPRG-2/8I VI II V Type Progressions With Common Tone “6” .............................................................................. 89 .......... CPRG-2/9I VI II V Type Progression With Common Tones “1” and “3” ................................................................ 89 ........ CPRG-2/10I VI II V Type Progressions With Common Tones “3” and “5” ............................................................... 89 ........ CPRG-2/11I VI II V Type Progressions With Common Tones “1” and “6” ............................................................... 90 ........ CPRG-2/12Songform Examples With Common Tones ................................................................................................... 90 ........ CPRG-2/13

Pedal Tone Chord ProgressionD Major Scale Tone Progressions With Pedal Tone “D” .............................................................................. 91 ........ CPRG-2/14D Mixolydian Scale Tone Progressions with Pedal Tone “D” ...................................................................... 92 ........ CPRG-2/15D Dorian Scale Tone Progressions With Pedal Tone “D” ............................................................................ 92 ........ CPRG-2/16D Aeolian Scale Tone Progressions With Pedal Tone “D” ........................................................................... 92 ........ CPRG-2/17A Major Scale Tone Progressions With Pedal Tone “A” .............................................................................. 93 ........ CPRG-2/18A Mixolydian Scale Tone Progressions with Pedal Tone “A” ...................................................................... 93 ........ CPRG-2/19A Dorian Scale Tone Progressions With Pedal Tone “A” ............................................................................ 93 ........ CPRG-2/20A Aeolian Scale Tone Progressions With Pedal Tone “A” ........................................................................... 94 ........ CPRG-2/21

Twelve Bar Blues Chord ProgressionsDelta Blues Piano Progression ...................................................................................................................... 94 ........ CPRG-2/22Jazzy 12 Bar Blues Progressions ................................................................................................................... 94 ........ CPRG-2/23Bass Pickup Blues in A ................................................................................................................................. 99 ........ CPRG-2/24IV Hammer I7 Blues ................................................................................................................................... 101 ........ CPRG-2/25Descending Diminished Blues in E ............................................................................................................. 102 ........ CPRG-2/26I IV I7 IV Blues in A #1 .............................................................................................................................. 103 ........ CPRG-2/27I IV I7 IV Blues in C #2 .............................................................................................................................. 104 ........ CPRG-2/28I IV I7 IV Blues in A #3 .............................................................................................................................. 105 ........ CPRG-2/29Six Nine Blues #1 ........................................................................................................................................ 106 ........ CPRG-2/30Six Nine Blues #2 ........................................................................................................................................ 107 ........ CPRG-2/31Six Nine Blues #3 ........................................................................................................................................ 108 ........ CPRG-2/32Six Nine Blues #4 ........................................................................................................................................ 109 ........ CPRG-2/33Six Nine Blues #5 ........................................................................................................................................ 110 ........ CPRG-2/34Walking Bass Blues #1 ................................................................................................................................ 111 ........ CPRG-2/35Walking Bass Blues #2 ................................................................................................................................ 112 ........ CPRG-2/36Walking Bass Blues #3 ................................................................................................................................ 113 ........ CPRG-2/37Walking Bass Blues #4 ................................................................................................................................ 114 ........ CPRG-2/38Walking Bass Blues #5 ................................................................................................................................ 115 ........ CPRG-2/39Walking Bass Blues #6 ................................................................................................................................ 116 ........ CPRG-2/40Walking Bass Blues #7 ................................................................................................................................ 117 ........ CPRG-2/41Walking Bass Blues #8 ................................................................................................................................ 119 ........ CPRG-2/42

CONTENTS

PAGE 6 FRETBOARD DIAGRAMS

Dots in these diagrams indicate fin-gered notes. Chord tones are fin-gered simultaneously. Scale or ar-peggio tones are fingered individu-ally.

The barré is a group of notes all on the same fret of twoor more strings fingered with a straight portion of onefinger. It uses the classical wrist position. Finger (fret)the barre with the harder edge of your finger when youcan. Avoid the creases opposite your knuckles, sincethey can mute notes.

the actual metal fret is indicated by thehorizontal line at the bottom of each space

h o r i z o n t a lspaces are frets

unmarked stringsare not sounded

“T ” indicates anote fretted withthe left thumb.

a circle above a stringindicates it is playedopen (not fretted)

this diagram......

represents this viewof the fretboard

vertical lines are strings(numbered above diagram)

PAGE 7FRETBOARD DIAGRAMS

Left handed guitarists. Interpret referencesto the right hand as left hand and vice versa.All diagrams must be imagined in “mirrorimage”:

A roman numeral above the top right of thediagram indicates the number of the top fret onthe diagram:

When numbers higher than 4 are used in a diagram,all of the numbers indicate scale, chord or arpeggiotones.

The numbers 1, 2, 3 and 4 within diagrams indicateleft hand fingers. The finger number on the chord

root or tone center may be circled.

fingers

Movable diagrams have no roman numeral on theirupper right and therefore have no specified top fretnumber. They may be placed anywhere on thefretboard according to their chord root(s) or tonecenter(s). Ifnotes on a dia-gram are indi-cated by dots,a circled or en-larged dot in-dicates thechord root ortone center.

A chord root is the note after which a chord is named(“D” is the root of a D major chord). A tone centeris the note after which a scale is named (“C” is thetone center of a C Lydian scale).

Dmaj.chord II C Lydian scale VII movablemovable

named afternamed after

PAGE 8 FRETBOARD NOTE NAMES

FULL FRETBOARD NOTE NAMES AND STAFF LOCATIONS

* Guitar sounds one octave lower than written.

A D G B EE

FA# D# G#

C F

B E AC# F#F#

C FA#

D GG

C# F#B

D# G#G#

D G C E AA

Eb Ab DbF

BbBb

E A DF#

BB

FA# D#

G CC

B E

G C F A DD

G# C# F# A# D#D#

A D G B EE

Ab Db Gb Bb EbEb

F# G# C#C#

Gb Ab DbDb

Bb Eb

Gb

D# G# C# A#A#

Db Gb Eb AbAb

Db GbGb

Bb Eb Ab

6

FA# D# G#

C

B E AC#F#

C F Bb DG

C# F#B

D#G#

D G C EA

Db Gb EbAb

DbGb

Bb Eb Ab

5 4 3 2 1

Bb

F

F#

G

G#

A

Ab

Gb

PAGE 9TABLATURE

TABLATURE

This system of notation is simply a graph of the guitar strings from the perspective of looking down onthe guitar as you’re playing it (see below). The numbers on the strings indicate frets and are written from leftto right in the sequence they are to be played. In this book, tablature is written below all music notation. Thetablature indicates where each note is fretted.

Symbols below each fretted note indicate the suggested fretting finger. Left hand finger symbols are “T”for thumb, “1” for index, “2” for middle, “3” for ring and “4” for little finger. “B1” indicates bend an intervalof 1 fret. “R” indicates release the bend. “H” means hammer. “P” means pull off. “S” means slide.

Where too many numbers are required to clearly show the left hand fingering for a chord, the chord isdiagramed on a grid above or below the music notation and tablature.

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PART 1:RHYTHM GUITAR

TECHNIQUETECHNIQUES OF STRUMMING

Holding the pick. There are many ways to hold a guitar pick. In the most traditional method, hold thepick between the side of the tip segment of the index finger and the flat surface of the thumb (opposite thethumbnail). Try to extend the tip of the pick 1/4" or less from the thumb for fine control (many players preferless than 1/8"). Bend the first finger so its tip points toward the base of the thumb. Holding the pick in this mannershould allow light pressure between the thumb and first finger.

The position of the pick in relation to the strings. To produce the purest string tone, cause the stringsto vibrate parallel to the frets, providing maximum clearance and minimum buzzing. Make sure that the pickis held in a plane perpendicular (90°) to the surface of the strings (or to the guitar top), to avoid “catching” thestring on upstrokes. Pluck the strings with the tip of the pick. Keep the flat surface of the pick almost, but notquite parallel with the length of the string. Allow the tip of the pick to protrude just barely past the undersideof the string (nearest the guitar body).

Timbrel effects (particular tone qualities). You can vary the percussive tone quality of picked notes withthe part of the pick that contacts the string and the path on which the pick causes the string to vibrate. It issometimes desirable to increase the buzziness of the string tone. To do so, twist the pick so its surface is lessparallel to the string. This increases the force required to sound the string, and causes a harder, more percussiveattack with increased scraping of the pick against the string.

Another timbrel effect is produced by tilting the pick to a plane approximately 60° to the surface of thestrings (toward the body of the guitar), causing a picked string to vibrate on the frets and buzz. This techniqueis generally only practical with all upstrokes or all downstrokes.

Right wrist and hand position. The shoulder, forearm, wrist and hand should be loose throughout. Applylight, evenly-distributed muscular tension throughout these parts of the hand and arm to support the pick“effortlessly”.

The wrist should be slightly bent unless you are using part of the hand to mute. The upper forearm shouldserve as an “anchor” point against the upper edge of the guitar. The fingertips, side of hand (from the base ofthe little finger to the wrist), heel of hand, and side of the thumb can touch to judge distance. As you developyour personal technique, you may find yourself touching with various parts of the hand. Analyze your techniqueto make sure the habits you develop contribute to your control of the pick.

Many players rest the “pinky” side of their hand (between the little finger and the wrist) on the bridgewhile picking. While this provides stability for the right hand, it sacrifices the tone variation usually availableby picking closer to the neck for bass tones or closer to the bridge for treble tones.

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Right wrist sweep. A sweeping, continuous down-up motion of the wrist is used for strumming chords.Here is an exercise to familiarize you with this motion:

• Move your hand side to side with the same movement as if your hand were palm-down on a table.

• Mute the strings with your left hand and strum down-up alternately on two or three strings as a group;as you would a three note chord.

• Gradually widen the stroke until you are strumming on all six strings.

Note that when strumming alternately down-up on four to six strings, the wrist movement is so wide thatit involves a distinct forearm rotation (view the protruding wrist bone nearest the thumb). The weight of the handwill aid the motion of the hand in strumming.

Rhythmic Selection.Many accompaniment and melodic rhythms can be played easily when your right hand assumes a

continuous motion but you select when the pick contacts the strings. This may be applied to playing single notesor strumming chords.

Rhythmic selection. Miss the strings where no arrow is shown.

Strict Down-Up StrummingIn strict down-up strumming, each series of continuous notes is strummed strictly (1) down-up-down-

up, etc. or (2) up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up,etc. Starting with an upstroke would use the picking order up-down-up-down, etc.

You often pass the strings before strumming them to strictly continue the down-up motion. In theory,the wasted motion is acceptable in order to allow an uninterrupted continuous rhythmic motion.

Down-up strumming exercise. Count evenly: “one - and - two - and - three - and - four - and,” as you strumdown on the downward arrows and up on the upward arrows.

RHYTHM GUITAR TECHNIQUE

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Exceptions to Strict Down-Up StrummingConsecutive downstrokes or consecutive upstrokes provide emphasis and a consistent tone.

Consecutive downstroke exercise. Consecutive upstroke exercise.

LEFT HAND TECHNIQUEFretting techniques. Fret notes with the fingertip pressing the string up against the left edge of the metal

fret. Exert just enough pressure. Contact the string to the fret at precisely the same time the pick touches thestring, so that by the time the pick follows through, the note is clearly fretted.

The barré is a group of notes all on the same fret of two or more strings fingered with a straight portionof one finger. It uses the classical wrist position. Finger (fret) the barré with the harder edge of your finger whenyou can. Avoid the creases opposite your knuckles, since they can mute notes.

Chord cancellation exercise. This exercise can train you to fret all notes of a chord at once, as they usuallyshould be. Use this exercise when you find yourself “breaking up” a chord fingering.

• Finger the notes of the chord as slowly as necessary, making sure all of them will soundsimultaneously;

• Keeping your fingers in place, relax all the fingertips or barring portions of the fingers together, allat once;

• In five steps, move the fingers progressively further from their chord formation, first 1/4 inch away,then 1/2 inch, etc., until the fingers are fully straightened. Return and sound all notes simultaneouslyafter each of the five steps.

LEFT HAND MUTING

To mute a chord, relax all the left hand fingers at once. If there are open strings in the chord, lay one ormore left hand fingers across all the strings in the chord. In muting at the 5th, 7th, 12th, 17th and 19th frets, usetwo or more fingers, since unwanted open string harmonics can easily be produced when muting with one finger.

When you need to move rapidly to another note or chord after muting with the left hand, the muting andmovement to a new fingering must be made in one smooth action. Try to leave the strings in a path perpendicular

PAGE 13

to the fretboard without any friction (which would sound open strings). Then, immediately curve the path ofthe fingertip(s) back toward the fretboard to take the shortest possible path to the next fingering.

RIGHT HAND MUTING

Right hand full chord muting.Keep the side of your hand between the little finger and the wrist consistently touching the strings slightly

to your left of the bridge. It helps to use the base of the little finger to feel the point where the first string meetsthe bridge. Muting farther away from the bridge will mute the pitch more and more until it is not discernible.

Right hand single note muting.To mute single notes or notes on adjacent strings, keep the right elbow low and the right hand fingers

parallel to the strings. Mute with the heel of the hand (near the hairless inside of the wrist). Consistently mutewith the heel of the hand, sliding it just to the left of the bridge to cover the strings you intend to mute. Changingstrings while muting with the right hand is easier for most guitarists if the guitar head is lowered to where theneck is almost parallel to the floor.

FINGERPICK TECHNIQUE

In Classical guitar technique, the thumb is positioned nearly parallel to the sixth string, tipping downwardslightly. The other fingers are used nearly perpendicular to the strings, their tips leaning slightly toward thefretboard. The fingers (excluding the thumb) are parallel to one another, nearly touching. All plucking shouldbe performed with little movement of the back of the hand. The back of the hand should remain relaxed. Thereare two basic strokes:

The rest stroke follows through to the next string and comes to rest on it. When the rest strokeis used by the thumb, the smaller adjacent string is muted. When the rest stroke is used by anotherfinger, the larger adjacent string is muted.

The free stroke curves away from the adjacent string as it follows through. Adjacent strings arenot muted at all in using the free stroke.

RHYTHM GUITAR TECHNIQUE

PAGE 14

PART 2:COUNTING RHYTHM

All rhythms can be thought of as selected pulses from a continuous pulse. Continuous pulses are groupedby twos and threes or combinations of twos and threes.

American dance music, including Jazz, Blues, Rock and Metal, usually suggests a special continuouspulse called the “beat.” Listening to dance music, you would commonly tap your foot on each beat. The torsoof a dancer usually surges in time with the beat. The simplest bass drum part would involve one note on eachbeat.

Two, three or more pulses can occur during each beat. These are subgroups or parts of a beat. So thebeat is the main pulse, and can be divided into shorter pulses. The beats are counted with whole numbers “1 -2 - 3 - 4” and so on.

When there are two pulses per beat, the following symbols are used: “1 + 2 + 3 + 4 +” and so on. Syllablesfor these symbols are pronounced “one - and - two - and - three - and - four - and.”

When there are three pulses per beat, the following symbols are used: “1 T L 2 T L 3 T L 4 T L” andso on. Syllables for these symbols are pronounced “one - trip - let - two - trip - let - three - trip - let - four - trip- let.”

When there are four pulses per beat, the following symbols are used: “1 e + a 2 e + a 3 e + a 4 e + a ”and so on. Syllables for these symbols are pronounced “one - ee - and - uh - two - ee - and - uh - three - ee - and- uh - four - ee - and - uh.”

Syncopation.When notes are not played on the beat, they are said to be played on the “offbeat.” When a note on an

offbeat is followed by (1) a silence, (2) a sustain, or (3) a markedly lesser accent on the next downbeat,“syncopation” occurs.

The following example illustrates syncopation caused by silences on the beat (the numbers).

Syncopation strumming example.

PAGE 15

Pulse groups: subdividing the beat into two, three or four parts.There are twenty five possibilities of rhythms that involve two, three or four parts per beat by choosing

pulses. These are shown below with counting symbols and direction of strumming.

Examples 1 through 3 involve two parts per beat. Count: “one-and-two-and-three-and-four-and,” strum-ming where indicated.

Example 1 Example 2 Example 3

¡+™+£+¢+ ¡=™=£=¢= 1+2+3+4+

Examples 4 through 10 involve three parts per beat. Count: “one - trip - let - two - trip - let - three - trip - let- four - trip - let,” strumming where indicated.


¡†¬™†¬£†¬¢†¬ ¡Tl™Tl£Tl¢Tl ¡tL™tL£tL¢tL


¡tl™tl£tl¢tl 1†L2†L3†L4†L 1Tl2Tl3Tl4Tl

Example 10

1tL2tL3tL4tL

Examples 11 through 25 involve four parts per beat. Count: “one - ee - and - uh - two - ee - and - uh - three- ee - and - uh - four - ee - and - uh,” strumming where indicated.


¡E≠A™E≠A£E≠A¢E≠A ¡E≠a™E≠a£E≠a¢E≠a ¡e≠A™e≠A£e≠A¢e≠A


¡e≠a™e≠a£e≠a¢e≠a ¡e=a™e=a£e=a¢e=a ¡e=A™e=A£e=A¢e=A

COUNTING RHYTHM

PAGE 16


¡E=a™E=a£E=a¢E=a 1e≠A2e≠A3e≠A4e≠A 1E≠A2E≠A3E≠A4E≠A


¡E=A™E=A£E=A¢E=A 1e≠a2e≠a3e≠a4e≠a 1E=A2E=A3E=A4E=A


1E≠a2E≠a3E≠a4E≠a 1E=a2E=a3E=a4E=a 1e=A2e=A3e=A4e=A

PAGE 17

PART 3:RHYTHM GUITAR

EXAMPLES

PAGE 18

AEOLIAN HARD ROCK RHYTHM GUITAR EXAMPLES

Aeolian (altered) Hard Rock Example 1. All “B” Aeolian, except “B” Dorian on the “E” chord.. Repeat andend on the Bm chord.

Aeolian Hard Rock Example 2. “C” Aeolian. Repeat and end on the Cm chord.

Aeolian (altered) Hard Rock Example 3. Scales for improvising are shown in parenthesis above the chords.Repeat and end on the first chord.

(D Aeolian A har. min. F mel. min. D har. min.)

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Aeolian Hard Rock Example 4. “C#” Aeolian. Repeat and end on the first C#m chord.

Aeolian Hard Rock Example 5. “C#” Aeolian. Repeat and end on the C#m chord.

Aeolian Hard Rock Example 6. “F” Aeolian. Repeat and end on the Fm chord.

Read the music notation or tablature, using the chord grids to learn the chord fingerings.

RHYTHM GUITAR EXAMPLES

PAGE 20

DORIAN HARD ROCK RHYTHM GUITAR EXAMPLES

Dorian Hard Rock Example 1. “G” Dorian. Repeat and end on the G chord.

Dorian Hard Rock Example 2. “E” Dorian. Repeat and end on the E7#9 chord.

Dorian Hard Rock Example 3. “E” Dorian. Repeat and end on the Em7 chord, or for a deceptive cadence,end on the A chord..

PAGE 21

MAJOR HARD ROCK RHYTHM GUITAR EXAMPLES

Major Hard Rock Example 1. “E” major. Repeat and end on the third E chord (the one in IV position).

Major Hard Rock Example 2. “E” major. Repeat and end on the last E chord.



PAGE 22

Major Hard Rock Example 3. “E” major. Repeat and end on the first E chord.

Major Hard Rock Example 4. “G” major. Repeat and end on the G chord.

Major Hard Rock Example 5. “D” major. Repeat and end on the D chord.

Major Hard Rock Example 6. “C” Major. Repeat and end on the C chord.

PAGE 23

Major Hard Rock Example 7. “G” Major. Repeat and end on the first chord.Read the music notation or tablature, using the chord grids to learn the chord fingerings.


PAGE 24

MIXED MINOR HARD ROCK RHYTHM GUITAR EXAMPLES

Mixed Minor Hard Rock Example 1. “D” Aeolian, except “D” Dorian during the last six chords. Repeat andend on the first chord.

Mixed Minor Hard Rock Example 2. “D” Aeolian. Repeat and end on the first chord.

PAGE 25

MIXOLYDIAN HARD ROCK RHYTHM GUITAR EXAMPLES

Mixolydian Hard Rock Example 1. “A” Mixolydian, except “A” harmonic minor mode V during the Dm chord.Repeat and end on the first chord.

The following example is played with a combination of strumming and fingerpicking. The downwardarrow indicates a downstroke, which should be performed with the right thumb. The right thumb should be usedon the fourth string, the right index on the third string, and the right ring finger on the second string.

The “+” symbol represents the syllable “and.” Count “one - and - two - and - three - and - four - and”evenly while plucking the strings indicated below the counting symbols. For example: Strum down on the firstbeat; play nothing on the “+” aftter the first beat; pluck string four on the second beat; and pluck the third stringon the “+” after the second beat.

Mixolydian Hard Rock Example 2. “A” Mixolydian. Repeat and end on the A chord.

Mixolydian Hard Rock Example 3. “E” Mixolydian. Repeat and end with a deceptive cadencce on the D chord.



PAGE 26

Mixolydian Hard Rock Example 4. “A” Mixolydian. Repeat and end on the last A chord.

Mixolydian Hard Rock Example 5. “E” Mixolydian. Repeat and end on the last note as written below.

Mixolydian Hard Rock Example 6. “E” Mixolydian. Repeat and end on the first chord.

Mixolydian Hard Rock Example 7. “F#” Mixolydian. Repeat and end on the last chord.

PAGE 27

Mixolydian Hard Rock Example 8. “E” Mixolydian. Repeat and end on the first chord.

Mixolydian Hard Rock Example 9. “C” Mixolydian. Repeat and end on the second chord.


Mixolydian Hard Rock Example 10. “E” Mixolydian. Repeat and end on the last chord.


PAGE 28

Mixolydian Hard Rock Example 11. “A” Mixolydian. Repeat and end on the A chord.

Mixolydian Hard Rock Example 12. “A” Mixolydian. Repeat and end on the second A chord.

PARALLEL 4THS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel 4ths Hard Rock Example 1. “C” Dorian. Repeat and end on the last chord.

PAGE 29

Parallel 4ths Hard Rock Example 2. “A” Dorian. Repeat and end on the first chord.`

Parallel 4ths Hard Rock Example 3. “B” Dorian. Repeat and end on the last chord (deceptive cadence).

Parallel 4ths Hard Rock Example 4. “B” Aeolian. Repeat and end on the first Bn3 chord.


PAGE 30

Parallel 4ths Hard Rock Example 5. “A” Aeolian. Repeat and end on the second chord.

PARALLEL 5THS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel 5ths Hard Rock Example 1. “E” Dorian. Repeat and end on the last chord.

Parallel 5ths Hard Rock Example 2. “C#” Aeolian. Repeat and end on first C#n3 chord.

PAGE 31

Parallel 5ths Hard Rock Example 3. “B” harmonic minor mode V. Repeat and end on the B chord.

PARALLEL MAJOR CHORDS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel Major Chords Hard Rock Example 1. “D” Mixolydian and “E” Mixolydian, as marked. Repeat andend on the last chord.

Parallel Major Chords Hard Rock Example 2. “E” Aeolian, except “E” Mixolydian during the E and Esus4chords. Repeat and end on the last chord.


PAGE 32

Parallel Major Chords Hard Rock Example 3. “C” Aeolian, except “C” Dorian or “C” Mixolydian during theC and Csus.4 chords. Repeat and end on the last chord.

AEOLIAN METAL RHYTHM GUITAR EXAMPLES

Aeolian Metal Example 1. “A” Aeolian. Repeat and end with a deceptive cadence on the last chord.

PAGE 33

Aeolian Metal Example 2. “E” Aeolian. Repeat and end on the first chord.



PAGE 34

Aeolian Metal Example 3. “G” Aeolian. Repeat and end on the Gm chord.Read the music notation or tablature, using the chord grids to learn the chord fingerings.

DORIAN METAL RHYTHM GUITAR EXAMPLES

Dorian (altered) Metal Example 1. “E” Dorian. Repeat and end on the first note.

The “Bb” and “F” act as blue notes.

PAGE 35

Dorian Metal Example 2. “A” Dorian. Repeat and end on the An3 chord.


Dorian Metal Example 3. “D” Dorian. Play “D“ Dorian or “D” Mixolydian on the D chord. Repeat and endon the D chord.


PAGE 36

Dorian Metal Example 4. “A” Dorian. Repeat and end on the second An3 chord.

Dorian Metal Example 5. “A” Dorian. Repeat and end on the first chord.

Dorian Metal Example 6. “G” Dorian. Repeat and end on the second chord.

PAGE 37

MIXED MINOR METAL RHYTHM GUITAR EXAMPLES

Mixed Minor Metal Example 1. “A” Aeolian, except “A” harmonic minor during the last chord. Repeat andend on the first chord.

Mixed Minor Metal Example 2. “A” Aeolian, except “A” Dorian on the D/F# chord. Repeat and end on thefirst chord.



PAGE 38

MIXOLYDIAN METAL RHYTHM GUITAR EXAMPLES

Mixolydian Metal Example 1. “E” Mixolydian. Repeat and end on the E chord.

PARALLEL 4THS METAL RHYTHM GUITAR EXAMPLES

Parallel 4ths Metal Example 1. “F#” Aeolian. Repeat and end on the last chord.

Parallel 4ths Metal Example 2. “F#” Aeolian. Repeat and end on the third chord.

PAGE 39

Parallel 4ths Metal Example 3. “G” Dorian. Repeat and end on the sixth chord.


PARALLEL 5THS METAL RHYTHM GUITAR EXAMPLES

Parallel 5ths Metal Example 1. “F#” Aeolian. Repeat and end on the last chord.


PAGE 40

Parallel 5ths Metal Example 2. Key of “E” minor. Improvise with the scales as marked. Repeat and end onthe third chord.

At the beginning of the second bar, the low “E” to “F#” is a combination hammer and slide.

Parallel 5ths Metal Example 3. “E” Phrygian, except the Bbn3 chord is blue notes “Bb” and “F”. Repeat

and end on the last chord.

Parallel 5ths Metal Example 4. “E” Phrygian, except the Bbn3 chord is blue notes “Bb” and “F”. Repeat

and end on the last chord.

PAGE 41

Parallel 5ths Metal Example 5. Key of “G” . A weird one!! In improvising, use “G” harmonic major IV (G

- A - Bb - C# - D - E - F# - G), except use “G” Dorian (G - A - Bb - C - D - E - F) on the Cn3 and Bbn3 chords.

Repeat and end on the first chord.

Parallel 5ths Metal Example 6. “E” Dorian. Repeat and end on the first chord.


PAGE 42

PARALLEL 4THS BLUES RHYTHM GUITAR EXAMPLES

Parallel 4ths Blues Example 1. “G” Dorian. Repeat and end on the fourth chord.

Parallel 4ths Blues Example 2. “A” Dorian. Repeat and end on the An3 chord.

MIXOLYDIAN BLUES RHYTHM GUITAR EXAMPLE

Mixolydian Blues Example 1. “A” Mixolydian. Repeat and end on the first chord.Read the music notation or tablature, using the chord grids to learn the chord fingerings.

PAGE 43

PARALLEL 6TH CHORDS BLUES RHYTHM GUITAR EXAMPLES

Parallel 6th Chords Blues Example 1. Key of “A” . Improvise with all “A” Dorian, optionally playing “A”

Mixolydian on the A6 and E6 chords. Repeat and end on the first chord.


PAGE 44

Parallel 6th Chords Blues Example 2. Key of “A” . Improvise with all A Dorian, optionally playing Mixolydian

“A” on the A6 and E6 chords. Repeat and end on the first chord.


PAGE 45

PARALLEL 7TH CHORDS BLUES RHYTHM GUITAR EXAMPLE

Parallel 7th Chords Blues Example 1. Key of “G” . Improvise with all “G” Dorian, optionally playing “G”

Mixolydian on the G7 and D9 chords. Additionally, you may play “D” mixolydian during the D9 chord.


PAGE 46

MIXED MINOR BLUES RHYTHM GUITAR EXAMPLE

Mixed Minor Blues Example 1. “B” Aeolian, optionally using “B” harmonic minor dyring the Gma7 and F#7

chords. Repeat and end on the first chord.

PAGE 47

AEOLIAN SOFT ROCK RHYTHM GUITAR EXAMPLES

Aeolian Soft Rock Example 1. “G#” Aeolian. Repeat and end on the first chord.

Aeolian Soft Rock Example 2. “A” Aeolian. Repeat and end on the first chord.

Aeolian Soft Rock Example 3. “D” Aeolian. Repeat and end on the first chord.


PAGE 48

DORIAN SOFT ROCK RHYTHM GUITAR EXAMPLES

Dorian Soft Rock Example 1. “A” Dorian. Repeat and end on the first chord.


Dorian Soft Rock Example 2. “A” Dorian. Repeat and end on the first chord.


PAGE 49

Dorian Soft Rock Example 3. “F#” Dorian, except “F#” Aeolian during the Asus.4 chord. Repeat and end onthe next-to-last chord.

MAJOR SOFT ROCK RHYTHM GUITAR EXAMPLES

Major (altered) Soft Rock Example 1. “C” major during the C and G chords; “D” major during the A and Dchords.


PAGE 50

Major Soft Rock Example 2. “C” major. Repeat and end on the first chord.

The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and- two - and - three - and - four - and” evenly while plucking the strings indicated below the counting symbols.For example: pluck strings five and two together on the first beat; play nothing on the “+” after the first beat;and pluck the fourth string on the second beat.

Major Soft Rock Example 3. “G” major. Repeat and end on the first chord.The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and

- two - and - three - and - four - and” evenly while plucking the strings indicated below the counting symbols.For example: pluck the sixth string on the first beat; pluck the fourth string on the “+” after the first beat; andpluck the third string on the second beat.

Major Soft Rock Example 4. “G” major. Repeat and end on the first chord.

PAGE 51

Major Soft Rock Example 5. “G” major. Repeat and end on the first chord.

Major Soft Rock Example 6. “A” major. Repeat and end on the last chord.

MIXED MINOR SOFT ROCK RHYTHM GUITAR EXAMPLES

Mixed Minor Soft Rock Example 1. “E” Aeolian, except “E” harmonic minor during the B7 chord and “E”

Dorian during the A9nr chord.. Repeat and end on the first chord.


PAGE 52

MIXOLYDIAN SOFT ROCK RHYTHM GUITAR EXAMPLES

Mixolydian Soft Rock Example 1. “A” Mixolydian. Repeat and end on the second A chord.

Mixolydian Soft Rock Example 2. “D” Mixolydian. Repeat and end on the second chord.

Mixolydian Soft Rock Example 3. “E” Mixolydian. Repeat and end on the first chord.

PAGE 53

PART 4:CHORD PROGRESSION

PAGE 54 PART 4: CHORD PROGRESSION

MAJOR SCALE TONE STEPWISE TRIADS(some notes are doubled or tripled)

PAGE 55

MAJOR SCALE TONE STEPWISE SEVENTH CHORDS(some notes are doubled)

STEPWISE CHORD PROGRESSIONS


MAJOR SCALE TONE STEPWISE TRIADS(three note triads without doubled notes)

PAGE 57

MAJOR SCALE TONE SEVENTH CHORDS(four note seventh chords without doubled notes)

STEPWISE CHORD PROGRESSIONS


STEPWISE SONGFORM EXAMPLES

PAGE 59STEPWISE CHORD PROGRESSIONS; PARALLEL CHORDS OF THE SAME QUALITY

PARALLEL MAJOR CHORDS


SONGFORM EXAMPLES: PARALLEL CHORDS OF THE SAME QUALITY

PAGE 61PARALLEL CHORDS OF THE SAME QUALITY


PAGE 63PARALLEL CHORDS OF THE SAME QUALITY; CHORD PROG. USING A DESCENDING VOICE

STEPWISE BASS DESCENDING FROM A MAJOR CHORD ROOT

SONGFORM EXAMPLES:STEPWISE BASS DESCENDING FROM A MAJOR CHORD ROOT


STEPWISE BASS DESCENDING FROM A MINOR CHORD ROOT

PAGE 65CHORD PROGRESSIONS USING A DESCENDING VOICE

CHROMATIC DESCENT FROM A MINOR CHORD ROOT


SONGFORM EXAMPLES:CHROMATIC DESCENT FROM A MINOR CHORD ROOT

PAGE 67CHORD PROGRESSIONS USING A DESCENDING VOICE


CHROMATIC ASCENT FROM THE FIFTH OF A MAJOR CHORD

CHROMATIC ASCENT FROM THE FIFTH OF A MINOR CHORD

CHROMATIC DESCENT FROM THE ROOT OF A MAJOR CHORD

PAGE 69PROGRESSIONS USING AN ASCENDING VOICE; I IV I7 IV TYPE PROGRESSIONS

I IV I7 IV PROGRESSIONS

I IV IMAJ7 IV PROGRESSIONS


Im IV Im7 IV PROGRESSIONS

Im IVm Im7 IVm PROGRESSIONS

PAGE 71

I IVm I7 IVm PROGRESSIONS

PROGRESSIONS USING AN ASSCENDING VOICE; I IV I7 IV TYPE PROGRESSIONS


MAJOR SCALE TONE TRIADS WITH ROOT MOVEMENT UP IN PERFECT FOURTHS

MAJOR SCALE TONE SEVENTH CHORDS

WITH ROOT MOVEMENT UP IN PERFECT FOURTHS

PAGE 73

G MAJOR SCALE TONE 7TH CHORDS: ROOTS UP IN PERFECT 4THS

WITH DESCENDING VOICES ON THE 1ST THROUGH 4TH STRINGS


WITH DESCENDING VOICES ON THE 3RD THROUGH 6TH STRINGS


WITH DESCENDING VOICES ON THE 2ND THROUGH 5TH STRINGS

ROOT MOVEMENT UP IN PERFECT FOURTHS



WITH ASCENDING VOICES ON THE 1ST THROUGH 4TH STRINGS


WITH ASCENDING VOICES ON THE 2ND THROUGH 5TH STRINGS

PAGE 75


WITH ASCENDING VOICES ON THE 3RD THROUGH 6TH STRINGS

G MAJOR SCALE TONE 7TH CHORDS: STEPWISE ROOT MOVEMENT

WITH DESCENDING VOICES ON THE 1ST THROUGH 4TH STRINGS

ROOT MOVEMENT UP IN PERFECT FOURTHS, STEPWISE ROOT MOVEMENT



WITH DESCENDING VOICES ON THE 2ND THROUGH 5TH STRINGS


WITH DESCENDING VOICES ON THE 3RD THROUGH 6TH STRINGS

PAGE 77

SONGFORM EXAMPLES: ROOT MOVEMENT UP IN PERFECT FOURTHS

STEPWISE ROOT MOVEMENT; ROOT MOVEMENT UP IN PERFECT FOURTHS


BLUES TURNAROUND WITH CONTRARY MOTION IN VOICES

PAGE 79BLUES TURNAROUNDS

BLUES TURNAROUND WITH BASSLINE 1, 3, 4, #4, 5

DESCENDING DIMINISHED BLUES TURNAROUND (I7 I°7 IVM6 I)


DESCENDING DIMINISHED BLUES TURNAROUND (I7 IM7B5 V9NR I)

JAZZ TURNAROUND: I6 I°7 IIM7 I°7 I6

PAGE 81BLUES TURNAROUNDS; JAZZ TURNAROUNDS

SONGFORM EXAMPLES EMPLOYING VARIATIONS OF THE II V I PROGRESSION


JAZZ TURNAROUND VARIATIONS OF III VI II V

PAGE 83III VI II V TYPE JAZZ TURNAROUNDS


PAGE 85

MORE SONGFORM EXAMPLES EMPLOYING II V I

III VI II V TYPE & II V I TYPE JAZZ TURNAROUNDS


I VI II V TYPE PROGRESSIONS WITH COMMON TONE “1”


PAGE 87JAZZ TURNAROUNDS WITH COMMON TONES




PAGE 89JAZZ TURNAROUNDS WITH COMMON TONES


I VI II V TYPE PROGRESSIONS WITH COMMON TONES “1” AND “3”




SONGFORM EXAMPLES WITH COMMON TONES

PAGE 91JAZZ TURNAROUNDS WITH COMMON TONES, PEDAL TONE PROGRESSIONS

D MAJOR SCALE TONE PROGRESSIONS WITH PEDAL TONE “D”


D MIXOLYDIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

D DORIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

D AEOLIANSCALE TONE PROGRESSIONSWITH PEDAL TONE “D”

PAGE 93PEDAL TONE CHORD PROGRESSIONS

A MAJOR SCALE TONE PROGRESSIONS WITH PEDAL TONE “A”

A MIXOLYDIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “A”

A DORIAN SCALE TONE PROGRESSIONSWITH PEDAL TONE “A”


A AEOLIAN SCALE TONE PROGRESSIONS WITH PEDAL TONE “A”

DELTA BLUES PIANO PROGRESSION

JAZZY 12 BAR BLUES PROGRESSIONS

PAGE 95PEDAL TONE CHORD PROGRESSIONS; BLUES PROGRESSIONS


PAGE 97JAZZY 12 BAR BLUES PROGRESSIONS


©2000 Jim Gleason. All Rights Reserved.

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Blues page 111

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Blues page 113


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Blues page 115


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Blues page 117

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Blues page 119

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Jim Gleason’s GUITAR ENCYCLOPEDIA Chord Progression and … · PAGE 6 FRETBOARD DIAGRAMS Dots in these diagrams indicate fin- gered notes. Chord tones are fin-gered simultaneously.

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