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FOREU/ORD My objective in writing this collection ofstudies is to outline some chordal techniques thathave practical application in contemporary stylesof guitar playing, value in fingerboard explorationand the development of a sense of musical coher-ence.
I have chosen to do this through examplerather than a discussion of harmonic theory with aview that a lot is to be learned simply by producingthe sounds under our fingers and in our ears.
Many guitarists accumulate a large repertoireof "guitar chords" which, in themselves, arepleasant sounding and, perhaps, well suited torhythm playing and various accompaniments. But arepertoire of "isolated" chords may remain in theplayers mind as disconnected chunks of harmony,not easily applied to chord melody playing. Themain academic point of this book is the resolutionof this problem.
One improves his musical and instrumentaltechniques by accepting the challenge of more andmore difficult material. Therefore, the examples inthis book have been developed, not for theirsimplicity, but for their direct usefulness in con-temporary music thereby representing some of thefacets of advanced gtritar playing. ln view of this, Ibelieve the reader is embarking on an adventureboth musically and personally rewarding.
My thanks to Mike Anthony for his contr ibu-t ion of Example 38.
CONTEI\TS FINGERINGS
CHORD MELODY DEVICES
,1
5ExampleI
3At .
61t .
80
Close Block VoicingsOpen Voicings .Parallel MotionContrary Motion .Counter LinesCommorr TonesBlock ChordsSustained Chord BackgroundShort Chord Punctuat ions
. )
. 6
. 6, l
-7
. 8
. 8
. 9
. l 0
CHORD MELODY STUDIESExample
l l
1 0 , l r , 1 2 l ll :3 , l 4
5 , l 6 l 3t 1t a
l 51 8 ,20,22z 51 AL -
) \)'7t o3 l
335+
1 92 l I (',
l -I El 9
262830
,c)
3 5 , 3 6 . 3 7 3 l-)_
3 6
3 -3 8,193 9
38
PROJECT STUDIESExample
39,40,41. Inst ruct ion42 .43 .44 . P ro iec ts45.46.4 7 , 4 8 , 4 9 .5 0 , 5 152 ,53 , 54 .55 , 56 , 57 ,5 85 9 , 6 0 , 6 1 ,6 2 , 6 3 , 6 465
Solut ionProjectsSolut ionsProjects
Solut ions
.+0+ l't l
+(r
CHORD MELODY SOLO
FINGERINGS While it is true that the same chord voicingscan often be played on two or three dift'erent setsof str ings, i t is seldom possible to do so withoutsome change of the fingering. ln evaluating thefeasibility of a change, first consider musicalqual i ty and mechanical ef f ic iency :
a. As a rule. the musical qual i ty can beetrhance d by choosrng a f ingering or a sctof str ings in which the greater str inglcrrgth is nraintained, thus permit t ing thestr ings to "sing" and sustain longer.
b, Mecl ianical c-f f ic iency is pr imari ly a mat-ter of ' er,oic l ing unnecessary or awkwardharrd or f ingr.r movements. However, indevelopinu a sense of mechanical ef f i_clcncy. t lo not also develop a tear ofradical jurltr-rs or large intcrvals on thef ingerboard. for these techniques arefrequcnt l l rcquired. For example, radi-cal intcrval jLrrrps may supply a nicecoutrast to srnooth scalc-wise l ine move_ment .
Str ing numbe rs inci icete the lower note of thechord and are in circ lcs under the staff . Fingeringnumbers are placed to thc lcf t of the notes. Thethumb is frequently usccl throughout the studiesand is indicated (T).
CHORD MELODY DEVICES
Examples I through 9 demonstrate some structural devices basic to contemporary styles of chord melodyplaying. As you become acquainted with these devices you will observe their practical application through thestudies forming the main body of this book. Take plenty of time working through these studies as the techniquesare highly concentrated. In order to better retain what you learn here, you should make a direct effort to putthese'devices' to pract ical use on a dai ly basis.
l l \R] ION\ ' : \ ER' l ' l ( , - \ | . -HOI i IZONl ' \ t ,
Basically there are two concepts of harmony:
(1) Its vertical structure which is nothing more than the stacking of notes into chords. Naturally, these areplayed simultaneously.
(2) Its horizontal movement which involves the way one chord progresses to another.
VERTICAL structures are usually expressed in one of two basic voicings:
Example 1, Close Block Voicings in which the notes are packed closely together.
Ex. I
These voicings can also be played on the inside strings (5th, 4th, 3rd and second strings).
Example 2. Open Voicings in which the notes are spread apart.
E x . 2
F m mflH HTffiGnal fl-HlA,"z 6n? w
Gm1
Closed voiced chords can be opened up as far as your reach will permit, simply by movilg one or morechordal tones up or down an octave.
Example 3' PARALLEL MorIoN, a chord progression in which each tone is moving the same numberof scale steps and in the same direction.
Ex. 3
mffiflffi eo Pu ,c't
HORIZONTAL movement. The melody lines formed by each of the chordal tones is the most importantsingle factor linking one chord to another. In four part harmony, for example, one is really dealing with fourseparate melody lines' It naturally follows that there would be as many Inkage possibilities as melodies: astudy of this question in its entire scope comes under the headings of voice leading, harmony and linearcounterpoint (see Shaping Forces o.f Music, Ernest Toch). The following example demonstrates some of theprimary melodic aspects of chord connections.
a t3D'? w't crg
Example 4. CONTRARY MOTIONmoving in opposite directions. Example 4
is, as the word implies, a situationshows the upper and lower lines in
in which the chordalcontrary motion.
tones are
Ex. 4
bffl
A counter line mayas in Example 5, ormelodic intervals can
E TE
,rlzffi Gnn
main melody, or placed somewhere inside the chordbe treated as a counter line. Further, any choice of
Through experimentation with parallel and contrary motion one can invent some passages of considerableinterest to both player and listener. Such passages are often quite useful as fingering exercises and for arrivineat a better understanding of the fingerboard in general.
Example 5. COUNTER LINES are usually treated as a melodic accompaniment to the main body of atune. They are also used as connecting lines from one chord to another and, on guitar, are frequently foundin the second voice from the top. When the main melody has little motion, the counter line can be moreactive. Example 5 shows the counter line (with stems up) on the 3rd string.
Ex. 5
ffi(%A1
:rrSrlnH+++tI-H+Hffi
I@
be higher or lower in pitch than thethe bass line itself may sometimesbe used to develop a counter line.
Example 6. A COMMONplayed in succession. Example
TONE is a note that is related to,6 shows the common tone on too.
and sustained through, a sequence of chords
f f i f f iffioh"'r ffiE/bs *^a"
Example 7. BLOCK CHORDS. Here is a rudimentary, yct ef t 'ect ive way of producing melody andharmotry simultaneously. This is done by placing a ful l chord underneath each melody note. The chords canbe ei ther close or open voicings. You rnight experiment with picking techniques here: For example, al l dowlstrokes, or al ternatc down and up strokes, or plucking al l str ings simultaneously with f ingers. Note: The Gm7in bar 3 is being used as a substitute for Eb mai 9.
!t{TTTTIffil t t r l lrrrrnffi1-finffH#l r | |
Ex. 6
Ex. 7
m m+]-+t] [Lu.]l-.t4+.t-l ulJj-]ffi.D.r ffioUo
rtr^
ItrrTln]i l a a t lffil a t I t lr-t-Ffi-tL+-t-Ll-.]u-t-l-tli l i l |
lrrffifr|t|H+++{ffrfl-l?r{l
ri
u,Itr
!.
f f i f f if f i to ff if f i f f i ' f f i& e# ffi tine
* , nt f | | a frnfltt-+++.1-1H-t1+lnnnEV^*q
ffinH#rtrrnffiD2* 6oa)
?oo R,ft
The block chord eff'ect is best achieved when thc chordal tones are made to move when the rnelocl-v 1ro\'! '\.atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripgto change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc tirchange the voicing or inversion with each new melody note. in order to create the eff-ect of al l l i r res nro\ lngat once.
Example B. SUSTAINED CHORD BACKGROUND is a modif icat ion of the block chord stylc. in rh. i rone chord is sustained throueh two or more melodv notes.
Ex. 8
??w
NOTE
Whett a chord is sustained throughout a long seqLrcnce of melody notes. t ingr ' r ing rcquircnrcnt: t r . ' t1. ,-makc i t necessary to d rop one or more o f thc chorda l toncs in o rder to rnan ipu l l te thc n rc ioc i r . I i , , .especial ly t rue in improvising with the alorernent ioned common guitar voicings when thc voiec l t l t l i i r r :not beett ful ly worked ott t . Howevcr. i f each chordal tone is sustaincd for as long as possi i r le. t l tc l i \ r . .n. .r ' ,r"rstral ly remember those lrotes that havc been drol tped.
gII'm-nt a t l f lffil.+1++lnrrn|'..{'...+l | | l l
6hrn1
It[rrrnffiTF|#i t l ? t l, l , | | |ffrrnrnrnngq
gffi$ffiffibvb
E-r|.T55nffif+++ilmxffnn?h"fc
v@
Exarnple 9. SHORT CHORD PUNCTUATIONS. Becauscof harmony. it is possible to outline tlic llow of harmony bywithout sacr i l ic i rrg harmonic cont inui ty, whcn they are playcdthe bar. This cor-rtinuity can be lurther rcinfbrced by choosrrrg
Ex. 9
trl=nl i t t l lrtn-nffiH+ifl Frrrrn >
Earirnt t I t a lFfi-THiHtftrfffl-1nrffl
Bb''-
ItrNTTRrrffnl.Ha t t t l lnfrtlH+t+tnrrn
IA( l
of thc l istcncr 's abi l i ty to reme mber the sorrntshort chorci pr-rr-rctuat ions. Thesc can be uscc
with atr thor i ty ancl lppropriately placecl wit l t i rmclocl ies rvhich ernphasize chordal tones.
Itltfrna t t a t lfffffl|'.#l t t t a l
ffi0'
ItlTn]t t a a t l5-tTflF+i-+-Ht+++-l++-l-+-.t
, l l l l l ls 0Y d r
l 0
CHORD N{ELODY STUDIES
Exanlples l0 through l2 dcal with var iot ts appl icat ions o1- the devices or-r t l i led i1 Examples I t l rotrgS .)The fol lowing studic 's are uot to be considered as Llnaccolnpanied solos, but rather as eramples of t6c *,rotre night pcr lorm iu a combo. For cxantple, the bass l ines arc of le n incomplete in that most cor l t tos hrrr . 'bass players f i l l ing this f iutct ion. l reeing the guitar playcr to work with rnelodies, ancl to clc 'u,c6' r5-,harmonic color resident in the l lpper extensions of the chords. E,xamples l0 thropgh l2 prescl t a fer.v o1 r l r . ,rnal1y ways to treat thc root progressior-r (ll, V or Il. V, I) common to so many standarcl tuncs.
Ex . l0
St
E x . l 1
s . , ,i l ? t I ll-#l a t ? t lrfi-fi-lffftfllFfrcti l l l t i v '
Ex . 12
s_? t f t | ll.Frfnl#fu-1t-l/ I I t a lrFFFNm]l4
l 1
g.-?.I.t!JI+]JNffiilffi-H-1bvts*5
nwl_t t a f t l
[HflffiH.H-HrnrnE)ort
s,_?+t#lF{-HH-l-t+t-fH+lfffff1er'n4
#-i l I t a lF+-t-+-Ftt t a l IFrrrnffTFHrrrrnffnilfr*vs
s-a t I t a afTlfFlffiTt-+-.t-.t-J-.1ffil
Gm1
*fr-rffiltf+N.lffiftbna'l
'ffiffirni t ? t t lnffnffii t t ? I LnTfn
I
E^|-|-ITr]ffit t t ? |rrnTlHJ+Hffnn
eV'svq
Examplc 13 i l lustrates closcnsccl as tcxturc contrast to thedominant chord (Eb + 7b9).
E x . 1 3
voicings. very effect ive brrt uot toobig sor. tnd of open voicings. Notc:
guitar. These can bcis l i rnct ioning as u
often used, on theThc G6 in bar 3
Itr,I i l i l amxHffiffi6to
][Fffiffi| | l t f lrt-nTl[fliW"t
'fr*rlTmH+1{1[ffiht.b
E , , ,t#++{ffiHffiNnal
ffirtfffifiHffiH+f+l|Trl-rovw
r-H[ffrTtl[HffiBb" q
In Examplc 14. cach l ine is deccndir tg i t r cc 'rnsccrrt ive n holr- ' -stc1-r. I i l l f -step seql leuces (symrnetr icaldiminishcd scales). One l inc ntoving whole-step. hal t ' -stcp. rvhi lc lnothcr i inc is nrgvi lg lal t --step. whole-step.producing the chord changes as the symbols incl ic l te.
E x . 1 4
gn4 f^orIL
t o t u t ut-itt-H H+ffits f+]tr +fifiH]# €b,nr ffilil Ab,oo ffi
tui t t t a al-Hll-{+1-{.tif+-t+lffi-rlDrl
ffitffrrH|.i'.{+| | t a r aTTFFPIITTIIt i | l t l
€h^a1
xxFFFfNffiuJ-+-1..1l t t t t ,rfl-fhf1ttfinnF
l l
Example 15. This is a simple harmonizationThe Eo and Dbo chords are both functioning asfrom the monotony of diatonic lines. It is goodvarious diatonic melodies.
=t+HJlt t a a t ll..+.{#t++l-Hffigto
rmmuJJl-.I' g l f l
ffiD't
ffiQnfl
s.rnTnffiffnn
g a
of the C (diatonic) scale with some1^7b9, and are being used to provide
ear training to improvise this sort of
isolated chromatic isnr.some chromr t ie rc l i c lth ing in a l l keys . u i th
Itr, t a | | |F{**#ulJ-ll| | t l t arrffEffiu+l+-l| | l | l r
G'8.
rtrMH{fifilt-FFl-uFnrn3m?
Ex. 15
Dma loo
frH-t-t+1t+-{-.t-.|t-t-ft-HfftfflLE
ffi9vt
Example 16 i l lustrates (1) exaggerated chromatic ism and (2) the gradual addit ion of notes ( in eonrrurrmotion) to expand the voicings without opening them. Note: the spel l ing of the chord symbols in Errnrf l :l6 is less important than the voice leading which creates them. Accordingly, symbol ident i f icat ion of the.rchords (more properly "sounds") is awkward and unnecessary, Their funct ional or Roman NLrnrcr.- i lident i f icat ion ( i .e. l l1, Vl . etc.) depends upon analysis of thc ent ire phrase in which the chords occgr.
Ex. 16
Dnn 0n1 !rr
l 3
Example 17. A fingering exercise in short chord punctuations using a Cycle of 5ths with #9 chords.
Ex. 17
e*q
dfi*q
F?*1 '--:\
Ab?*q
tochords across the strings. Make a special effort
Ex. 18
Example 19 is a fingering exercise for running augmented triads across the strings. Play this in r \3rier!of keys up and down the f ingerboard. Sustain each chordal tone for as long as possible. In generl l . r6i .means to keep your fingers in place until it 's absolutely necessary to move them. This will contribur...measurably to the continuity of your chord melodl, style.
Ex. 19
Example 18. Asustain each chord
fingering exercise for running diminishedfor its full time value.
X.ffi
ffiH#ffi9+
Itrffi]Emmffidrfi
l 5
Examplepassage can beend.
Ex. 20
20' Short Chord pttnct l tat iotrs with chords clcscencl i rrg paralkl iu nt inor thirds. This typc t ,very effect ivc whct l playccl f 'ast. Notc thc use o1' thc r ight hancl in ai lc l ing thc buss 1o1e ut t l t .
Ot*q eilq
Exan tp l c 21 . A s t re t ch i r l g exe rc i se w i t l i s t a t i c i n t c r i o l r o i t f i l n r l ( ) r , l t . r vo i ccs i n con t l l r v rno t i on .
Ex . 2 l
FrrffiItttflffiI t t ? | |rrFrnffffnl..g
. l l l l l j l - \
Co-01/'-L--
,FF;.r r f i i t' i a
t++# TInl l f t i i - + - f i rffil l l l l t l #|# - { - { - { t t I
al
fll- ll I
ltTrn [rn-nrrFrn rfl-tn|..{.+-+.+-t t-{-+-Fl-1t+.lJt-t tuu-jt-l4l-l-t t-l++1"1$tH6'q HtH
Ttm-fni l ? t t lrrrrnrrnTl| | lrrnF
Itr[-|IfrT''FNffffl-]mrrFlrfffi-1nn-h
@
T'T $, ,t t t t t !
ul-tl] rTfnL l l : r I I I I l i ltlt_l1_i Fl-ITn| | l Trn-ni t t t t - F r - F F t| l - f f f i r r rr | |
l -
ell gYht - 2 b t
wureF;q
1 6
notc voic i r . rg coul lo l t to cc l ta in s ty les of rh -v thnr p lay ing . Th is ' tL r . . i , ,t \
IIi,mH+Nf{-.}-4-.f-tH++].1ft11tl
F
X.{TTTNrrrrnrrn'ilffi-rFnmi l | l li aYfi Ibb
r-ffi-rrfl1f1l-.{-Ht t l t t trrmt| l | t lrrnnAb
F.g
ITITN[HtIHTrrFrnw
Example 22. A type of threcbased on 1 2 bar blues.
E x . 2 2
r m i i f f i f f i f f im-J'n rrrrn n-rfl-1 t-flfn[t111 fTlil] n.ffi [1111l-u-t+ t-t-l-l+ ?il?ll ril tIf_l_.l+l.l +ll+ l_l_l_ll_.1 .r | | r rt t t t t l r r r r r r l t t t r l f f f m
F e v & "
r 6V" 61
S.nn
W.ffififfiffibv
TrJTilIu,l+ut t t a t l
ffiilFrffi1Aob
ItTTN-Nnrrnrfftf]F{-#f t t ? I IrrrrFnmr.#o
ItrffiH[ItEt l t t t l
ffiovI
gfro
3 F
Itr,riTma I a t lFrm-1milrffffiF1
t l
Example 23. The use of two notesunexplored in guitar playing. particularlycontribution to the versatility of one's stylc..
to create the overall effectin inrprovisat ion, and could,
Example 23 ut i l izes this device
ot 'harmony has been re la t i vc l , .w i th p rac t ice . make a va luab l ,in the basic l 2 bar blues.
8x .23
3
c1
"*" "*,|..i++l l-.ffii llil l u-lJ-J-.Ii+l-t# i]#flffi rfl-1-Fitfifi HffiAbts G's
l 8
24. "Ful l" block voicingsin a big band style. as might be app l ied to an end ing .
Cm? Dn'7 Fnel #^, ?rn'l4 4 ' 4 4
FnlAq A,e7 . 9 2
Example
E x . 2 4
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U"?
r
FM|#t t a l a lFrffhffi-rnl#l | | l | l
.Jto\f
Itrfi-t-iTt| | t t t l
ffiilHtiuffnn
dq
IEmt+.1+.1-.tI I t a a afffffiffiHttretrA'7
ETFI-TN#H
ffiii++tlnnnd*t
IE[I-rfr]ffFFflftfff+MTffnFldq
g.t-T-ITtiH+1+lrrrrnrrrrnffffn
Itr.I-IFITIfllTflt-ft-FilH1#lnffn
lmTflTTRrrrfn}#r l l l ? lt-l-{-l+l t t t lnrn-l
Jt r , ,t ? t a t lmriTtrnTnmmffitrff,
IIt-ft-fRrrrmlMHffi$^n
Itr[TI-NI I t a a It-t-t-ff1l-+-FtiHHtil1rffffi
:EII-TTNffil t t a a ll..#H+i#ffffn| | l l t l
ffiffi|#
U]J]Jl+tfilffil-l]-l-+..1l l l l l l
P^nDbtt
1 9
Example 25 offers exercises in
8 x . 2 5
4 4
Example 26 is a study in parallel motioncould also be played over a G minor chord.
three areas: Contrary motion, paral lel motion and expanded voicinss.
f f i f f i ff i ff i ff i fu ff iH#fr#ff iH# ff i#rn-ffi ffr-ffl ffffn f{+++-l l-++++l ffi# ffiHnffi Hrr ffir HiH Hlt Hlil Hff,b8*s BWl Am? Ab^qGrt'
Itrm??1+{1rtfff1t-ftrflHttllr l lF+
rt[.rTmffiH++llHffie+tlL ) ^
wrfrfI-TNIttfflF,H
H-l-]-i{F+lt-+-jHltrg$V5'*wI 4
s?gfi-:t / l
wi th the melody doubled on the bottom. This ent ire phrase
Ex.26
) =qz de' A"
TIffi|.l.#tl a f | | |
ffirnfi
G^
IIII,m-rnrrffni.]=#I t a r a Irfl-fflt-t-l-{-+-.]r l i l l ll i l | t
r
It[mfffiH+Hffiff1
Dt
IIqTl-frffiffiu-j-.t+[tffi0b 1\
.Yft'\ e bV Ar,
20
Example 27. Another version of the band type block chord style.
Ex .27 f f i f f i f f if f i f f i f f iffig,o ffi ffi*o
-*-t t a t a l}++\ar+]t++++]t-fffHrffrF1ffffH
€̂ 1-bbo
lElrl-fn|'.#l t a t t tfft-tt1fflfilrrrrnffffF
IIl]Imgj+flt a t , a lrrffFffiltFnff:F1
fFmffiFI+Hffrtnt-ft-ffiHfifl
G6
FFFTNrrrrnl#t+Jl-ut+ljt-lHttd,
trFFFrrrFrfiIf,i l a a t lITP111rrnnf
Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on thtbottom next to the 3rd. This voicing can also be played nicely on the inside strings.
Ex. 28
enq
IE
ffi[ffiffit|l
:EmffH+]ffiilffifleblh
t l l
]II
ffiH++flF+H]Htt€m1
ffiffiHH-t-Htffnn€V*q
21
Cn? 1 \ Ovf i '
Example 29.first note of each
Counter l ine accompaniment,bar as long as possible.
][tI|ITNffiH+l]H+1+lffi-ffi#l i l t i l
F?bq2
same melody as E,xample 7 anclFourths ascending chrontat ical l r , .
The chords occl l r af t ' r the ini t ia l melody note. Slrstain the
Ex .29
gtrt-l-IT|rrHflhffiff1ffHtlt-fT]T]l l l l i l
4 Y ; ,t4
Example 30 has thechord via chords voiccd in
;!* &'wtJ1! € ml-lTl--
r l t t t t o r . t s t n t t L : l r t o t l t e r .\ \ 'av to approach the f inal
Ex. 30
I ' T r . g| ? r r l I l ? . . l a r r r l T lM I I H f f ir.L]-r.r.r *-ttlH]+fl H]l.]i l++mttft-t-l t-rft-tl t1ffi
v]]TTtiTnrFtiT]ffffn|-i-.{-.'l.Nl | i l tffit t t t t lnm
rj
R r r
') -)
Poco
The fol lowing three pieces, Examples 31, 32 and 33, are structural ly and harmonical ly fair ly s intplc i .utdentonstrate some ways to gcnerate color and variety without destroying the basic simpl ic i ty of th. ' t t rnrLook for short chord punctuat ions, open and closed voicings.
E x . 3 l
--E-i l t a r lffiHl-+++.1-.1
ffiA"rfrrn9^Q- 9r9
-l+-l-ffll#t a a | | l
FffiTnri-n
A.9
7I
: : + = : ; F -oTrt-17 ir-.2ry
T4
T.
7I 7
I+l \ - - -I
7I
!LTrrrSlnftt1l.l-.{-.Bt a a I | |ffffn ,^ 'rFffff1 crn'nFrn*"q
f
1 a
rr
E x . 3 l ( c o n t ' d lllt
TTTTFIl\]fr1Frrrhrffffirrrrnffnl
bJs,x+
ffig
TFITN|#? t i l t iffiI | | I a affl-t-Ht-ffil-t-+-+-l-.]l | | t i tGb+t*q epkq
]Erl"r-ftlf+f1{|.]-{-#H.i1+1rrn-l
x.ffiil4++ut ? I ? t It-Ft-FFttittflrrrm
$t[TI-Nf , l t a lfrTlt1[Hlffi-rh
.+! lL vTrritfrftg frFt-uJ-I..t t l i , l , T*I l i l l l i l - rT **1"l-ll-ll-l Lll lr :T:*l l l r l L l i l l , : r T - :A o
>r F.Yly Am R_ Ama " \ J m : >Yf ,e:r*'!'l{+=
@ @rc0^'l hn'?
+| -]rJ
o-r- =----
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?/ --:t-...-__...=g, oW\__ :Ar
1/1--
?I
-.s-a t a a t I+HilH+111nnn**
@fri l l f t Irrrrnm+tffffleV
s zYrl'Y--T'@r
H+++iH4i+tt t | ? | |MTftf1t1ev
1 z z T T t =t./ L_l I 3
Ab? EV
3 -t-\-'
hV f,c Ab1
q | . f f i 7@V L-J
,^A tu*ffirFnr-FF+flH-1]+LLLLIJ
Q I t f t l
H# Ab" Ab^*s Ab"6Ab,t
q - -:-'--t---t---q-t-r r ft.f-_-Ta?--? a- - r b t I
l-s
W e, b't W1
q z g 4 T T( LrJ
q z W T ( Tr H
- 'Tr+?"nT(
r- TPAb1 O,s. ar. eom
T (zf.___._,f f- -
D1 6/?
v f l r f @ @ t V -
6?
? V"
40brg
w9o -^G
wt,z o C
F'3
Ex. 33 (cont'd)
uffi!t+lu]ll.t+f.lffi
mm"
Ab13
FFFffi
i-tt+uuuut-{-{-t+-lFFI-FH
rIl . . . l . ' . l . ' .U
?*q -gbg4 A"p Abr _ 6$l, f-- i -r---
, 7I
FTFffi FFFFF|# |.lJ-l-JJl-HT+] l+{+#rrrrn ffffflt-ft-tgl l-{-i.#drtr trtrDts -.e,s -t
ttt+r5|(3)'
Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies. This i: d1.'to the addit ion of extensions. i .e. +5, +9, etc. You wi l l a lso observe that notes other than the roor rr :frequently used to form the bass line. These help to produce harmonic textures present in some of the mor:recent jazz forms. In this example, make a special effort to sustain as many of the chordal tones as possib,le.
Ex. 34
frt a t ? l lLlt-fill-l-FfH e?+affilTl - ,*ar7r-
I A s ,
Ffffftt1rfffhsffil
- ffiD'oo(e)
ffif11+t1ffirfi
-f\. ffiu"l - l t \ *
f i , ,1#+NF+-t-+iF{I t t ? ? lrrrrnHMwtrF
,T[,,a t a i l l|.#ta I I t(t,mxt-+-{-.I-+-lstl9Y, at'110 t" ^,:.'i
29
Ex. 34 (cont 'd)
fRTTt-t-l+ltFffrfi
%ffiffi[ffiffi
RTMH{$+lt+..|+.1IJJ+#f) ,f f iFfJ A\ O ( s t -
trFFF|.#t+{JllHH
* ,o4DIr r,-,.-,
@
Example 35 shows the primary progressionbeing connected by the passing chords G#m7+5,
Ex. 35
trrmffiuJ]+a l t t a l
[ffiffrffl
G6
FFFfNffiff1rrTTI, t f a t lfftlfirTFff1_ l
6^c*
FFFFFTf-t-tffll-ftfHt-fft-ti
ffiAoa
same chord progression beingthe chord symbols as indicated
consist ing of G6, Am7, Bm7, Cmaj 7 (one chorcl l . rcr l . . , r rAm7+5. e tc .
Af",*S bJ+s et"1Vr
-w'f | | i a lffiI t a a Iffffht-FFt-t-jiftttirrrm(nn'7
connected by passing tones (forming .r i r . r l1Gmaj7, 4*(maj 7), etc.
4
Example 36 is thecounter l ine) and a l te r ing
FFMffif+11-i.t? I I I ' I|rrtnrFFTIffffrGb
?'V@
2,7@
t +@
Ex. 36
Gna1 At'f Ar(t^E bn',? g., (mrz)Qne')
Example 37 shows further development of a counter l ine result ing from the extensign ol r f tc 1.. i . .1. . .tones into a more melodic pattern.
,&
Ex. 37
ob A^1
J I
$.'z Cnfi
E,xample 38 is a chord melodyvert ical textures, contrary motion.and short chord punctuat ions.
Ex. 38
fffr"rrrrHF+<l-+-HI t t t | |mnTl I
ffi d'rqus
solo embodying the structuralparal lel motion, connter l incs,
devices out l ined up to this point. Look f 'orblock chords, sustained chord backgrounds
tot{dttlffi iT-ffi rrrr-n# g l l l l l l; l t t t t , l t l t t F + - t - + - F l| # L t * - l - * . I l l l l l I
rlt+fl H#N nnnffiff i -dtq'--b_.
"frrrrrffn|#I l a a t Immffiib2-+ -a
.#"t-ft-t-fil-{-.HI | | a a lfft-FflnffrunnnAb'rG#vs
7@
J ]
Ex. 38 (cont'd)
,ffi m FFFFffi [ffi ftfiflfffi-H ++ts ff++ilfftttl Ffft-'''H<P-..-..W"(l4l rr--:.
-+ - /':\* . z v we @
mffiffiffiHffiffi
FFFFFIft'rffl
ffiffffnbs
@ e @ f l
;d :@@ @z16)
1 aJ J
ar>,/F
mm|#I t f ? I Lffit t t t f lrrnTl| | | t lrffifr
- G , 6 ,
rrmtuJut l l i l trft+1.1.1ffi-rF
* @ @ @ 1 - '€,
I I I I Lf f i f f it+1.1+J H+1+1ffifi-l fi1-rfitr,Tn45
g$ffiffit-Ft-iHr|rft1HJtt-l
nrmH+1+1ffifi1l'{'..H
HilIDn*Vs
ULmmftilfi l f t a lmrrnffnF
5 - o
Ex. 38 (cont'd)
Ix. IItrl.i++Tl t+1+1{ ,s,,$Hfl ffi H+]rrfffl FrFrn rttulffin ffiffi [ff;
/!-1mr
strlTrnLlll.ll
ffiHtfz.-r
u,[HilF+]++[tt]-]Hfl+lrrm
@ 6
r'Yh-7;,
,s[I t a a | |i I H ' Iffffnrnn TFTFffn-n
^ fi;., ^euylosaJ-- .l-rt+ 'sfir*'r&,
@dn-:/
zffs*'c
%'=,e@ s, ,1 | i lrr*tl*t-r-i-|#
I a arrrr::rn:
Itr,rfnrn-rfn *u-rrFrfl | | Hllr r l - rn r l l l i lr r r r n r l l l l lf f1- f l -1 i la | ll r t t t l , f f i
^nvs'1;gF+tu , , . o r , f f i *# , ,' & ) + t a U r
43-
@ O @ O @
6)
With few exceptiorrs, it is possible to find acommon. garden variety chord voicing for theguitar (of the type found in many chord eucyclo-pedias) that can be fingered to include all pos-sible notes that may appear in the melody. I t isobvious that i f the melody note is placed too lowou thc staff, you will not have enough strings leftto form a satisfactory chord beneath it. There-fore. you will often find it both helpful andr-leccssilry to transpose the melody up an octave(this is cal lcd " jumping octaves") several t imesthroughout the course of a solo. With experic 'nceand f inesse. this car l be done without losir ,gnrelocl ie cont inlr i ty. l t is possiblc however to playa lon rcgister scale or melody (as low as the 4thstr ing blr t no lower) with some fragment of thechorcl btncath.
Erarnples 39, 40 and 41 show a rnelody l ineu'r i t tcn high enough to play ful l chord voicingsbencath. and br ief ly explore the problem offincling chord fingerings that will accommodatevarious melodic possibi l i t ies. These examplesshou, a 'G' diatonic scale harmonized with the I I ,V lnd I chords, the three basic chord typesfotrnd in diatonic harmony. Note: the addit ion oft i r c c \ t ! ' n s i o n s M a j . J t h , 6 t h , 9 t h , e t c . , o n l yaffcct the color and texture of the chord and donot charrge its scale ftrnction or its role in theprOgrr-SSlol l .
3 6
ff i f f i tsr 'ffi..,f f i f f il-fH+l H-++l.lrTNfi FFFi-H4 , l r t l l r
*-6- 1 r)
-*-t+++11HHffiffiu++.1+t-H-.*{t-H+tlnrfl-l4 +
Ex. 40
--s- --E-.ililil l-uJlfilfl ftililul+u u++t][flt $tt
, .8 . , - * -H+#f u++Nffffft ffifnFFF++IH++N l-H+uffffn
3
Ex. 41
m m m ffir ffiffi ffi ftffi',ffi ffi ffi ffiffi ffi ffi@
v - @
3 t
Example 42.Refer to Examples
8 x . 4 2
Using the indicated chord, find a suitable fingering with which to harmonize the melodr3 9 , 4 0 a n d 4 1 .
Example 43. Now, as in Example 42 above. harmonizemaking the necessary transposition to the key of 'A' in bar l
the melody to f i t the chord symbols indicated.br.r t do not change the melody.
Ex. 43
gr{ n nHfn Dq
Any chromatic note within f inger nlnge eln l l rvays be harmonized with a given chordmav occasionallv be dissonant.
Example 44.form, although it
Ex .44
Fnal
vflT
ffiF{-.{.#u+IflH+1+tf-fl-ffl
3u
Example 45.chromatic tones.
Experiment finding chord voicings of Gm7 that can be
Ex. 45
Ex.46
-t*.1 -,1-r i
l l l , r lJ*J lbL1- !
E,xample 46 offers one possible solut ion to Example 45.
fFmffn-F) t a a t lrTHTlffr|flffrfflG^t?
ma t a f i lFffIfifffff1t-l-.t-l-t-ll l l l l l
G#+s
FFFffiFffrft
H+$+ll..|-#HfiGn1
Frrm|".#u-lJJlH+{+1ilx!i l l | | l
GJ+r
ffirFrrrrnF{-}-f*{a t a l l lffffnffffnl l l l l l
6m slo
f f i f f if f i t f f iffif, [+rrrffn trd
6;r* G.("n)t U r
frl e a:rr*+Fti-i-*Grnl
ffil+1+l-1IIHfrffiG^1 I
L
,w, -*f f i mr-*-{# F}*{-FlIJJJt-t LlflllHl# H]+flffffn rflrn
"ffT, rffiffffn nfifl|'.#| | l t f t t l n F lffffi +Hnn-l-l illd'J+tl e-q(&ra)
4d
39
Examples 47, 48 and 49 consist of the samechromatically. ln each case the melody and theother. Note the interestine extensions that occur
melody with major, dominant and minor chords descenci in;harmony have their own force and are independent of cu.l,as a result of this independence. See A maj. 7 in bar 3. ct .
F .x .47
Ex. 48
F;x.49
Dmn? Sme? Qnn't Brea gh,fi Amna hb^e'l G^e1 Gbne'ta
$},3 Ara hbtr Gt7 Ghts ? t ?
G^1 ds^q
f.]Drs
..)hrt hb,q 6* Gbnn
+U
Fhr erq 6bn1
Example 50 consistsvoicings of ntajor 7 chords
of the same melody as inascending chormatically.
Examples 47, 48 and 49 and demonstrates one set of
Ex. 50
E x . 5 1
, ,s , ,i l l f a lNTFfiffttf1l#t a t t l aItiltll l l ! r
t l^tt?Inet?
f f i f f i f f i f f if f i f f i f f i r f f id^^'? h^e'l t),,,nta h^a?) y'o -^a * ^^ rGm1
4 d
Exantple 51 shows al ternat ive voicings and consists of the same melody as Example 50 above.
, * , ,i l t t a lFrffnt-+-l++.,1t l l l l rt f t l t +mml i | |
?i:t^h1
-$=uJ-t-llt+++t-lH++{]l-ffffttffi
VmA?
frt+++11n-ffilI-Fi-FHffind^0,
-r-H++Nrffilul-lJ.lHflilQnal
*ff"Ffl-TNI a l | t|..+.4*t{++flf1t||lo.naa
ffiH++HH+1flffffnWnal
rftIHT+Hflffi-rlAmn?
ffiffiili-H+fl TFFN
d^etGrt*'l4a_
Wa{?
4 l
Examples 52,53,54, 55, 56,57 and 58 are short f ragments constructed to simulate standard pop tunes.Here the examples are presented in lead sheet form showing only the melody and chord symbols. Using thedevices previously explored in this book, develop chord melody solos for each of these examples, keepingthem as simple as possible. Concentrate mainly on finding chord voicings that sound good to you and stil lpermit the melody to be played. You may then compare your choice of voicings to those found, respectively,i n E x a m p l e s 5 9 , 6 0 , 6 7 , 6 2 , 6 3 , 6 4 a n d 6 5 . S e e P a g e 4 6 .
E x . 5 2
flbq 6^'1 evq €na1 ht D1
D"7a D;tbs Gbr$1
Ex. 53
tn
6v7
42
?1
Ex. 54
t x . 5 5
Ex. 56
D^'l q 6*{? g
D h a
Ex. 57
Gnel
g+rl Gne?,,,4- --.*-
I
@ 1
++
Ex. 58
evcw
E b-ar
D/'r>\ d+W
G'b lbra) eq tF)
Bb-',: Ebr Abmrz
Ab,^7a?\ GrotT Cryn7
- l
p ̂ tbil AbnntF'm?
Examples 59 , 60 , 61 ,62 ,63 ,64 and 65 o f fe r some o f the poss ib i l i t i es fo r harmon iz i lg Examples 52througli 58, respectively. See Page 42.
Ex. 59
.fr"HIFHt a t a t affitnfffff1ffrrnlrft-l-lD?
4 +
, F , .i ? t t l llll1lH+++l[Ifil l l l l l
D'?
,+,t ? ? l I IM?TI1rrffHffffiffnn?,*tc4zlF^
I+, ,s,,a t a a f t I i l lt+*.I rrmTT*F TFNT1'-{-#l l-l-#
J-.I-lJ.t u+lllitHt ffif,G."1 GVr*o
ffil-u-.ll-l? l t t t IrrrrtlffiWg
-r- -9--I I I t a t l H | , I I
HUl TfTTT]r l l i l t r l f l i lH+Hl l-+++llf1ffi tutt.lc c n
F,*a
t r I I t r E L gH# ffiff tftfl ffiflnlj l t i l l i l t r i l l?l ulJl lHJ+|l H1#l r++f.+t i+i++lfffi trtt1l fftttl ftffiG^1 Ch
"ff* rffil[Trn rffi{t+Hfl H++flf f i f f if lw
-(+1-iJ-+-.1t]-uui t t | | |ffi-ff1[ttf]l | | r_l_l
f f i f f iHlll-.t t-{+4.1-lFFFFH +++-l-.innfi Htlu*"
IIII-TTTImmr l i f l lH+t+l_|H1.i!-r bs
a ,I
/A\:/,(
46
m m f f il++{+1 f+t+Jlmfr +flilffi-rn fftr|F?*q $hq
. s ,tilluI t f a I InnTlTrTt-rlH+ftirrnn,v'%v
gITITI-Il t ? ? t lrffiflmxffn-F,,r:%
@ ' e
u|-ri-rfli l ? a t lff-rr-H+FHHtft-jfffrnF'fu,
r'fo
rfitrrFnt++ulffi6b%avL ' t
FFFFHt-l++4-lI t f t I I[Fn-n|TnTll-t+ft-lnb
L
FFFFFHl+*lffitrt"1++l-1rnm**o
FFffirrrnffif t t a t lrnnrFTFNnffil
6t+1 6t
@ @ @
Ex. 60
Ex. 61
g
@
T t r Tf f i f f itujl- l r i l l l lffiil ffill i l l r | | | l \
Frnlg q,6f)
ffi+lt+-.1-+-l-.1r t f l l tH++lffi-rHfnftl.lAC'*V
4 V-)
6\\:-/
ffiffrrfF{-**1t l a | l|#I | | l a afft-rFf+-+-Hl l l l l l
+99+s, Ilv+trVJ_d-?---r-2,+
,8 , ,i l ? l l li l l t | lffiI i I I a affl1-HFrffirfl-Fn+'b
affi FFF* FFFffi FFffi[ H f f i r i l f , f f iirfi ftrt ifld hffii$ril $ri $ilt $fifDnq GB $s) C,ne Gn1
,s,, ,F..ll+$t rl i l IIll-u.t-t u-lj.l-ltt+-.lj.l rllfi lH+11+ H+111rrnn ffnnhb',/ob ?''ty"+ , d 4 b o ' r
@ @ @ @ @
@
T I I IFFFffi FFFffiFl-# |-#rl| l lt ttt+i-.It+++l-t l++11.1Ft-f#-t tft+HItffi ffrfl-1
&naz A*
z r 7@'
g[5[fnrFilTIffffiffffHffiHiH
DtIl +
o?@
uEmnHi+l][tffiHffI
Arll , (h)4+ bL
@
FFFFt-FFt-1-l
$fiflt+ljtlHflflCne'| I
ffiffinnn#*n 1*ffi+sa#+s rnan4o
7+ .-* -4 t
E x.62
trFmr-l++Nl f l l lt.]i+i1-nnFr\t
@
q -
Ilffi|-]-{-+l f t f |ffi+ffrTF-q
,H\,t ? a a l ll]]?flffi-rnffffflffrrnF{#
, l l l l l l
ovq A
-w-r t r t4 l lH-+lJ]l t t t t affffhffffhffffflFr^rl.z' i ' t t fr+
ffi| | t i t Iffnfl[ffiffnnu]2,
nffintTrffi| l t t l l
H++flfltlfl
6boVq3 t t
urIilTItffll-f+#li-rnrlcB&
(
#"[Hnrn-l TFFNrrn-nI
?!$
@I
-s-1t+#1ffffiffffflFffft1l-ttltlDhn
"ffiMT[ffilffl-tflS*4+-
r>\( 5 JI
FFFffi FFFFNt-tffH Ffft-Ht'.Hl t#]
f f i H f f iHfN ffiHptb6 N?
Rr{.
ffi+t+i1rfitF
ffiAb^aq
4 .
@ '
ffiffi[ffi [ff|H++H t+++11rffrn rFn-Flhn dort
tW 4+-
' t@
FFFNrrrrn|i"+...+t f f a t IrFP1tlrFFTNt-l-.l-++ll i l | l
A
8x.64
Ir-lTfllffiHffi
trFFF
ffitrffia)l
RTMH+1+{ffiGme(l
6 @ b @ e
![ IIt lltrt t a a a a t l t a t t a t a a a liTt?l rrrrn rrFrr]Hi+l-t t-t+++] f+]{+Hl# H+lu H++11HH ffilil H4l r r r r l l | 1 1 i l i l
@ @ ' 6
IIffiH!+.FHHtieq
F,,ffi{ "s"l l l+ l l l - l l l J . lH{-{-11 l-t+fl-lFfft-H rrrrFlr-.r-r-r-Lr rrrrH
Clnntl fff,Fn
'-ffi,HMffiilffn-nF+'l
ffiffiAo l
, s . .il i l f t
[ffirfttflrrffnfftffls,ffi
b'l
Ex. 64 (cont'd)
Ex. 65
| .3 -,; '3
*u*r,
-IT.t+++t{ffffHrrrrht-t-t-fHtilt
e^1
,s,t l a a t lffHTIffi{ffiw
@ @
+{--}.4+- |ffiDs
-**i l a t t ,
ffiffieb., l
Itr[T[n-]n-rrnH{-t-+t| | I f f Iffrrn|#t-.t++-]-ll l l l l L
, 8 , ,I t ? t t arrfnffrrnffixffnn
drbq
-X"I I t a a a TTFF[ffirnrn(qq)
FFFfN|..H
HJ-1-1.1t.f+++lrrnTll i l | l
c1+q
rffif1-l-l-tltl-i-.1-1-.1 rf f i f f iH#+ fffff1'' fttttl
z a ffffn\rmt/-- \ i.]++-:-1
,$, ,H++uffiffiil&^ort
JHF{+Hu-lJ-l-]$ilflHilI&*t
"*trfiffl#H+fl1ffiFn?
ffiHffit-ftfHffrffrC1.g
ffiffifiH++H
Abn*1
E ' 6
Ex. 65 (cont 'd)
-T.if+11ffiilrrrrnftffi
F,,'.'l
FFFffi ffi ffiFMl t a I lrll'r nrffr fut++++{ flrFfl' ffiffiH+++t mf H+tf
H1ffi rrrrl I it+t+t
@ l @ ' " @ @ c ' 6 t l
*IE .ffhr -X-Iffi ffiffiffiffi ffi#ffiffiil ffirr ftff|
eVr*rl4 2 _ -
vlTtfTilNi l l l f affiH+11.1rrrrh****.tl | | t
WriT
TTI-n-fnffiu-t-.1-l-.1H+l+lr|mi l i l |
eltbq
@
rFMil-]+iltttt-l-lffiffiAb^.
frl{#+1l-l-{-HL l I l r tHH-]Abn*'7
F,4*-@
Itr.TFl-fNrMTIntTnffnnrrnnrrFm
Qn1
.+
rFh.' rffi-'r m mFH+1{ mrr, rrnfi rn1-nAhr H1fi ffi -*
4 a , , . 1 - t
t r f f if f T t n r l l l l lHfl H+HJHti+t nnnr r r r n l l l l l l
ryT Mb>T
o 6 @ c
@
tffi"ilffi[ffi|ImA*V5
mF++-{+-.1H++]lFl'#ffinev
O C 3 + O
Example 66 is a chord melody solo based on a standard cl iord progression and includes the structuraldevices presented throughout this book. Cont inne to explore other possibi l i t ies of the mater ial presentedhere, in appl icat ion to other tunes. The more of this you do, the more prof ic ient you wi l l become and youwill then begin to acquire an instinct for finding the right chord voicings. jr.rmping octaves, etc.. thus bringingyou within reach of extemporaneous improvising in a chord melody style of your own.
Ex. 66
D*th
ffiH#ffi-ffifu"1
FFffit-ffill-++lJ..lt t a l t lrrnTl! | a ln'rrnGtl
ffiirfff|-#+.1l ? | t t I|-|FFNrrnFrrnTlAh,r
@ O
I'ffiffiuj-ll.lH+++{ffftfl
nt[TmI i l l | l| | | l f f TFTFffrrFffit-n
trrrFFrrrnrfl-rnt--t-'t--f-+{t t a t I IFrrrnrnnAbq
5 2
Ex. 66 (cont'd)
tuu++flH#,,S,, "*.t t t f | ++-++. tl - t ^ f f 1 ' 1 i l t t t l| # l l l l a lt t a t t t t - t - . 1 + . 1 - l| { ' . , # l l l l l lI | | t a l| # l l l l l lt t t t i l f ++ - { - t - . ][fffn 7fiullll
ab*'Z-n A*uGA't
61 a r^rT Q , u ' t ! )
Eb^?4tu
Ab'7rT\ 6'g
aT - ^ 6
--rx J-:Jo (
r[ffiH-.4-+{i | | a t lrntnfttfflrfi-fl-1/lh' sn
c*,,t
E,rFffni l ? l f frnTn|#FH+f]tlltr
Lt l D t .ril'l+il +
J.rETF]FTFJ'-1H+]+fH+t1rrFrnrfi-FnAn'?
TmTnffiffiA&av
ItffiffiffiHffiAn
]LffinTrnffiAnl 44
ItFFFFFT {TITfll l l l l l l #rrrrn tltl!f f i l l l l l lt t ? t t lf f i l l l l l l? t t ? t t f . l j - ] - l - . ]r rm i l l l l lr r r r n l l l l r l
d-rC.AiAAF'G)
^s, , .8. ,l l t l l t l l r r r ltflfl-l rlil llr i l | lt utu.]tt+lt-t fl-lJtl$tr H#l.iH.
@g T@l
5 3
Ex. 66 (cont'd)
T*1fi^,
rE,t t ? t a lrrrtrnrrn-nl-{-'t-{-{-{u-t-lltt t t t t lnnn
A'7*1
rFffiffiH-t1+lnffnffiMbq
ffiFt+-t+{Fl-t-fHffffF!'''4
- * -a t r l t l|#i l t ? ? lrFmllftt-tftl-fH.Hl-ffiA+7
-S'-t t t t , ,
ffiIHXnrm€nqH{
ert D^q W
6fi athfr-
xFFTF|.{.,'l#| ? ? t ln-n'nffnt1ffftftr|nnArtn
Itr[]-TTT11++Nrfffflrrrrr1ftttflAb+tl
rffirr|n#t a t | | lrrn-nffi-ff1ffil t t t t t c a 4
F,r,'l r. De a*4,- \ - r t \
6
trrml-fmn| t l lrnrli | | trffn-]clv1
RTMHtrffi
Ff,',h
Fu-?-t+]l+-t++ll-t-t-ttlffirni l | | t i
8*q
t +
Gr l
@ u o@ ot--.
Ex. 66 (c
(x)mi l t t l lffiI i l i l lITTII]I t r t l l
en't
ffit{+u.lHJ+Nffi$)
a - l
-+"l-tiFt+i
LT'IUt++t#ffitl4 -
@
.>
FFFFFt-tfti-t mffit Hfflll l l l l l | - . ## l l l l l ll i l i l ll - t - l t l t + i l l l l l lt t t t t l. g i l l | l
Cnq FneT
Itm
l i l t ra t a i l lI ]T1Tl
c't-
r
ffiffi4 .
ffig
ffiffiffi,,ffff,0b'-......_.....
frU]JJ]ffitru-l+1..1
F-9ru
t3t*zE^ '
! L rflTTN
ffil ? t t | l|#H+]+lHtffil | | t
!l-I-n]tI a a I a trHfflFFF**It+++#H+f+ll ' l F . ghbs
Ex. 66 (cont'd)
\\-/-f 3
tl%4 ;l.at Amf>f1( o . '1 f f1 t
fi"t arT?dffi
Itr.[f]Tnt t t t e at-ft-l-F1rrnTl| | t lnnnc6/q
ffir l l ? l lH++lH+u.]nrfl-lGt?
Fffiff,Tf1flmffi9ttl
#rnrrfnftffijffit[fi|*r{
IItTTITNFRTTffffn'#
H-i-i-FffnnCn;7
@ @ @ ' 6
