Newsgroup: it.arti.musica.strumenti.chitarra
Titolo: Chord-Melody Technique

Nelle mie lunghe e spesso inutili peregrinazioni su internet ho trovato
questo articolo molto interessante (non l'ho scritto io) e riguarda la
possibilità di utilizzare le posizioni CAGED come base per una tecnica molto
bella di chord-melody, a voi la lettura.
Spero di aver rispettato la volontà dell'autore (purtroppo non mi ricordo da
dove arriva), e spero che anche voi facciate lo stesso!
Bye
CHORD-MELODY GUITAR:
An Organized Approach
By
Tony Beltran
First Edition: Last Revised 10/15/95
Copyright (c) 1995 by Tony Beltran
Permission is granted to make copies of this paper for private use.
OVERVIEW:
---------
Learning to play a specific style on the guitar is a daunting task. There
are two primary reasons for this.  The first is that there is so much
information to be digested with regard to music and playing a musical
instrument.  It is difficult to know ahead of time what pieces of
information are immediately important to your particular goals.  This
sifting process has been the reason a lot of people get forever sidetracked
from their initial vision.  It takes a person who has already made the
journey to where you want to be to filter all the available information and
feed to you in bite-sized pieces that you can comprehend.  Unfortunately, by
the time such a person has made this journey, they will have probably
forgotten how con- fusing the initial steps were.  You will learn from such
a person, but you may have that nagging feeling that you are not really
going in the direction you had hoped for.
This paper is really a chronical of the author's own journey written in such
a way as to allow other people to follow the same path.  The information in
this paper can be considered as a set of markers similar to those that
hikers may place along a trail so they can find their way back again.  In
this case, the author kept a running account so he could be sure he was not
going in circles and getting lost in the wealth of information.  To this
end, only that information regarding music theory that seems appropriate for
the focus of this paper is presented.  Also, such information is presented
as a set of hueristics for building scales and chords.  All the information
discussed in this paper is available in greater detail elsewhere.  The value
added by this paper is simply the distillation of the available information
into a practical guideline to get guitarists started with chord-melody
arranging and playing.
Originally, I thought that it would be both fun and profitable to write a
computer program for teaching this material.  As I got farther along, I
changed my mind.  The material presented here is really "head" stuff
(memorizing by repetition and understand by doing). I truly feel that the
fewer distractions that come between the guitar- ist and this information,
the better.  If a person were to simply sit down with their guitar and the
information contained in this paper every day for six months and honestly
work through the material, they would gain a solid foundation for that most
fascinating pursuit - chord-melody playing.  By eliminating all the
keyboarding and mouse clicking and distractions that accompany the computer,
the guitarist can focus on the important issues.
I am not opposed to computer technology, having made my living as a software
engineer for the past 15 years.  However, I do not subscribe to the idea
that computers can do everything.  It was a result of working through this
material that I changed my mind about writing a computer program to present
this material.  One part of me would love to do it.  But, the guitarist in
me says that would be too much clutter. In any case, I hope this material is
helpful for getting you started playing decent chord-melody arrangements of
your own making.
The material presented here is very focused on the chord-melody style of
arranging and playing. If you thoroughly learn this material, you will have
a solid basis for picking and choosing what you want to study next.  With
the wealth of material available (and the inherent lack of organization of
this material), this added benefit will be very valuable.
The chord-melody style of playing the guitar refers to a way of playing that
includes the melody, harmony, and (if played solo) the bass line all being
played simultaneously on one instrument.  This style is considered by many
to be the most challenging and satisfying for guitarists.  Any song or tune
with a strong melody can be played this way.  It has been the author's
experience that people tend to listen to and enjoy arrangements of songs
they know.  This style lends itself well for those of us who choose not to
sing.
Music has often been referred to as a language.  Like languages for speech,
different areas and disciplines of music have evolved their own vocabulary.
The information presented here focuses on that music vocabulary peculiar to
the discipline of chord-melody playing on the guitar.  This paper will focus
on the construction and use of chords for harmonizing melodies.  The small
amount of music theory presented here is intended solely to support the
information regarding the construction of chords on the guitar fretboard.
It is strongly advised that this information be approached in much the same
manner as one would attend to learning a new language.
First, you would start with building a foundational vocabulary.  On top of
this foundation, you would add knowledge of sentence construction. common
usage.  Eventually, you would want to reach a point of fluency such that you
would not be required to carry a dictionary or grammar book with you to
translate from your native tongue to the new language and back again.  The
new language would become as fluent for you as your native tongue.  Such
should be the case with this material.  You can utilize the chord dictionary
presented later in this paper to simply grab chords that fit your immediate
need.  Or, better still, you can make the chord dictionary available as a
tool in a learning process that you may at a later point discard as the
elements of this language become fluent for you as you speak the language of
music.
Having only six strings to work with, it becomes readily apparent that there
is quite a difference between straight music theory re- garding chord
construction and how this information applies to the guitar in real
application.  To this end, the paper will present both the formal list of
chord spelling and a set of guidelines for applying these spellings to the
guitar fretboard.  These guidelines were gleaned from studying hundreds of
chord forms and noting what could be construed as common practice for
arriving at such forms.
This material takes the well-known CAGED system of approaching guitar chords
and expands it into a large library of chord forms specific to the solo
chord-melody style of guitar playing used by Johnny Smith, Joe Pass, Bucky
Pizzarelli, and many others.  If you follow all the sections presented here,
you will arrive at the chord library with a good understanding of how the
forms in it were constructed.  You will have a systematic approach to
fingerboard harmony that will help you to continue to grow as a musician far
beyond what is presented here. Thoroughly understanding the CAGED system and
systematically building the knowledge as a foundation for understanding the
chord form library cannot be stressed enough.  It is very important to
acquire this knowledge and have it well in hand BEFORE utilizing the chord
form library.  If you do not do this, you will be simply going through the
motions of mechanically selecting chord forms to fit melody notes.
This process without the knowledge will gain you nothing in the long run.
If you really understand the underpinnings of how the chord forms were
arrived at, you will be constantly seeing new ways to apply the forms
because you will view differently than one who does not posess the requisite
knowledge.  Beyond this, you will (through this process) begin to acquire
your own unique style as you find new ways to voice the chords.  There is no
easy, quick way to get to this place. If there was, everybody would be able
to do it.  All the journey re- quires is a method and determination to stick
with it.  This paper provides the method, but you have to provide the
determination.
Fretboard harmony is a very rich and satisfying field of study with lots of
room for experimentation and development of individual style. This is
evidenced by the differences in the sounds created by the previously
mentioned artists using the same six strings and fretboard.
If you wish to maximize your learning and progress, it is worthwhile to
develop a daily regimen to make sure you get to know the basics of this
system so well as to become second nature.  To this end, a daily practice
program is presented that is very efficient for mastering the fundamentals
of the CAGED system.  This program will take less and less time to go
through as you become proficient at it.  The knowledge gained from
faithfully working through the program every day will open the world of
fretboard harmony to you.
Note that The daily regimen presented will require you to work through two
sets of chord forms.  The first is the basic CAGED form set.  The second is
a set of four note chords that include either the major 7 or the dominant 7
(don't worry about these terms right now -- they will be explained later).
The second set of forms grow out of the CAGED forms and provide a solid
basis from which all the forms in the chord library (presented at the end of
the paper) are derived. If you practice (and ultimately memorize) these
forms using the method described for the daily regimen, you will soon be
able to form the chords in the chord library without the use of this paper.
=0C This set of excercises is not just busy work for mindless practice. You
should be mentally active in your daily practice.  When not at the guitar,
practice visualizing the various components of these practice sessions.
Athletes have long known and benefitted from visualization.  The purpose of
the library of chord forms is to get you (in addition to the daily practice
regimen) quickly into arranging chord-melody solos.  It is only through
practical application that you will get a good grasp on these forms.
Therefore, the way to work this program is relatively simple:
1. Spend the first weeks (or months - depending on how much background you
already have) getting VERY familiar with the practice regimen.
2. Progress to the chord form library and use it to create LOTS of
chord-melody solos.  This whole thing should become second-nature like
speaking English to communicate with others.  Music is, after all, a
language we need to learn to speak it fluently to express ourselves.
3. Look to expanding your knowledge by studying other people's arrangements,
method books, and recorded songs.  All the while, continue practicing your
daily regimen (it should take less than 10-15 minutes per day by now) and
arranging new songs.  By learning LOTS of new songs, you will get a natural
feel for how chords progress.
4. At some point, you may want to learn to play and arrange by ear. To do
this, become familiar with the major scales for each form. Each day, pick a
song at random (start with simple nursery rhyms) and pick out the melody on
the guitar.  At first, this may be difficult.  In time, as with everything
else, it gets easier. By now, you already have a good feel for (if not
memorized) the use of the chord forms in the library to create chord-melody
arrangements.  Use this knowledge to harmonize the melodies you pick out by
ear.
DAILY EXCERCISE REGIMEN
-----------------------
All 6 steps should be practiced every day.  At first, this will take a while
(30 minutes - 1 hour).  But, as you become familiar with the territory
(which is the whole idea), these will take less and less time.  With time,
these can be completed within 10 minutes.  These excercises encapsulate the
entire subject matter presented in this paper.  Becoming completely familiar
and comfortable with the material through these excercises will make the
journey as painless as possible.
1. Pick any note at random (or, move through the cycle of fifths, taking one
of these each day).
2. Find each occurance of this note along each string, going up all strings,
then back down.
3. Use this note as the root of today's chord to find find the basic CAGED
forms going up and down the neck.  With each chord form, identify it's
"nucleus" root, third, and fifth.
4. For each chord found in step 3, play its Pentatonic and major scale
forms.  [NOTE: plug this step into your daily excercise regimen when you
feel the need to do so -- and will thus be motivated to do it].
5. For each of the chord forms identified in step 3, treat that chord as the
I chord and find it's nearest ii and V7 chords (example: for a I chord of
'A', find the Bmi(7) and E7 chords that are closest to the 'A' chord).  Use
the chord form library to find these chord forms.
   [NOTE:]  Now is a good time to start becoming familiar with the
Pentatonic forms by playing each of these chord form's Pentatonic scale.
[SEE EXAMPLE ON NEXT PAGE]
6. Use the note selected in Step 1 as the melody note to be harmonized. Find
and play all the chords that would use that note as the 1, 3, 5, and 7th as
the melody on the first and second strings.  Start with basic chord forms
and expand to include minor chords, 6ths, 9ths, suspended, etc.  Use the
chord form library to find these forms.  See the section "A PRACTICAL
CHORD-MELODY LIBRARY OF FORMS", particularly showing how to "morph" from a
basic CAGED form to one of the library forms.
   Use the following table as a hint to help you get started:
   [If needed, see the section "SUGGESTED DAILY PRACTICE FORMS FOR EXCERCISE
6"]
    Melody
      on                   Basic
    String  Melody Note  Chord Form
    ------  -----------  ----------
      1       root         E form
      1       third        D form
      1       fifth        C form
      1       seventh      G form
    -------------------------------
      2       root         C form
      2       third        A form
      2       fifth        E form
      2       seventh      D form
DAILY EXCERCISE REGIMEN (contd)
-------------------------------
   Example of chord location for excercise 5 of daily excercise:
     B minor                E major               A major
   ----------- 4th fret   ----------- 4th fret  ----------- 5th fret
   | | * * * |            | | | * | *           * | | | * *
   -----------            -----------           -----------
   | * | | | |            | | | | * |           | | | * | |
   -----------            -----------           -----------
   | | | | | |            | | * | | |           | * * | | |
   -----------            -----------           -----------
   * | | | | |            | * | | | |           | | | | | |
   -----------            -----------           -----------
    G form                  C form                E form
    (with flat 3rd)
                          This E major chord is really
                          a dominant 7 (V7) chord
                          (see discussions on this
                           elsewhere in this paper)
                            E 7
                          ----------- 4th fret
                          | | | | | |
                          -----------
                          | | | | * |
                          -----------
                          | | * | | |
                          -----------
                          | * | * | |
                          -----------
As you become comfortable with this excercise, feel free to modify the basic
forms to create more interesting chords and expand, in a systematic way,
your understanding of how these forms can be modified and extended from the
basic forms.  Feel free to look through the chord library to find these
chords.
7. This is an optional step (for "extra credit" for those who are
particularly motivated).  Play the harmonized scale using  forms that are as
close to each other as possible picked from the chord form library.  You can
start with simple major and minor forms and expand to using altered and
extended forms later.  The harmonized scale will be built diatonically:
   I  ii  iii  IV  V7  vi  vii
A capital Roman numeral represents a major chord.  A small Roman numeral
represents a minor chord (except for the vii, which is a half-diminshed
chord).  The root of the chord is the melody in each case.  The note picked
in step one is the Root note for this scale (which also determines the key).
Suggested daily practice forms for excercise 6:
These forms, though presented in the library, are singled out here as a
valuable and efficient way to work daily on getting the mechanics of
harmonizing melodies from the CAGED forms into your head and fingers.  Later
in this paper, there will be discussion regarding the use of these forms and
why melodies are played on the first and second strings.
By the time you have these memorized, you will not need to have them
memorized.  This may seem like a contradiction, but by working at memorizing
them, you will come to understand how they are built.
Root as melody on the first string (E form):
   -----------  -----------  ----6------  -----------  ----6------
   | | | | 5 R  | |b7 | 5 R  | | | | 5 R  | |b7b3 5 R  | | |b3 5 R
   -----------  -----------  -----------  -----------  -----------
   | | 7 3 | |  | | | 3 | |  | | | 3 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Third as melody on the first string (D form):
   -----------  -----------  -----------  -----------  -----------
   | | R | | |  | | R | | |  | | R | 6 |  | | R | | |  | | R | 6 |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | |b7 |  | | | | | |  | | | |b7b3  | | | | |b3
   -----------  -----------  -----------  -----------  -----------
   | | | 5 7 3  | | | 5 | 3  | | | 5 | 3  | | | 5 | |  | | | 5 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Fifth as melody on the first string (C form):
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  | | | | R |  | | | | R |  | |b3 | R |  | |b3 | R |
   -----------  -----------  -----------  -----------  -----------
   | | 3 | | |  | | 3 | | |  | | 3 6 | |  | | | | | |  | | | 6 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | 5  | | |b7 | 5  | | | | | 5  | | |b7 | 5  | | | | | 5
   -----------  -----------  -----------  -----------  -----------
   | | | 7 | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Suggested daily practice forms for excercise 6 (contd):
Seventh (and sixth) as melody on the first string (G form):
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | |b3 |  | | | |b3 |
   -----------  -----------  -----------  -----------  -----------
   | | 5 R 3 |  | | 5 R 3 |  | | 5 R 3 6  | | 5 R | |  | | 5 R | 6
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | |b7  | | | | | |  | | | | |b7  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | 7  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Root as melody on the second string (C form):
   -----------  -----------  -----------  -----------  -----------
   | | | 5 | |  | | | 5 | |  | 6 | 5 | |  | | | 5 | |  | 6 | 5 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  |b7 | | R |  | | | | R |  |b7b3 | R |  | |b3 | R |
   -----------  -----------  -----------  -----------  -----------
   | 7 3 | | |  | | 3 | | |  | | 3 | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Third as melody on the second string (A form):
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | 6 | |  | | | | | |  | | | 6 | |
   -----------  -----------  -----------  -----------  -----------
   | R | | | |  | R |b7 | |  | R | | | |  | R |b7 | |  | R | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | 7 | |  | | | | | |  | | | | | |  | | | |b3 |  | | | |b3 |
   -----------  -----------  -----------  -----------  -----------
   | | 5 | 3 |  | | 5 | 3 |  | | 5 | 3 |  | | 5 | | |  | | 5 | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Suggested daily practice forms for excercise 6 (contd):
Fifth as melody on the second string (E form):
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | 6 | | |  | | | | | |  | | 6 | | |
   -----------  -----------  -----------  -----------  -----------
   R | | | 5 |  R |b7 | 5 |  R | | | 5 |  R |b7b3 5 |  R | |b3 5 |
   -----------  -----------  -----------  -----------  -----------
   | | 7 3 | |  | | | 3 | |  | | | 3 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
Seventh (and sixth) as melody on the second string (D form):
   -----------  -----------  -----------  -----------  -----------
   | | R | | |  | | R | | |  | | R | 6 |  | | R | | |  | | R | 6 |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | |b7 |  | | | | | | b3 | | |b7 | b3 | | | | |
   -----------  -----------  -----------  -----------  -----------
   3 | | 5 7 |  3 | | 5 | |  3 | | 5 | |  | | | 5 | |  | | | 5 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
       maj 7       dom 7         maj 6        mi 7         mi 6
BACKGROUND MUSIC THEORY
-----------------------
There are two relatively simple ideas from music theory that you will need
to know to understand the chord construction material presented in this
paper.  These are scale construction and chord spelling, which is based on
scale construction.  Music is very logical this way.  The problem is that,
rather than being presented in a logical manner, music is always presented
as a very complicated subject that has a mystique that prevents mere mortals
from partaking in it.  This is definitely not the case, as will be shown in
this paper.
Scales: -------
There are two basic types of scales known as the CHROMATIC and DIATONIC
scales.  The chromatic scale simply contains all twelve possible tones,
which serves as the best place to start.  The diatonic scale contains a
subset of these twelve tones, which can be understood after the chromatic
scale is explained.
The twelve possible tones are:
  A A# B C C# D D# E F F# G G# A
    Bb     Db   Eb     Gb   Ab
There are several things to notice about this information.  First of all,
the letters of the alphabet from A to G are used to designate the notes.
Normally at this point, most music texts refer to the piano to illustrate
the various relationships.  Since the guitar fretboard is laid out
completely different from the piano, we will not do this.
There are five tones within the chromatic scale that have two names. This is
what is referred to as ENHARMONIC tones, or, one tone with two names.  The
reasoning behind this will become clear when we discuss the concept of KEYS,
which goes with the diatonic scale.
Now, the concept of INTERVALS should be presented.  An interval is the
distance between two tones.  The smallest distance between two tones is the
HALF STEP.  The half step is represented on the guitar as moving from one
fret to the next fret above or below the current fret on the same string.
All other distances, or intervals, are simply multiples of the half step -
and thus, movements of that many frets on the guitar.  For example, the next
useful interval is the whole step, which represents a movement of two frets
up or down the same string on the guitar.
Now, look at the guitar fretboard as we show the locations of all the notes
in the chromatic scale on it.  Relate what you see to the information just
presented.  Recognize the notes and see how the movements of half and whole
steps relate to the note you both start and arrive at.
   TUNING PEGS
   -----------
   E A D G B E  OPEN STRING TONES
   -----------
   F A#D#G#C F
   -----------
   F#B E A C#F#
   -----------
   G C F A#D G
   -----------
   G#C#F#B D#G#
   -----------
   A D G C E A
   -----------
   A#D#G#C#F A#
   -----------
   B E A D F#B
   -----------
   C F A#D#G C
   -----------
   C#F#B E G#C#
   -----------
   D G C F A D
   -----------
   D#G#C#F#A#D#
   -----------
   E A D G B E
   -----------
Several things to notice here...
At the twelfth fret, the notes repeat themselves exactly.  Notice that the
tones' letters at the twelfth fret are identical to those at the tuning peg
end labelled "open string tones".  However, they repeat an OCTAVE higher.
We will get into the concept of the octave when we discuss the diatonic
scale.  Notice also that at the fifth fret on the sixth string, the tone
letter is the same as the tone letter of the next higher string's open tone
letter.  This is true for all the strings except the third string.  The tone
letter at the third string's fourth fret is the same as the open tone letter
for the next higher string.  These relationships are the basis for how the
guitar is tuned.  Those of you who have played guitar and tuned it, will
recognize this immediately.  You will experience this connection between
what you read here and what you have experienced on the guitar before over
and over.  Basically, the more experience you have, the more familiar the
material in this paper will be.  The information will, in this case, simply
it all together in a useable form.
Notice also that all the tone letters on the sixth string are identical to
those on the first string.  Again the notes on the first string are
identical to those on the sixth string, except that they sound an octave
higher.  Store this information for now, but it will be useful later on.
As you can see, the chromatic scale consists of all the available notes
(twelve) contained within an OCTAVE.  An octave consists of two notes with
the same letter name a distance of twelve half-steps apart.  The reason this
distance is referred to as an octave is that in the diatonic scale, this
distance is traversed by eight notes, as we will soon see.
The diatonic scale can best be described by the intervals that constitute
the scale:
      whole  whole  half  whole  whole  whole  half
      step   step   step  step   step   step   step
1 to  2  to  3  to  4 to  5  to  6  to  7  to  8
The first note of the diatonic scale constitutes its "key".  When we refer
to a key, we are really referring to that diatonic scale and what we can do
with it. The usual first example of a diatonic scale is the 'C' diatonic
scale.  This is because there are no sharps (#) or flats (b) in it.  We will
start with this scale and then proceed to build an-other diatonic scale to
introduce the concept of sharps and flats and why they are used.
To build the C diatonic scale, we start with the tone letter 'C'. Then, we
apply the formula given above and count from the note we are on along the
chromatic scale the required number of half steps (remember that a whole
step consists of two half steps) to get the next note.  This process
continues until we arrive at the original note again.  Note that in ALL
cases, there must be one of each of the letters: A B C D E F G A.  The use
of sharps (#) and flats (b) merely ensures that this is possible under all
conditions while retaining the sequence of half and whole steps.
  The chromatic scale presented again:
   A A# B C C# D D# E F F# G G# A
     Bb     Db   Eb     Gb   Ab
   We start with C.
From C we count up two half steps and arrive at D.  Now we have C and D in
our diatonic scale.  From D we count up two half steps and arrive at E.
From E we count up one half step and arrive at F.  From F we count up two
half steps and arrive at G.  From G we count up two half steps and arrive at
A.  Now, we continue by treating both A notes as the same (or think of the
chromatic scale as being circular with no end).  We count up two half steps
from A and arrive at B.  Then, we count up one half step from B and arrive
at C and we now have the entire diatonic scale for C:
   C D E F G A B C
Now we will similarly build two more diatonic scales to demonstrate the use
of sharps (#) and flats (b).  One rule of thumb to know at this point is
that sharps and flats do not occur  together in the same scale.  If a flat
is used in building a scale, the remainder of that scale will also use flats
and no sharps.
   To build a G diatonic scale:
We start with G. From G we count up two half steps and arrive at A.  Now we
have G and A in our diatonic scale.  From A we count up two half steps and
arrive at B.  From B we count up one half step and arrive at C.  From C we
count up two half steps and arrive at D.  From D we count up two half steps
and arrive at E.  We count up two half steps from E and arrive at F#.  Then,
we count up one half step from F# and arrive at G and we now have the entire
diatonic scale for G:
   G A B C D E F# G
To build an F diatonic scale. We start with F. From F we count up two half
steps and arrive at G.  Now we have F and G in our diatonic scale.  From G
we count up two half steps and arrive at A.  From A we count up one half
step and arrive at Bb.  From Bb we count up two half steps and arrive at C.
From C we count up two half steps and arrive at D.  We count up two half
steps from D and arrive at E.  Then, we count up one half step from E and
arrive at F and we now have the entire diatonic scale for F:
   F G A Bb C D E F
Try this with all the tone letters of the chromatic scale.  You should end
up with the following scale spellings:
   C## D## E## F## G## A## B## C
   C   D   E   F   G   A   B   C
   C#  D#  E#  F#  G#  A#  B#  C#
   Db  Eb  Fb  Gb  Ab  Bb  Cb  Db
   D   E   F#  G   A   B   C#  D
   D#  E#  F## G#  A#  B#  C## D#
   Eb  F   G   Ab  Bb  C   D   Eb
   E   F#  G#  A   B   C#  D#  E
   F   G   A   Bb  C   D   E   F
   F#  G#  A#  B   C#  D#  E#  F#
   Gb  Ab  Bb  Cb  Db  Eb  F   Gb
   G   A   B   C   D   E   F#  G
   G#  A#  B#  C#  D#  E#  F## G#
   Ab  Bb  C   Db  Eb  F   G   Ab
   A   B   C#  D   E   F#  G#  A
   A#  B#  C## D#  E#  F## G## A#
   Bb  C   D   Eb  F   G   A   Bb
   B   C#  D#  E   F#  G#  A#  B
   C   D   E   F   G   A   B   C
In the process of building these (I hope you really did this--the mechanics
are very important for understanding what is to come later), you may have
noticed  the double sharp (##).  First, it is important to understand that
the flat (b) lowers a note one half tone and sharp (#) raises a note one
half tone.  Therefore, a double sharp raises a note two half tones (one
whole tone). There exists also a double flat (bb) which lowers a note two
half tones (one whole tone).  All the sharps and flats do is to maintain the
diatonic relationship between the notes as specified by the sequence of half
and whole tones.  There is nothing mysterious about this.  There are many
other sequences of half and whole steps used to build other types of scales
such as the various minor scales.  These are built the same way: by picking
the starting tone (key) and simply counting up the chromatic scale according
to the specified sequence of half and whole tones to get the remaining
notes.
The next conecpt (chord construction) builds on the previous scale building
concepts (which is why it is so important that you clearly understand how to
build the scales.  Chords are "spelled" in much the same way as scales, by
sequences of ahlf and whole tones.  The letters for the chords are selected
from the diatonic scale in the same way that the notes for the diatonic
scale are selected from the chromatic scale.  Do you see a pattern here?
One piece of information logically follows another.  Also,  there is a
repetition and similarity in how these concepts are applied over and over.
That is how the mechanics of Western music work.
Chords: -------
The next concept (chord construction) builds on the previous scale building
concepts (which is why it is so important that you clearly understand how to
build the scales.  Chords are "spelled" in much the same way as scales, by
sequences of ahlf and whole tones.  The letters for the chords are selected
from the diatonic scale in the same way that the notes for the diatonic
scale are selected from the chromatic scale.  Do you see a pattern here?
One piece of information logically follows another.  Also,  there is a
repetition and similarity in how these concepts are applied over and over.
That is how the mechanics of Western music work. There are a number of
spellings for various typoes of chords.  These will be presented in this
section after dissecting a typical spelling to illustrate how to make use of
the information. Chords (for our purposes with regard to chord-melody) can
be divided up into three broad categories:
   major:      1 3  5
   minor:      1 b3 5
   dominant 7: 1 3  5 b7
Let us start with the major chord:
The spelling "1 3 5" means that this chord is constructed from the first
note of the diatonic scale (also referred to as ROOT), the third note of the
diatonic scale, and the fifth note of the diatonic scale.
For example, to construct the major chord from the C diatonic scale:
   C D E F G A B C
   1 2 3 4 5 6 7 8
   C   E   G
   1   3   5
On the guitar, you would typical play more than one of some of the elements
of the C major chord to produce a good sounding chord.  In the chord
information that is presented beginning with the next section, the 1 is
always referred to as 'R' for ROOT.  Therefore, you can expect to see: R 3 5
for the major chord.
 To construct the minor chord from the C diatonic scale:
   C D E F G A B C
   1 2 3 4 5 6 7 8
   C   Eb   G
   1   b3   5
 To construct the dominant 7 chord from the C diatonic scale:
   C D E F G A B C
   1 2 3 4 5 6 7 8
   C   E   G  Bb
   1   3   5  b7
   THAT IS ALL THERE IS TO IT!!!!
Note that earlier I said that the construction of chords is done in the same
manner as scales.  With the scale, we have a specification which details the
intervals that make up the scale.  The same is true for chords.  Up to this
point, I have provided a useful way of building chords.  This method, I
think, is the preferred method because it is the simplest.  However, in
keeping with music theory (and for the sake of a logical connection to the
scale building method), I will briefly explain how a chord is built from
intervals.
   For our example, we will use the major chord: 1 3 5
   If we look at the makeup of the major scale:
      whole  whole  half  whole  whole  whole  half
      step   step   step  step   step   step   step
    1  to  2  to  3  to  4 to  5  to  6  to  7  to  8
   we see that the distance from the root to the third is:
      whole  whole
      step   step
    1  to  2  to  3
   which is 2 half steps + 2 half steps =3D 4 half steps
We also see that the distance from the third to the fifth is:
                    half  whole
                    step  step
                  3  to 4  to  5
which is 1 half step + 2 half steps =3D 3 half steps. If we apply this
knowledge to build the C major chord from the chromatic scale, starting on
C, we get:
       ROOT        3rd    5th
         |         |      |
         v         v      v
  A A# B C C# D D# E F F# G G# A
    Bb     Db   Eb     Gb   Ab
However, the most efficient way to look at all this is as we originally
presented it.  The basic idea is to create the pool of notes that constitute
the major scale we wish to use (our "key").  From this pool, we grab notes
to build chords.  The standard chord spellings give us this.  When we refer
to 1 3 5, or 1 b3 5, or 1 3 5 b7, we are referring NOT to the half and whole
step intervals, but instead to the elements of the diatonic scale.  All we
have to do is count up from 1 (root) to 3 or 5, etc. For flat (b) or sharp
(#) altered notes, we still use the same idea.  But, when we get the note,
we flat or sharp it.  The flat or sharp used in this way refers to what is
known as an ACCIDENTAL. An accidental is a note that does not contain the
same KEY SIGNATURE as was specified by the key.  The key signature is a term
that refers to the sharps or flats in printed music that indicates the key.
If you went through the excercise of building all the scales, you are now
familiar with the patterns of sharps and flats that constitute each of the
keys (notice I did not say "memorized"). These patterns are the "key
signature".  In printed music, the sharps or flats (not AND flats) are
specified at the beginning of each set of lines (staff).  All occurances of
notes that are flatted or sharped as specified in the key signature are
flatted or sharped throughout the piece.  A flat or sharp may be placed in
front of a particular note to cause all occurances of that note WITHIN THAT
MEASURE to be sharped or flatted.  That is an accidental and not part of the
key.
There are other scales that can be built (as mentioned earlier) to minimize
the number of accidentals required.  For example, in a minor key, the third
will be flatted.  Instead of using a major key signature and accidentals for
every occurance of a third throughout the piece, you could use a minor key
instead.  We are not concerned with that here, since we are merely
indicating a minor chord when it is used instead of writing out music.  To
this end, we are keeping things conceptually simpler.
Here are all the standard chord spellings from the perspective of formal
music theory.  Following this chart, we will present the chart and rules as
they apply directly to the limitations (or opportunities) of the guitar
fretboard.
       chord type         spelling
   -----------------  --------------------
   major              1  3  5
   major add 9        1  3  5      9
   major 6            1  3  5 6
   major 6/9          1  3  5 6    9
   major 7            1  3  5    7
   major 9            1  3  5    7 9
   minor              1 b3  5
   minor 6            1 b3  5 6
   minor 6/9          1 b3  5 6    9
   minor 7            1 b3  5   b7
   minor 9            1 b3  5   b7 9
   minor (maj 7)      1 b3  5    7
   dominant 7         1 3   5   b7
   dominant 9         1 3   5      9
   dominant 11        1 3   5   b7 9 11
   dominant 13        1 3   5   b7 9 11 13
   OTHER USEFUL CHORDS:
   diminished         1 b3 b5
   diminished 7       1 b3 b5  bb7
   half-diminished 7  1 b3 b5   b7
   augmented          1 3  #5
   augmented 7        1 3  #5   b7
Note that earlier we stated that you do not use sharps and flats together in
the same diatonic scale.  With chords, this is not always the case as
evidenced by the augmented 7 chord.  The guide-lines for chord spelling and
naming are somewhat looser than those for scale spelling and building.  Also
note that the dominant 7 chord is commonly known as the 7th chord, while the
major 7 chord is known commonly as the major 7 chord.
You may have noticed the use of the numbers 9, 11, and 13.  Here is the
explanation.  By the way, we are almost done with all this theory stuff.
The major scale repeats itself over and over across the range of human
hearing.  Each occurance of the scale is in a different octave.  In other
words, a note at a specific pitch only occurs in one occurance of the scale.
[Note that a note of a given pitch occurs in several places on the guitar
fretboard.  This is a different situation than we are talking about here.
This situation leads to both the incredible flexibility and difficulty of
understanding the guitar fretboard and will be discussed in the section
introducing the CAGED system].
   If we lay two major scales together, we will clearly see what the
   9, 11, and 13 are:
   1 2 3 4 5 6 7 1   2   3    4    5    6    7    8
                (8) (9) (10) (11) (12) (13) (14) (15)
The numbers in parentheses are simply indicating what the numbers would be
called if we were to continue counting after 7.  We are primarily interested
only in those values that we can stack on top of the 7 by thirds.  These
are: 9, 11, and 13.  The other numbers above 7 we really don't concern
ourselves with when building chords.  Therefore, we are concerned with what
are called "extended" tones from which we build chords. As was mentioned
previously, the formal music theory spelling of chords must be modified
somewhat according to some guidelines to accomodate the fact that the guitar
can only play a maximum of six notes at one time.  Also, six note chords
generally sound to muddy or full to be used as a steady diet for
chord-melody playing. It is more common to use 4 note chords with an
occasional 5 or 6 note chord thrown in for good measure to add interest.
   Here are the guidelines and typical chord spellings as they apply to the
guitar.
       chord type         spelling
   -----------------  --------------------
   major              1  3  5
   major add 9        1  3  5      9
   major 6            1  3  5 6
   major 6/9          1  3  5 6    9
   major 7            1  3  5    7
   major 9            1  3  5    7 9
   minor              1 b3  5
   minor 6            1 b3  5 6
   minor 6/9          1 b3  5 6    9
   minor 7            1 b3  5   b7
   minor 9            1 b3  5   b7 9
   minor (maj 7)      1 b3  5    7
   dominant 7         1 3   5   b7
   dominant 9         1 3   5      9
   dominant 11        1 3   5   b7   11
   dominant 13        1 3   5   b7      13
   OTHER USEFUL CHORDS:
   diminished         1 b3 b5
   diminished 7       1 b3 b5  bb7
   half-diminished 7  1 b3 b5   b7
   augmented          1 3  #5
   augmented 7        1 3  #5   b7
These guidelines were gleaned from studying many chord forms and distilling
their common traits into simple terms.  In the next section, these terms are
applied to the CAGED forms to create a very complete library of chord forms
useful for chord-melody arranging.
1. The 3rd (or b3) is required to establish major or minor tonality of a
chord.  The exception os the suspended chord.
2. Extended chords (11, 13, and added notes to b7 chords) use four notes
typically.  Root, 3, 5, or 9 can be omitted as necessary.
3. The 7th is played in all 9, 11, and 13 chords.
4. The root is omitted in most 9 chords.
5. A 9 chord that does not contain a 7 or b7 is known as an "add 9" chord.
6. A 13 chord that does not contain a 7 or b7 is known as a 6 chord.
7. The 11 is not used in a 13 chord.
8. Use a 9 in a 13 chord if possible.
9. If a b13 is used in a chord, omit the 5.
10. The 5 is the most expendable chord element unless it is altered (b5/#11
or #5/b13).
11. In a suspended chord, the 11 replaces the 3.  A #11 (b5) does not
replace the 3.
12. In an 11 chord, if the 9 is not present, the chord is an "add 11".
13. The 11 is rarely (if ever) used in a maj 7 chord.  The #11 is common in
a maj 7 chord.
Closing comments to this section:
---------------------------------
There is much more to music theory than has been presented here. However,
these other areas involve the study of harmony, while the material presented
here involves the basic mechanics of scale and chord construction as it
relates to chord-melody playing.  I believe that the best way to understand
how chords move (harmony) is to play lots of songs, which is the intent of
this paper.  When you are familiar (and comfortable) with arranging
chord-melody solos using the material presented here, you can explore and
understand the more advanced concepts of music theory concerning harmony
(should you so desire).
The basic premise behind the chord-melody style is really very simple.
People tend to hear the highest note in a chord as the melody.  There- fore,
the melody is played as the highest note of the chord, while the bass line
is the lowest note and the harmony fits in the middle.  It is important to
know the RELATIONSHIP of the melody note to the chord. For example, if the
melody note is B and the chord is G, the melody is the third of the chord.
When you are looking for an appropriate chord, you will be looking for some
form of G major chord with the third on top.  If the melody was Bb, then the
G chord would be a G minor chord. This is where the information on chord
spelling becomes very important.
To keep the melody as the highest note, the majority of the melody notes
should fall on the first and second strings of the guitar.  It is often
necessary to TRANSPOSE the melody up or down to a different key to cause the
melody to be played on these two strings.  To determine what key to
transpose the melody to, simply find the highest and lowest melody notes and
move them around until both these notes and all those inbetween fall as
comfortably as possible on the first two strings.  If some notes fall on the
third string, you can accomodate them.  If some notes fall too high to
comfortable play on your guitar, you will need to find a lower key.
After you have found a suitable key, you will need to transpose the
remaining notes.  The simplest thing to do is to count the number of
half-steps between the original first note and the new first note and move
each of the other notes up or down (the same direction as you moved the
first and last notes) the exact same number of steps. Since you already
moved the first and last notes, you won't move those again.  There are books
that provide transposing charts, but I think it is better for you to
experiment with this on your own. You will learn much more in the process.
PLEASE NOTE THAT FOLLOWING THE RATHER LENGTHY CHORD DICTIONARY SECTION AN
EXTENSIVE BIBLIOGRAPHY IS PRESENTED.  WITHIN THIS BIBLIOGRAPHY, YOU SHOULD
BE ABLE TO FIND INFORMATION ON JUST ABOUT ANY FACET OF MUSIC THEORY WITH
REGARD TO THE GUITAR FOR FURTHER STUDY.  IF YOU PUT FORTH A SUSTAINED,
HONEST EFFORT TO ABSORB AND UTILIZE THE MATERIAL PRESENTED IN THIS PAPER,
YOU SHOULD HAVE LITTLE OR NO TROUBLE WORKING THROUGH ANY OF THE MATERIALS IN
THE BIBLIOGRAPHY. MORE IMPORTANTLY, YOU WILL BE WELL EQUIPPED TO CHOOSE THE
MATERIALS THAT ARE RIGHT FOR YOUR INDIVIDUAL MUSICAL GOALS.
FUNDAMENTALS OF THE CAGED SYSTEM
--------------------------------
In this section, the foundation for all that is to follow will be presented.
You should review this material daily via the suggested excercises presented
at the end of this section.  From this section, you should become familiar
with the CAGED system to the extent that, in the future, any chord you play
can be directly derived from one of the basic CAGED chord forms.  This
association should become automatic.  The material presented here is the
language of the guitar. Like any language, its basic structures need to
become second-nature if natural and fluent communication is to take place in
that language.
The CAGED system derives its name from the open string chord forms that make
up the basis for the system.  These are the `C', `A', `G', `E', and `D'
chord forms.  Each of these forms is considered to be MOVEABLE.  The term
moveable implies that each of these forms can be moved up or down the
fretboard.  When played in open position, the nut serves as what is termed a
BARRE.  The barre is a way to fret more than one string at a time.  When any
of these open string forms is moved up the neck, the index finger serves as
the barre, replacing the nut.  Some of these forms can be pretty awkward to
barre in its entirety.  Therefore, some shortcuts will be presented. The
main idea is to become comfortable with the concept of the CAGED system and
to use it to both make music directly and as a springboard to a systematic
understanding of the guitar fretboard.
The basic idea of the CAGED system is that it serves as an interlocking
system of chord forms that perfectly cover the entire fretboard. Starting
with the `C' form and playing through the other four forms in order, you
will have played the same chord along the fretboard.  These forms
individually look like this:
   -----------  -----------  -----------  -----------  -----------
   | | | 5 | 3  | R | | | 5  | | 5 R 3 |  R | | | 5 R  | | R | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  | | | | | |  | | | | | |  | | | 3 | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | 3 | | |  | | 5 R 3 |  | 3 | | | |  | 5 R | | |  | | | 5 | 3
   -----------  -----------  -----------  -----------  -----------
   | R | | | |  | | | | | |  R | | | | R  | | | | | |  | | | | R |
   -----------  -----------  -----------  -----------  -----------
     C Form       A Form       G Form       E Form       D Form
   There are acceptable abbreviated forms for the 'G' and 'D' forms:
                             -----------               -----------
                             | | 5 R 3 |               | | R | | |
                             -----------               -----------
                             | | | | | |               | | | | | |
                             -----------               -----------
                             | 3 | | | |               | | | 5 | |
                             -----------               -----------
                             R | | | | |               | | | | R |
                             -----------               -----------
                               G Form                    D Form
There is a lot of information contained in these diagrams.  First, note that
the fingering is notated using the elements of the chord (R =3D 1).  In a
major triad (three-note chord), there are the ROOT, THIRD and FIFTH elements
of that chord's MAJOR SCALE.  In the cases where two or more notes occur at
the same fret, use the same finger to play all of them (called a barre).
These forms are moveable, in that they all move CHROMATICALLY up the neck.
This diagram shows how these forms interlock to provide a means of playing
the same chord up and down the neck without any gaps.
   -----------
      NUT
   -----------
   | | | * | *   C Form
   -----------
   | | | | * |
   -----------
   | | * | | |
   -----------
   | * | | | +   A Form
   -----------
   | | | | | |
   -----------
   | | + + + |   G Form
   -----------
   | | | | | |
   -----------
   | * | | | |
   -----------
   * | | | | *   E Form
   -----------
   | | | + | |
   -----------
   | + + | | |   D Form
   -----------
   | | | | | |
   -----------
   | | | * | +   C Form  [Notice the overlap between these two
   -----------            forms: D to C.  Also notice that the
   | | | | * |            patterns repeat themselves seamlessly
   -----------            at the 12th fret.]
   | | + | | |
   -----------
   | + | | | |
   -----------
   SOUND HOLE
   -----------
Wherever you start on the fretboard (and with whichever form), the CAGED
system lays out as shown in the preceding diagram.  For example, if you
start with the 'E' form at the tenth fret (a 'D' major chord), the preceding
form will be the 'D' form barred at the 12th fret.  Since the pattern
repeats at the 12th fret, the 'D' form appears as the open 'D' form at the
nut.
A SHORTHAND NOTATION SYSTEM FOR FAKEBOOK ARRANGING
--------------------------------------------------
This section presents a simple notation system for notating your chord
voicings in a fake book to facilitate remembering the ar- rangements you
create using the CAGED system.
       1
       2
       3
       4
       5
       6
       -
      Fret
The idea is to use a fraction-type system in which the number below the
fraction indicates the temporary open fret from which all the numbers above
the fraction are offset.  There will always be an entry above the fraction
for each of the six strings of the guitar.  In the case where a string is
not played, place an 'x' instead of a number for that strings.  For a string
whose note is at the same fret as the the fret designated as the open fret,
place a 0.  All other numbers represent the number of frets toward the sound
hole offset from the fret number of the open fret the string is fingered to
make the chord.
Example:
   To notate the D major chord using the 'C' form:
   -----------    first fret
   | | | * | *
   -----------
   | | | | * |
   -----------
   | | * | | |
   -----------
   | * | | | |
   -----------   fifth fret
   shorthand notation:
       0
       1
       0
       2
       3
       x
       -
       5
A PRACTICAL CHORD-MELODY LIBRARY OF FORMS:
------------------------------------------
This section will apply the guidelines given in the previous section to the
basic CAGED forms to created altered and extended chord forms useful for
chord-melody arranging.  These forms will be grouped by the basic CAGED form
from which they were derived.  The reason for this approach of grouping
these chords is that up to this point, we have worked to build a solid and
systematic foundation of guitar fret- board knowledge based on the CAGED
system.  The chord library presented here is not intended to be used as a
crutch to be mechanically con- sulted when building chord-melody solos.  It
should serve as a temp- orary aid for learning how to build your own chord
forms applying what you have learned in a practical manner.  To facilitate
this learning process, it is strongly advised that you continue to build on
what you already know in an organized manner.  The CAGED system continues to
provide the framework for this organization, as is aptly demon- strated
here.  Within each group, the forms will be divided like this:
   - By one of three categories (maj, minor, dominant).  It is easiest when
playing guitar to keep in mind and think of chords as belonging to one of
these three categories.
   - By the melody note being harmonized. You should be able to go directly
to the section within the primary type of chord you want to build, find the
relationship of the melody note to the required chord (root, 3, 5, 9, etc.),
and select the appropriate chord.
   - By the string the melody note occurs on.  Once you know the primary
chord type and the relationship of the melody to the required chord, you
pick the string on which the melody is located and choose the appropriate
form.  It is adivsed to raise the melody one octave to keep as much of it as
possible on the first and second strings.  then, try to keep as much of the
melody as possible relatively close together to avoid jumping all over the
neck to get from chord to chord. This will result in a smoother transition
between chords.
Note that not all forms support all melody notes on all strings.  Each
section will seem incomplete.  This due to the fact that I left out sections
that did not have chord forms.  All sections could have been left in, but
that would have simply added clutter unnecessarily.
In addition to the chord forms, at the beginning of each CAGED section, the
Pentatonic (blues) scale form and one or more version of major scale form
will be presented along with the basic CAGED form.  This information will be
useful to you when you decide to learn these im- portant scales.
To make use of these chord forms (which, like the basic CAGED forms are all
moveable), do the following:
        1. Determine the relationship of the melody note to the specified
chord.
        2. Based on that relationship, select the appropriate chord form to
play.  Note that there is usually more than one possible form to pick from.
The choice is a matter of taste, which you will develop to your liking as
you gain experience.  Which basic form grouping you pick from is likewise
your choice.  However, bear in mind that you want the resulting arrangement
to be easy enough to play so as to be able to do so smoothly.  It is painful
to an audience to hear you struggling for your chords.
After you are comfortable with this procedure (when you have arranged 20 or
so tunes this way), you may want to study ways to add interest to the
original chord progressions.  There are several ways to do this and many
good books on the subject.  Look for terms such as "chord substitution" and
"the cycle of fifths".
Using these methods, you will still make use of the same chord library
presented here.  These chords represent the most useful forms for this style
of playing.  How you apply them is a matter of style and taste developed
over a long time and with lots of practice in arranging.
To get the most out of this chord library, it is advisable to approach these
forms with intense curiosity with regard to how they were arrived at.  Start
by first working out what you think is a reasonable form for a given
specified chord and melody note immediately after determining the
relationship of melody note to specified chord and BEFORE looking in this
library.  Then, when you go into the library and find your chord, work
through going from the basic CAGED form to the selected chord.  In time,
this process will become automatic and you will no longer need the library.
Then, you will have learned to speak the language without fumbling through
the dictionary.
Here is an example of the "morphing" process beginning with the basic form
and ending up at the desired library form:
    Using the 'C' basic form with root melody on second string:
    Step 1       Step 2        Step 3       Step 4       Step 5
   -----------  -----------  -----------  -----------  -----------=20
   | | | 5 | 3  | | | | | |  | | | | | |  | | | | | |  | | | | | |=20
   -----------  -----------  -----------  -----------  -----------=20
   | | | | R |  | | | | R |  | | | | | |  | | | | | |  | | | | | |=20
   -----------  -----------  -----------  -----------  -----------=20
   | | 3 | | |  | | 3 | | |  | | 3 | | |  | | 3 6 | |  | |b3 | | |
   -----------  -----------  -----------  -----------  -----------=20
   | R | | | |  | R | | | |  | R | | 9 |  | R | | 9 |  | R |b7 9 |
   -----------  -----------  -----------  -----------  -----------=20
   | | | | | |  | | | 7 | |  | | | 7 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  ----------- =20
     major        major 7      major 9    maj 6 add 9      9
     Step 6
   -----------
   | | | | | |
   -----------
   | |b3 | | |
   -----------
   | R |b7 9 |
   -----------
   | | | | | |
   -----------
     mi 9
Notice how we arrived at several useable forms along the way.  Work through
this carefully because within the process is the key to using the CAGED
system to truly understand the fretboard.  A key to this process is the
knowledge of each of the elements that make up the basic form coupled with a
knowledge of how chords are spelled (which stems from a knowledge of the
underlying major scale form).  All of this knowledge has been presented in
previous sections.  If you are not fully comfortable with these areas, go
back and learn them.  The daily excercise regimen was carefully designed
through direct ex- perience to provide this knowledge slowly and painlessly
over time in day-sized pieces.
CHORDS DERIVED FROM THE BASIC 'C' FORM:
---------------------------------------
   The basic 'C' form:
   -----------
   | | | 5 | 3
   -----------
   | | | | R |
   -----------
   | | 3 | | |
   -----------
   | R | | | |
   -----------
   The 'C' form major scale:
   -----------  -----------       The major scale is useful for
   3 6 2 5 7 3  * * * 5 * 3       understanding how the chords
   -----------  -----------       built and for picking out
   4 | | | R 4  * | | | R *       melodies by ear.  The major
   -----------  -----------       scale is shown here twice.
   | 7 3 6 | |  | * 3 * | |       The first scale shows all the
   -----------  -----------       possible chord elements that
   5 R 4 | 2 5  * R * | * *       make up the scale.  The second
   -----------  -----------       scale shows how the basic CAGED
   | | | | | |  | | | | | |       form lies within the scale.
   -----------  -----------
   The 'C' form Pentatonic (blues scale):
   -----------   The Pentatonic (five-tone) scale is useful for
   * * * 5 | 3   jamming with guitarists.  The one language that
   -----------   every guitarist has in common is the blues.  The
   | | | | R |   Pentatonic scale form is directly related to its
   -----------   CAGED form.  To sound "bluesy", determine what
   | | 3 * | |   key the song is in and play from the interlocking
   -----------   CAGED Pentatonic patterns representing the b3 of
   * R | | * *   the key.  For example, if the song is in 'A' you
   -----------   would use the 'C' Pentatonic forms as they inter-
                 lock all over the neck.
                            THE MAJOR CHORDS
   Major chords with the ROOT in the melody on the second string:
     MAJOR        MAJ 6        MAJ 7        MAJ 9        MAJ 6/9
   -----------  -----------  -----------  -----------  -----------
   | | | 5 | |  | | | | R |  | | | | R |  3 | 9 5 | |  3 6 9 5 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  | | 3 6 | |  | | 3 | | |  | | | | R |  | | | | R |
   -----------  -----------  -----------  -----------  -----------
   | | 3 | | |  5 | | | | |  | R | | | |  | 7 | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | R | | | |  | | | | | |  | | | 7 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
                 alt form     alt form
                -----------  -----------
                | 6 | 5 | |  | | | 5 | |
                -----------  -----------
                | | | | R |  | | | | R |
                -----------  -----------
                | | 3 | | |  | 7 3 | | |
                -----------  -----------
                | | | | | |  | | | | | |
                -----------  -----------
   Major chords with the 2/9 in the melody on the second string:
   MAJ 9        MAJ 6/9
   -----------  -----------
   | | 3 | | |  | | 3 6 | |
   -----------  -----------
   | R | | 9 |  5 | | | 9 |
   -----------  -----------
   | | | 7 | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Major chords with the 3 in the melody on the first string:
     MAJOR
   -----------
   | | | 5 | 3
   -----------
   | | | | R |
   -----------
   | | 3 | | |
   -----------
   | R | | | |
   -----------
Major chords with the 5 in the melody on the first string:
      MAJ 6        MAJ 7        MAJ 9       MAJ 6/9
   -----------  -----------  -----------  -----------
   | | | | R |  | | | | R |  | | 3 | | |  | | 3 6 | |
   -----------  -----------  -----------  -----------
   | | 3 6 | |  | | 3 | | |  | | | | 9 5  | | | | 9 5
   -----------  -----------  -----------  -----------
   | | | | | 5  | | | | | 5  | | | 7 | |  | | | | | |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | 7 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
                            THE MINOR CHORDS
   Minor chords with the ROOT in the melody on the second string:
      MI 6
   -----------
   | 6 | 5 | |
   -----------
   | |b3 | R |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Minor chords with the 2/9 in the melody on the second string:
      MI 9
   -----------
   | |b3 | | |
   -----------
   | | | | | |
   -----------
   5 | |b7 9 |
   -----------
   | | | | | |
   -----------
   Minor chords with the 11 in the melody on the first string:
      MI 11
   -----------
   | |b3 | |11
   -----------
   | | | | | |
   -----------
   | R |b7 9 |
   -----------
   | | | | | |
   -----------
   Minor chords with the 5 in the melody on the first string:
      MI 6         MI 7         MI 9
   -----------  -----------  -----------
   | |b3 | R |  | |b3 | R |  | |b3 | | |
   -----------  -----------  -----------
   | | | 6 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
   | | | | | 5  | | |b7 | 5  | | |b7 9 5
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
                      THE DOMINANT 7 CHORDS
   Dom 7 chords with the ROOT in the melody on the second string:
       7th          9th         11th         13th        Aug 7
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  3 | 9 5 | |  | | | | R |  |b7 | | R |  |b7 |#5 R |
   -----------  -----------  -----------  -----------  -----------
   | | 3 | | |  |b7 | | R |  | | | | | |  | | 313 | |  | | 3 | | |
   -----------  -----------  -----------  -----------  -----------
   5 | |b7 | |  | | | | | |  5 |11b7 | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
    alt form
   -----------
   | | | 5 | |
   -----------
   |b7 | | R |
   -----------
   | | 3 | | |
   -----------
   | | | | | |
   -----------
   Dom 7 chords with b9 in the melody on the second string:
     Dim 7
   -----------
   | | 3 |b9 |
   -----------
   5 | |b7 | |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Dom 7 chords with the 2/9 in the melody on the second string:
       7th          9th         11th         13th        Aug 7th
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | 3 | | |  | | | | | |  |b7 | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | R |b7 9 |  | R11b7 9 |  | | 313 | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | 9 |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
Dom 7 chords with the 11 in the melody on the first string:
      11th         13th
   -----------  -----------
   | | | | |11  | | 9 | | |
   -----------  -----------
   | | | | | |  |b7 | | |11
   -----------  -----------
   | R |b7 9 |  | | |13 | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Dom 7 chords with the #11 (b5) in the melody on the first string:
     9 b5
   -----------
   | | 3 | |#11
   -----------
   | R |b7 9 |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Dom 7 chords with the 5 in the melody on the first string:
       7th          9th         11th         13th        Dim 7
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  | | 3 | | |  | |11b7 9 5  |b7 | | | |  | | 3 |b9 |
   -----------  -----------  -----------  -----------  -----------
   | | 3 | | |  | | |b7 9 5  | | | | | |  | | 313 | |  | | |b7 | 5
   -----------  -----------  -----------  -----------  -----------
   | | |b7 | 5  | | | | | |  | | | | | |  | | | | 9 5  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   Dom 7 chords with the #5 (b13) in the melody on the first string:
      9 #5        Aug 7
   -----------  -----------
   | | 3 | | |  | | | | R |
   -----------  -----------
   | R |b7 9 |  | | 3 | | |
   -----------  -----------
   | | | | |#5  | | |b7 | |
   -----------  -----------
   | | | | | |  | | | | |#5
   -----------  -----------
Dom 7 chords with the 6/13 in the melody on the first string:
      13th
   -----------
   | | 3 | | |
   -----------
   | R |b7 9 |
   -----------
   | | | | | |
   -----------
   | | | | |13
   -----------
                      THE HALF-DIMINISHED CHORDS
   Half-diminished (MI 7b5) chords with the Root in the melody on the
   second string:
     Mi 7b5
   -----------
   | | |b5 | |
   -----------
   | | | | | |
   -----------
   |b7b3 | R |
   -----------
   | | | | | |
   -----------
   Half-diminished (MI 7b5) chords with the b5 in the melody on the
   first string:
     Mi 7b5
   -----------
   | |b3 | R |
   -----------
   | | | | |b5
   -----------
   | | |b7 | |
   -----------
   | | | | | |
   -----------
CHORDS DERIVED FROM THE BASIC 'A' FORM:
---------------------------------------
   The basic 'A' form:
   -----------
   | R | | | 5
   -----------
   | | | | | |
   -----------
   | | 5 R 3 |
   -----------
   | | | | | |
   -----------
   The 'A' form major scale:
   -----------  -----------       The major scale is useful for
   5 R 4 | 2 5  * R * | * 5       understanding how the chords
   -----------  -----------       built and for picking out
   | | | 7 | |  | | | * | |       melodies by ear.  The major
   -----------  -----------       scale is shown here twice.
   6 2 5 R 3 6  * * 5 R 3 *       The first scale shows all the
   -----------  -----------       possible chord elements that
   | | | | 4 |  | | | | * |       make up the scale.  The second
   -----------  -----------       scale shows how the basic CAGED
   7 3 6 | | 7  * * * | | *       form lies within the scale.
   -----------  -----------
     Alt form    Alt form
   -----------  -----------       These alternate forms conform to
   | 7 3 6 | |  | * * * | |       the "box" nature of the CAGED forms.
   -----------  -----------       However, they do not remain unchanged
   5 R 4 | 2 5  * R * | * 5       when playing in the open position as
   -----------  -----------       do the main forms presented above.
   | | | 7 | |  | | | * | |
   -----------  -----------=20
   6 2 5 R 3 6  * * 5 R 3 *
   -----------  -----------=20
   | | | | 4 |  | | | | 4 |
   -----------  -----------=20
   The 'A' form Pentatonic (blues scale):
   -----------   The Pentatonic (five-tone) scale is useful for
   | | * * | |   jamming with guitarists.  The one language that
   -----------   every guitarist has in common is the blues.  The
   * R | | * 5   Pentatonic scale form is directly related to its
   -----------   CAGED form.  To sound "bluesy", determine what
   | | | | | |   key the song is in and play from the interlocking
   -----------   CAGED Pentatonic patterns representing the b3 of
   * * 5 R 3 *   the key.  For example, if the song is in 'F#' you
   -----------   would use the 'A' Pentatonic forms as they inter-
                 lock all over the neck.
                            THE MAJOR CHORDS
   Major chords with the 3 in the melody on the second string:
     MAJOR        MAJ 6        MAJ 7        MAJ 9        MAJ 6/9
   -----------  -----------  -----------  -----------  -----------
   | R | | | |  | | | | | |  | R | | | |  | | | | | |  6 | 5 | 3 |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | 7 | |  | | | 7 | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | 5 R 3 |  6 | 5 R 3 |  | | 5 | 3 |  | 9 5 | 3 |  | | | 9 | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
                 alt form
                -----------
                | | | 6 | |
                -----------
                | R | | | |
                -----------
                | | | | | |
                -----------
                | | 5 | 3 |
                -----------
   Major chords with the 5 in the melody on the first string:
     MAJOR                     MAJOR 7
   -----------               -----------
   5 R | | | 5               | | | | | 5
   -----------               -----------
   | | | | | |               | | | 7 | |
   -----------               -----------
   | | 5 R 3 |               | | 5 | 3 |
   -----------               -----------
   | | | | | |               | | | | | |
   -----------               -----------
   Major chords with the #5 (b13) in the melody on the first string:
     MAJ 7 #5
   -----------
   | R | | | |
   -----------
   | | | 7 |#5
   -----------
   | | | | 3 |
   -----------
   | | | | | |
   -----------
Major chords with the 6 in the melody on the first string:
     MAJ 6        MAJ 7        MAJ 6/9
   -----------  -----------  -----------
   | | | | | |  | R | | | |  | | 5 | 3 6
   -----------  -----------  -----------
   | | 5 R 3 6  | | | 7 | |  | | | | | |
   -----------  -----------  -----------
   | | | | | |  | | | | 3 6  | | | 9 | |
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
                            THE MINOR CHORDS
   Minor chords with the b3 in the melody on the second string:
     MINOR        MI 6         MI 7
   -----------  -----------  -----------
   | R | | | |  | | | |b3 |  | R |b7 | |
   -----------  -----------  -----------
   | | | |b3 |  6 | 5 R | |  | | | |b3 |
   -----------  -----------  -----------
   | | 5 R | |  | | | | | |  | | 5 | | |
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
                 Alt form
                -----------
                | | | 6 | |
                -----------
                | R | | | |
                -----------
                | | | |b3 |
                -----------
                | | 5 | | |
                -----------
   Minor chords with the 5 in the melody on the first string:
      MINOR
   -----------
   | | | | | 5
   -----------
   | | | |b3 |
   -----------
   | | 5 R | |
   -----------
   | | | | | |
   -----------
   Minor chords with the #5 (b13) in the melody on the first string:
     Mi 7 #5
   -----------
   | R |b7 | |
   -----------
   | | | |b3#5
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
Minor chords with the 6/13 in the melody on the first string:
       MI 6        MI 13
   -----------  -----------
   | | | |b3 |  | R |b7 | |
   -----------  -----------
   | | 5 R | 6  | | | |b3 |
   -----------  -----------
   | | | | | |  | | 5 | |13
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Minor chords with the b7 in the melody on the first string:
      MI 7         MI 9
   -----------  -----------
   | | | |b3 |  | | | |b3 |
   -----------  -----------
   | | 5 R | |  | | 5 | | |
   -----------  -----------
   | | | | |b7  | | | | |b7
   -----------  -----------
   | | | | | |  | | | 9 | |
   -----------  -----------
                           THE DOMINANT CHORDS
   Dominant chords with the 3 in the melody on the second string:
       7th         9th          13th         Dim 7       Aug 7
   -----------  -----------  -----------  -----------  -----------
   | R |b7 | |  | | | | 3 |  | | | | 3 |  | | |b7 | |  | | | R 3 |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  b7| | | | |  |b9 | | | |  b7|#5 | | |
   -----------  -----------  -----------  -----------  -----------
   | | 5 | 3 |  | | | 9 | |  | | 139 | |  | | 5 | 3 |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  R |b7 | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   Dominant chords with the 11 in the melody on the second string:
      11th
   -----------
   | R |b7 | |
   -----------
   | | | | | |
   -----------
   | | 5 | | |
   -----------
   | | | |11 |
   -----------
   Dominant chords with the 6/13 in the melody on the first string:
      13th
   -----------
   | R |b7 | |
   -----------
   | | | | | |
   -----------
   | | 5 | 313
   -----------
   | | | | | |
   -----------
Dominant chords with the b7 in the melody on the first string:
      7th          9th          11th         13th
   -----------  -----------  -----------  -----------
   | | 5 R 3 |  | | 5 | 3 |  | | 5 | | |  | | | | 3 |
   -----------  -----------  -----------  -----------
   | | | | |b7  | | | | |b7  | | | |11b7  | | | | |b7
   -----------  -----------  -----------  -----------
   | | | | | |  | | | 9 | |  | | | 9 | |  | |13 9 | |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
     Dim 7        Aug 7
   -----------  -----------
   | | 5 | 3 |  | | | R 3 |
   -----------  -----------
   | | |b9 |b7  | |#5 | |b7
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
                      THE HALF-DIMINISHED CHORDS
   Half-diminished (MI 7b5) chords with the b3 in the melody on the
   second string:
     Mi 7b5
   -----------
   | R |b7 | |
   -----------
   | |b5 |b3 |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Half-diminished (MI 7b5) chords with the b7 in the melody on the
   first string:
     Mi 7b5
   -----------
   | |b5 |b3 |
   -----------
   | | | R | |
   -----------
   | | | | |b7
   -----------
   | | | | | |
   -----------
CHORDS DERIVED FROM THE BASIC 'G' FORM:
---------------------------------------
   The basic 'G' form:
   -----------  -----------    The second form indicates an
   | | 5 R 3 |  | | 5 R 3 |    acceptable abbreviated form
   -----------  -----------    for ease of fingering while
   | | | | | |  | | | | | |    practicing.
   -----------  -----------=20
   | 3 | | | |  | 3 | | | |=20
   -----------  -----------=20
   R | | | | R  R | | | | |
   -----------  -----------=20
   The 'G' form major scale:
   -----------  -----------       The major scale is useful for
   6 2 5 R 3 6  * * 5 R 3 *       understanding how the chords
   -----------  -----------       built and for picking out
   | | | | 4 |  | | | | * |       melodies by ear.  The major
   -----------  -----------       scale is shown here twice.
   7 3 6 2 | 7  * 3 * * | *       The first scale shows all the
   -----------  -----------       possible chord elements that
   R 4 | | 5 R  R * | | * R       make up the scale.  The second
   -----------  -----------       scale shows how the basic CAGED
   | | 7 | | |  | | * | | |       form lies within the scale.
   -----------  -----------
     Alt form    Alt form
   -----------  -----------       These alternate forms conform to
   | | | 7 | |  | | | * | |       the "box" nature of the CAGED forms.
   -----------  -----------       However, they do not remain unchanged
   6 2 5 R 3 6  * * * * * *       when playing in the open position as
   -----------  -----------       do the main forms presented above.
   | | | | 4 |  | | | | * |
   -----------  -----------=20
   7 3 6 2 | 7  * 3 * * | *
   -----------  -----------=20
   R 4 | | 5 R  R * | | * R
   -----------  -----------=20
   The 'G' form Pentatonic (blues scale):
   -----------   The Pentatonic (five-tone) scale is useful for
   * * 5 R 3 *   jamming with guitarists.  The one language that
   -----------   every guitarist has in common is the blues.  The
   | | | | | |   Pentatonic scale form is directly related to its
   -----------   CAGED form.  To sound "bluesy", determine what
   | * * * * |   key the song is in and play from the interlocking
   -----------   CAGED Pentatonic patterns representing the b3 of
   R | | | * R   the key.  For example, if the song is in 'E' you
   -----------   would use the 'G' Pentatonic forms as they inter-
                 lock all over the neck.
                            THE MAJOR CHORDS
   Major chords with the Root in the melody on the first string:
     MAJOR
   -----------
   | | 5 R 3 |
   -----------
   | | | | | |
   -----------
   | 3 | | | |
   -----------
   R | | | | R
   -----------
   Major chords with the 5 in the melody on the second string:
      MAJOR        MAJ 9       MAJ 6/9
   -----------  -----------  -----------
   | | 5 R | |  | 3 | 9 | |  | 3 6 9 | |
   -----------  -----------  -----------
   | | | | | |  | | | | 5 |  R | | | 5 |
   -----------  -----------  -----------
   | 3 | | | |  | | 7 | | |  | | | | | |
   -----------  -----------  -----------
   | | | | 5 |  | | | | | |  | | | | | |
   -----------  -----------  -----------
   Major chords with the 7 in the melody on the first string:
     MAJ 7         MAJ 9
   -----------  -----------
   | | 5 R 3 |  | | 5 | 3 |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   | | | | | 7  | | | 9 | 7
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
                            THE MINOR CHORDS
   Minor chords with the b3 in the melody on the second string:
      MI 9
   -----------
   | | | |b3 |
   -----------
   | | 5 | | |
   -----------
   |b3 | | | |
   -----------
   | | | 9 | |
   -----------
                            THE DOMINANT CHORDS
   Dominant chords with the #11 (b5) in the melody on the second
   string:
      #11
   -----------
   | 3 | 9#11|
   -----------
   R |b7 | | |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Dominant chords with the 5 in the melody on the second string:
      7th          9th          11th         13th
   -----------  -----------  -----------  -----------
   | | | R | |  | 3 | 9 | |  | | | R | |  b7| | | | |
   -----------  -----------  -----------  -----------
   | | | | | |  | |b7 | 5 |  | | | | | |  | |13 9 | |
   -----------  -----------  -----------  -----------
   | 3 | | | |  | | | | | |  | | | | | |  | | | | 5 |
   -----------  -----------  -----------  -----------
   | |b7 | 5 |  | | | | | |  |11b7 | 5 |  | | | | | |
   -----------  -----------  -----------  -----------
                      THE HALF-DIMINISHED CHORDS
   Half-diminished (MI 7b5) chords with the b7 in the melody on the
   first string:
     Mi 7b5
   -----------
   | | | R | |
   -----------
   |b3 | | | |
   -----------
   | | | |b5 |
   -----------
   | |b7 | | |
   -----------
CHORDS DERIVED FROM THE BASIC 'E' FORM:
---------------------------------------
   The basic 'E' form:
   -----------
   R | | | 5 R
   -----------
   | | | 3 | |
   -----------
   | 5 R | | |
   -----------
   | | | | | |
   -----------
   The 'E' form major scale:
   -----------  -----------       The major scale is useful for
   R 4 | | 5 R  R * | | 5 R       understanding how the chords
   -----------  -----------       built and for picking out
   | | 7 3 | |  | | * 3 | |       melodies by ear.  The major
   -----------  -----------       scale is shown here twice.
   2 5 R 4 6 2  * 5 R * * *       The first scale shows all the
   -----------  -----------       possible chord elements that
   | | | | | |  | | | | | |       make up the scale.  The second
   -----------  -----------       scale shows how the basic CAGED
   3 6 2 | 7 3  * * * | * *       form lies within the scale.
   -----------  -----------
     Alt form    Alt form
   -----------  -----------       These alternate forms conform to
   7 3 6 2 | 7  * * * * | *       the "box" nature of the CAGED forms.
   -----------  -----------       However, they do not remain unchanged
   R 4 | | 5 R  R * | | * |       when playing in the open position as
   -----------  -----------       do the main forms presented above.
   | | 7 3 | |  | | * 3 | |
   -----------  -----------=20
   2 5 R 4 6 2  * 5 R * * *
   -----------  -----------=20
   | | | | | |  | | | | | |
   -----------  -----------=20
   The 'E' form Pentatonic (blues scale):
   -----------   The Pentatonic (five-tone) scale is useful for
   | * * * | |   jamming with guitarists.  The one language that
   -----------   every guitarist has in common is the blues.  The
   R | | | 5 R   Pentatonic scale form is directly related to its
   -----------   CAGED form.  To sound "bluesy", determine what
   | | | 3 | |   key the song is in and play from the interlocking
   -----------   CAGED Pentatonic patterns representing the b3 of
   * 5 R | * *   the key.  For example, if the song is in 'C#' you
   -----------   would use the 'E' Pentatonic forms as they inter-
                 lock all over the neck.
                            THE MAJOR CHORDS
   Major chords with the ROOT in the melody on the first string:
      MAJOR        MAJ 6        MAJ 7        MAJ 9       MAJ 6/9
   -----------  -----------  -----------  -----------  -----------
   R | | | 5 R  | | | | | R  | | | | 5 R  | | | 9 | |  | | 6 9 | |
   -----------  -----------  -----------  -----------  -----------
   | | | 3 | |  | | | 3 | |  | | 7 3 | |  | | | | 5 R  | | | | 5 R
   -----------  -----------  -----------  -----------  -----------
   | 5 R | | |  | | R | 6 |  | | | | | |  | | 7 | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
                 Alt form
                -----------
                | | 6 | | |
                -----------
                | | | | 5 R
                -----------
                | | | 3 | |
                -----------
                | | | | | |
                -----------
   Major chords with the 9 in the melody on the first string:
     MAJ 9        MAJ 6/9
   -----------  -----------
   | | | | 5 |  | | | 3 | |
   -----------  -----------
   | | 7 3 | |  | 5 | | 6 9
   -----------  -----------
   | | | | | 9  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Major chords with the 5 in the melody on the second string:
      MAJ 6        MAJ 7
   -----------  -----------
   | | 6 | | |  R | | | 5 |
   -----------  -----------
   R | | | 5 |  | | 7 3 | |
   -----------  -----------
   | | | 3 | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
Major chords with the #5 in the melody on the second string:
     MAJ 7 #5
   -----------
   R | | | | |
   -----------
   | | 7 3#5 |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Major chords with the 6 in the melody on the second string:
      MAJ 6        MAJ 7       MAJ 6/9
   -----------  -----------  -----------
   | | | 3 | |  R | | | | |  | | | 3 | |
   -----------  -----------  -----------
   | 5 R | 6 |  | | 7 3 | |  9 5 | | 6 |
   -----------  -----------  -----------
   | | | | | |  | | | | 6 |  | | | | | |
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
   Major chords with the 7 in the melody on the first string:
     MAJ 7
   -----------
   | | | | | 7
   -----------
   | | | | 5 |
   -----------
   | | | 3 | |
   -----------
   | | R | | |
   -----------
   Major chords with the 7 in the melody on the second string:
      MAJ 9
   -----------
   | | | 3 | |
   -----------
   | 5 | | | |
   -----------
   | | | | | |
   -----------
   | | 9 | 7 |
   -----------
                            THE MINOR CHORDS
   Minor chords with the ROOT in the melody on the first string:
      MINOR        MI 6         MI 7         MI 9
   -----------  -----------  -----------  -----------
   | | |b3 5 R  | | 6 | | |  | |b7b3 5 R  |b3 | | | |
   -----------  -----------  -----------  -----------
   | | | | | |  | | |b3 5 R  | | | | | |  | | | 9 | |
   -----------  -----------  -----------  -----------
   | | R | | |  | | | | | |  | | | | | |  | |b7 | 5 R
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
   Minor chords with the 9 in the melody on the first string:
      MI 9
   -----------
   | | |b3 | |
   -----------
   | | | | | |
   -----------
   | 5 | | | 9
   -----------
   | | | |b7 |
   -----------
    Alt form
   -----------
   R |b7b3 5 |
   -----------
   | | | | | |
   -----------
   | | | | | 9
   -----------
   | | | | | |
   -----------
   Minor chords with the 11 in the melody on the second string:
   MI 7 ADD 11
   -----------
   | | | |11 |
   -----------
   | | | | | |
   -----------
   R |b7b3 | |
   -----------
   | | | | | |
   -----------
Minor chords with the 5 in the melody on the second string:
      MINOR        MI 6         MI 7         MI 9
   -----------  -----------  -----------  -----------
   | | |b3 5 |  | | 6 | | |  R |b7b3 5 |  |b3 | | | |
   -----------  -----------  -----------  -----------
   | | | | | |  R | |b3 5 |  | | | | | |  | | | 9 | |
   -----------  -----------  -----------  -----------
   | 5 R | | |  | | | | | |  | | | | | |  | |b7 | 5 |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
   Minor chords with the #5 (b13) in the melody on the second string:
     MI 7 #5
   -----------
   R |b7b3 | |
   -----------
   | | | | 5 |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Minor chords with the 6/13 in the melody on the second string:
      MI 6         MI 13
   -----------  -----------
   | | |b3 | |  R |b7b3 | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   | 5 R | 6 |  | | | |13 |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
                            THE DOMINANT CHORDS
   Dominant chords with the ROOT in the melody on the first string:
      7th          9th          11th         13th        Aug 7
   -----------  -----------  -----------  -----------  -----------
   | |b7 | 5 R  | | | 9 | |  | |b7 | 5 R  | |b7 | | R  | |b7 | | R
   -----------  -----------  -----------  -----------  -----------
   | | | 3 | |  | |b7 | 5 R  | | | | | |  | | | 3 | |  | | | 3#5 |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | |11 | |  | | | |13 |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   Dominant chords with the b9 in the melody on the first string:
       7b9         Dim 7
   -----------  -----------
   R |b7 | 5 |  | |b7 | 5 |
   -----------  -----------
   | | | 3 |b9  | | | 3 |b9
   -----------  -----------
   | 5 | | | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Dominant chords with the 9 in the melody on the first string:
      9th          11th         13th
   -----------  -----------  -----------
   | | | 3 | |  | | R11 | 9  | |b7 | | |
   -----------  -----------  -----------
   | | R | | 9  | | | |b7 |  | | | 3 | |
   -----------  -----------  -----------
   | | | |b7 |  | | | | | |  | | | |13 9
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
    Alt form
   -----------
   R |b7 | 5 |
   -----------
   | | | 3 | |
   -----------
   | 5 | | | 9
   -----------
   | | | | | |
   -----------
Dominant chords with the #9 in the melody on the first string:
      7#9
   -----------
   R |b7 | 5 |
   -----------
   | | | 3 | |
   -----------
   | 5 | | | |
   -----------
   | | | | |#9
   -----------
   Dominant chords with the 11 in the melody on the second string:
      11th         13th
   -----------  -----------
   | | | |11 |  b7| | |11 |
   -----------  -----------
   | | | 9 | |  | |13 9 | |
   -----------  -----------
   R |b7 | | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Dominant chords with the 5 in the melody on the second string:
      7th         Dim 7
   -----------  -----------
   R |b7 | 5 |  | |b7 | 5 |
   -----------  -----------
   | | | 3 | |  b9| | 3 | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
   Dominant chords with the #5 in the melody on the second string:
      Aug 7
   -----------
   R |b7 | | |
   -----------
   | | | 3#5 |
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
Dominant chords with the 6/13 in the melody on the second string:
      13th
   -----------
   R |b7 | | |
   -----------
   | | | 3 | |
   -----------
   | | | |13 |
   -----------
   | | | | | |
   -----------
   Dominant chords with the b7 in the melody on the second string:
      7th          11th         Dim 7        Aug 7
   -----------  -----------  -----------  -----------
   | | | 3 | |  | 5 R11 | |  | | | 3 | |  | | | 3 | |
   -----------  -----------  -----------  -----------
   | 5 R | | |  | | | |b7 |  | 5 | | | |  | | R | | |
   -----------  -----------  -----------  -----------
   | | | |b7 |  | | | | | |  | |b9 |b7 |  |#5 | |b7 |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
                      THE HALF-DIMINISHED CHORDS
   Half-diminished (MI 7b5) chords with the ROOT in the melody on
   the first string:
     MI 7 b5
   -----------
   | | | |b5 |
   -----------
   | |b7b3 | R
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
   Half-diminished (MI 7b5) chords with the b7 in the melody on
   the second string:
     MI 7 b5
   -----------
   | | |b3 | |
   -----------
   |b5 | | | |
   -----------
   | | R | | |
   -----------
   | | | |b7 |
   -----------
CHORDS DERIVED FROM THE BASIC 'D' FORM:
---------------------------------------
   The basic 'D' form:
   -----------
   | | R | | |
   -----------
   | | | | | |
   -----------
   | | | 5 | 3
   -----------
   | | | | R |
   -----------
   The 'D' form major scale:
   -----------  -----------       The major scale is useful for
   2 5 R 4 6 2  * * R * * *       understanding how the chords
   -----------  -----------       built and for picking out
   | | | | | |  | | | | | |       melodies by ear.  The major
   -----------  -----------       scale is shown here twice.
   3 6 2 5 7 3  * * * 5 * 3       The first scale shows all the
   -----------  -----------       possible chord elements that
   4 | | | R 4  * | | | R *       make up the scale.  The second
   -----------  -----------       scale shows how the basic CAGED
   | 7 3 | | |  | * * | | |       form lies within the scale.
   -----------  -----------
     Alt form    Alt form
   -----------  -----------       These alternate forms conform to
   R 4 | | | |  * * | | | |       the "box" nature of the CAGED forms.
   -----------  -----------       However, they do not remain unchanged
   | | 7 3 | |  | | * * | |       when playing in the open position as
   -----------  -----------       do the main forms presented above.
   2 5 R 4 6 2  * * R * * *
   -----------  -----------=20
   | | | | | |  | | | | | |
   -----------  -----------=20
   3 6 2 5 7 3  * * * 5 * 3
   -----------  -----------=20
   | | | | R 4  | | | | R *
   -----------  -----------=20
   The 'D' form Pentatonic (blues scale):
   -----------   The Pentatonic (five-tone) scale is useful for
   | | | * | |   jamming with guitarists.  The one language that
   -----------   every guitarist has in common is the blues.  The
   * * R | * *   Pentatonic scale form is directly related to its
   -----------   CAGED form.  To sound "bluesy", determine what
   | | | | | |   key the song is in and play from the interlocking
   -----------   CAGED Pentatonic patterns representing the b3 of
   * * * 5 | 3   the key.  For example, if the song is in 'B' you
   -----------   would use the 'D' Pentatonic forms as they inter-
   | | | | R |   lock all over the neck.
   -----------
                            THE MAJOR CHORDS
   Major chords with the 3 in the melody on the first string:
      MAJOR        MAJ 6        MAJ 7        MAJ 9       MAJ 6/9
   -----------  -----------  -----------  -----------  -----------
   | | R | | |  | | R | 6 |  | | R | | |  | | 9 5 7 3  | 6 9 5 | 3
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |  | | | | R |
   -----------  -----------  -----------  -----------  -----------
   | | | 5 | 3  | | | 5 | 3  | | | 5 7 3  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   | | | | R |  | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------  -----------
   Major chords with the 6 in the melody on the second string:
      MAJ 6
   -----------
   | | R | 6 |
   -----------
   | | | | | |
   -----------
   3 | | 5 | |
   -----------
   | | | | | |
   -----------
   Major chords with the 7 in the melody on the second string:
      MAJ 7
   -----------
   | | R | | |
   -----------
   | | | | | |
   -----------
   3 | | 5 7 |
   -----------
   | | | | | |
   -----------
                            THE MINOR CHORDS
   Minor chords with the ROOT in the melody on the second string:
      MINOR        MI 6         MI 7         MI 9
   -----------  -----------  -----------  -----------
   b3| | | | |  | |b3 | R |  | | | 5 | |  b3| | | | |
   -----------  -----------  -----------  -----------
   | | | 5 | |  | | | 6 | |  |b7b3 | R |  | | 9 5 | |
   -----------  -----------  -----------  -----------
   | |b3 | R |  5 | | | | |  | | | | | |  |b7 | | R |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
   Minor chords with the b3 in the melody on the first string:
      MINOR        MI 6         MI 7         MI 9
   -----------  -----------  -----------  -----------
   | | | | |b3  | | R | 6 |  | | R | | |  | | | |b7b3
   -----------  -----------  -----------  -----------
   | | | 5 | |  | | | | |b3  | | | |b7b3  | | 9 5 | |
   -----------  -----------  -----------  -----------
   | |b3 | R |  | | | 5 | |  | | | 5 | |  | | | | | |
   -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------  -----------
   Minor chords with the 6 in the melody on the second string:
      MI 6
   -----------
   | | R | 6 |
   -----------
   b3| | | | |
   -----------
   | | | 5 | |
   -----------
   | | | | | |
   -----------
   Minor chords with the b7 in the melody on the second string:
      MI 7         MI 9
   -----------  -----------
   | | R | | |  b3| | |b7 |
   -----------  -----------
   b3| | |b7 |  | | 9 5 | |
   -----------  -----------
   | | | 5 | |  | | | | | |
   -----------  -----------
   | | | | | |  | | | | | |
   -----------  -----------
                            THE DOMINANT CHORDS
   Dominant chords with the 3 in the melody on the first string:
      7th          9th          13th        Dim 7         Aug 7
   -----------  -----------  -----------  -----------  -----------
   | | R | | |  | | | |b7 |  | | | |b7 |  | |b9 |b7 |  | | R | | |
   -----------  -----------  -----------  -----------  -----------
   | | | |b7 |  | | 9 5 | 3  | | | | | 3  | | | 5 | 3  | | | |b7 |
   -----------  -----------  -----------  -----------  -----------
   | | | 5 | 3  | | | | | |  | | | | | |  | | | | | |  | | | | | 3
   -----------  -----------  -----------  -----------  -----------
   | | | | | |  | | | | | |  | | 313 | |  | | | | | |  | | |#5 | |
   -----------  -----------  -----------  -----------  -----------
   Dominant chords with the b7 in the melody on the second string:
      7th          9th          13th
   -----------  -----------  -----------
   | | R | | |  | | | |b7 |  9 | R11 | |
   -----------  -----------  -----------
   | | | |b7 |  3 | 9 5 | |  | | | |b7 |
   -----------  -----------  -----------
   3 | | 5 | |  | | | | | |  |13 | | | |
   -----------  -----------  -----------
   | | | | | |  | | | | | |  | | | | | |
   -----------  -----------  -----------
                      THE HALF-DIMINISHED CHORDS
   Half-diminished (MI 7b5) chords with the b3 in the melody on
   the first string:
     MI 7 b5
   -----------
   | | R | | |
   -----------
   | | |b5b7b3
   -----------
   | | | | | |
   -----------
   | | | | | |
   -----------
FOR FURTHER STUDY
-----------------
The first section lists books that I consider to be a must-have throughout
your journey.  The next sections are divided by specific areas including
general study, fakebook recommendations, other related areas of interest,
and prepared chord solo collections.  This is a reference list.  Other than
the first two must-haves, it is up to what you decide to work with because
it depends on what your interests are.
I strongly recommend that you listen to as many players as possible. Joe
Pass has a very nice "Virtuoso" series on Pablo.  There are col- lections of
Tal Farlow, Bucky Pizarelli, and others.  Earl Klugh has several nice albums
including one solo guitar album.  Listen, listen, and listen some more.  You
are well advised to also become familiar with the standards as sung by
people such as Frank Sinatra and Ella Fitzgerald (the songbooks series, for
example).  When you have heard these songs sung and then go back and listen
to people like Joe Pass, you will be able to hear what these guitarists are
doing much better.
MUST-HAVES FOR THE JOURNEY (DON'T LEAVE HOME WITHOUT THEM):
-----------------------------------------------------------
Note:  These two books are particularly foundational to understanding the
guitar fretboard.  The remaining books are very important and are listed
alphabetically by author, but the first two (really four since there are
three in the Bill Edwards set) are taken out of context due to their
importance.
Edwards, Bill. (1989) "Fretboard Logic" (3 vols). Temple Terrace, Fla.:
Edwards Music Publishing.
Berle, Arnie. (1993) "New Techniques for Chord Melody Guitar". Miami:
CPP/Belwin, Inc.
Braunling, Len. (1982) "Contemporary Chord Solos: A Simplified Approach To
Substitute Harmonies" (2 vols: part of same series started by Mike Elliot).
Milwaukee: Hal Leonard.
Cinderella, J. & Renda, S. (1992) "Chord Melody Playing for the Guitarist
Musician". New Jersey: Warner Bros.
Elliot, Mike. (1982) "Contemporary Chord Solos: A Simplified Approach To
Substitute Harmonies" (2 vols). Milwaukee: Hal Leonard.
McKee, Pat. (1980) "Jazz Harmonies: The System" (3 vols). Milwaukee: Hal
Leonard.
Morgen, Howard. (1982) "Preparations: An Introduction To Fingerstyle
Playing". New York: The Big 3 Music Corporation.
Morgen, Howard. (1982) "Concepts: Arranging For Fingerstyle Guitar". New
York: The Big 3 Music Corporation.
Morgen, Howard. (1992) "10 From Guitar Player". Great Neck, NY: Grace Court
West Productions.
Smith, Johnny. (1980) "The Complete Johnny Smith Approach To Guitar".
Pacific, Missouri: Mel Bay Publications
NICE TO HAVE ONCE YOU ARE VERY COMFORTABLE WITH THE BASIC CONCEPTS:
-------------------------------------------------------------------
Anderson, Muriel. (1993) "Building Guitar Arrangements From the Ground Up".
Milwaukee: Hal Leonard.
Bay, Mel. (1966) "Guitar Melody Chord Playing System". Pacific, Missouri:
Mel Bay Publications
Berle, Arnie. (1986) "Chords and Progressions for Jazz & Popular Guitar".
New York: Amsco Publications.
Berle, Arnie. (1993) "Fretboard Basics". Pacific, Missouri: Mel Bay
Publications
Bosman, Lance. (1991) "Harmony For Guitar". London: Music Sales Limited.
Breau, Lenny. (1985) "Fingerstyle Jazz". Pacific, Missouri: Mel Bay
Publications
Bufe, Chaz. (1994) "An Understandable Guide To Music Theory". Tucson: See
Sharp Press.
Crum, Martin. (1980) "The Jazz Guitar Workbook". Lebanon, Indiana: Studio
224.
de Mause, Alan. (1981) "Solo Jazz Guitar". Pacific, Missouri: Mel Bay
Publications
de Mause, Alan. (1982) "Jaz Guitar Etudes". Pacific, Missouri: Mel Bay
Publications
Duarte, John. (1980) "Melody and Harmony for Guitarists". England: Universal
Edition.
Farlow, Tal. (1994) "The Jazz Style of Tal Farlow". Milwaukee: Hal Leonard .
Lee, Ronny. (1993) "Jazz Guitar Method". Pacific, Missouri: Mel Bay
Publications
Lilienfeld, R. & Cimino, B. (1965) "The Guitarist's Harmony". Melville, NY:
Belwin Mills Publishing.
Mcguire, Edward. (1976) "Guitar Fingerboard Harmony". Pacific, Missouri: Mel
Bay Publications
Mairants, Ivor. (1976) "Arranging For Guitar". New York: Silhouette Music
Corp.
Marohnic, Chuck. (1979) "How To Create Jazz Chord Progressions". Lebanon,
Indiana: Studio 224.
Munday, B. & Higgins, R. (1975) "The Chord Solo Book". New York: Charles
Hansen.
Pass, J. & Hibler, J. (1994) "Improvising Ideas". Pacific, Missouri: Mel Bay
Publications
Pass, Joe. (1970) "Joe Pass Guitar Style". Englewood, Colorado: Gwyn
Publishing.
Pass, Joe. (1971) "Joe Pass Guitar Chords". Englewood, Colorado: Gwyn
Publishing.
Pass, Joe. (1972) "Joe Pass Chord Solos". Englewood, Colorado: Gwyn
Publishing.
Pass, Joe. (1970) "Joe Pass Guitar Style". Englewood, Colorado: Gwyn
Publishing.
Pizzarelli, Bucky. (1979) "A Pro's Approach To Melody and Chord = Playing".
New York: Camerica Publications.
Pizzarelli, Bucky. (1984) "The Creative Guitarist". New York: Warner Bros
Publications.
Qualey, David. (1993) "Classical Fingerstyle Swing Guitar Step By Step".
Hehlen, Germany: David Qualey Music.
Roberts, Howard. (1972) "Guitar Manual Chord Melody". California: Playback
Publishing.
Salvador, Sal. (1985) "Chordal Enrichment & Chord Substitution". Pacific,
Missouri: Mel Bay Publications
Sokolow, Fred. (1982) "Jazzing It Up: An Improvisational Approach To
Guitar". New York: Warner Bros.
Sokolow, Fred. (1980) "The Complete Jazz Guitar". Hialeah, Fla: Almo
Publications.
SUGGESTED FAKEBOOKS TO WORK FROM:
---------------------------------
The fakebooks listed here provide interesting chord progressions to work
from for each tune.  Until you get into subject matter that covers various
vehicles for making basic chord progressions more interesting, you would do
well to use fakebook arrangements in which the progressions have already had
these devices applied for you.  It is best to focus on one thing at a time
and learn that one thing well before moving on to something else.  At first,
you will want to focus on using the material presented in this paper to
simply harmonize the given melody in a tune using the chords specified.
These fakebooks are very well suited to provide such arrangements.
Wong, Herb Dr. (1988) "The Ultimate Jazz Fakebook". Milwaukee: Hal
Leonard.=20
Hyman, Dick. (1986) "Professional Chord Changes and Substitutions" (2 vols).
Katonah, NY: Ekay Music.
"The Definitive Jazz Collection" Milwaukee: Hal Leonard.=20
Mantooth, Frank. (1989) "The Best Chord Changes For the World's Greatest
Standards". Milwaukee: Hal Leonard.=20
Mantooth, Frank. (1990) "The Best Chord Changes For the Most Requested
Standards". Milwaukee: Hal Leonard.
PREPARED CHORD-MELODY ARRANGEMENTS FOR STUDY:
---------------------------------------------
This book contains well-known songs from movies in instrumental solo guitar
format.
Atkins, Chet. (1975) "Note-For-Note". Saratoga, CA: Guitar Player
Productions.
Morgen, Howard. (1986) "Great Popular Favorites for the Fingerstyle
Guitarist". New York: The Big 3 Music Corporation.
Morgen, Howard. (1987) "Jazz & Popular Standards for the Fingerstyle
Guitarist". New York: The Big 3 Music Corporation.
Sokolow, Fred. (1980) "Jazz Chord Solos for Guitar". Hialeah, Fla: Almo
Publications.
Sokolow, Fred. (1980) "Great Jazz Standards for Guitar". Hialeah, Fla: Almo
Publications.

Allora ho trovato il sito:
http://www.guitarnotes.com/notes/noteget.cgi?chord_melody
vi invito caldamente, se non lo avete già fatto a visitare
http://www.guitarnotes.com/links/instruction/chords_scales1.shtml
perchè c'è molto, ma molto...

Spero di aver rispettato la volontŕ dell'autore (purtroppo non mi ricordo


Ma dico, hai risposto al messaggio facendo il reply di
tutto????????????????
Ma con che coraggio?
"Tu, ricordati che devi morire..."
"Mo me lo segno...."
Marco Brancalion
bra...@iol.it
http://users.iol.it/branka

Doc, su IAMJ avevi scritto cosě a tale David Dorkin:
"David Please...quota un pochino di meno che perdiamo BAND:)"
Alla faccia della coerenza!! ;-)
Ciao,
Roberto
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per rispondere sosituisci hollywood con bologna
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Ma per la miseria, possibile che tutte le volte ti dimentichi di decurtare i
reply? :|
Se mi fossi connesso con il modem mi avrebbe collassato... :(
Ciao
	Gundam che consiglia di usare le ... 8<  :)

...
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 Se mi fossi connesso con il modem mi avrebbe collassato... :(
ma con cosa ti connetti??? :-o
denny

!:
-->> Se mi fossi connesso con il modem mi avrebbe collassato... :(
-->
-->ma con cosa ti connetti??? :-o
Si e' attivato una 64k per leggere i messaggi di Doc... ;-))))
eXaXe (provv.)

 ma con cosa ti connetti??? :-o
Da quando Doc si dimentica di tagliare i msg ho dovuto upgrade-are la mia CDN
(vedi linea dedicata...) a 256K ;D
...sto scherzando doc ;D
... l'ho fatto dal tuo primo post! ;DDD ROFTL
Ciao
	Gundam

 SCUSATE ancora
... perdonato ;)
Ciao
	Gundam

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