P a g e · PDF fileThe various chord voicings as presented in this book, is my interpretation of how a ... Chord Formulas – Harmony – Playing Chords on the Bass –

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MARTYN KRÜGEL’S BASS MANUAL

Book 5: Chords

FREE ELECTRONIC PDF VERSION 1.2

NOT FOR SALE This is a COMPLIMENTARY Internet e-book

First draft completed 2007 – Revised and updated 2008 – Version 1.2 updated for 2010

Copyright © by Martyn Krügel 2007 onwards

All Rights Reserved – The moral right of the author has been asserted

This PDF file was created as an additional educational aid for students of the bass guitar.

The content, structure, format, analysis, design, artwork, photographs, methodology and model, remains the property of Martyn Krügel.

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FOREWORD Welcome to this the fifth installment in my Bass Manual Series. In this book you will be shown how Chords are applied on the bass guitar. The various chord voicings as presented in this book, is my interpretation of how a chord could possibly be played on the four string bass guitar. Because we only have four strings at our disposal, we have to omit some of the notes of chords consisting of more than four notes (when a chord is played in unison). I do however indicate the notes that I have selected from the chord formula to express the particular chord as you will see as you work through this book – so you should be able to see and understand my voicings of these chords. I must also again point out that it’s important to note that the first book of this series that deals with the major keys lays the groundwork and is the basis for all the other books in this series. The chronological order of the seven books in this series (as presented) is not necessarily the order that you need to work through these books – with the exception of the first book that deals with the major keys that must be done first. Once you have a thorough understanding of the major keys and can play in the major keys you can then carry on at your own discretion. I suggest that you work through the series in the following order and I’ll also divide my order into two groups and then explain why:

1) Book 1: Major Keys (Must start with this book – Not Negotiable) 2) Book 5: Chords 3) Book 6: Modes 4) Book 7: Pentatonic

5) Book 2: Natural Minor Keys 6) Book 3: Harmonic Minor Keys 7) Book 4: Melodic Minor Keys

The reason for dividing the above order into these two groups is simply because in practice (the actual playing that we do and are required to do – so it is also out of necessity) we predominantly utilize and relate and focus on the subject matter of the four books in the first group. It is absolutely essential to have a very good understanding of the subject matter in these four books. The second group in the above order deals with the minor keys and the minor keys are often neglected by musicians (I can confess that I am guilty of this too and I often refer to these three books myself) but we must strive to learn these keys properly. Well, I hope my Bass Manual Series will be of some benefit to you and good luck with your musical endeavors. Regards,

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CONTENTS

INTRODUCTION Chord Formulas – Harmony – Playing Chords on the Bass –

Comments on Fingerings – Comments on Improvisation Pg. 5

Chapter 1 MAJOR CHORDS Chord Formulas – Chord Diagrams – Chord Photographs Pg. 12

Chapter 2 MINOR CHORDS Chord Formulas – Chord Diagrams – Chord Photographs Pg. 28

Chapter 3 DOMINANT SEVENTH

CHORDS Chord Formulas – Chord Diagrams – Chord Photographs Pg. 42

Chapter 4 AUGMENTED &

DIMINISHED CHORDS Chord Formulas – Chord Diagrams – Chord Photograph Pg. 57

Chapter 5 CHORD PROGRESSIONS III – VI – II – V – I * III – VI – IV – VII – I * III – VI – II – VII – I

III – VI – IV – V – I 12-Bar Blues – Ascending and Descending Fourths and Fifths

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INTRODUCTION

Chord Formulas In book 1 the student was advised to learn the numeric value of the major scale and it is also this numeric value of a scale that assists us in constructing or building chords. In book 2 we also observed that the numerical value attributed to any other scale will be determined relative to the numeric value of the major scale – just to recap: The numeric values used in any other scale will always be determined relative to the numeric value of the major scale of the same root note (starting point). Comparing the numeric value of the A Major Scale to the numeric value of the A Natural Minor Scale for example, you will notice that the third degree in the natural minor scale has the numeric value b3 (flat three or flattened third) because in the A Natural Minor Scale the note C is a natural note and in the A Major Scale the note is a C#. The same occurs at the 6

th and 7

th degrees of the

natural minor scale (with the numeric values b6 and b7). Observe the numeric values in the following examples of scales that we have covered in book 1, 2, 3 and 4:

A - MAJOR Scale A B C# D E F# G#

Numeric Value 1 2 3 4 5 6 7

A - MINOR Scale A B C D E F G

Numeric Value 1 2 b3 4 5 b6 b7



A - HARMONIC

Scale A B C D E F G#

Numeric Value 1 2 b3 4 5 b6 7



A - MELODIC

Scale A B C D E F# G#

Numeric Value 1 2 b3 4 5 6 7

Every chord has a NUMERIC FORMULA and it is this formula that we learn to understand and recognize as oppose to memorizing a countless amount of individual chord voicings, as they would appear on the instrument. This method of using the numeric value of a scale and the numeric formula of a chord will enable you to easily construct any chord and even enable you to construct chords that you have never played before because it is in the name of a chord that you will find the chord formula. Our objective in our study of chords is therefore not to memorize a large number of individual chord voicings (like a parrot) but to understand how chords are assembled – build – constructed. Intervals are also an important facet in building chords since chords are groupings of intervals so make sure that you are familiar with the intervals that’s done in great detail in the first 4 books of this series. We have four main types of triads (the principal chords consisting of three notes) namely the: MAJOR – MINOR – AUGMENTED and DIMINISHED chord triads – and it is then these four types of chord triads that serve as the foundation on which every other possible chord is built. Let’s now build these four types of chords so that you can observe their characteristics and also see this principal of the numeric value that’s attributed to a scale and the chord formulas:

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The formula for a MAJOR chord is: 1 – 3 – 5

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case a major chord formula) will give the chord its name. Let’s now take the C major scale: C D E F G A B and because we’ve been given the major chord formula build the C major chord. 1 = C 3 = E 5 = G

So the C MAJOR chord will be made up of the notes C – E – G

You can also think of it as a root note with an added major third & perfect fifth interval.

The formula for a MINOR chord is: 1 – b3 – 5

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case a minor chord formula) will give the chord its name. Let’s now take the C major scale: C D E F G A B and because we’ve been given the minor chord formula build the C minor chord. 1 = C b3 = Eb 5 = G

So the C MINOR chord will be made up of the notes C – Eb – G

You can also think of it as a root note with an added minor third & perfect fifth interval.

The formula for an AUGMENTED chord is: 1 – 3 – #5

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case an augmented chord formula) will give the chord its name. Let’s now take the C major scale: C D E F G A B and because we’ve been given the augmented chord formula build the C augmented chord. 1 = C 3 = E #5 = G#

So the C AUGMENTED chord will be made up of the notes C – E – G#

You can also think of it as a root note with an added major third & augmented fifth interval.

The formula for a DIMINISHED chord is: 1 – b3 – b5

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case a diminished chord formula) will give the chord its name. Let’s now take the C major scale: C D E F G A B and because we’ve been given the diminished chord formula build the C diminished chord. 1 = C b3 = Eb b5 = Gb

So the C DIMINISHED chord will be made up of the notes C – Eb – Gb

You can also think of it as a root note with an added minor third & diminished fifth interval. Another important category of chords is the seventh or dominant seventh chord category (even though this chord is built upon a major chord triad foundation, it belongs to its own distinct category). The dominant seventh chord is made up of a major chord triad foundation together with an added minor seventh (b7 or flattened seventh) interval. In a major key and with reference to the scale tone chords of the major keys this chord appears on the 5

th degree of a major key. In the first book it was also mentioned that we attribute roman

numerals to the scale tone chords so wherever the roman numeral V is indicated, you can deduce that, that particular chord will be a dominant seventh type chord.

The formula for a seventh chord is: 1 – 3 – 5 – b7 (Also called dominant seventh)

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case a seventh chord formula) is used to give the chord its name. Let’s again take the C major scale: C D E F G A B and because we’ve been given the seventh chord formula build the C seventh chord. 1 = C 3 = E 5 = G b7 = Bb

So the C SEVENTH chord will be made up of the notes C – E – G – Bb

You can also think of it as a root note with an added major third – perfect fifth & minor 7th interval.

And then finally let’s build a major seventh chord (belonging to the major chord category) so that you can distinguish between a major seventh and a dominant seventh chord. The major seventh chord also has a major

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chord triad foundation but with an added major seventh interval (7 or major seventh interval) as oppose to the minor seventh (b7 or minor seventh interval) of the dominant seventh chord type.

The formula for a major seventh chord is: 1 – 3 – 5 – 7 (Belonging to the major chord category)

The numerical value 1 will always be the root note of the chord and this note in conjunction with the type of formula (in this case a major seventh chord formula) is used to give the chord its name. Let’s again take the C major scale: C D E F G A B and because we’ve been given the major seventh chord formula build the C major seventh chord. 1 = C 3 = E 5 = G 7 = B

So the C MAJOR SEVENTH chord will be made up of the notes C – E – G – B

You can also think of it as a root note with an added major third – perfect fifth & major 7th interval.

Harmony A very simple definition would be to say that a piece of music is a – or consists of – a melody (which is a succession of various single notes – of various pitches – and of different rhythmic values) and it is around a selection of these melody notes that chords are then constructed. This building of chords around a melody is commonly referred to as – harmonization or harmony and this term also denotes to the fact that we are now dealing with more than a single individual note, but to the two (as in intervals) or three or more notes belonging to a chord. It is not every note of the melody in a piece of music that is harmonized (even though you could do that) but in practice you will most often find that it is one or two chords that’s allocated to a single bar or measure of music that compliments the melody notes of that particular bar. You could look at the melody as the skeleton of a piece of music and the chords then, the flesh. The chain of chords built by using a selection of the melody notes in a piece of music then forms the chord progression and you should see this progression as a movement of chords or see the individual chords as being in motion or moving from one chord to the other and not merely perceive harmony as just the construction of a single static chord. But of course, understanding the makeup of a single static chord will be our first objective in this study of chords and harmony. In chapter 5 of this book some chord progressions in all the keys are given so that you can observe the movement of scale tone chords within a particular key and you will also again observe that roman numerals are used to identify the seven scale tone chords of a key. It will be worth your while to work diligently through this section to familiarize yourself with this movement of chords in a particular key and to also learn the scale tone chords of keys well.

IMPORTANT NOTE: MODULATION OR PLAYING THROUGH CHANGES The melody and the harmonization (the building of chords around a melody) in a piece of music are not necessarily confined to a single individual key and when in a piece of music the melody and chords travel over more than one key – this is called – modulation. In Jazz for example, modulation is rather the rule than the exception, where the melody in conjunction with the chords that are built around the melody (forming the progression) serves as a platform on which the musicians can then improvise (solo) and often this will happen over several keys in a single tune and then this progression of chords over several different keys will be repeated. They simply refer to this as – Playing Through Changes. So, you need to have a good understanding of the chords in this book so that when you see a piece of music, you are able to identify the chords of that piece of music and play along with that tune utilizing your knowledge of chords as a guideline of what to play. The ability to recognize a chord (what a chord is made up of) and where that chord could possibly fit into a key (referring to the scale tone chords of a key) will then be your guide of what to play when you improvise or comp around a piece of music. All of this stresses yet again the importance of learning all the major keys and the application of the major keys on your instrument and in this instance for example, a thorough knowledge of the major keys will help you to recognize and identify the modulation in a piece of music so that you can play through these changes (or keys) and because of your knowledge of the scale tone chords of keys you will be able to distinguish to which key the chords given in a piece of music belongs too, so that you will have some reference of what to play in such a piece of music.

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Playing Chords on the Bass The ability to play chords fluently on the bass is technically demanding but far from impossible. More important though, is the basic understanding of how chords are constructed. Chapters 1 to 4 in this book with the chord diagram and photograph of the fingering of the chord should therefore only be used as a reference guide – the objective is not to memorize all the various chord voicings but to understand the principle of how chords are constructed by learning the formulas of chords and the numerical values of scales. Once you’ve mastered the major scale patterns discussed in book 1 of this series the technical aspect of playing chords on the bass should be fairly unproblematic. The ease with which you play the chords may even serve as an indication of how well you know and can play the major scale patterns. There will be some chord voicings that are more difficult than others and a couple that is indeed impossible to play in unison on the bass and can therefore only be played arpeggiated (notes of the chord played individually in succession) and a bassist must certainly be able to play arpeggios but the focal point here is to gain a basic understanding of how chords are constructed and to only then find a way to play that chord on your bass. In the introduction of book 1 the following remark was made with regards to learning and playing the major scale patterns:

- Just bear in mind that the ability to play a pattern up and down fluently is not the music just yet (but it will be the first objective in terms of technique and in learning your instrument). When we think of music and the function of these patterns, it is best explained when we observe the improvisational musician like a Jazz bassist who would create melodies, riffs, licks and musical themes spontaneously within these patterns by playing an assortment of different note selections and rhythmic variations around these patterns that has already been committed to memory -

You should adopt the above approach of improvising when practicing and playing around chords and chord progressions on the bass too. For example: Let’s say you have to play around a G Major Seventh chord. Now because you have so many options available of playing the chord you should improvise around this chord and learn to play as many options as possible. Here are a few suggestions:

Play a voicing in unison of all the notes of the chord and then play ‘around’ the same chord.

Play the chord arpeggiated. (Arpeggios can and should be linked over the fingerboard for technical exercises that you can practice to form something like an arpeggio long-form scale).

Play several different triad voicings of the chord.

Play just the root note.

Play a syncopated rhythmic arpeggiated version of the chord.

Play different intervals of the chord in unison or separate the notes.

Play and find voicings of the chord all over the bass and not only in one position. Comping (derived from accompaniment) is the term used to describe the ‘background’ rhythmic accompaniment when you play rhythm. You should also ask other musicians like a guitarist to play or record a couple of chord progressions for you – that you can then comp along with so that you can practice and apply some of the options mentioned above.

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Comments on Fingerings In book 1 of this series the concept of Finger Articulation was introduced to you for you to find a natural and logical way to play the major and/or any other scale with your hand that presses against the fingerboard. Because chords are constructed ‘within’ the scales you will often use the same fingerings that you use in playing the scale, to play the chord. For example: If you take the first major scale pattern that we did in book 1 and apply the ‘Finger Articulation’ method, you should more or less end up using the following fingerings when you play this pattern:

7 – Index 8 – Middle 9 – Pinkie

5 – Index 6 – Ring 2 – Index 3 – Ring 4 – Pinkie

1 – Pinkie If we now take the first major chord voicing in chapter 1 of this book:

You will see that the logical fingerings for this major chord will be 1 – Pinkie 3 – Ring 5 – Index and in this particular case it is the exact same fingerings that are used in the scale that we also use for playing the individual notes of the chord. The same logic should be used in finding the most suitable fingerings for any other chord. You will stumble upon really difficult chord voicings but it is the principal here that will help you to find the most suitable fingerings.

Just to recap and refresh your memory, here is the Finger Articulation method again: To immediately grasp the correct fingerings of the major scale patterns or any pattern for that matter, it is best understood when we subdivide these patterns into the following three ‘sub-patterns’.

1

2

3

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Then we forget about this notion of ‘correct fingerings’ and substitute it with the idea of Finger Articulation. This is the ability to play any pattern with all of the four fingers or a combination of the fingers that presses against the fingerboard. This is how you commence practicing it:

1. Start by playing the above sub-patterns with only one finger, but all four fingers individually: Index Middle Ring Pinkie

2. Then play the above sub-patterns with combinations of two fingers: Index – Middle Index – Ring Index – Pinkie Middle – Ring Middle – Pinkie Ring – Pinkie

3. Then play combinations of three fingers: Index – Middle – Ring Index – Middle – Pinkie [Observe how sub-pattern 1 and 2 naturally falls into this combination] Index – Ring – Pinkie [Observe how sub-pattern 3 naturally falls into this combination] Middle – Ring – Pinkie

4. And then finally play the combination of all four fingers and then apply this method of finger articulation when you learn to play the patterns that chords fit into.

[The crux of the above method that I call ‘finger articulation’ was introduced to me through an exceptional book called Advancing Guitarist by Mick Goodrick – published by Hal Leonard. This book is all about learning and exploring single string playing on the guitar with the intent to view the guitar more in a linear way – an approach even more applicable and suitable to the bass guitar. It will certainly be worth your while to have a look at this book – In fact – this book is so important that it is not really negotiable – You will just have to buy a copy.]

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Comments on Improvisation

IMPORTANT NOTICE: The new aspiring musician should just take a moment and think about and conceptualize the notion of IMPROVISATION in the context

of music with the goal of applying it when learning, practicing and playing.

A few things to think about and apply when incorporating improvisation when playing or practicing something like chords and open to your own interpretation and further

investigation

Accents Phrasing Arpeggios Relaxation Note Repetition

Tempo Speed Note Selection Taking Risks Volume

Beat Melody Trills Listening Finger

Articulation

Coordination Legato Intervals Timing Single String

Amplitude Pizzicato Modes Syncopation Chords

Rhythms Articulation Question &

Answer Emotion Blues

Tremolo Phantom Notes Concentration Jazz Silence

Dynamics Triplets Open Strings Length of Note Space

Ornaments Harmonics Bebop Triads Discipline

Scatting Tapping Visualizations Sliding Music

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Chapter 1 MAJOR CHORDS

The diagrams and the (turned around) photographs illustrate your viewpoint when you’re holding the

bass.

Symbol

* Major * maj * M * Δ

Formula (In relation to the Major Scale) 1-3-5

Position 1 Position 1 is calculated with the root note on the top string or the octave thereof (third string)

Position 2 Position 2 is calculated with the root note on the second string or the octave thereof (fourth string)

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Symbol

sus Formula

(In relation to the Major Scale) 1-3-4-5


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Symbol

6 Formula



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Symbol

6add9 Formula

(In relation to the Major Scale) 1-3-5-6-9


1-3-6-9

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1-5-6-9


1-3-6-9

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1-5-6-9

Symbol

add9 Formula



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Symbol

M7 * Major7 * maj7

* ⁷ Formula



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Symbol

M9 * Major9 * maj9

* ⁹ Formula

(In relation to the Major Scale) 1-3-5-7-9


1-3-7-9

1-5-7-9

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1-3-7-9

1-5-7-9

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Symbol

M11 * Major11 *

maj11 * ¹¹ Formula

(In relation to the Major Scale) 1-3-5-7-9-11


1-3-7-11

1-5-7-11

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1-3-7-11

1-5-7-11

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Symbol

M13 * Major13 *

maj13 * ¹³ Formula

(In relation to the Major Scale)

1-3-5-7-9-11-13


1-3-7-13


1-3-7-13

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1-5-7-13

Symbol

M7#11 * Major7#11

* maj7#11 * ⁷#¹¹

Formula (In relation to the Major Scale) 1-3-5-7-#11


1-3-7- #11

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1-5-7- #11


1-3-7- #11

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1-5-7- #11

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Chord Formulas

Symbol Chord Formula (In relation to the Major Scale)

* Major * maj * M 1-3-5

sus 1-3-4-5

6 1-3-5-6

6add9 1-3-5-6-9

add9 1-3-5-9

M7 * Major7 * maj7 * ⁷ 1-3-5-7

M9 * Major9 * maj9 * ⁹ 1-3-5-7-9

M11 * Major11 * maj11 * ¹¹ 1-3-5-7-9-11

M13 * Major13 * maj13 * ¹³ 1-3-5-7-9-11-13

M7#11 * Major7#11 * maj7#11 * ⁷#¹¹ 1-3-5-7-#11

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Chapter 2 MINOR CHORDS


bass.

Symbol

m * Minor * min * Formula

(In relation to the Major Scale) 1-b3-5


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Symbol

Msus Formula

(In relation to the Major Scale) 1-b3-4-5


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Symbol

m6 Formula



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Symbol

mb6 Formula

(In relation to the Major Scale) 1-b3-5-b6



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Symbol

m6/9 Formula

(In relation to the Major Scale) 1-b3-5-6-9


1-b3-6-9

Symbol

mb6/9 Formula

(In relation to the Major Scale) 1-b3-5-b6-9


1-b3-b6-9

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1-b3-b6-9

Symbol

madd9 Formula


Position 1 Position 1 is calculated with the root note on the top-string or the octave thereof (third string)

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Symbol

m7 * Minor7 *

min7 * m⁷ Formula

(In relation to the Major Scale) 1-b3-5-b7


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Symbol

m9 * Minor9 *

min9 * m⁹ Formula

(In relation to the Major Scale) 1-b3-5-b7-9


1-b3-b7-9

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Symbol

m11 * Minor11 * min11 * m¹¹

Formula (In relation to the Major Scale)

1-b3-5-b7- 9-11


1-b3-b7-11

1-b3-9-11

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1-b3-b7-11

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Symbol

m13 * Minor13 * min13 * m¹³


1-b3-5-b7- 9-11-13


1-b3-b7-13


1-b3-b7-13

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Symbol

mb13 * Minor flat 13 * minb13 * mb¹³


1-b3-5-b7- 9-11-b13


1-b3-b7-b13


1-b3-b7-b13

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Symbol

m/maj7 * Minor/Major7 *

min/maj7

Formula (In relation to the Major Scale) 1-b3-5-(♮)7



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Chord Formulas


m * Minor * min * 1-b3-5

Msus 1-b3-4-5

m6 1-b3-5-6

mb6 1-b3-5-b6

m6/9 1-b3-5-6-9

mb6/9 1-b3-5-b6-9

madd9 1-b3-5-9

m7 * Minor7 * min7 * m⁷ 1-b3-5-b7

m9 * Minor9 * min9 * m⁹ 1-b3-5-b7-9

m11 * Minor11 * min11 * m¹¹ 1-b3-5-b7-9 -11

m13 * Minor13 * min13 * m¹³ 1-b3-5-b7-9 -11-13

mb13 * Minor flat 13 * minb13 * mb¹³ 1-b3-5-b7-9-11- b13

m/maj7 * Minor/Major7 * min/maj7 1-b3-5-(♮)7

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Chapter 3 DOMINANT SEVENTH CHORDS


bass.

Symbol

7 * Seventh Formula

(In relation to the Major Scale) 1-3-5-b7



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Symbol

9 * Ninth Formula

(In relation to the Major Scale) 1-3-5-b7-9


1-3-b7-9

1-5-b7-9


1-3-b7-9

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1-5-b7-9

Symbol

11 * Eleventh Formula

(In relation to the Major Scale) 1-3-5-b7-9-11


1-3-b7-11

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1-5-b7-11

1-b7-9-11

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1-3-b7-11

1-5-b7-11

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1-b7-9-11

Symbol

13 * Thirteenth Formula

(In relation to the Major Scale)

1-3-5-b7-9-11-13


1-3-b7-13

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1-b7-9-13

1-b7-11-13

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1-3-b7-13

1-5-b7-13

1-b7-9-13

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1-b7-11-13

Symbol

7b5 Formula

(In relation to the Major Scale) 1-3-b5-b7


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Symbol

7b9 Formula

(In relation to the Major Scale) 1-3-5-b7-b9


1-3-b7-b9

1-5-b7-b9

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1-5-b7-b9

Symbol

7#9 Formula

(In relation to the Major Scale) 1-3-5-b7-#9


1-3-b7-#9

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1-5-b7-#9


1-3-b7-#9

1-5-b7-#9

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Symbol

7#11 Formula

(In relation to the Major Scale) 1-3-5-b7-9-#11


1-3-b7-#11

1-5-b7-#11

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1-b7-9-#11


1-3-b7-#11

1-5-b7-#11

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1-b7-9-#11

Chord Formulas


7 * Seventh 1-3-5-b7

9 * Ninth 1-3-5-b7-9

11 * Eleventh 1-3-5-b7-9-11

13 * Thirteenth 1-3-5-b7-9-11-13

7b5 1-3-b5-b7

7b9 1-3-5-b7-b9

7#9 1-3-5-b7-#9

7#11 1-3-5-b7-9 -#11

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Chapter 4 AUGMENTED AND DIMINISHED CHORDS


bass.

Symbol

Augmented * aug Formula

(In relation to the Major Scale) 1-3-#5



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Symbol

7#5 Formula

(In relation to the Major Scale) 1-3-#5-b7


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Symbol

Diminished * dim Formula

(In relation to the Major Scale) 1-b3-b5


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Symbol

m7b5 * Minor 7

Flat 5 * ⁻⁷b⁵ Formula

(In relation to the Major Scale) 1-b3-b5-b7



Symbol

Diminished 7th * dim7

Formula (In relation to the Major Scale) 1-b3-b5-bb7


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Chord Formulas


Augmented * aug 1-3-#5

7#5 1-3-#5-b7

Diminished * dim 1-b3-b5

m7b5 * Minor 7 Flat 5 * ⁻⁷b⁵ 1-b3-b5-b7

Diminished 7th * dim7 1-b3-b5-bb7

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Chapter 5 CHORD PROGRESSIONS

Chord Progression III – VI – II – V – I

Major Keys Roman Numeral III VI II V I

Chord Minor Minor Minor Seventh Major

C Major E A D G C

G Major B E A D G

D Major F# B E A D

A Major C# F# B E A

E Major G# C# F# B E

B Major D# G# C# F# B

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

C# Major E# A# D# G# C#

F Major A D G C F

Bb Major D G C F Bb

Eb Major G C F Bb Eb

Ab Major C F Bb Eb Ab

Db Major F Bb Eb Ab Db

Gb Major Bb Eb Ab Db Gb

Cb Major Eb Ab Db Gb Cb

Natural Minor

Keys

Roman Numeral III VI II V I

Chord Major Major Diminished Minor Minor

A Minor C F B E A

E Minor G C F# B E

B Minor D G C# F# B

F# Minor A D G# C# F#

C# Minor E A D# G# C#

G# Minor B E A# D# G#

D# Minor F# B E# A# D#

A# Minor C# F# B# E# A#

D Minor F Bb E A D

G Minor Bb Eb A D G

C Minor Eb Ab D G C

F Minor Ab Db G C F

Bb Minor Db Gb C F Bb

Eb Minor Gb Cb F Bb Eb

Ab Minor Cb Fb Bb Eb Ab

Harmonic Minor

Keys


Chord Augmented Major Diminished Major Minor

A Minor C F B E A

E Minor G C F# B E

B Minor D G C# F# B

F# Minor A D G# C# F#

C# Minor E A D# G# C#

G# Minor B E A# D# G#

D# Minor F# B E# A# D#

A# Minor C# F# B# E# A#

D Minor F Bb E A D

G Minor Bb Eb A D G

C Minor Eb Ab D G C

F Minor Ab Db G C F

Bb Minor Db Gb C F Bb

Eb Minor Gb Cb F Bb Eb

Ab Minor Cb Fb Bb Eb Ab

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Melodic Minor Keys


Chord Augmented Diminished Minor Major Minor

A Minor C F# B E A

E Minor G C# F# B E

B Minor D G# C# F# B

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

C# Minor E A# D# G# C#

G# Minor B E# A# D# G#

D# Minor F# B# E# A# D#

A# Minor C# F## B# E# A#

D Minor F B E A D

G Minor Bb E A D G

C Minor Eb A D G C

F Minor Ab D G C F

Bb Minor Db G C F Bb

Eb Minor Gb C F Bb Eb

Ab Minor Cb F Bb Eb Ab

Chord Progression III – VI – IV – VII – I

Major Keys Roman Numeral III VI IV VII I

Chord Minor Minor Major Diminished Major

C Major E A F B C

G Major B E C F# G

D Major F# B G C# D

A Major C# F# D G# A

E Major G# C# A D# E

B Major D# G# E A# B

F# Major A# D# B E# F#

C# Major E# A# F# B# C#

F Major A D Bb E F

Bb Major D G Eb A Bb

Eb Major G C Ab D Eb

Ab Major C F Db G Ab

Db Major F Bb Gb C Db

Gb Major Bb Eb Cb F Gb

Cb Major Eb Ab Fb Bb Cb

Natural Minor

Keys Roman Numeral III VI IV VII I

Chord Major Major Minor Major Minor

A Minor C F D G A

E Minor G C A D E

B Minor D G E A B

F# Minor A D B E F#

C# Minor E A F# B C#

G# Minor B E C# F# G#

D# Minor F# B G# C# D#

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

D Minor F Bb G C D

G Minor Bb Eb C F G

C Minor Eb Ab F Bb C

F Minor Ab Db Bb Eb F

Bb Minor Db Gb Eb Ab Bb

Eb Minor Gb Cb Ab Db Eb

Ab Minor Cb Fb Db Gb Ab

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Harmonic Minor Keys

Roman Numeral III VI IV VII I

Chord Augmented Major Minor Diminished 7th

Minor

A Minor C F D G# A

E Minor G C A D# E

B Minor D G E A# B

F# Minor A D B E# F#

C# Minor E A F# B# C#

G# Minor B E C# F## G#

D# Minor F# B G# C## D#

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

D Minor F Bb G C# D

G Minor Bb Eb C F# G

C Minor Eb Ab F B C

F Minor Ab Db Bb E F

Bb Minor Db Gb Eb A Bb

Eb Minor Gb Cb Ab D Eb

Ab Minor Cb Fb Db G Ab

Melodic Minor

Keys

Roman Numeral III VI IV VII I

Chord Augmented Diminished Major Diminished Minor

A Minor C F# D G# A

E Minor G C# A D# E

B Minor D G# E A# B

F# Minor A D# B E# F#

C# Minor E A# F# B# C#

G# Minor B E# C# F## G#

D# Minor F# B# G# C## D#

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

D Minor F B G C# D

G Minor Bb E C F# G

C Minor Eb A F B C

F Minor Ab D Bb E F

Bb Minor Db G Eb A Bb

Eb Minor Gb C Ab D Eb

Ab Minor Cb F Db G Ab

Chord Progression III – VI – II – VII – I

Major Keys Roman Numeral III VI II VII I

Chord Minor Minor Minor Diminished Major

C Major E A D B C

G Major B E A F# G

D Major F# B E C# D

A Major C# F# B G# A

E Major G# C# F# D# E

B Major D# G# C# A# B

F# Major A# D# G# E# F#

C# Major E# A# D# B# C#

F Major A D G E F

Bb Major D G C A Bb

Eb Major G C F D Eb

Ab Major C F Bb G Ab

Db Major F Bb Eb C Db

Gb Major Bb Eb Ab F Gb

Cb Major Eb Ab Db Bb Cb

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Natural Minor Keys

Roman Numeral III VI II VII I

Chord Major Major Diminished Major Minor

A Minor C F B G A

E Minor G C F# D E

B Minor D G C# A B

F# Minor A D G# E F#

C# Minor E A D# B C#

G# Minor B E A# F# G#

D# Minor F# B E# C# D#

A# Minor C# F# B# G# A#

D Minor F Bb E C D

G Minor Bb Eb A F G

C Minor Eb Ab D Bb C

F Minor Ab Db G Eb F

Bb Minor Db Gb C Ab Bb

Eb Minor Gb Cb F Db Eb

Ab Minor Cb Fb Bb Gb Ab

Harmonic Minor

Keys


Chord Augmented Major Diminished Diminished 7th

Minor

A Minor C F B G# A

E Minor G C F# D# E

B Minor D G C# A# B

F# Minor A D G# E# F#

C# Minor E A D# B# C#

G# Minor B E A# F## G#

D# Minor F# B E# C## D#

A# Minor C# F# B# G## A#

D Minor F Bb E C# D

G Minor Bb Eb A F# G

C Minor Eb Ab D B C

F Minor Ab Db G E F

Bb Minor Db Gb C A Bb

Eb Minor Gb Cb F D Eb

Ab Minor Cb Fb Bb G Ab

Melodic Minor

Keys


Chord Augmented Diminished Minor Diminished Minor

A Minor C F# B G# A

E Minor G C# F# D# E

B Minor D G# C# A# B

F# Minor A D# G# E# F#

C# Minor E A# D# B# C#

G# Minor B E# A# F## G#

D# Minor F# B# E# C## D#

A# Minor C# F## B# G## A#

D Minor F B E C# D

G Minor Bb E A F# G

C Minor Eb A D B C

F Minor Ab D G E F

Bb Minor Db G C A Bb

Eb Minor Gb C F D Eb

Ab Minor Cb F Bb G Ab

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Chord Progression III – VI – IV – V – I

Major Keys Roman Numeral III VI IV V I

Chord Minor Minor Major Seventh Major

C Major E A F G C

G Major B E C D G

D Major F# B G A D

A Major C# F# D E A

E Major G# C# A B E

B Major D# G# E F# B

F# Major A# D# B C# F#

C# Major E# A# F# G# C#

F Major A D Bb C F

Bb Major D G Eb F Bb

Eb Major G C Ab Bb Eb

Ab Major C F Db Eb Ab

Db Major F Bb Gb Ab Db

Gb Major Bb Eb Cb Db Gb

Cb Major Eb Ab Fb Gb Cb

Natural Minor

Keys

Roman Numeral III VI IV V I

Chord Major Major Minor Minor Minor

A Minor C F D E A

E Minor G C A B E

B Minor D G E F# B

F# Minor A D B C# F#

C# Minor E A F# G# C#

G# Minor B E C# D# G#

D# Minor F# B G# A# D#

A# Minor C# F# D# E# A#

D Minor F Bb G A D

G Minor Bb Eb C D G

C Minor Eb Ab F G C

F Minor Ab Db Bb C F

Bb Minor Db Gb Eb F Bb

Eb Minor Gb Cb Ab Bb Eb

Ab Minor Cb Fb Db Eb Ab

Harmonic Minor

Keys Roman Numeral III VI IV V I

Chord Augmented Major Minor Major Minor

A Minor C F D E A

E Minor G C A B E

B Minor D G E F# B

F# Minor A D B C# F#

C# Minor E A F# G# C#

G# Minor B E C# D# G#

D# Minor F# B G# A# D#

A# Minor C# F# D# E# A#

D Minor F Bb G A D

G Minor Bb Eb C D G

C Minor Eb Ab F G C

F Minor Ab Db Bb C F

Bb Minor Db Gb Eb F Bb

Eb Minor Gb Cb Ab Bb Eb

Ab Minor Cb Fb Db Eb Ab

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Melodic Minor Keys

Roman Numeral III VI IV V I

Chord Augmented Diminished Major Major Minor

A Minor C F# D E A

E Minor G C# A B E

B Minor D G# E F# B

F# Minor A D# B C# F#

C# Minor E A# F# G# C#

G# Minor B E# C# D# G#

D# Minor F# B# G# A# D#

A# Minor C# F## D# E# A#

D Minor F B G A D

G Minor Bb E C D G

C Minor Eb A F G C

F Minor Ab D Bb C F

Bb Minor Db G Eb F Bb

Eb Minor Gb C Ab Bb Eb

Ab Minor Cb F Db Eb Ab

Chord Progression I – IV – V

12-Bar Blues Roman Numeral I

IV

V

Chord Seventh Seventh Seventh

C C7 F7 G7

G G7 C7 D7

D D7 G7 A7

A A7 D7 E7

E E7 A7 B7

B B7 E7 F#7

F# F#7 B7 C#7

C# C#7 F#7 G#7

F F7

Bb7

C7

Bb Bb7 Eb7 F7

Eb Eb7 Ab7 Bb7

Ab Ab7 Db7 Eb7

Db Db7 Gb7 Ab7

Gb Gb7 Cb7 Db7

Cb Cb7 Fb7 Gb7

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Chord Progression Ascending Fourths [Practice all chord types]

F Bb Eb Ab Db Gb Cb/B E A D G C F

Chord Progression Descending Fourths [Practice all chord types]

F C G D A E Cb/B Gb Db Ab Eb Bb F

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Chord Progression Ascending Fifths [Practice all chord types]

F C G D A E B F# C# G# D# A# F

Chord Progression Descending Fifths [Practice all chord types]

F A# D# G# C# F# B E A D G C F

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