Circle of 5ths,

74 Chords
4ths, and 3rds
55 Scales
64 Chord Subs

By: Richard Rose (Dub-R)

GREAT FOR...
Teachers of any instrument Brass
Composers Winds
Arrangers Reeds
Pianists Vibes
Bassists Strings
Guitarists and all lovers of music and jazz
 Secrets of Scales and Chords Revealed
Table of Contents

Chord Theory ........................................................................................1 Table of the 64 Basic Chord Subs ............................................... 13

The 10 Basic Chords ...........................................................................4
The 7 Modes ..........................................................................................6
Intervals: the Space Between the Notes ......................................7
55 Scales, in C .......................................................................................8
Notes and Spelling of 74 Different C Chords .............................9
Chart of 64 Chord Sub Progressions .......................................... 11
Pentatonic Scales ............................................................................. 14
Linear and Diagonal Exercises ..................................................... 15
Music By The Numbers .................................................................. 16
Symbol Legend ................................................................................ 16
Circle of Fifths, Fourths, and Thirds ........................................... 17
About the Author............................................................................. 18

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Author and Publisher: Richard Rose (1956). Copyright 2005-2015, all rights reserved. “Secrets of Chord Substitutions Revealed,” “Secrets of the
Guitar Fretboard Revealed,” “Secrets of Jazz Arranging Revealed,” “Secrets of Scales and Chords Revealed,” and “Circle of Thirds” are trademarks
of Richard Rose, all rights reserved. Place of Publication: Boulder, Colorado. Year of Publication: 2007.

Thank you Keith Allen and Bennet Friedman for your years of friendly instruction.
Dedicated to Regi

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 Chord Theory
(Terms for additional study are in italics.)
Since scales come from chords, let’s start with the
fundamentals of chords: progression, cadence, harmony, and
substitutions.
A chord progression is a series of chords with the object of
ending in a cadence. A cadence is the 2 chords which make
up the end of the progression, the last one and the chord
immediately before and resolving to it. Harmony is the study
of pitches, and chords made up of those pitches. A chord
substitution (also called a “chord sub” or “sub”) is the use of
one or more chords in place of another. Here are general rules
for chord progressions, from which come the chord
substitutions to these rules:
7 General Rules for Chord Progressions
1. Any chord may follow the “I” chord (the Tonic, key of C= C)
2. Any I may be preceded by its V7 (“Perfect Cadence”= G7 C)
3. Any V7 may be preceded by its V7 (the “V of V”= D7 G7 C)
4. Any V7 may be prec. by its IIm7 (the “II of V”= Dm7 G7 C)
5. Any IIm7 may be preceded by its V7 (the “V of II”= A7 Dm7
G7 C)
6. IIm7 V7 may be repeated (F#m7 B7 Em7 A7 Dm7 G7 C)
7. IIm7 V7 should move from relatively strong to relatively
weak beats or bars (IIm7 on odd beat or bar, V7 on even
beat or bar)
Rules #2 thru 6 are illustrated in the chart on Page 11.
Cadences
The most common cadence is V7 – I, or G7 C in the key of C.
The V7 chord is called the Dominant, and the I chord is the
Tonic. The Tonic is the main key of the song, especially the key
of the ending. Around 95% of all songs use the Perfect
Cadence, including blues, country, rock, pop, classical and
jazz.
The "Sub I" (Substitute I) cadence is Db7 C (Db7 is the b5 sub
for G7). The “V” (Five) cadence resolves to the V from its V, or
D7 G7 C (D7 is the V of G7, which is the V of C).
The "sub V" (Substitute V) cadence is D7 Db7 C , since D is
the b5 sub for Ab (which is the V of Db), a tritone substitution.
The third cadence is the “II” (Two), or D7 Gm7, ending in C.
The "Sub II" is D7 Dbm7, since Dbm7 is the b5 sub of Gm7,
also a tritone substitution.
To review the cadences:
I = G7 C sub I = G7 Gb
V = D7 G7 C sub V = D7 Db7 C
II = Dm7 G7 C sub II/V = Abm7 Db7 C
Harmony
To understand chords and chord subs, one must understand
Harmony, which is the study of pitches, and chords made up
of those pitches. It’s the "vertical" aspect of music, the notes
of the chord going up and down on the staff, whereas melody
is the "horizontal." The distance between two pitches is called
an interval.
Page 1
Different traditions of music composition, performance and
theory have their own specific rules of harmony. The most
basic chord is made of the root, the minor or major third, and
the fifth (a C or Cm chord in the in the key of C= C, Eb or E, and
G).
Extended chords include the major 7, Dominant 7 (flat 7), 9th,
11th, and 13th chords (Cmaj7, C7, C9, C11, C+11, C13), and all
combinations thereof.
Altered chords have a b5, #5, b9, and/or a #9 replacing the
regular 5th or 9th degree of the scale, and all combinations
thereof.
Extended and Altered chords can have elements of both in
them (such as C13b5).
Tension chords include sus2, sus4, add6, add9, and add6/9.
Passing chords, good for making difficult key or chord
changes, are C+ (Augmented) and Cº (diminished). Feel free to
mix and match these chords. At the end of the day, the only
rule for chords is that it has to sound good. Honest.
Why Chord Subs?
Chord subs allow movement, variety, hipness, character, or
make a certain melody work. It is used as a songwriting
technique, and for composing songs, endings, and solos. It is
used in jazz, pop, musicals, blues and folk. Chord subs can be
used for very cool turnarounds in any music, usually blues, jazz
and pop. Chord subs are so hip, even Bach used them,
thereby violating the rules of contemporary harmony of his
day. My “Secrets of Chord Substitutions Revealed” lists 104
different chord sub rules.
The sub chords usually have some notes in common with the
original chords, such as in a tritone substitution where the
sub shares the 3 and the b7 with the original chord (C7 and
Gb7 share the E and the Bb notes, E is the 3 in C and the b7 of
the Gb, vice-versa for the Bb).
Or the sub could be the Relative Minor or Relative Major of the
original chord (Am for C or C for Am). Or a Minor Chord a
major Third up from a Major chord (Em for C).
In fact, any chord may be substituted for any other chord as
long as the new chord supports the melody. Subs are used in
jazz music to give a song sophisticated harmony. It is also
commonly used to make for easier fingering transitions, such
as the late great Joe Pass would use in a chord melody song
on guitar.
For example, chord subs can provide smoother voice
leading. Using the tritone substitution, the roots of the
“Dm7 G7 Cmaj7” progression move down chromatically by
half-steps as “Dm7 Db7 Cmaj7,” instead of ascending
Fourths as D G C does. It sounds so much better, especially
on guitar.
Another example of chord subs is that the common chord
progression “Am7 Cmaj7” could be played as “Am7 D7 Dm7
G7 Cmaj7” or “Am7 Ab7 Abm7 Db7 Cmaj7”. Chord
substitution rules also allow Gb to sub for C in the examples
above, therefore “Am7 D7 Dm7 G7 Gbmaj7” or “Am7 Ab7
Abm7 Db7 Gbmaj7”.

There are certain rules governing how chord subs work, and
there are many rules from many different sources (namely,
arrangers, composers, and musicians). One model, the chart
Page 2
on Page 11, has 8 rules which yield 64 possible chord
progressions using just 5 chords. Combine with the rules that
allow many Extended and Altered chords, and the number of
possible chord progressions from just those five chords is
3,584! Other chord sub concepts involve tritone substitutions,
omitted/added root substitutions, circle progression additions,
planing, and reharmonization.
Despite all the rules, it is not an exact science, but rather more
of a black art. Feel free to create your own subs and rules.
Remember, as long as it sounds good to your ear, it’s fine!
The omitted/added root substitution rule exchanges the
root of the given chord for a root a third or fifth higher
(occasionally lower.) The substituted chord still retains several
pitches of the original, implying the same harmony, but can
also point toward different directions, both in key and
function. Therefore, Cmaj7 (with the notes C E G B) becomes
Em (with the notes E G B, all that is omitted from the original
Cmaj7 is the C, the root, usually played by the bass anyway).
Or G (G B D) can substitute, but not always as well, due to the
D (the 2nd/9th of C).
Short circle progression additions, usually Circle of Fourths
(see the Circle chart on Page 17) and being fundamental to
the structure of many traditional jazz compositions, may be
inserted as turnarounds, or used as a series of substitute
chords in specific parts of a song towards the end of the A
section (first part or verse), or may form the basis of the B
section (the second part or chorus). Such as “C E7 A7 D7 G7 C”
or “C A7 D7 G7 C.”
Planing (or “stepping-in” or “sliding-in”) is used by both
improvisers and arrangers. It refers to the technique of sliding a
chord (or just a chord tone) up or down chromatically (one-
half step), maintaining the shape and voicing of the chord.
For example, F7 (F A C Eb♭) could slide up to becomeb7 G (Gb
Bb Db♭E♭ -step. The
). Each note has been "planed"up a half
planing chord is always a short-duration passing chord.
Planing is used by arrangers to reharmonize melodic passing
tones which might clash with the existing harmony. As well,
improvisers use planing effectively, typically as part of a
progression. Not all the planed notes must be played at the
same time. Most of the chord tones can sound before the
melody note, or vice-versa, so that the note that clashes with
the melody won’t.
Reharmonization is the taking of an existing melody and
altering the harmony which accompanies it, using chord subs.
Typically, a melody is reharmonized to provide musical
interest or variety. Also, it is often used to introduce a new
section in the music, such as a coda or bridge.
Reharmonizations involve not just a single melody note, but
the whole melodic line. As a result, there are often several
melodic tones which might occur over a harmony, and all
must be considered when reharmonizing. The melody note is
usually the top note of the harmony.
 The 10 Basic Chords
There are 10 chords which are the ones used 99% of the time
in songs. They are Major, minor, Major 7, minor 7, 7th, 9th,
11th, 13th, Augmented, and diminished. They each have their
own characteristic sound, each are used in specific ways, and
each has a chord(s) to which it resolves best.
Each of these chords has “its own” scale, one which when
played over that chord, sounds the wail most euphonious.
Suggested scales for each type of chord are as follows. See
Page 8 for Scales.
Major chord: Major (Ionian), Mixolydian, Lydian, Major
Pentatonic, Blues, Enigmatic, Hindu, Jazz Melodic minor,
Double-harmonic, Byzantine, Chinese, Ichikosucho, Purvi.
Resolves to any other chord. Really.
minor or minor7 chords: Any minor, Dorian, Aeolian,
Phrygian, Blues, minor Pentatonic, Diminished, ½ Dim, Jazz
Melodic minor, Locrian, Super-locrian, Altered, Bali, 8-Tone
Spanish, Hirajoshi, Hungarian (both), Kumai, Mohammedan,
Neopolitan, Pelog, Todi. Cm resolves to Fm, Bb, Ab, Eb, Dm.
Major7 chord: Major (Ionian), Lydian, Major pentatonic.
Cmaj7 resolves to Fmaj7, Dm7, G, Dmaj7, Cm7.
7th, 9th, 11th and 13th chords: Mixolydian, Locrian, Super-
locrian, Major Pentatonic, Blues, Whole-tone, Altered,
Arabian, 8-Tone (exc. 11th chord), Hindu, Hungarian Major,
Overtone. C resolves to F, Bmaj7, C+, Cº, B9, Bb7.
Augmented chord: Mixolydian, Major Pentatonic, Blues,
Augmented, Whole-tone, Altered, Byzantine, 8-Tone,
Enigmatic, Hindu, Hirajoshi, Persian. C+ is a passing chord
which resolves to A, C#, or F.
diminished chord: Locrian, Super-locrian, Diminished, Half-
diminished, Blues, Altered, 8-Tone, Hungarian Minor, Todi. Cº
is a passing chord which resolves to C#, E, G, or A#.
Many chords have strong leading properties. For instance,
when the ear hears C7, it wants to resolve to F. The C+ also
strongly leads to F. The diminished chord is unique since it
resolves to any of the 4 chords a half-step (1 fret) up from any
of the chord tones. Cº resolves to C#, E, G, and A#.
Likewise, the Augmented chord also resolves up a half-step of
the chord tones. C+ resolves to C#, A, and F.
Notice the symmetry of the diminished and Augmented
chords: they are the only ones with their chord tones equally
spaced, 3 frets apart for the dim, and 4 frets apart for the Aug.
That also means the dim repeats itself every 3 frets (stays the
same chord) as you move chromatically up the neck, and the
Augmented does the same, every 4 frets.
Thus, the Cº is also a Ebº, Gbº, and Aº. Same with Aug: a C+ is
also a E+ and G#+. Use both these kinds of chords to make
difficult changes of keys or chords, like going from C to Db via
Cº, or C to Ab via C+.
The 11 chord is a smoky and mysterious but beautiful
Dominant chord, which resolves from V to I (G11 to C). It
Page 4
combines the classic harmony of the V to I with the funkiness
of the gospel-like IV chord resolving to the I, as it is little more
than a IV chord with a V in the bass. The IV also adds
suspension, strongly leading to resolution to the I. Used
mostly in pop and jazz, hear it in a Blues at 1:13 in Goin' Down
Slow (Allman Bros).
Unless called “add6”, a 13th chord always has the b7 and the
9, but not the 11. The 9th chord always has the b7, except if
“add9“.
Tip: Try using the funky 9th chord, jazzy 13th chord, or the
sexy 11th, in place of a 7th chord. Always use the b7 for a 7th
chord, not the major 7.
Tip: A “tritone substitution” uses a F9 or F13 in place of a B7 to
resolve to E. The F is a “tritone,” or b5, from B. Works for any
key, is used mostly in jazz and jazzy blues.
Tip: Use the Phrygian scale (mode) or the diminished scale in
a minor blues progression, or a whole tone scale over a 7th
chord. See Page 8 for 55 scales.
Tip: Extensions or altered chord tones, like the b7, 9, 11, or 13,
should be the higher notes, not in bass. The 5th (G in the key
of C) or the Root (C in the key of C) can usually be omitted.
Page 5
 The 7 Modes
Modes provide an expressive way to solo. They each played in any of the 12 keys just by playing the C Major scale,
have a distinctive sound, some sound better than others, and starting on a different note.
are better to use than others. My favorites are Aeolian and Thus, playing the C Major scale from “D” to “D” is the
Phrygian. Dorian mode in the key of D. Modes have names from Greek
Tip: A trick way to learn them is that each mode can be mythology, and can have altered tones (“Dorian b5”).
played as a basic C Major scale, but starting and ending on a Tip: practice playing the same mode (the C scale with
different note (Root). There are 7 modes, and each can be different starting note) up and down the neck in the 5
positions.

Mnemonic to remember
the modes:
“I Don't Play Like My Aunt Lucy”
(Ionian Dorian Phrygian Lydian
Mixolydian Aeolian Locrian)

Page 6
 Intervals: the Space Between the Notes

Chords are 2, or more, notes played together. The difference

between each note is called an “interval.” A “Third” is an
interval of 3 scale notes up from the Root. See the Circle of
Thirds on Page 17.
Chords are defined by their intervals, that's what makes a C
major different from a C minor, or any other chord. The
combination of lengths and number of intervals (or number
of half-steps, or, specific to the guitar: number of frets), is a
myriad of possibilities.
And those possibilities are what we call “chords.” In many
ways, those intervals are the music; the un-writable, un-
notatable space between the notes. Take away intervals and
all that's left is a drone with a beat.
The basic chord is a triad, 3 notes, which for a major is called I-
III-V, or, if you slept through Latin class, 1-3-5. In the key of C,
that major chord translates to the notes C-E-G. That's because,
in the key of C:

1-2-3-4-5-6-7-8-9-10-11-12-13
is
C-D-E-F-G-A-B-C-D-E-F-G-A

The following are the intervals for a whole bunch of chords
and scales, all in the key of C. Transposing to other keys is
easy once you memorize the intervals, as well as the notes of
the key in which you originally learned the song.
The Relative Minor of C Major is A minor. That means you can
play A minor scales (those with b3) over a C chord. Or play C
major scales (those with natural 3) over an Am chord. The
music's predominant bass note determines the root, that is,
whether the key or sound is C or Am.

Page 7
 55 Scales, in C
Major Pentatonic scale = 1 2 3 5 6 – C D E G A
Minor Pentatonic scale = 1 b3 4 5 b7 – C Eb F G Bb
Blues scale = 1 b3 4 b5 5 b7 – C Eb F Gb G Bb
Melodic minor scale = 1 2 b3 4 5 6 7 – C D Eb F G A B (ascending)
1 b7 b6 5 4 b3 2 – C Bb Ab G F Eb D (descending)
Harmonic minor scale = 1 2 b3 4 5 b6 7 – C D Eb F G Ab B
Diminished scale = 1 2 b3 4 b5 b6 bb7 7 – C D Eb F Gb Ab A B
Half-diminished scale = 1 2 b3 4 b5 b6 b7 – C D Eb F Gb Ab Bb
Augmented scale = 1 2 3 4 #5 6 b7 – C D E F G# A Bb
Whole tone scale = 1 2 3 b5 b6 b7 – C D E Gb Ab Bb
Jazz melodic minor scale = 1 2 b3 4 5 6 7 – C D Eb F G A B
Ionian mode (Major scale) = 1 2 3 4 5 6 7 – C D E F G A B
Dorian mode = 1 2 b3 4 5 6 b7 – C D Eb F G A Bb
Phrygian mode = 1 b2 b3 4 5 b6 b7 – C Db Eb F G Ab Bb
Lydian mode = 1 2 3 #4 5 6 7 – C D E F# G A B
Super-lydian mode = 1 2 3 #4 #5 6 7 – C D E F# G# A B
Mixolydian mode = 1 2 3 4 5 6 b7 – C D E F G A Bb
Aeolian (Natural minor) =1 2 b3 4 5 b6 b7 – C D Eb F G Ab Bb
Locrian mode = 1 b2 b3 4 b5 b6 b7 – C Db Eb F Gb Ab Bb
Super-locrian mode = 1 b2 b3 b4 b5 b6 b7 – C Db Eb Fb Gb Ab Bb
Altered scale = 1 b2 b3 3 #4 #5 b7 – C Db Eb E F# G# Bb
Altered-dominant scale = 1 b2 b3 b4 b5 b6 b7 – C Db Eb E Gb Ab Bb
Half-whole scale = 1 b2 b3 b4 #4 5 6 b7 – C Db Eb E F# G A Bb
33 Unusual and Ethnic Scales
Arabian scale = 1 2 3 4 b5 #5 b7 – C D E F Gb G# Bb
Balinese scale = 1 b2 b3 5 #5 – C Db Eb G G#
Byzantine scale = 1 b2 3 4 5 #5 7 – C Db E F G G# B
Chinese scale = 1 3 b5 5 7 – C E Gb G B
Chinese Mongolian scale = 1 2 3 5 6 – C D E G A
Double Harmonic scale = 1 b2 3 4 5 #5 7 – C Db E F G G# B
Egyptian scale = 1 b2 4 5 b7 – C Db F G Bb
Eight-tone Spanish scale = 1 b2 b3 3 4 b5 #5 b7 – C Db Eb E F Gb G# Bb
Enigmatic scale = 1 b2 3 b5 #5 b7 7 – C Db E Gb G# Bb B
Hindu scale = 1 2 3 4 5 #5 b7 – C D E F G G# Bb
Hirajoshi scale = 1 2 b3 5 #5 – C D Eb G G#
Hungarian Major scale = 1 b3 3 b5 5 6 b7 – C Eb E Gb G A Bb
Hungarian Minor scale = 1 2 b3 b5 5 #5 7 – C D Eb Gb G G# B
Ichikosucho scale = 1 2 3 4 b5 5 6 7 – C D E F Gb G A B
Kumoi scale = 1 2 b3 5 6 – C D Eb G A
Mohammedan scale = 1 2 b3 4 5 #5 7 – C D Eb F G G# B
Neopolitan scale = 1 b2 b3 4 5 #5 7 – C Db Eb F G G# B
Overtone scale = 1 2 3 b5 5 6 b7 – C D E Gb G A Bb
Pelog scale = 1 b2 b3 5 #5 – C Db Eb G G#
Persian scale = 1 b2 3 4 b5 #5 7 – C Db E F Gb G# B
Prometheus scale = 1 2 3 b5 6 b7 – C D E Gb A Bb
Purvi Theta scale = 1 b2 3 b5 5 #5 7 – C Db E Gb G G# B
Six-tone Symmetrical scale = 1 b2 3 4 #5 6 – C Db E F G# A
Todi Theta scale = 1 b2 b3 b5 5 #5 7 – C Db Eb Gb G G# B
Arabic Scales
The Bayati = 1 b2 b3 4 5 b6 b7 – C Db Eb F G Ab Bb
The Rast = 1 2 b3 4 5 6 b7 – C D Eb F G A Bb
The Sikah = 1 2 3 #4 5 6 7 – C D E F# G A B
Page 8
Arabic Scales (continued)
The Hizam = 1 2 3 4 #5 6 7 – C D E F G# A B
The Hijaz = 1 b2 3 4 5 b6 b7 – C Db E F G Ab Bb
The Kurd = 1 b2 b3 4 5 b6 b7 – C Db Eb F G Ab Bb
Notes, Spelling and Pronunciations of 74 Different C Chords
Basic chords
C = 1 3 5 – C E G “C major“ or “C“
C (no 3) = 1 5 – C G “C power chord”
Cm = 1 b3 5 – C Eb G “C minor”
C6 = 1 3 6 – C E A “C six”
Cmaj7 = 1 3 5 7 – C E G B “C major seven“
C7 = 1 3 5 b7 – C E G Bb “C seven“
Cm7 = 1 b3 5 b7 – C Eb G Bb “C minor seven”
Cm6 = 1 b3 5 6 – C Eb G A “C minor six”
CmMaj7 = 1 b3 5 7 – C Eb G B “C minor major seven” or “C minor major”
Extended chords
C9 = 1 3 5 b7 9 – C E G Bb D “C nine”
C11 = 1 3 5 b7 9 11 – C E G Bb D F “C eleven”
C13 = 1 3 5 b7 9 13 – C E G Bb D A “C thirteen”
C6/9 = 1 3 5 6 9 – C E G A D “C six nine”
C7/6 = 1 3 5 6 b7 – C E G A Bb “C seven six”
Cm9 = 1 b3 5 b7 9 – C Eb G Bb D “C minor nine”
Cm6/9 = 1 b3 5 6 9 – C Eb G A D “C minor six nine”
Cm11 = 1 b3 5 b7 9 11 – C Eb G Bb D F “C minor eleven”
Cm11 (no 5) = 1 b3 b7 9 11 – C Eb Bb D F “C minor eleven no five”
CmMaj7/9 = 1 b3 5 7 9 – C Eb G B D “C minor nine major seven”
CmMaj7/11 = 1 b3 5 7 9 11 – C Eb G B D F “C minor eleven major seven”
The Soznak = 1 2 b3 4 5 b6 7 – C D Eb F G Ab B
The Hijz Kar = 1 b2 3 4 5 b6 7 – C Db E F G Ab B
The Nakriz = 1 2 b3 #4 5 6 b7 – C D Eb F# G A Bb
Cmaj7/6 = 1 3 5 6 7 – C E G A B “C major seven six”
Cmaj9 = 1 3 5 7 9 – C E G B D “C major nine”
Cmaj11 = 1 3 5 7 9 11 – C E G B D F “C major eleven”
Cmaj13 = 1 3 5 7 9 13 – C E G B D A “C major thirteen”
Altered chords
Cº = 1 b3 b5 bb7 – C Eb Gb A “C diminished” or “C dim”
C+ = 1 3 #5 b7 – C E G# Bb “C augmented” or “C aug”
C#9b13 = 1 3 5 b7 #9 b13 – C E G Bb D# Ab “C raised nine flat thirteen”
C+b9 = 1 3 #5 b7 b9 – C E G# Bb Db “C aug flat nine”
C+#9 = 1 3 #5 b7 #9 – C E G# Bb D# “C aug raised nine”
C+9 = 1 3 #5 b7 9 – C E G# Bb D “C aug nine”
C+9/11 = 1 3 5# b7 9 11 – C E G# Bb D F “C aug nine eleven”
C+11 = 1 3 #5 b7 9 11 – C E G# Bb D F “C aug eleven”
C+11/13 = 1 3 #5 b7 9 11 13 – C E G# Bb D F A “C aug eleven thirteen”
C+6/9/11 = 1 3 5# 6 9 11– C E G# A D F “C aug six nine eleven”
C+#9b13 = 1 3 #5 b7 #9 b13 – C E G# Bb D# Ab “C aug raised nine flat
thirteen”
C+b9b13 = 1 3 #5 b7 b9 b13 – C E G# Bb Db Ab “C aug flat nine flat thirteen”
C+maj7 = 1 3 #5 7 = C E G# B “C aug major seven”
Cb5 = 1 3 b5 – C E Gb “C flat five”
Cb5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C flat five raised nine”
Page 9
Cb5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C flat five flat nine”
Altered chords (continued)
Cb5#9b13 = 1 3 b5 b7 #9 b13 – C E Gb Bb D# Ab “C flat five raised nine flat
thirteen”
Cb5b9b13 = 1 3 b5 b7 b9 b13 – C E Gb Bb Db Ab “C flat five flat nine flat
thirteen”
C6#11 = 1 3 5 6 9 #11 – C E G A D F# “C six raised eleven”
C7b5 = 1 3 b5 b7 – C E Gb Bb “C seven flat five”
C7b5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C seven flat five raised nine”
C7b5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C seven flat five flat nine”
C7b5b9b13 (no 3) = 1 b5 b7 b9 b13 – C Gb Bb Db Ab “C seven flat five flat
nine flat thirteen no three”
C9b5 = 1 3 b5 b7 9 – C E Gb Bb D “C nine flat five”
Cb9 = 1 3 5 b7 b9 – C E G Bb Db “C flat nine”
C#9 = 1 3 5 b7 #9 – C E G Bb D# “C raised nine”
Cb9b13 = 1 3 5 b7 b9 b13 – C E G Bb Db Ab “C flat nine flat thirteen”
C#11/13 = 1 3 5 b7 9 #11 13 – C E G Bb D F# A “C thirteen raised eleven”
C13#9 = 1 3 5 b7 #9 13 – C E G Bb D# A “C thirteen raised nine”
C13b5 = 1 3 b5 b7 9 13 – C E Gb Bb D A “C thirteen flat five”
C13b5#9 = 1 3 b5 b7 #9 13 – C E Gb Bb D# A “C thirteen flat five raised nine”
C13b5b9 = 1 3 b5 b7 b9 13 – C E Gb Bb Db A “C thirteen flat five flat nine”
C13b9 = 1 3 5 b7 b9 13 – C E G Bb Db A “C thirteen flat nine”
Cm+ = 1 b3 #5 b7 – C Eb G# Bb “C minor aug”
Cm7b5 = 1 b3 b5 b7 – C Eb Gb Bb “C minor seven flat five” or “C half-
diminished” (also can be thought of as a Ab9 chord)
Cm7b5/11 = 1 b3 b5 b7 9 11 – C Eb Gb Bb D F “C minor seven flat five eleven”
Cm9+ = 1 b3 #5 b7 9 – C Eb G# Bb D "C minor aug nine"
Cm9b5 = 1 b3 b5 b7 9 – C Eb Gb Bb D “C minor nine flat five”
CmMaj7b13 = 1 b3 5 7 9 b13 – C Eb G B D Ab “C minor major seven flat
thirteen”
Cmaj7#11/13 = 1 3 5 7 9 #11 13 – C E G B D F# A “C major seven raised
eleven thirteen”
Tension chords
Csus = 1 4 5 – C F G “C suspended” or “C sus”
Csus2 = 1 2 5 – C D G “C suspended two”
Csus6 = 1 4 6 – C F A “C suspended six”
Cadd6 = 1 3 5 6 – C E G A “C add six”
Cadd6/9 = 1 3 5 6 9 – C E G A D “C add six nine”
Cadd9 = 1 3 5 9 – C E G D “C add nine”
Cm6add9 = 1 b3 5 6 9 – C Eb G A D “C minor six add nine”
C7sus = 1 4 5 b7 – C F G Bb “C seven suspended”
C9sus = 1 4 5 b7 9 – C F G Bb D “C nine suspended”
Cm9sus = 1 b3 4 5 b7 9 – C Eb F G Bb D “C minor nine suspended”

Notes:
Sometimes chords are pronounced with a “th” at the end, like “C major seventh” or “C ninth.” Usage depends on grammar.
The pronunciations above may vary in common usage.

In general, unless otherwise noted, all 13th chords have the lower extensions included, namely the b7, and the 9, but never the
11th. A 9th chord always includes the b7, unless otherwise noted (such as “maj7/9” or “add9”). The 11th chord also always includes
the b7 and 9. Of course, unless otherwise noted all chords contain the basics: the 1, the 3 (major or minor), and the 5.

Page 10
 Chart of 64 Chord Sub Progressions

II of V V of V
1) Start with either of these 2 boxes,
Am7 D7 moving left to right playing 2 chords,
follow the arrows...
3) Finally resolving
to either C, or its
II V tritone sub, Gb.

 Start with either box 

Ebm7 Ab7 V cadence = D7 G7 C
sub V cadence = D7 Db7 C
I cadence = G7 C
substitutes
sub II of V-sub V of V Dm7 G7 I (Tonic)
C
II of V V of II Abm7 Db7
II cadence = Abm7 G7 C Gb
Em7 A7 sub II/V = Abm7 Db7 C
substitutes substitute
sub II - sub V sub Tonic
Bbm7 Eb7 2) Move to the box sub I cadence = G7 Gb
substitutes above, again, left to right
sub II of V-sub V of II playing 2 chords...

As you look at this diagram, notice there are 3 boxes,
movement is left to right, and follow the arrows to C or Gb.
Why Gb? It’s the tritone sub of C, so you can resolve to it
instead of C (chord sub rule #1, above). The two boxes on the
left are mutually exclusive, use one or the other to start the
progression, either the V of V box or the V of II box, and you
may start with the either the top or the bottom set (the
substitutions). Notice how the chart shows Fourth-wise
progression (and their subs).
NOTE: In each box, you may omit any of the IIm7 (or the sub
IIm7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C
instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box,
meaning the Dominant (the “V”) of C/Gb. Notice the last
chords in that box before C/Gb is G7, the V of C, and Db7, the
V of Gb. Leading to the G7/Db7 is its V, in this case minor 7.
Dm7 resolves to G7, but also the tritone sub of G7, Db7. And
vice-versa for Abm7.

Notice in the chart the classic jazz progression Am7 D7 Dm7
G7 C (called ii-V-ii-V-I or vi-II7-ii-V-I). Also notice another Page 11
popular jazz progression Em7 A7 Dm7 G7 C, which is iii-VI7-
ii-V-I.
In the “V of V” box, D7 is the V of the V (G7) in the key of C.
Both boxes are equally valid routes to get to C.
Remember the cadences from Page 1? Notice them now on
the right half in the diagram above.

The familiar jazz progression of ii-V-I is obvious in the middle
box, as is its subs, the Abm7 for Dm7 and Db7 for the G7.
Notice that they are b5 subs? The question of how do you get
to the ii is answered by 1 of the 2 boxes on the left.
The options are playing the V of either the ii or the V, and
starting with the ii of that V.
You can get to the “V” box one of two ways, EITHER the V of V
chord, or the V of II chord.
Within each box is the chord leading to a Dominant. Follow
the arrows. As the boxes are written, there are 64 possible
chord progressions ((4x4x2)+(4x4x2)=64). Combined with the
rule allowing Extended and Altered chords to sub for any
chord, there are 3,584 possible chord progressions just in that
one set of 3 boxes and their resolution to C or Gb! That’s 3,584
possibilities from only 5 chords. Some chords and
progressions will sound dramatically better than others, of
course, and some will sound much worse, but still... 3,584 is
alot of possibilities from a 5-chord progression.

The “V of II” box means that A7 is the V of the II (Dm7) chord Each chord progression path in the chart represents a single
in the key of C, or A7 Dm7 G7 C. rule for chord subs. Therefore it shows 64 rules.

ii-V-I Possibilities Using Chord Sub Rules

ii chord (“Two Chord” or “Sub-tonic”) = Dm = Dm7 = Dm9 = DmMaj7 = Dm+11 = Abm = Abm7 = Abm9 = AbmMaj7 = Abm+11

V chord (“Five Chord” or “Dominant”) = G7 = Gb5 = G+ = Gb9 = G9 = G#9 = G11 = G13 = G9b5 = G9+ = Gb5b9 = Gb5#9 = G+b9 =
G+#9 = G13b9 = G13#9 = G13b5 = Gb13b9 = Gb13#9 = G+b13#9 = G+b13b9 = Gb13b5#9 = Gb13b5b9 = G13b5#9 = G13b5b9 =
Db7 = Dbb5 = Db+ = Dbb9 = Db9 = Db#9 = Db11 = Db13 = Db9b5 = Db9+ = Dbb5b9 = Dbb5#9 = Db+b9 = Db+#9 = Db13b9 =
Db13#9 = Dbb13b9 = Dbb13#9 = Db+b13#9 = Db+b13b9 = Dbb13b5#9 = Dbb13b5b9 = Db13b5#9 = Db13b5b9 = Dm7b5 = Bb7 =
AbmMaj7 = E7
I chord (“One Chord” or “Tonic”) = C = C6 = Cmaj7 = Cmaj9 = Cadd6 = Cadd9 = C6/9 = Cm6 = CmMaj7 = Gb = Gb6 = Gbmaj7 =
Gbmaj9 = Gbadd6 = Gbadd9 = Gb6/9 = Gbm6 = GbmMaj7

Page 12
 Table of the 64 Basic Chord Sub Progressions from the Chart Above
Resolving to C: Ebm7 D7 Abm7 Db7 C Bbm7 A7 Abm7 Db7 Gb
Am7 Ab7 Abm7 Db7 C Em7 A7 Abm7 Db7 C Bbm7 A7 Abm7 G7 Gb
Am7 Ab7 Abm7 G7 C Em7 A7 Abm7 G7 C Bbm7 A7 Dm7 Db7 Gb
Am7 Ab7 Dm7 Db7 C Em7 A7 Dm7 Db7 C Bbm7 A7 Dm7 G7 Gb
Am7 Ab7 Dm7 G7 C Em7 A7 Dm7 G7 C Bbm7 Eb7 Abm7 Db7 Gb
Am7 D7 Abm7 Db7 C Em7 Eb7 Abm7 Db7 C Bbm7 Eb7 Abm7 G7 Gb
Am7 D7 Abm7 G7 C Em7 Eb7 Abm7 G7 C Bbm7 Eb7 Dm7 Db7 Gb
Am7 D7 Dm7 Db7 C Em7 Eb7 Dm7 Db7 C Bbm7 Eb7 Dm7 G7 Gb
Am7 D7 Dm7 G7 C Em7 Eb7 Dm7 G7 C Ebm7 Ab7 Abm7 Db7 Gb
Bbm7 A7 Abm7 Db7 C Ebm7 D7 Abm7 G7 C Ebm7 Ab7 Abm7 G7 Gb
Bbm7 A7 Abm7 G7 C Ebm7 D7 Dm7 Db7 C Ebm7 Ab7 Dm7 Db7 Gb
Bbm7 A7 Dm7 Db7 C Ebm7 D7 Dm7 G7 C Ebm7 Ab7 Dm7 G7 Gb
Bbm7 A7 Dm7 G7 C Resolving to Gb (b5 of C): Ebm7 D7 Abm7 Db7 Gb
Bbm7 Eb7 Abm7 Db7 C Am7 Ab7 Abm7 Db7 Gb Em7 A7 Abm7 Db7 Gb
Bbm7 Eb7 Abm7 G7 C Am7 Ab7 Abm7 G7 Gb Em7 A7 Abm7 G7 Gb
Bbm7 Eb7 Dm7 Db7 C Am7 Ab7 Dm7 Db7 Gb Em7 A7 Dm7 Db7 Gb
Bbm7 Eb7 Dm7 G7 C Am7 Ab7 Dm7 G7 Gb Em7 A7 Dm7 G7 Gb
Ebm7 Ab7 Abm7 Db7 C Am7 D7 Abm7 Db7 Gb Em7 Eb7 Abm7 Db7 Gb
Ebm7 Ab7 Abm7 G7 C Am7 D7 Abm7 G7 Gb Em7 Eb7 Abm7 G7 Gb
Ebm7 Ab7 Dm7 Db7 C Am7 D7 Dm7 Db7 Gb Em7 Eb7 Dm7 Db7 Gb
Ebm7 Ab7 Dm7 G7 C Am7 D7 Dm7 G7 Gb Em7 Eb7 Dm7 G7 Gb
Ebm7 D7 Abm7 G7 Gb Ebm7 D7 Dm7 Db7 Gb
Pentatonic Scales
A Pentatonic Scale is merely a 5-note scale. It is one of the
most popular, the guitar player’s workhorse, used in blues,
rock, country, and pop. There are 2 types, Major
Pentatonic and minor Pentatonic.
Most blues riffs are minor Pentatonic (“Rock Me Baby” and
“Rock and Roll Hootchie Koo”). Most rock&roll and country
riffs are Major Pentatonic (“Boney Maroney” and “Hot Rod
Lincoln”).
The major Pentatonic is also used widely in R&B,
bluegrass, and southern rock; it's more happier sounding
than the minor Pentatonic.
Ebm7 D7 Dm7 G7 Gb
Page 13
Play it up and down the fretboard, or up and down the
neck diagonally, works well in every position. It's
composed of notes from the Major scale.
Tip: bend the ”4th,” the 3rd note in the minor Pentatonic
scale (F in the key of C) up a half-step to hear the bluesy
tritone (b5). Or bend it up a step-and-a-half (3 frets, a
minor 3rd) and back, like Albert King, Buddy Guy and SRV.
 Linear and Diagonal Exercises
1 =play in this order, 1-24

Linear exercises are good for warming-up fingers, increasing
speed and perfecting your tempo. Do them to warm up
before practicing scales.
Tip: reverse it in all directions, and try alternating fingers
(1324, 4231 and 123443211234). The one on the left is good
for practicing hammer-ons, and the right good for pull-offs.
Playing every fret on every string this way (starting at the low
F) is a good way to check a neck for buzzes and bad frets.

1 5 9 13 17 21 24 20 16 12 8 4
2 6 10 14 18 22 23 19 15 11 7 3
3 7 11 15 19 23 22 18 14 10 6 2
4 8 12 16 20 24 21 17 13 9 5 1

Diagonal exercises are a good way to improve picking and Tip: these are wild and fun. Reverse it in both directions (back
fretting precision. and forth and up and down), alternate fingers (1324 and
4231) and alternate strings. Play it evenly, fluidly and with
swing like a solo.

1 3 6 10 14 18 7 11 15 19 22 24 18 14 10 6 3 1 24 22 19 15 11 7
2 5 9 13 17 21 4 8 12 16 20 23 21 17 13 9 5 2 23 20 16 12 8 4
4 8 12 16 20 23 2 5 9 13 17 21 23 20 16 12 8 4 21 17 13 9 5 2
7 11 15 19 22 24 1 3 6 10 14 18 24 22 19 15 11 7 18 14 10 6 3 1

Page 15
 Music By The Numbers
Chords as Numbers. One way to tell others which chord to play in a chord progression is with numbers. It makes it easy to
communicate which chord is next while the band is playing, either by shouting “Four!”, or by holding up 4 fingers (for the IV
chord), 5 fingers for the V chord, or 1 finger for the I chord. In the key of C, the chords are:
I =C
II = D (Dm)
III = E (Em)
IV = F
V = G (G7)

Tip: Shorthand for “starting now at the beginning” is to point to, touch or tap the top of your head. It came from jazz, where the
first part of a song is called the “head."

Numbers Translated to Notes. In the key of C, the numbers correspond to:

1 =C b6 = Ab
b2 = Db 6 =A
2 =D b7 = Bb
b3 = Eb 7 =B
3 =E 8 = C, the Octave (“8va”)
4 =F b9 = Db
#4 = F# 9 =D
b5 = Gb #9 = D#
5 =G 11 =F
+5 = G# 13 =A
Note: there are no “10th” or “12th” chords. The 10 is “E”; the Third in the key of C; and 12 is G, the Fifth.

Symbols Used
+ = Augmented or raised Fifth º = Diminished # = Sharp or raised
b = Flat or lowered | = Separates measures or bars in a progression m = Chord with a minor Third
maj7 = Chord with a major Seventh 7 = Chord with a flat Seven IIm7 = ii (Dm7 in the key of C)
m7 = Chord with a minor Third and flat Seven mMaj7 = Chord with a minor Third and a major Seventh
Page 16
 Circle of Fifths, Fourths, and Thirds

The Circle of Fifths is one of the truly magical things in music.

Going around the circle clockwise is the Circle of Fifths, and
counter-clockwise is the Circle of Fourths. As you see, either
way you hit every key, and still end up back at C. The Circle of
Fourths is often used in jazz, such as the progression C E7
A7 D7 G7, and in turnarounds. The common jazz
progression called “II-V-I” is the Circle of Fourths, and is the
jazz version of blues' “I-IV-V”. The song “Hey Joe” is the Circle
of Fifths. Try playing both Circles as a chord progression.

This is my invention, the “Circle of Thirds.” It illustrates how

chords are just stacked Thirds. This example is in the key of C,
of course. C E G creates the basic C chord (Eb for minor, G#
for augmented). Adding the B creates a C7 (if Bb, or Cmaj7 if
natural B). Adding D creates that funky C9 chord (Db makes it
Cb9, D# makes it C#9). Adding an F creates a suspenseful C11
chord. Finally, adding an A gives a jazzy C13 chord. In
practice, you can play just a C7 in place of the 9, 11 or 13. An
11 chord is played without the 9, and the 13 chord wants the
7 and 9 join it, but not the 11.

Page 17
 R i c h a r d R o s e

Age 9, 1966 Age 21, 1978 Age 49, 2006

My name is Richard and I've been living, breathing, studying, playing, thinking about, and performing the guitar since 1964
at age 7. And since 1974 I’ve been teaching “CAGED” fretboard theory and Chord Substitutions. I learned them from the late great
San Francisco guitar teacher Keith Allen, my Blue Bear mentor since 1973.

I learned to play guitar and read music in first grade, practicing two hours a day plus a lesson a week, for 3 years. I later
rebelled, quit the lessons, and explored this early-70s new-to-me music by the Allman Bros, Jeff Beck and Jimi Hendrix. I would
learn the records late at night, note-for-note. They were my new guitar teachers, and I was on fire for guitar again.

Then at age 17 I went to Blue Bear Waltzes School of Music in San Francisco, the first "Rock & Roll College." It was there I
learned fretboard and music theory, composition, and studied with my practice partner Chris Hayes (Huey Lewis & The News),
Bonnie Hayes (Bonnie Raitt's composer), Keith Allen (Steve Miller Band), and others. Later, I studied jazz and music
theory/composition/arranging at University.

From playing in many loud rock bands to musicals like Pippin and Godspell, from blues to jazz, folk to classical, CAGED and
Chord Subs have made me a better guitarist.

Look for my other instructional eBooks: “Secrets of Chord Substitutions Revealed,“ “Secrets of the Guitar Fretboard Revealed
(or, 125 Ways to Play Louie Louie in C),“ and “Secrets of Jazz Arranging Revealed.“ Feel free to email me at secrets@richardrose.com.

Page 18
 Guitar Fretboard Theory (CAGED)
The 5 Types or Forms of “C” Major Chords (the C E G triad)
This chart shows that by using just 5 chords, you can connect the entire Guitar fretboard. These 5 types of chords are
known by their name in the open position (C, A, G, E, and D), and they connect in that order up the neck. Each of the
fingerings below are the 5 ways of playing a “C” Major chord. You can play a chord progression in the open position,
or high on the neck, or in between. There are 125 possible combinations for a simple C-F-G progression. Not all are
going to necessarily sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them
but move it up or down a whole or half-step, so to play a B just finger one of the 5 C chords and then move it down
1/2 step (or one of the A chords moved up a whole step). From these 5 Major chords naturally flow the 5 types of Ma-
jor scales, perhaps the greatest value of this method, play licks anywhere To make a Minor chord, just lower the E to
Eb, lower the C to Bb for a Dom-7, lower the C to a B for Major-7, etc. Same with scales.
III VII XII
V IX
E E G C E
(either/or)
B C E G C

G G C E G 12th Fret
same as nut,
D E G C starts all over
again
A C E G
E nut
G C
C A G E D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the black ovals?):
E
(either/or)
B
G
D
A
E nut
X
C nut A nut
G nut E D
See how it starts all
© 2004-2019 Richard Rose, All Rights Reserved, v10.7 over again here?
 CAGED + Major Pentatonic Scale + Minor Pentatonic Scale
The 5 Types or Forms of “C” Major Chords (C E G triad), + Minor Pentatonic
This chart shows that by using just 5 chords, you can connect the entire Guitar fretboard. These 5 types of chords are known by their
name in the open position (C, A, G, E, and D), and they connect in that order up the neck. Each of the colored blocks below are the 5
ways of playing a “C” Major chord. There are 125 possible combinations for a simple C-F-G progression. Not all are going to necessarily
sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them but move it up or down a whole or half-
step. From these 5 Major chords naturally flow the Major Pentatonic scales:
III V VII IX XII
E E G C E

B C E G C

G G C E G

D E G C

A C E G

E G C
nut

C type C A type C G type C E type C D type C

Rose, All Rights Reserved, v11.1

The Relative Minor of C is Am (C triad = C E G, and Am triad = A C E, add the G and it’s Am7). In the C major chords above is also an
Am7, lacking just the Root of A. Here is the same chart with each A added. All of the below are Am and Am7 chords,
from these 5 Aminor chords naturally flow the Minor Pentatonic scales:
V
III VII IX XII
E E G A C E

B C E G A C

G G A C E G
© 2004-2020 Richard

D E G A C

A A C E G A

E G A C
nut
All Am chords + Minor pentatonic notes non-chord notes=
 Ukelele Fretboard Theory (CAGFD) + Relative Minor
The 5 Types or Forms of “C” Major Chords (the C E G triad) + A minor
This chart shows that by using just 5 chords, you can connect the entire Ukelele fretboard. These 5 types
of chords are known by their name in the open position (C, A, G, F, and D), and they connect in that order up
the neck. Each of the fingerings below are the 5 ways of playing a “C” Major chord. You can play a chord pro-
gression in the open position, or high on the neck, or in between. There are 125 possible combinations for a
simple C-F-G progression. Not all are going to necessarily sound great, or be easy to finger.
To play other than a C, A, G, F, or D chord, play one of them but move it up or down a whole or half-step.
So to play a B just finger one of the 5 C chords and then move it down 1/2 step (or one of the A chords moved
up a whole step). From these 5 Major chords naturally flow the 5 types of Major scales, perhaps the greatest
value of this method, play licks anywhere. To make a Minor chord, lower the E to Eb, lower the C to Bb for a
Dominant-7, lower the C to a B for Major-7, etc.
The Relative Minor of C is Am (C triad = C E G, and Am triad = A C E, add the G and it’s Am7). In each C
major chord below is also an Am, just play the A instead of the G.
nut III V VII IX XII
A A C E G A

E E G A C E
12th Fret
same as nut,
C C E G A C starts all over
again

G G A C E G
C A G F D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the black ovals?)
See how it starts all
A over again here?
(either/or)
E
C
G nut
nut nut
nut
C A nut G F D
© 2004-2020 Richard Rose, All Rights Reserved, v1.8
 Mandolin Fretboard Theory (CAGED)
The 5 Types or Forms of “C” Major Chords (C E G triad)
This chart shows that by using just 5 chords, you can connect the entire Mandolin fretboard. These 5 types of chords are
known by their name in the open position (C, A, G, E, and D, and they connect in that order up the neck). Each of the finger-
ings below are the 5 ways of playing a “C” Major chord. You can play a chord progression in the open position, or high on the
neck, or in between. There are 125 possible combinations for a simple C-F-G progression. Not all are going to necessarily
sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them but move it up or down a
whole or half-step, ie: to play a B just finger one of the 5 C chords, and then move it down 1/2 step. From these 5 Major
chords naturally flow the 5 types of Major scales, perhaps the greatest value of this method. To make a Minor chord, just low-
er the E to Eb, lower the C to Bb for a Dom-7, lower the C to a B for Major-7, etc. Same with scales.
nut III V VII IX 8va
E G C E

A C E G

D E G C

G G C E G

C A G E D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the red ovals?):

nut
E
A
D
G
C A G E D

© 2004-2020 Richard Rose, All Rights Reserved. v10.3




As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the
arrows to C or Gb. Why Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord sub rule
#1). The two boxes on the left are mutually exclusive, use one or the other to start the progression, ei-
ther the V of V box or the V of ii box, and you may start with the either the top or the bottom set (the
substitutions). Notice how the chart shows Fourth-wise progression (and their subs). Five of the General
Chord Progression rules are shown in the boxes. NOTE: In each box, you may omit any of the iim7 (or the
sub iim7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of
C/Gb. Notice the last chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb. Leading to
the G7/Db7 is its V, in this case minor 7. Dm7 resolves to G7, but also the tritone sub of G7, Db7. And
vice-versa for Abm7.
 or...
125 Ways to Play "Louie Louie" in C

By: Richard Rose (Dub-R)

 Uses:
✔ play a simple C-F-G progression 125 different ways
✔ play close harmony, like horn section lines
✔ re-voice a harmony or progression when
using a capo or changing key
✔ learn more slide patterns
✔ play any chord in 5 different places and in 5 ways
✔ move up and down the neck when playing rhythm
✔ use the whole neck to play a chord progression or solo
✔ need to know only 5 forms of each chord
Includes:
✔ diagrams of 5 types of 10 different chords (M M7 7 m m7 + dim 9 11 13)
✔ tricks and progressions (basic and fancy)
✔ detailed fingering and patterns
✔ technical exercises
✔ Circle of 4ths, 5ths, 3rds (new!)
✔ practical advise
No reading of music or tab is necessary.

** Print to any printer, 24 pages of 8½x11" letter-size white paper. **

secrets@richardrose.com ∞ www.FretboardRevealed.com

Author and Publisher: Richard Rose (1956). Copyright 2005-2015, all rights reserved. “Secrets of Chord Substitutions Revealed,” “Secrets of the Guitar
Fretboard Revealed,” “Secrets of Jazz Arranging Revealed,” “Secrets of Scales and Chords Revealed,” and “Circle of Thirds” are trademarks of Richard Rose, all
rights reserved. Place of Publication: Boulder, Colorado. Year of Publication: 2007.

Thank you Keith Allen and Bennet Friedman for your years of friendly instruction.

Dedicated to Regi
This work is licensed under a Creative Commons
See my other Secrets Revealed eBooks: Attribution-ShareAlike 4.0 International License.

© 2005-2015 Richard Rose

Facebook.com/Fretboard Revealed
Facebook.com/Richard Rose
@TheHempNut
 Secrets of the Guitar Fretboard Revealed

Table of Content

Foreword............................................................i The Ten G-type Chords..................................12

Symbol Legend................................................ii The Ten E-type Chords...................................13

The Five “CAGED” Chords...............................1 The Ten D-type Chords..................................14

The Basic “C” Scale in Each Position.............3 Proper Hand Positioning...............................15

The “C” Chord in the 5 CAGED Positions. . ...4 The Numbers Translated To Notes..............15

The Full “C” Scale in Each Position................5 Circle of Fifths/Fourths/Thirds.....................16

The Consolidated “C” Major Scale................7 Linear and Diagonal Exercises......................17

The Ten Chords................................................8 Home is Where The Root Is...........................18

The Ten C-type Chords..................................10 Chords As Numbers.......................................18

The Ten A-type Chords.................................11 Does It Sound Good?.....................................19

w w w . F r et b o a rd R e ve al ed .com
My name is Richard and I've been living,
breathing, studying, playing, and
performing the guitar since 1964 at age 7,
and teaching since 1974. I learned from the
late great San Francisco guitar teacher
Keith Allen, my mentor since 1973. I
learned to play guitar and read music at
age 7, two hours a day plus a lesson a
week, for 3 years. I later rebelled, quit the
lessons, and explored this early-70s new-
to-me music by the Allman Bros, Jeff Beck
and Jimi Hendrix. I would learn the records
late at night, note-for-note. They were my
new guitar teachers, and I was on fire for
guitar again.
RR, Age 9, 1966
Foreword Then at age 17 I went to Blue
Bear Waltzes School of Music in San
This book is inspired by guitar teachers in
Francisco, the first "Rock&Roll College."
general, but especially to my favorite guitar teacher,
the late Keith Allen. It was there I learned fretboard and
His enthusiasm, professionalism, knowledge, music theory, composition; and studied
honesty, humor, generosity, kind spirit, tone and with my practice partner Chris Hayes
monster technique made him a true guitar hero to me (Huey Lewis & The News), Bonnie Hayes
as a teenager.
(Bonnie Raitt's composer), Keith Allen
Already blessed with 10 years worth of guitar
playing under my belt, I could read as well as play. I (Steve Miller Band), and others.
just needed direction and motivation. Although only a Since 1974 I've been teaching only
few years older, Keith was way ahead of me in ability intermediate and advanced players.
and knowledge, and more than happy to share both. From playing in loud rock bands to
This brave new world of guitar was laid before me, musicals like Pippin and Godspell, from
off to the horizon as far as I could see.
blues to jazz, folk to classical, CAGED has
Jimi, Duane, Jeff, Eric, Buddy, Albert, Freddie, Roy,
Billy and the rest were Guitar Gods where I come from, made me a better guitarist.
and Keith was the Son through which I came to them.
A professional musician and teacher all his life,
Keith refused to abandon his family to tour, or else
you, too, would know his name far and wide.
In January 2004, Keith joined Duane and Jimi in
the great Celestial Jam, dead of a heart attack at 50.
This book is dedicated to him, in an effort to
document his teachings before those of us left from
those heady '70s get too old to remember it, and too
busy to teach it.
Oral wisdom must be written to survive.
Keith Allen, R.I.P.
Richard Rose, 2007
RR, Age 21, 1978 i
©©© ©©
Symbol Legend
b = “flat:” lowered, or down towards the nut one fret
bb = “double-flat:” lowered, or down towards the nut two frets
# = “sharp:” raised, or up towards the bridge one fret
natural = no flat or sharp
= corresponds to the fret markers on most necks
= fingers to use for that note
= open string
= root
= regular note, “Just play it, dude”
|| = end of chord progression, go to the beginning or end it

This is an explanation of the diagrams and symbols you will see, in case they
aren't familiar. Since you are an avid student of the guitar, you've no doubt seen this type of notation. There
is no tab or treble clef notation in this book.
In these diagrams of the fretboard, the nut is at the top, the high E string is on the right, and the low E
(bass) string is on the left. This is as if you were looking at the guitar as it stands up on its end.

I chose to diagram the fretboard in this conventional way, a standard method for teaching chords I've
studied the past 40 years.

However, I am not a fan of that style of notation, as guitarists actually don't see the fretboard as if we
are looking at a guitar standing on its end. Instead, we look down on it sideways from its left (for a right-
handed player).

Therefore, the diagram should have the nut at the left, low E string at the top, high E string at the
bottom. That's how guitarists spend years looking at the fretboard. I originally wrote all the diagrams this
way, and I believe it is superior to convention.

Nevertheless, in an effort to reduce potential confusion, I opted for convention over personal
ii
preference.
 The Five “CAGED” Chords
125 Different Ways to Play “C-F-G”
The guitar fretboard is unique in that it allows the
opportunity to describe where on the neck to play a chord
or scale, and which fingering pattern to use.
All instruments call a chord or scale by its root key, say
“C”. And then further, its quality, such as Cm or C7. The
guitar is unique in that we can also say “E-type Cm,” or “D-
type C7.”
“E-type Cm” states not only that the chord is a “Cm,” but
also that the chord form to use is the “E type of Cm.” By
implication it also states where on the neck to play it, since
a, say, E-type C7 chord can only be played at the 8th fret.
So, every chord on the fretboard can be classified by its
type, just as every chord has a root key and and quality. On
the fretboard, there are only 5 chord types, namely C, A, G, E
and D (named by their chord forms when played in the
open position, or at the nut).
These are the only 5 major chords anyone needs to
learn on guitar. All other chords, say, B-flat, can be learned
as one of the 5 types of an A chord moved up a half-step, or
any of the 5 types of a C chord moved down a whole step (2
frets).
CAGED can be used in the following ways: playing a
simple C-F-G progression in 125 different ways; playing
horn section lines; re-voicing a harmony or progression such
as when using a capo or changing a song's key; using the
whole neck to play a chord progression or solo; not getting
in the way when playing rhythm with another guitarist.
Learn these chords and their scales, and the secrets of
the fretboard are yours!
On the guitar neck there are 5 positions, which are
connected up the neck in a certain order. These positions
are named by their shape when played in the open (nut)
position. They are, in order, C,A,G,E, and D. The diagram on
Page 1 shows how the positions connect up the neck,
showing the 5 types of the “C” chord.
Each of the 5 types has its own uniquely-fretted chords;
such as Major, minor, Suspended, Dominant, diminished,
Augmented, Major7, minor7, 6, 9, 11, 13, and many more.
See Page 9.
That means there are 5 ways in 5 different places on the
neck to play any Major chord, and all 5 are connected, or
share at least one note in common.
Where there are chords, there are patterns for scales.
Where there are scales, there are solos.
For solos, you can use any scale or combination of
scales, or an “un-deconstructed just close your eyes and play
what you feel” riff (which can usually be reduced to a scale
anyway).
Scales can be the Major, minor, suspended, Dominant,
diminished, Augmented, Blues, and more. There are as many
scales as there are stars in the sky.
Tip: Tune your guitar using an electronic tuner, so you can
learn the proper sound of each chord or scale.
1
The Five “CAGED” Chords, continued = Root (C)

The flow between positions is one of the tricks to good

rhythm playing and soloing. C chord
(C-type
Tip: practice playing a scale up and down the neck using C major chord)
the CAGED patterns for that scale.
Tip: practice playing the same chord progression in each of
the 5 positions. A simple 3-chord progression, like “Louie
C
Louie,” has 125 possible combinations (5x5x5=125).
Notice how the positions are in a pattern of 3-fret A chord
(A-type
pattern followed by a 2-fret pattern. The fretboard is all A major chord)
about patterns, and that's a good one to remember, it'll
come in handy later.
When learning or writing a new song, make a point of
A
learning all 5 positions to play each chord. Then Mix and
Match. Move up the neck playing increasingly higher G chord
(G-type
positions, then back down. Play a higher position during a G major chord)
solo. Even use it to play a solo using nothing but chords,
made more interesting by Mix and Match.
On the guitar neck there are 5 positions, which are G
connected up the neck in a certain order. These positions
are named by their shape when played in the open (nut) E chord
position. They are, in order, C,A,G,E, and D. The diagram on (E-type
E major chord)
Page 4 shows how the positions connect up the neck,
showing the 5 types of the “C” chord.
Each of the 5 types has its own uniquely-fretted chords; E
such as Major, minor, Suspended, Dominant, diminished,
Augmented, Major7, minor7, 6, 9, 11, 13, and many more. D chord
See Page 11. (D-type
D major chord)
That means there are 5 ways in 5 different places on the
neck to play any Major chord, and all 5 are connected, or
share at least one note in common.
Where there are chords, there are patterns for scales.
D
Where there are scales, there are solos.
2
 = Root (C)
C-type C scale
The Basic “C” Scale A-type C scale G-type C scale
Play this
in Each CAGED 2 fingering, so
3 when you
Position move up the
1
3 4 neck it's 3 2 3 Slide down
“C” scale, C to C,
easier 3 with finger 1
in each of the 5 positions
5 5 4 5 1 for this note
Here is the C scale in 2
each of the 5 positions, 7 7 7 3
starting and ending on a C. 4
This is the heart of CAGED 9 9 9
as it relates to scales,
especially major scales.
Notice how they are 12 12 12
similar in shape or pattern
to the A, G, E, and D scales
in the open position (at the
nut). E-type C scale D-type C scale
Learn these 5, and you
will know all the major
scales you'll need. Same 3 3
with other forms, like
minor. Soon, we will
5 5
combine them and start
and end on notes besides Slide down
st
7 1 7 with 1 finger
C. See Page 7. for these notes
Connect them to move 2
up and down the neck. 9 3 9

In this way you can play 4 1 From the

the same lick in 5 different 2 12th fret is
places on the neck, that is, 12 12 3 like starting
in 5 different positions. at th e nut
4
3
 The “C” Chord in the 5 CAGED Positions
These are the 5 different types of “C” major chords on the neck showing the 5 Positions. In
this case, C is the 1st position, A is the 2nd Position, G is the 3rd, and so on. Learn these cold so
you can quickly go to any of the 5 types of chords when playing a “C”.

= Root (C)

12

Notice that chords have

some common notes Notice how the C, A, G, E and D
chords go in order up the neck? That's why
the system is called “CAGED.”

4
 The Full “C” Scale
in Each CAGED Play 2 C-type
notes on C scale
Position this fret 3
with this 3 4 Notice this
Here's the rest of the finger # C chord in = Root (C)
notes in the “C” scale, in the scale
5
each of the 5 CAGED
positions. These are C scales
like in the last lesson, but 7

we are adding starting and

ending on notes other than 9
C, and including all the
scale notes that can be
played in the position. 12
Notice the common
notes in adjacent positions.
A-type
Those can provide good
anchors to remember 1 C scale
Play
where you are in the scale notes on
3 2 Notice this
and on the neck. this fret 3 A chord in
Tip: Combine these scales with this 5 4 the scale
to expand your solo range finger
more than 1 octave; 7
moving linearly on the neck
for licks or solos; play the 9
dozens of 2- and 3-note
chords like a horn section or Slide up for these
organ; move to a different notes with
the 4th finger
position for a certain lick; 12

and in general for an

expanded style and sound.

5
 The Full “C” Scale in Each CAGED Position, continued = Root (C)
G-type
C scale Slide down for
this note with
3 the 1st finger
Notice this
5 1 G chord in
the scale
2
7 3
4
9
E-type
C scale
3 12

D-type
7 1 Notice this
Play E chord in C scale
2
notes on the scale 3
this fret 9 3
with this 4
finger 5
Slide down for
12 this note with
7 the 1st finger

1
Notice this
2
D chord in
the scale 12 3
4

6
 The Consolidated “C” Major Scale
The Full C Major Scale in Each of the 5 CAGED Positions
This is the Basic C scale in each position, the C chord
with the rest of the notes in the key of C added, as well as
the combination of the 5 CAGED scales on Pages 5-6.
In the key of C, this is the whole enchilada, 12 frets
worth. Know it cold. Play it linearly, diagonally, and in all
positions. Practice great leaps between the notes to break
out of the each-note-next-to-the-other routine.
= Root (C)
C-type C scale
A-type C scale
G-type C scale
E-type C scale
D-type C scale
Try playing the Consolidated C Major Scale over the
following Diatonic (scale-wise) chord progressions:
CΔ | FΔ | Dm | G7 | CΔ | Am7 | Dm7 | G7 | CΔ ||
C | F | G7 | F | C | F | G7 | F | C ||
C | Dm | Em | Dm | C | Dm | Em | Dm | C ||
Am | Dm | Em | Dm | Am | Dm | Em | Dm | Am ||
Em | Am | Dm7 | G7 | C ||
C | Dm | Em | F | G7 | Am | B° | C ||
Am | F | G | F | C | Dm | Em | Dm | Am | F | G | F | C ||
Am | F | G | Dm | Em | C | F | Em | G7 | C | Dm | G7 | C ||
Dm7 | G7 | C | Am | Dm7 | G7 | C ||
Dm7 | G7 | CΔ | Am | Dm7 | G7 | CΔ ||
Tip: record yourself playing the chords and then play along
with a solo using the scale, or have a friend play the chords
while you play the solo, then switch.
Tip: Since the chords stay within the key (no sharps or flats
if in the key of C), the progression is called “Diatonic.”
Notes:
7 = dominant seventh (flat 7 or b7)
m = minor (flat 3 or b3)
Δ = Major 7 (natural 7)
º = diminished (flat 3, flat 5, double-flat 7 or b3, b5, bb7)
7
 The Ten Chords
Here are the ways to play each of the main 10 chords in
each of the CAGED types. They are Major, minor, Major 7,
minor 7, 7th, 9th, 11th, 13th, Augmented, and diminished. They
each have a characteristic sound, each are used in specific
ways, and each has a chord(s) to which it resolves.
Each of these chords has “its” scale, one which when
played over that chord, sounds the wail most euphonious.
Suggested scales for each type of chord are as follows. See
my “Secrets of Scales and Chords Revealed” for more.
Major chord: Major (Ionian), Mixolydian, Lydian, Major
Pentatonic, Blues, Enigmatic, Hindu, Jazz Melodic minor,
Double-harmonic, Byzantine, Chinese, Ichikosucho, Purvi.
Resolves to any other chord. Really.
minor or minor7 chords: Any minor, Dorian, Aeolian,
Phrygian, Blues, minor Pentatonic, Diminished, ½ Dim, Jazz
Melodic minor, Locrian, Super-locrian, Altered, Bali, 8-Tone
Spanish, Hirajoshi, Hungarian (both), Kumai, Mohammedan,
Neopolitan, Pelog, Todi. Cm resolves to Fm, Bb, Ab, Eb, Dm.
Major7 chord: Major (Ionian), Lydian, Major pentatonic.
Cmaj7 resolves to Fmaj7, Dm7, G, Dmaj7, Cm7.
7th, 9th, 11th and 13th chords: Mixolydian, Locrian, Super-
locrian, Major, Pentatonic, Blues, Whole-tone, Altered,
Arabian, 8-Tone (exc. 11th chord), Hindu, Hungarian Major,
Overtone. C resolves to F, Bmaj7, C+, Cº, B9, Bb7.
Augmented chord: Mixolydian, Major Pentatonic, Blues,
Augmented, Whole-tone, Altered, Byzantine, 8-Tone,
Enigmatic, Hindu, Hirajoshi, Persian. C+ is a passing chord
which resolves to A, C#, or F.
diminished chord: Locrian, Super-locrian, Diminished, Half-
diminished, Blues, Altered, 8-Tone, Hungarian Minor, Todi.
Cº is a passing chord which resolves to C#, E, G, or A#.
Many chords have strong leading properties. For
instance, when the ear hears C7, it wants to resolve to F. The
C+ also strongly leads to F. The diminished chord is unique
since it resolves to any of the 4 chords a half-step (1 fret) up
from any of the chord tones. Cº resolves to C#, E, G, and A#.
Likewise, the Augmented chord also resolves up a half-
step of the chord tones. C+ resolves to C#, A, and F.
Notice the symmetry of the diminished and Augmented
chords: they are the only ones with their chord tones
equally spaced, 3 frets apart for the dim, and 4 frets apart
for the Aug. That also means the dim repeats itself every 3
frets (stays the same chord) as you move chromatically up
the neck, and the Augmented does the same, every 4 frets.
Thus, the Cº is also a Ebº, Gbº, and Aº. Same with Aug: a
C+ is also a E+ and G#+. Use both these kinds of chords to
make difficult changes of keys or chords, like going from C
to Db via Cº, or C to Ab via C+.
The 11 chord is a smoky and mysterious but beautiful
Dominant chord, which resolves from V to I (G11 to C). It
combines the classic harmony of the V to I with the
funkiness of the gospel-like IV chord resolving to the I, as it
is little more than a IV chord with a V in the bass. The IV also
adds suspension, strongly leading to resolution to the I.
Used mostly in pop and jazz, hear it in a Blues at 1:13 in
Goin' Down Slow (Allman Bros).
8
The Ten Chords, continued
C-type chords A-type chords G-type chords
The 11 chord is a smoky and mysterious but beautiful C A G
Dominant chord, which resolves from V to I (G11 to C). It Cmaj7 Amaj7 Gmaj7
combines the classic harmony of the V to I with the C7 A7 G7
funkiness of the gospel-like IV chord resolving to the I, as it Gsus
C9 Am
is little more than a IV chord with a V in the bass. The IV also
adds suspension, strongly leading to resolution to the I. C11 Am7 G9
Used mostly in pop and jazz, hear it in a Blues at 1:13 in C13 A11 G11
Goin' Down Slow (Allman Bros). C+ Asus
Unless called “add6”, a 13th chord always has the b7 and Cº A+
the 9, but not the 11. The 9th chord always has the b7, Aº
except if “add9“. E-type chords D-type chords
Tip: Try using the funky 9th chord, jazzy 13th chord, or the E D
sexy 11th, in place of a 7th chord. Always use the b7 for a 7th Dmaj7
E7
chord, not the major 7.
Em Dm
Tip: A “tritone substitution” uses a F9 or F13 in place of a B7
to resolve to E. The F is a “tritone,” or b5, from B. Works for Em7 Dm7
any key, is used mostly in jazz and jazzy blues. See Page 31. E9 D7
Tip: Use the Phrygian scale (mode) or the diminished scale E13 Dsus
in a minor blues progression, or a whole tone scale over a 7th E+
chord. See Page 25 for forty-five scales.
Tip: Extensions or altered chord tones, like the b7, 9, 11, or Best for Major: C, A, G, E, D
13, should be the higher notes, not in bass. The 5th (G in the Best for minor: A, E, D
key of C) or the Root (C in the key of C) can usually be Best for minor7th: A, E, D
omitted. Best for Major7th: C, A, G, D
Best for 7th: C, A, G, E, D
In the real world, not all of the 10 chords in all of the 5
positions are useful, either because of fingering difficulty or Best for 9th: C, G, E, D
its sound. Next are the chords you'll find more useful than Best for 11th: C, A, G
others in most playing situations. Best for 13th: C, E
Best for Aug: C, A, E
Best for dim: C, A, D
9
 The Ten C-type Chords Cmaj7
CEGB
Although ten chords are shown aka:
here, they are only the most popular ∆
ones. There are dozens more. C M7 Cm
Each of the chords has a unique C EG major7 C Eb G
sound, and each has its own unique aka:
scale to go with it. More than one scale min
will work for most chords. Over the minor
minor chord you could play the Melodic C7 b3
minor, Harmonic minor, or Diminished C E G Bb
scales, or the Dorian, Aeolian, or aka:
Phrygian modes. See Page 25. dom7
seventh
Also shown are the notes making up Cm7 dominant C13
each chord. The more complex chords C Eb G Bb CE G
naturally have more notes (called aka: Bb D A
“extensions”), thereby providing the min 7
harmonic density. The Aug, 7, 9, 13, and minor 7
11 chords want to resolve up a fourth, b3b7 C9
such as C7 to F. Diminished chords C EG
resolve up ½ step from any of its notes, Bb D
so the C dim (or Cº) naturally wants to
resolve to Db, Bb, G, or E Major chords. C11 Co
Tip: Some of the chords of each type are C F Bb D C Eb Gb A aka:
really harder to play than they're worth, (don't confuse dim
so I've put a star next to the better ones. with a sus diminished
Tip: Not all chords tones must be chord) C+
played, esp. the Root and 5. Some chord C E G#
tones are omitted in these diagrams.
aka: 3

= forms used most often (aka: “also known as”) aug

augmented
10
 The Ten A-type Chords

A Amaj7 A7
A C# E A C# E G# A C# E G
aka: aka:
∆ dom7
M7 seventh
major7 dominant

Am Am7 A9
ACE ACEG A C# E G B
aka: aka:
min min 7
minor minor 7
b3
b3b7

A11 A13 A+
ADGE A C# E A C# F
(don't G B F# aka:
confuse with aug
a sus chord) augmented

Ao
= forms used most often (aka: “also known as”)
A C Eb Gb
aka:
dim
diminished
11
 The Ten G-type Chords

G Gmaj7 G7
GBD G B D F# GBDF
aka: aka:
∆ dom7
M7 seventh
major7 dominant

Gm Gm7 G9
G Bb D G Bb D F GBDFA
aka: aka:
min min 7
minor minor 7
b3 b3b7

G11 G13 G+
GCAF GBDFAE G B D#
(don't aka:
confuse with aug
a sus chord)
augmented

= forms used most often (aka: “also known as”) Go

G Bb Db E
aka:
dim
diminished
12
 The Ten E-type Chords

E Emaj7 E7
E G# B E G# B D# E G# B D
aka: aka:
∆ dom7
M7 seventh
major7 dominant

Em Em7 E9
EGB EGBD E G# B D F#
aka: aka:
min min 7
minor minor 7
b3 b3b7

E11 E13 E+
EABD E G# B E G# B#
(don't confuse D F# C# aka:
with a sus aug
chord) augmented

= forms used most often (aka: “also known as”) Eo

E G Bb Db
aka:
dim
diminished

13
 The Ten D-type Chords


D Dmaj7 D7
D F# A D F# A C# D F# A C
aka: aka:
∆ dom7
M7 seventh
major7 dominant

Dm7 Dm D9
DFAC DFA D F# A C E
aka: aka:
min 7 min
minor 7 minor
b3b7 b3

D11 D13 D+
DGAE D F# A D F# A# C
(don't CEB aka:
confuse aug
with a sus augmented
chord)

= forms used most often (aka: “also known as”) Do

D F G# B
aka:
dim
diminished

14
 Proper Hand Positioning =fingers to use

Classical guitarists know where

best to position the hand during a
scale. It's similar to piano, namely the
crossover point for fingerings. F Major Scale
Looking at the fretboard linearly
(from nut to bridge), play an “F” Start with
scale on only one string. In so doing hand here
the hand should easily go to the 3
Positions, as shown below. The Numbers Translated
It helps break the “stuck in 1
position” rut we can get into, and Move
to Notes
makes linear movement more to here In the key of C, the numbers
natural and spontaneous. correspond to:
Tip: practice big jumps up and down
1 =C b6 = Ab
the neck, like Jimi, SRV, and Johnny
Winter. Then here. b2 = Db 6 =A
Tip: try playing diagonally; High E on Now go 2 =D b7 = Bb
the 12th fret to Open Low E, 3
back down b3 = Eb 7 =B
in reverse
octaves. Then reverse: Open Low E 3 =E b9 = Db
to High E 12th fret. How you get from 4 =F 9 =D
one to the other is the Art. Use your #4 = F# #9 = D#
ear, use your heart, use what you b5 = Gb 11 = F
learn here. 13 = A
5 =G
This exercise also reminds you of
the Major scale's intervals, namely:
+5 = G#
whole step, whole step, half step, Note: there are no “10th” or “12th”
whole step, whole step, whole step, chords, the 10 is “E”, the Third in
half step. A whole step? On guitar C; and 12 is G, the Fifth.
that's a step (or interval) of 2 frets,
thus a half step is a 1 fret interval.

15
 Circle of Fifths, Fourths and Thirds

Circle of Fourths this way

C Circle of Fifths this way
F G The Circle of Fifths is one of the truly magical
things in music. Going around the circle clockwise is

Each key this way is one more #, until C#

Each key this way is one more b, until Cb

Bb/A# D the Circle of Fifths, and counter-clockwise is the

Circle of Fourths. As you see, either way you hit
every key, and still end up back at C. The Circle of
Circle of Fifths Fourths is often used in jazz, such as the
Eb/D# A
(and Fourths) progression C E7 A7 D7 G7, and in turnarounds.
The common jazz progression called “II-V-I” is the
Circle of Fourths, and is the jazz version of blues' “I-
Ab/G# E IV-V”. The song “Hey Joe” is the Circle of Fifths. Try
playing both Circles as a chord progression.
Db/C# B/Cb
Gb/F#
C (1)
B D
This is my invention, the “Circle of Thirds.” It illustrates
how chords are just stacked Thirds. This example is in A (13) E (3)
the key of C, of course. C E G creates the basic C chord
(Eb for minor, G# for augmented). Adding the B creates
a C7 (if Bb, or Cmaj7 if natural B). Adding D creates that G F
funky C9 chord (Db makes it Cb9, D# makes it C#9). Circle of Thirds
Adding an F creates a suspenseful C11 chord. Finally,
adding an A gives a jazzy C13 chord. In practice, you F (11) G (5)
can play just a C7 in place of the 9, 11 or 13. An 11
chord is played without the 9, and the 13 chord wants E A
the 7 and 9 join it, but not the 11.
D (9) C B (7)
16
 Linear and Diagonal Exercises
=play in this order, 1-24

Linear exercises are good for warming-up fingers,

increasing speed and perfecting your tempo.

Tip: reverse it in all directions, and try alternating

fingers (1324, 4231 and 123443211234). The one on
the left is good for practicing hammer-ons, and the
right good for pull-offs. Playing every fret on every
string this way (starting at the low F) is a good way to
check a neck for buzzes and bad frets.

Diagonal exercises are a good way to improve

picking and fretting precision.

Tip: these are wild and fun. Reverse it in both directions

(back and forth and up and down), alternate fingers
(1324 and 4231) and alternate strings. Play it evenly,
fluidly and with swing like a solo.

17
 Home is Where The Root Is
When soloing, the most important
note in any scale is the Root, the tone Chords as Numbers
that's the key of the part you’re playing One way to express to
over (not always the key of the song, others which chord to play in a
since the solo might be in different key). chord progression is with
The Root is home. Start and numbers. It makes it easy to
especially end a phrase or solo on it. Solos communicate which chord is
can be otherwise harmonically-wild, as next while the band is playing,
long as you end on the Root. That way either by shouting “Four!”, or
it'll sound like you “meant for that to by holding up 4 fingers (for the
happen.” IV chord), 5 fingers for the V
Use all the notes of the Root on the chord, or 1 finger for the I
guitar, for instance, there are seven C chord. In the key of C, the
notes within the 12 frets. See below. chords are:
I=C
All the C notes, II = D (Dm)
the Root in the
key of C. III = E (Em)
3
IV = F
Memorize and use V = G (G7)
5
them all.
Tip: Shorthand for “starting at
7 Start a solo high the beginning” is to point to,
and end low, touch or tap the top of your
or vice-versa. head. It came from jazz, where
9
the beginning of the song is
Or play the same called the “head."
lick in different
12 octaves.

18
 Does It Sound Good?

You are the sole judge of what sounds good or not. No one
else knows better than you how well you sound. Therefore,
play just for you, not for the cute girl in the front row, or your
buddy in the back, or anyone else. They have no idea if you are
playing well, but you sure do.
When I play on stage, my aim is to give myself chills like I
would get when I saw my heroes, like Jeff Beck, Roy Buchanan,
Johnny Winter, Robben Ford, Charlie Baty, or Buddy
Whittington, for the first time. That same sense of excitement,
awe, and joy. They inspired me to study and play harder.
So now when I play, I do it primarily for me, to entertain
myself. I try to give myself chills, every solo. Everyone else gets
to vicariously enjoy it as well. But in the middle of a solo, I'm
trying to make myself laugh and be surprised, by stretching a
little farther or playing something I've never played before. No
one else will know if I succeed at that. But I will.
That's the only way for me to ensure I play at my peak.
Otherwise, the problem is that everyone else will enjoy it even
if I don't play inspiringly, but I won't. I know what I'm capable
of, and I know when I either fall short or exceed it.
So if I try impress the cute girl in the front row, I won't play
to my full potential. But if I try to impress myself, then I'll play
to my full potential at that moment, and then some.
And she, and everyone else, will surely be impressed
because of it.

19
 Guitar Fretboard Theory (CAGED)
The 5 Types or Forms of “C” Major Chords (the C E G triad)
This chart shows that by using just 5 chords, you can connect the entire Guitar fretboard. These 5 types of chords are
known by their name in the open position (C, A, G, E, and D), and they connect in that order up the neck. Each of the
fingerings below are the 5 ways of playing a “C” Major chord. You can play a chord progression in the open position,
or high on the neck, or in between. There are 125 possible combinations for a simple C-F-G progression. Not all are
going to necessarily sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them
but move it up or down a whole or half-step, so to play a B just finger one of the 5 C chords and then move it down
1/2 step (or one of the A chords moved up a whole step). From these 5 Major chords naturally flow the 5 types of Ma-
jor scales, perhaps the greatest value of this method, play licks anywhere To make a Minor chord, just lower the E to
Eb, lower the C to Bb for a Dom-7, lower the C to a B for Major-7, etc. Same with scales.
III VII XII
V IX
E E G C E
(either/or)
B C E G C

G G C E G 12th Fret
same as nut,
D E G C starts all over
again
A C E G
E nut
G C
C A G E D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the black ovals?):
E
(either/or)
B
G
D
A
E nut
X
C nut A nut
G nut E D
See how it starts all
© 2004-2019 Richard Rose, All Rights Reserved, v10.7 over again here?
 CAGED + Major Pentatonic Scale + Minor Pentatonic Scale
The 5 Types or Forms of “C” Major Chords (C E G triad), + Minor Pentatonic
This chart shows that by using just 5 chords, you can connect the entire Guitar fretboard. These 5 types of chords are known by their
name in the open position (C, A, G, E, and D), and they connect in that order up the neck. Each of the colored blocks below are the 5
ways of playing a “C” Major chord. There are 125 possible combinations for a simple C-F-G progression. Not all are going to necessarily
sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them but move it up or down a whole or half-
step. From these 5 Major chords naturally flow the Major Pentatonic scales:
III V VII IX XII
E E G C E

B C E G C

G G C E G

D E G C

A C E G

E G C
nut

C type C A type C G type C E type C D type C

Rose, All Rights Reserved, v11.1

The Relative Minor of C is Am (C triad = C E G, and Am triad = A C E, add the G and it’s Am7). In the C major chords above is also an
Am7, lacking just the Root of A. Here is the same chart with each A added. All of the below are Am and Am7 chords,
from these 5 Aminor chords naturally flow the Minor Pentatonic scales:
V
III VII IX XII
E E G A C E

B C E G A C

G G A C E G
© 2004-2020 Richard

D E G A C

A A C E G A

E G A C
nut
All Am chords + Minor pentatonic notes non-chord notes=
 Ukelele Fretboard Theory (CAGFD) + Relative Minor
The 5 Types or Forms of “C” Major Chords (the C E G triad) + A minor
This chart shows that by using just 5 chords, you can connect the entire Ukelele fretboard. These 5 types
of chords are known by their name in the open position (C, A, G, F, and D), and they connect in that order up
the neck. Each of the fingerings below are the 5 ways of playing a “C” Major chord. You can play a chord pro-
gression in the open position, or high on the neck, or in between. There are 125 possible combinations for a
simple C-F-G progression. Not all are going to necessarily sound great, or be easy to finger.
To play other than a C, A, G, F, or D chord, play one of them but move it up or down a whole or half-step.
So to play a B just finger one of the 5 C chords and then move it down 1/2 step (or one of the A chords moved
up a whole step). From these 5 Major chords naturally flow the 5 types of Major scales, perhaps the greatest
value of this method, play licks anywhere. To make a Minor chord, lower the E to Eb, lower the C to Bb for a
Dominant-7, lower the C to a B for Major-7, etc.
The Relative Minor of C is Am (C triad = C E G, and Am triad = A C E, add the G and it’s Am7). In each C
major chord below is also an Am, just play the A instead of the G.
nut III V VII IX XII
A A C E G A

E E G A C E
12th Fret
same as nut,
C C E G A C starts all over
again

G G A C E G
C A G F D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the black ovals?)
See how it starts all
A over again here?
(either/or)
E
C
G nut
nut nut
nut
C A nut G F D
© 2004-2020 Richard Rose, All Rights Reserved, v1.8
 Mandolin Fretboard Theory (CAGED)
The 5 Types or Forms of “C” Major Chords (C E G triad)
This chart shows that by using just 5 chords, you can connect the entire Mandolin fretboard. These 5 types of chords are
known by their name in the open position (C, A, G, E, and D, and they connect in that order up the neck). Each of the finger-
ings below are the 5 ways of playing a “C” Major chord. You can play a chord progression in the open position, or high on the
neck, or in between. There are 125 possible combinations for a simple C-F-G progression. Not all are going to necessarily
sound great, or be easy to finger. To play other than a C, A, G, E, or D chord, play one of them but move it up or down a
whole or half-step, ie: to play a B just finger one of the 5 C chords, and then move it down 1/2 step. From these 5 Major
chords naturally flow the 5 types of Major scales, perhaps the greatest value of this method. To make a Minor chord, just low-
er the E to Eb, lower the C to Bb for a Dom-7, lower the C to a B for Major-7, etc. Same with scales.
nut III V VII IX 8va
E G C E

A C E G

D E G C

G G C E G

C A G E D
The 5 Types or Forms of Chords in the Open Position (see how they connect in the red ovals?):

nut
E
A
D
G
C A G E D

© 2004-2020 Richard Rose, All Rights Reserved. v10.3




As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the
arrows to C or Gb. Why Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord sub rule
#1). The two boxes on the left are mutually exclusive, use one or the other to start the progression, ei-
ther the V of V box or the V of ii box, and you may start with the either the top or the bottom set (the
substitutions). Notice how the chart shows Fourth-wise progression (and their subs). Five of the General
Chord Progression rules are shown in the boxes. NOTE: In each box, you may omit any of the iim7 (or the
sub iim7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of
C/Gb. Notice the last chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb. Leading to
the G7/Db7 is its V, in this case minor 7. Dm7 resolves to G7, but also the tritone sub of G7, Db7. And
vice-versa for Abm7.
 By: Richard Rose (Dub-R)
GREAT FOR...
Teachers of any instrument Brass
Composers Winds
Arrangers Reeds
Pianists Vibes
Bassists Strings
Guitarists and all lovers of music and jazz
 Secrets of Chord Substitutions Revealed
Table of Contents
Chord Substitutions .............................................................................................................. 1
43 General Rules for Chord Substitutions........................................................................ 4
The Rules Above in Chart Notation ................................................................................... 8
Flow Chart of 64 Chord Sub Progressions in the Key of C.......................................... 11
Table of the 64 Basic Chord Sub Progressions from the Chart Above .................... 13
Notes, Spelling and Pronunciations of 74 Chords ....................................................... 14
Music By The Numbers ...................................................................................................... 18
Circle of Fourths, Fifths, and Thirds ................................................................................. 20
About the Author ................................................................................................................ 21

** Print to any printer, 23 pages of 8½x11" letter-size white paper. **

secrets@richardrose.com ∞ www.FretboardRevealed.com
Author and Publisher: Richard Rose (1956). Copyright 2005-2015, all rights reserved. “Secrets of Chord Substitutions Revealed,” “Secrets of the Guitar
Fretboard Revealed,” “Secrets of Jazz Arranging Revealed,” “Secrets of Scales and Chords
Revealed,” and “Circle of Thirds” are trademarks of Richard Rose, all rights reserved. Place of This work is licensed under a Creative Commons
Publication: Boulder, Colorado. Year of Publication: 2007 Attribution-ShareAlike 4.0 International License.

Thank you Keith Allen and Bennet Friedman for your

years of friendly instruction.
© 2005-2015 Richard Rose

Facebook.com/Fretboard Revealed
Facebook.com/Richard Rose
@TheHempNut
 Chord Substitutions
(Look up the meaning of important terms in italics)
A chord substitution (also called a “chord sub” or “sub”) is
the use of one or more chords in place of another in a
chord progression (series of chords), with the object of
ending in a cadence. A cadence is the 2 chords which
make up the end of the progression, the last one and
the chord immediately before and resolving to it. Here
are the rules for chord progressions, from which come
the chord substitutions to these rules:
7 General Rules for Chord Progressions
1. Any chord may follow the “I” chord (the Tonic, in key
of C= C)
2. Any I may be preceded by its V7 (“Perfect Cadence”=
G7 C)
3. Any V7 may be preceded by its V7 (the “V of V”= D7
G7 C)
4. Any V7 may be prec. by its IIm7 (the “II of V”= Dm7
G7 C)
5. Any IIm7 may be prec. by its V7 (the “V of II”= A7
Dm7 G7 C)
6. IIm7 V7 may be repeated (F#m7 B7 Em7 A7 Dm7
G7 C)
7. IIm7 V7 should move from relatively strong to
relatively weak beats or bars (IIm7 on odd beat or bar,
V7 on even beat or bar)
Rules #2 thru 6 are illustrated in the chart on Page 8.
Cadences
The most common cadence is V7 – I, or G7 C in the key
of C. The V7 chord is called the Dominant, and the I
chord is the Tonic. The Tonic is the main key of the song,
especially the key of the ending. Around 95% of all
songs use the Perfect Cadence, including blues, country,
rock, pop, classical and jazz.
The "Sub I" (Substitute I) cadence is Db7 C (Db7 is the
b5 sub for G7). The “V” (Five) cadence resolves to the V
from its V, or D7 G7 C (D7 is the V of G7, which is the V
of C).
The "sub V" (Substitute V) cadence is D7 Db7 C , since
D is the b5 sub for Ab (which is the V of Db), a tritone
substitution.
The third cadence is the “II” (Two), or D7 Gm7, ending
in C. The "Sub II" is D7 Dbm7 , since Dbm7 is the b5 sub
of Gm7, also a tritone substitution.
To review the cadences:
I = G7 C sub I = G7 Gb
V = D7 G7 C sub V = D7 Db7 C
II = Dm7 G7 C sub II/V = Abm7 Db7 C
Page 1
Harmony
To understand chords and chord subs, one must
understand Harmony, which is the study of pitches, and
chords made up of those pitches. It’s the "vertical"
aspect of music, the notes of the chord going up and
down on the staff, whereas melody is the "horizontal."
The distance between two pitches is called an interval.
Different traditions of music composition, performance
and theory have their own specific rules of harmony.
The most basic chord is made of the root, the minor or
major third, and the fifth (a C or Cm chord in the in the
key of C= C, Eb or E, and G).
Extended chords include the major 7, Dominant 7 (flat 7),
9th, 11th, and 13th chords (Cmaj7, C7, C9, C11, C+11,
C13), and all combinations thereof.
Altered chords have a b5, #5, b9, and/or a #9 replacing
the regular 5th or 9th degree of the scale, and all
combinations thereof.
Extended and Altered chords can have elements of both
in them (such as C13b5).
Tension chords include sus2, sus4, add6, add9, and
add6/9.
Passing chords, good for making difficult key or chord
changes, are C+ (Augmented) and Cº (diminished). Feel
free to mix and match these chords. At the end of the
day, the only rule for chords is that it has to sound good.
Honest.
Why Chord Subs?
Chord subs allow movement, variety, hipness, character,
or make a certain melody work. It is used as a
songwriting technique, and for composing songs,
endings, and solos. It is used in jazz, pop, musicals, blues
and folk. Chord subs can be used for very cool
turnarounds in any music, usually blues, jazz and pop.
Chord subs are so hip, even Bach used them, thereby
violating the rules of contemporary harmony of his day.
The sub chords usually have some notes in common
with the original chords, such as in a tritone substitution
where the sub shares the 3 and the b7 with the original
chord (C7 and Gb7 share the E and the Bb notes, E is the
3 in C and the b7 of the Gb, vice-versa for the Bb).
Or the sub could be the Relative Minor or Relative Major
of the original chord (Am for C or C for Am). Or a Minor
Chord a major Third up from a Major chord (Em for C).
In fact, any chord may be substituted for any other
chord as long as the new chord supports the melody.
Subs are used in jazz music to give a song sophisticated
Page 2
harmony. It is also commonly used to make for easier
fingering transitions, such as the late great Joe Pass
would use in a chord melody song on guitar.
For example, chord subs can provide smoother voice
leading. Using the tritone substitution, the roots of the
“Dm7 G7 Cmaj7” progression move down
chromatically by half-steps as “Dm7 Db7 Cmaj7,”
instead of ascending Fourths as D G C does. It sounds
so much better, especially on guitar.
Another example of chord subs is that the common
chord progression “Am7 Cmaj7” could be played as
“Am7 D7 Dm7 G7 Cmaj7” or “Am7 Ab7 Abm7 Db7
Cmaj7”. Chord substitution rules also allow Gb to sub for
C in the examples above, therefore “Am7 D7 Dm7 G7
Gbmaj7” or “Am7 Ab7 Abm7 Db7 Gbmaj7”.
There are certain rules governing how chord subs work,
and there are many rules from many different sources
(namely, arrangers, composers, and musicians). One
model, the chart on Page 8, has 8 rules which yield 64
possible chord progressions using just 5 chords.
Combine with the rules that allow many Extended and
Altered chords, and the number of possible chord
progressions from just those five chords is 3,584! Other
chord sub concepts involve tritone substitutions,
omitted/added root substitutions, circle progression
additions, planing, and reharmonization.
Despite all the rules, it is not an exact science, but rather
more of a black art. Feel free to create your own subs
and rules. Remember, as long as it sounds good to your
ear, it’s fine!
The omitted/added root substitution rule exchanges
the root of the given chord for a root a third or fifth
higher (occasionally lower.) The substituted chord still
retains several pitches of the original, implying the same
harmony, but can also point toward different directions,
both in key and function. Therefore, Cmaj7 (with the
notes C E G B) becomes Em (with the notes E G B, all that
is omitted from the original Cmaj7 is the C, the root,
usually played by the bass anyway). Or G (G B D) can
substitute, but not always as well, due to the D (the
2nd/9th of C).
Short circle progression additions, usually Circle of
Fourths (see the Circle chart on Page 14) and being
fundamental to the structure of many traditional jazz
compositions, may be inserted as turnarounds, or used
as a series of substitute chords in specific parts of a song
towards the end of the A section (first part or verse), or
may form the basis of the B section (the second part or
chorus). Such as “C E7 A7 D7 G7 C” or “C A7 D7 G7 C.”
Planing (or “stepping-in” or “sliding-in”) is used by both
improvisers and arrangers. It refers to the technique of
sliding a chord (or just a chord tone) up or down
Page 3
chromatically (one-half step), maintaining the shape and
voicing of the chord. For example, F7 (F A C Eb♭) could
slide up to become Gb7 (Gb Bb Db♭E♭ ).ach
E note has
been "planed" up a half-step. The planing chord is
always a short-duration passing chord.
Planing is used by arrangers to reharmonize melodic
passing tones which might clash with the existing
harmony. As well, improvisers use planing effectively,
typically as part of a progression. Not all the planed
notes must be played at the same time. Most of the
chord tones can sound before the melody note, or vice-
versa, so that the note that clashes with the melody
won’t.
Reharmonization is the taking of an existing melody
and altering the harmony which accompanies it, using
43 General Rules for Chord Substitutions
1) Any Dominant 7 chord can be subbed by a
Dominant 7 a tritone away (Gb7 for C7). This is
called a “Tritone Substitution.”
2) Any V7 may be replaced by the bII7 (Db7 for G7,
key of C).
3) IIm7 may be replaced by the IIm7 related to the
bII7 (Gm7 Db7 C).
4) To sub for the I (Tonic): the I (in C= C) may be
replaced by IIIm7 (Em7) when a final cadence
chord subs. Typically, a melody is reharmonized to
provide musical interest or variety. Also, it is often used
to introduce a new section in the music, such as a coda
or bridge. Reharmonizations involve not just a single
melody note, but the whole melodic line. As a result,
there are often several melodic tones which might occur
over a harmony, and all must be considered when
reharmonizing. The melody note is usually the top note
of the harmony.
Arrangers might even use highly dissonant chords when
reharmonizing, however it requires a good ear and
thorough understanding of harmony. Reharmonization
by adding notes works best when the new notes are
diatonic (scale-wise).
(ending) is not desired, but it must be followed
by VIm7, V7 of II, sub V7 of II, bIII dim, or bIIIm7 (in
C= Am7, A7, Eb7, Ebdim, Ebm7).
5) Leading up to the Dom can be Dom a fifth up (D7
for G7), or a tritone (Ab7 G7, as Ab7 is the tritone
sub of D7). The progression is either D7 G7 C, or
Ab7 G7 C. This is the “V of V” substitution, and the
D7 in this case is the “Secondary Dominant.”
Page 4
6) Any Dominant 7 may be an Extended or an
Altered chord, or any combination thereof,
making over 60 possiblities for just one chord.
(See Page 11)
7) Any I chord may be a major triad, maj7, 6, add 6,
add 9, add 6/9, or mMaj7.
8) Any II or Minor chord may be a minor triad, m7,
m9, m+11, or mMaj7.
9) Movements tend to be Circle of Fourth-wise. (See
Page 14)
10) Dominant 7 chords may be a minor chord.
11) The sub could be the Relative Minor or Relative
Major of the original chord (Am for C, or C for Am).
12) A sub may be a Minor Chord, a major Third up
from a Major chord (Em for C).
13) In the key of C, whenever you play a G7 you may
play a Db7 chord instead. Or a Db9, Db13, or a Db
Altered chord (b9, #9, b5, #5).
14) Any Dominant (7th, 9th, or 13th) chord may be
immediately preceded by the minor chord a 4th
lower (Gm to C7), with the minor chord lasting
one or 2 beats.
15) Any IV chord moving to the I (F to C) may be a
minor just before moving to the I (F Fm | C). This is
the “Amen cadence” familiar in church and gospel
music.
16) A Dominant chord may have altered tones (b5 #5
b9 #9) only if the next chord 1) has a Root a Fourth
higher (C+ to F); 2) has a Root 1/2 step lower (Cb9
to B); or 3) is a minor chord with the same Root
(Cb9 to Cm). Exception: you can't have unaltered
tone in a I7 chord (C7 in a song in the key of C)
unless you play the unaltered I7 first, then the
altered one. Exception to the exception: the 7#9
chord can be a I7 chord, since it sounds so damn
good anytime and is my favorite chord ("Foxy
Lady," many SRV songs).
17) Whenever a Major or minor chord is followed by a
Major, minor, or Dominant chord whose Root is a
Fourth higher (F in the key of C), you may divide
the duration of the 1st chord in half, and play a
Dominant with the same Root for the second half
( C | F becomes C C7 | F ).
18) All Dominant chords b5 apart are related. C7 and
Gb7, for instance: C7 is spelled C E G Bb; Gb7 is
spelled Gb Bb Db E. Notice the 3 and the b7 of
each. They are the same: the 3 of C is the same as
the b7 of Gb, and vice-versa. Ignore the Root for
now. Notice the remaining note, the 5 (G and Db).
The G from the C chord is the b9 of the Gb chord,
and the Db of the Gb chord is the b9 of the C
chord. The only note differentiating the 2 chords
is the Root. Keep the fingering and change the
just the Root, then resolve it a half-step down (for
either chord, that's the beauty of it). Thus, Gbb9
Cb9 Bmaj7 or Cb9 Gbb9 Bmaj7 or Gbb9 Cb9 Fmaj7
Page 5
 or Cb9 Gbb9 Fmaj7. Since the bass plays the Root
you have more options for fingering.
19) The only Altered minor chord that is widely used
is the m7b5 (C Eb Gb Bb), a very popular chord in
jazz. It replaces a m7 chord, except to start a song.
20) Sub the V7 with an 11 chord (G11 C instead of G7
C).
21) Replace the minor chord a Fourth higher, so that
Cmaj7 Am7 Dm7 G7 C could be Cmaj7 D11 G11
G7 C. Remember: an 11th chord cannot be a I
chord (Tonic), unless you are The Artist Known As
Prince.
22) +11 chords may sub for a Dominant chord that
resolves up a Fourth, same with all Altered chords.
For instance, D E7 A7 could be C7 Bb13+11 A7 or
C7 D+11 F7 or C7 Bb+11 F7. The Bb+11 is spelled
Bb D F E. Bb13+11 is spelled Bb C D F G Ab E. A
+11 chord cannot be a I chord (tonic). Can also
sub for a Dominant chord if it resolves to a minor
of the same Root (C7 Cm7 could be C+11 Cm9).
+11 or b5 Altered chords are good to use for b5
substitution (Gb+11 for C), and as ending chords.
C E7 A7 D7 G7 C could be Cmaj7 Bb9+ A9 D9 G13
C6/9+11. In Flamenco, it is used after a major
chord a half-step lower (Cmaj7 Bb9+11).
23) The diminished chord can be thought of as a
Dominant 7 chord, with all the tones lowered
except the Root. Is also the same as a b9 chord
whose Root is one fret lower than any note in the
diminished chord (C7b9 is the same as C#º). The
diminished chord is a passing chord, don't linger
on it or use it too often. The progression C Dm7
Em7 Dm7 could be D#o Em7 D#o Dm7 or C Co
Dm7 Do Em7 Eo Dm7. Start a C dim chord at the
nut, and move it up the neck every 3 frets, as high
as you can go. Then reverse it back down to the
nut. Notice how the suspense builds going up,
just like the music for silent films to imply danger?
And how the tension releases as you go down,
wanting the chord at the nut to resolve nicely to
either G, Bb, Db, or E.
24) Almost any Dominant chord can be moved in
increments of 3 frets (3, 6, or 9 frets), as long as
the last chord resolves to where you're going
next. A7 to D could be C13b9 Eb13b9 Gb13b9
A13b9 D or F#7 Eb7 C7 A7b9 D.
25) The same principle applies to Dominant chords
with a b5 or #5, but in 2- and 4-fret intervals. A9b5
G9b5 F9b5 Eb9b5 D6/9 or G7+ A7+ B7+ Db7+ D7.
26) A minor chord with a Major 7 can sub for
Dominant chords 1 fret lower (CmMaj7 for B7).
Works only if the Dominant resolves up a Fourth.
Also try m7 and m6 chords instead of mMaj7. F#7
B7 Em could be GmMaj7/9 CmMaj7 Em6/9.
27) To sub for a major chord, use its Relative Minor (a
minor chord down three frets from the Major, Am
for C). To sub for a minor chord, use its Relative
Major (a Major chord up 3 frets, Eb for Cm).
Page 6
28) Chord simplification can be reducing the chord to
its Triad (1 3 5), or adding Extended tones, like the
7 and/or 9, and/or omitting either the 1 and/or
the 5 of the Triad, using just the 3 and 7, for
instance. Example: in a I-IV-V blues progression,
one could play just the 3 and b7 of the I chord,
moving it down one-half step for the IV chord,
then up one step for the V, then back down one-
half step to the I chord. All without changing the
form or shape of those two notes.
29) Chord suspensions replace the chord’s Third with
a Fourth, which creates tension.
30) Secondary Dominants work for any chord in a
progression, not just a Dominant chord. It is the
adding of the V7 of the V7 chord, 2 beats before.
In the progression D7 G7 C, D7 is the secondary
dominant.
31) Notice how a progression can move I-IV-I just
before the V7-I cadence/turnaround, a common
tool in Motown and soul music.
32) A Dominant 7th chord a minor Third above can
sub for a Dominant chord. Shares two tones in
common. Eb7 can sub for a C7 chord, as they
share the G and Bb.
33) m7b5 chords a Fifth above in place of a Dominant
chord, G7 (G B D F) = Dm7b5 (D F Ab C).
34) m7 a Fifth higher than a Dominant for 2 or 4
beats, a common jazz progression, G7 C = Dm7 G7
C.
35) Altered Dominants can be stepped-into by Whole
steps, C G7 = C A7#9 G7#9 G7.
36) Unaltered Dominants will even work when
stepped into by minor Thirds , C G7 = C Bb7 G7.
37) You may combine Planing with other
substitutions, such as Planing into an Altered
Dominant by a whole step.
38) Extend a V7 with a #11, spelled 1 3 5 b7 9 #11.
39) For IIm7 V7 use the bII7 (tritone substitution) on
the V7 with either bII or V in the bass. Dm7 G7 C =
Dm7 Db7 C.
40) A tritone has a tendency to resolve depending on
the interval it is (a b5 will tend to resolve down to
the a major Third, whereas a #4 will tend to
resolve up to the minor Sixth). Tritone
substitutions resolve the opposite way of classical
music, though subs were used by Bach and
Beethoven.
41) Any Major 7th chord could be subbed with a
Minor chord a Third higher, such as “Cmaj7 = Em”
or “Cmaj9 = Em7”.
42) For even more possibilities, you can sub a
Dominant chord with a flat-five note added. For
example, you can sub E13b5 for E7, or you can sub
Page 7
 a Bb13b5 for E7. You can do this because Bb and E
are tritones of each other.
43) A mnemonic for remembering certain chord subs:
“One equals Three equals Six, Two equals Four,
Five equals Seven.” In the key of C "One equals
Three equals Six" means the C chord (One), the
The Rules Above in Chart Notation
(does not include all rules, and not in order)
C7 = Gb7, Gb7 = C7 (tritone sub, Dominant)
Cmaj7 = Gbmaj7, Gbmaj7 = Cmaj7 (tritone sub, Tonic)
Dm7 G7 C = Gm7 Db7 C
C= Em7, must be followed by Am7, A7, Eb7, Ebdim, or
Ebm7
C | F = C C7 | F = C C+ | F
C Dm7 Em7 Dm7 = C Cº Dm7 Dº Em7 Eº Dm7
C Dm7 Em7 Dm7 = D#º Em7 D#º Dm7
C E7 A7 D7 G7 C = Cmaj7 Bb9+ A9 D9 G13
C6/9+11
C = Am, Am = C
C = Em = Am
C = Eb, Eb = C
C = Cmaj7 = C6 = Cadd6 = Cadd9 = Cadd6/9 = Csus2 =
C11 (exc. C11 cannot be Tonic)
C G7 = C A7#9 G7#9 G7 (Planing with melody line)
C G7 = C Bb7 G7 (Planing by minor Thirds)
C G7 C = C F C | G7 C
Em chord (Three), and the Am chords (Six) sound
enough like each other to sub each other. Same
with “Two equals Four;” Dm (Two) and F (Four)
can sub for each other. And “Five equals Seven”
means the G7 (Five) and B dim (Seven) sound
similar and can sub for each other.
C+ = D+ = E+ = F#+ = G#+ = A#+ (Planing by
Seconds)
C+ = E+ = G#+
C7 = C7b5 = C+ = Cb9 = C9 = C+9 = C11 = C+11 = C13
= C13b5 (or any combination thereof)
C7 = Eb7 = Gb7 = A7 = Cm
C7 = G7 C7
C7 = Gb7 = Gb9 = Gb13 = Gbb9 = Gb#9 = Gbb5 = Gb#5
C7 = Fm7b5
C7 F7 Bbm = C#mMaj7/9 F#mMaj7 Bbm9
C9b5 = D9b5 = E9b5 = F#9b5 = G#9b5 = A#9b5
Cb9 = B, Cb9 = Cm
Cb9 Gbb9 Bmaj7
Cm = Cm7 = Cm9
Cm = Eb or Eb = Cm
Cm = Gbm
Cm7 = Cm7b5 (except to start a song)
Cm7 = F11 (except as Tonic)
Page 8
Cm7 = Gbm7 Em7 A7 Dmaj7 = Em7 A7 Ab7
Cmaj7 Bb9+11 F | C = F Fm | C (the “Amen cadence”)
Cmaj7 Am7 Dm7 G7 = Cmaj7 D11 G11 G7/6 F#7 B7 Em = GmMaj7/9 CmMaj7 Em6/9
Cmaj7 = Em or Cmaj9 = Em7 G7 C = Dm7 G7 C
Cmaj7 = Gbmaj7 (tritone substitution) G7 C = G11 C
CmMaj7 = B7 G7 Cmaj7 = G7 Gb7 Cmaj7
Cº = B7b9 = Ab7 = Ebº = Gbº = Aº = Cmb5/6 = G7 = Bº (diminished)
Ebmb5/6 = Gbmb5/6 = Amb5/6 Gbb9 Cb9 Fmaj7
D E7 A7 = C7 Bb+11 F7 = C7 Bb13+11 A7 = D E7 A7 D = C13b9 Eb13b9 D
A7 = A7 D = A9b5 G9b5 F9b5 Eb9b5 D6/9
C7 D+11 F7
A7 D = C13b9 Eb13b9 Gb13b9 A13b9 D
D7 Db7 C = D7 Dbm7 C = D7 G7 C = D7 Gm7 C
A7 D = C13b9 Eb13b9 Gb13b9 D
Dm = F, F = Dm
A7 D = F#7 Eb7 C7 A7b9 D
Dm7 G7 C = Dm7 Db7 C
E7 = B7 E7 = F7 E7 A7 D = G7+ A7+ B7+ Db7+ D7
Eb = Cm, Cm = Eb Abm7 Db7 C = Abm7 G7 C
Em = C, C = Em

Page 9
ii-V-I Possibilities Using the Chord Sub Rules Above

ii chord (“Two Chord” or “Sub-tonic”) = Dm = Dm7 = Dm9 = DmMaj7 = Dm+11 = Abm = Abm7 = Abm9 = AbmMaj7
= Abm+11

V chord (“Five Chord” or “Dominant”) = G7 = Gb5 = G+ = Gb9 = G9 = G#9 = G11 = G13 = G9b5 = G9+ = Gb5b9 =
Gb5#9 = G+b9 = G+#9 = G13b9 = G13#9 = G13b5 = Gb13b9 = Gb13#9 = G+b13#9 = G+b13b9 = Gb13b5#9 =
Gb13b5b9 = G13b5#9 = G13b5b9

Db7 = Dbb5 = Db+ = Dbb9 = Db9 = Db#9 = Db11 = Db13 = Db9b5 = Db9+ = Dbb5b9 = Dbb5#9 = Db+b9 = Db+#9 =
Db13b9 = Db13#9 = Dbb13b9 = Dbb13#9 = Db+b13#9 = Db+b13b9 = Dbb13b5#9 = Dbb13b5b9 = Db13b5#9 =
Db13b5b9 = Dm7b5 = Bb7 = AbmMaj7 = E7

I chord (“One Chord” or “Tonic”) = C = C6 = Cmaj7 = Cmaj9 = Cadd6 = Cadd9 = C6/9 = Cm6 = CmMaj7 = Gb = Gb6 =
Gbmaj7 = Gbmaj9 = Gbadd6 = Gbadd9 = Gb6/9 = Gbm6 = GbmMaj7

Page 10
 Flow Chart of 64 Chord Sub Progressions in the Key of C
II of V V of V
1) Start with either of these 2 boxes,
Am7 D7 moving left to right playing 2 chords,
follow the arrows...
3) Finally resolving
to either C, or its
II V tritone sub, Gb.

Ebm7 Ab7 V cadence = D7 G7 C I cadence = G7 C

 Start with either box 
sub V cadence = D7 Db7 C
substitutes
sub II of V-sub V of V Dm7 G7 I (Tonic)
C
II of V V of II Abm7 Db7
II cadence = Abm7 G7 C Gb
Em7 A7 sub II/V = Abm7 Db7 C
substitutes substitute
sub II - sub V sub Tonic
Bbm7 Eb7 2) Move to the box sub I cadence = G7 Gb
substitutes above, again, left to right
sub II of V-sub V of II playing 2 chords...

As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the arrows to C or Gb. Why
Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord sub rule #1, above). The two boxes on the left
are mutually exclusive, use one or the other to start the progression, either the V of V box or the V of II box, and you
may start with the either the top or the bottom set (the substitutions). Notice how the chart shows Fourth-wise
progression (and their subs). Five of the General Chord Progression rules on Page 1 are shown in the boxes. NOTE: In
each box, you may omit any of the IIm7 (or the sub IIm7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C
instead of Am7 D7 Dm7 G7 C.

Page 11
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of C/Gb. Notice the last
chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb. Leading to the G7/Db7 is its V, in this case
minor 7. Dm7 resolves to G7, but also the tritone sub of G7, Db7. And vice-versa for Abm7.

Notice in the chart the classic jazz progression Am7 D7 Dm7 G7 C (called ii-V-ii-V-I or vi-II7-ii-V-I). Also notice
another popular jazz progression Em7 A7 Dm7 G7 C, which is iii-VI7-ii-V-I.

The familiar jazz progression of ii-V-I is obvious in the middle box, as is its subs, the Abm7 for Dm7 and Db7 for the G7.
Notice that they are b5 subs? The question of how do you get to the ii is answered by 1 of the 2 boxes on the left.

The options are playing the V of either the ii or the V, and starting with the ii of that V.

You can get to the “V” box one of two ways, EITHER the V of V chord, or the V of II chord.

The “V of II” box means that A7 is the V of the II (Dm7) chord in the key of C, or A7 Dm7 G7 C.

In the “V of V” box, D7 is the V of the V (G7) in the key of C. Both boxes are equally valid routes to get to C.

Remember the cadences from Page 1? Notice them now on the right half in the diagram above.

Within each box is the chord leading to a Dominant. Follow the arrows. As the boxes are written, there are 64 possible
chord progressions ((4x4x2)+(4x4x2)=64). Combined with rules #6, 7, 8 on Page 4, there are 3,584 possible chord
progressions just in that one set of 3 boxes and their resolution to C or Gb! That’s 3,584 possibilities from only 5
chords. Some chords and progressions will sound dramatically better than others, of course, and some will sound
much worse, but still... 3,584 is alot of possibilities from a 5-chord progression.

Each chord progression path in the chart represents a single rule for chord subs. Therefore it shows 64 rules, with little
overlap with the 43 rules above.

Page 12
 Table of the 64 Basic Chord Sub Progressions from the Chart Above

Resolving to C: Em7 A7 Abm7 G7 C Bbm7 A7 Dm7 G7 Gb

Am7 Ab7 Abm7 Db7 C Em7 A7 Dm7 Db7 C Bbm7 Eb7 Abm7 Db7 Gb
Am7 Ab7 Abm7 G7 C Em7 A7 Dm7 G7 C Bbm7 Eb7 Abm7 G7 Gb
Am7 Ab7 Dm7 Db7 C Em7 Eb7 Abm7 Db7 C Bbm7 Eb7 Dm7 Db7 Gb
Am7 Ab7 Dm7 G7 C Em7 Eb7 Abm7 G7 C Bbm7 Eb7 Dm7 G7 Gb
Am7 D7 Abm7 Db7 C Em7 Eb7 Dm7 Db7 C Ebm7 Ab7 Abm7 Db7 Gb
Am7 D7 Abm7 G7 C Em7 Eb7 Dm7 G7 C Ebm7 Ab7 Abm7 G7 Gb
Am7 D7 Dm7 Db7 C Ebm7 D7 Abm7 G7 C Ebm7 Ab7 Dm7 Db7 Gb
Am7 D7 Dm7 G7 C Ebm7 D7 Dm7 Db7 C Ebm7 Ab7 Dm7 G7 Gb
Bbm7 A7 Abm7 Db7 C Ebm7 D7 Dm7 G7 C Ebm7 D7 Abm7 Db7 Gb
Bbm7 A7 Abm7 G7 C Em7 A7 Abm7 Db7 Gb
Bbm7 A7 Dm7 Db7 C Resolving to Gb (b5 of C): Em7 A7 Abm7 G7 Gb
Bbm7 A7 Dm7 G7 C Am7 Ab7 Abm7 Db7 Gb Em7 A7 Dm7 Db7 Gb
Bbm7 Eb7 Abm7 Db7 C Am7 Ab7 Abm7 G7 Gb Em7 A7 Dm7 G7 Gb
Bbm7 Eb7 Abm7 G7 C Am7 Ab7 Dm7 Db7 Gb Em7 Eb7 Abm7 Db7 Gb
Bbm7 Eb7 Dm7 Db7 C Am7 Ab7 Dm7 G7 Gb Em7 Eb7 Abm7 G7 Gb
Bbm7 Eb7 Dm7 G7 C Am7 D7 Abm7 Db7 Gb Em7 Eb7 Dm7 Db7 Gb
Ebm7 Ab7 Abm7 Db7 C Am7 D7 Abm7 G7 Gb Em7 Eb7 Dm7 G7 Gb
Ebm7 Ab7 Abm7 G7 C Am7 D7 Dm7 Db7 Gb Ebm7 D7 Abm7 G7 Gb
Ebm7 Ab7 Dm7 Db7 C Am7 D7 Dm7 G7 Gb Ebm7 D7 Dm7 Db7 Gb
Ebm7 Ab7 Dm7 G7 C Bbm7 A7 Abm7 Db7 Gb Ebm7 D7 Dm7 G7 Gb
Ebm7 D7 Abm7 Db7 C Bbm7 A7 Abm7 G7 Gb
Em7 A7 Abm7 Db7 C Bbm7 A7 Dm7 Db7 Gb

Page 13
 Notes, Spelling and Pronunciations of 74 Different C Chords
Basic chords
C = 1 3 5 – C E G “C major“ or “C“
C (no 3) = 1 5 – C G “C power chord”
Cm = 1 b3 5 – C Eb G “C minor”
C6 = 1 3 6 – C E A “C six”
Cmaj7 = 1 3 5 7 – C E G B “C major seven“
C7 = 1 3 5 b7 – C E G Bb “C seven“
Cm7 = 1 b3 5 b7 – C Eb G Bb “C minor seven”
Cm6 = 1 b3 5 6 – C Eb G A “C minor six”
CmMaj7 = 1 b3 5 7 – C Eb G B “C minor major seven” or “C minor major”

Extended chords
C9 = 1 3 5 b7 9 – C E G Bb D “C nine”
C11 = 1 3 5 b7 9 11 – C E G Bb D F “C eleven”
C13 = 1 3 5 b7 9 13 – C E G Bb D A “C thirteen”
C6/9 = 1 3 5 6 9 – C E G A D “C six nine”
C7/6 = 1 3 5 6 b7 – C E G A Bb “C seven six”
Cm9 = 1 b3 5 b7 9 – C Eb G Bb D “C minor nine”
Cm6/9 = 1 b3 5 6 9 – C Eb G A D “C minor six nine”
Cm11 = 1 b3 5 b7 9 11 – C Eb G Bb D F “C minor eleven”
Cm11 (no 5) = 1 b3 b7 9 11 – C Eb Bb D F “C minor eleven no five”
CmMaj7/9 = 1 b3 5 7 9 – C Eb G B D “C minor nine major seven”
CmMaj7/11 = 1 b3 5 7 9 11 – C Eb G B D F “C minor eleven major seven”
Cmaj7/6 = 1 3 5 6 7 – C E G A B “C major seven six”
Cmaj9 = 1 3 5 7 9 – C E G B D “C major nine”
Cmaj11 = 1 3 5 7 9 11 – C E G B D F “C major eleven”
Cmaj13 = 1 3 5 7 9 13 – C E G B D A “C major thirteen”

Page 14
Altered chords
Cº = 1 b3 b5 bb7 – C Eb Gb A “C diminished” or “C dim”
C+ = 1 3 #5 b7 – C E G# Bb “C augmented” or “C aug”
C#9b13 = 1 3 5 b7 #9 b13 – C E G Bb D# Ab “C raised nine flat thirteen”
C+b9 = 1 3 #5 b7 b9 – C E G# Bb Db “C aug flat nine”
C+#9 = 1 3 #5 b7 #9 – C E G# Bb D# “C aug raised nine”
C+9 = 1 3 #5 b7 9 – C E G# Bb D “C aug nine”
C+9/11 = 1 3 5# b7 9 11 – C E G# Bb D F “C aug nine eleven”
C+11 = 1 3 #5 b7 9 11 – C E G# Bb D F “C aug eleven”
C+11/13 = 1 3 #5 b7 9 11 13 – C E G# Bb D F A “C aug eleven thirteen”
C+6/9/11 = 1 3 5# 6 9 11– C E G# A D F “C aug six nine eleven”
C+#9b13 = 1 3 #5 b7 #9 b13 – C E G# Bb D# Ab “C aug raised nine flat thirteen”
C+b9b13 = 1 3 #5 b7 b9 b13 – C E G# Bb Db Ab “C aug flat nine flat thirteen”
C+maj7 = 1 3 #5 7 = C E G# B “C aug major seven”
Cb5 = 1 3 b5 – C E Gb “C flat five”
Cb5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C flat five raised nine”
Cb5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C flat five flat nine”
Cb5#9b13 = 1 3 b5 b7 #9 b13 – C E Gb Bb D# Ab “C flat five raised nine flat thirteen”
Cb5b9b13 = 1 3 b5 b7 b9 b13 – C E Gb Bb Db Ab “C flat five flat nine flat thirteen”
C6#11 = 1 3 5 6 9 #11 – C E G A D F# “C six raised eleven”
C7b5 = 1 3 b5 b7 – C E Gb Bb “C seven flat five”
C7b5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C seven flat five raised nine”
C7b5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C seven flat five flat nine”
C7b5b9b13 (no 3) = 1 b5 b7 b9 b13 – C Gb Bb Db Ab “C seven flat five flat nine flat thirteen no three”
C9b5 = 1 3 b5 b7 9 – C E Gb Bb D “C nine flat five”
Cb9 = 1 3 5 b7 b9 – C E G Bb Db “C flat nine”
C#9 = 1 3 5 b7 #9 – C E G Bb D# “C raised nine”
Cb9b13 = 1 3 5 b7 b9 b13 – C E G Bb Db Ab “C flat nine flat thirteen”
C#11/13 = 1 3 5 b7 9 #11 13 – C E G Bb D F# A “C thirteen raised eleven”

Page 15
C13#9 = 1 3 5 b7 #9 13 – C E G Bb D# A “C thirteen raised nine”
C13b5 = 1 3 b5 b7 9 13 – C E Gb Bb D A “C thirteen flat five”
C13b5#9 = 1 3 b5 b7 #9 13 – C E Gb Bb D# A “C thirteen flat five raised nine”
C13b5b9 = 1 3 b5 b7 b9 13 – C E Gb Bb Db A “C thirteen flat five flat nine”
C13b9 = 1 3 5 b7 b9 13 – C E G Bb Db A “C thirteen flat nine”
Cm+ = 1 b3 #5 b7 – C Eb G# Bb “C minor aug”
Cm7b5 = 1 b3 b5 b7 – C Eb Gb Bb “C minor seven flat five” or “C half-diminished” (also can be thought of as a Ab9 chord)
Cm7b5/11 = 1 b3 b5 b7 9 11 – C Eb Gb Bb D F “C minor seven flat five eleven”
Cm9+ = 1 b3 #5 b7 9 – C Eb G# Bb D "C minor aug nine"
Cm9b5 = 1 b3 b5 b7 9 – C Eb Gb Bb D “C minor nine flat five”
CmMaj7b13 = 1 b3 5 7 9 b13 – C Eb G B D Ab “C minor major seven flat thirteen”
Cmaj7#11/13 = 1 3 5 7 9 #11 13 – C E G B D F# A “C major seven raised eleven thirteen”

Tension chords
Csus = 1 4 5 – C F G “C suspended” or “C sus”
Csus2 = 1 2 5 – C D G “C suspended two”
Csus6 = 1 4 6 – C F A “C suspended six”
Cadd6 = 1 3 5 6 – C E G A “C add six”
Cadd6/9 = 1 3 5 6 9 – C E G A D “C add six nine”
Cadd9 = 1 3 5 9 – C E G D “C add nine”
Cm6add9 = 1 b3 5 6 9 – C Eb G A D “C minor six add nine”
C7sus = 1 4 5 b7 – C F G Bb “C seven suspended”
C9sus = 1 4 5 b7 9 – C F G Bb D “C nine suspended”
Cm9sus = 1 b3 4 5 b7 9 – C Eb F G Bb D “C minor nine suspended

Page 16
Notes:

Sometimes chords are pronounced with a “th” at the end, like “C major seventh” or “C ninth.” Usage depends on
grammar.

The pronunciations above may vary in common usage.

In general, unless otherwise noted, all 13th chords have the lower extensions included, namely the b7, and the 9, but
never the 11th. A 9th chord always includes the b7, unless otherwise noted (such as “maj7/9” or “add9”). The 11th chord
also always includes the b7 and 9. Of course, unless otherwise noted all chords contain the basics: the 1, the 3 (major or
minor), and the 5.

Page 17
Music By The Numbers
Chords as Numbers. One way to tell others which chord to play in a chord progression is with numbers. It makes it easy to
communicate which chord is next while the band is playing, either by shouting “Four!”, or by holding up 4 fingers (for the
IV chord), 5 fingers for the V chord, or 1 finger for the I chord. In the key of C, the chords are:

I =C
II = D (Dm)
III = E (Em)
IV =F
V = G (G7)

Tip: Shorthand for “starting now at the beginning” is to point to, touch or tap the top of your head. It came from jazz,
where the first part of a song is called the “head."

Numbers Translated to Notes. In the key of C, the numbers correspond to:

1 =C b6 = Ab
b2 = Db 6 =A
2 =D b7 = Bb
b3 = Eb 7 =B
3 =E 8 = C, the Octave (“8va”)
4 =F b9 = Db
#4 = F# 9 =D
b5 = Gb #9 = D#
5 =G 11 =F
+5 = G# 13 =A

Note: there are no “10th” or “12th” chords. The 10 is “E”; the Third in the key of C; and 12 is G, the Fifth.

Page 18
 Symbols Used
+ = Augmented or raised Fifth
º = Diminished
# = Sharp or raised
b = Flat or lowered
| = Separates measures or bars in a progression
m = Chord with a minor Third
maj7 = Chord with a major Seven
7 = Chord with a flat Seven
IIm7 = ii (Dm7 in the key of C)
m7 = Chord with a minor Third and flat Seven
mMaj7 = Chord with a minor Third and a major Seventh

Page 19
 Circle of Fifths, Fourths, and Thirds

The Circle of Fifths is one of the truly magical things in music. Going
around the circle clockwise is the Circle of Fifths, and counter-clockwise
is the Circle of Fourths. As you see, either way you hit every key, and
still end up back at C. The Circle of Fourths is often used in jazz, such as
the progression C E7 A7 D7 G7, and in turnarounds. The common jazz
progression called “II-V-I” is the Circle of Fourths, and is the jazz version
of blues' “I-IV-V”. The song “Hey Joe” is the Circle of Fifths. Try playing
both Circles as a chord progression.

This is my invention, the “Circle of Thirds.” It illustrates how chords are

just stacked Thirds. This example is in the key of C, of course. C E G
creates the basic C chord (Eb for minor, G# for augmented). Adding the
B creates a C7 (if Bb, or Cmaj7 if natural B). Adding D creates that funky
C9 chord (Db makes it Cb9, D# makes it C#9). Adding an F creates a
suspenseful C11 chord. Finally, adding an A gives a jazzy C13 chord. In
practice, you can play just a C7 in place of the 9, 11 or 13. An 11 chord
is played without the 9, and the 13 chord wants the 7 and 9 join it, but
not the 11.

Page 20
 R i c h a r d R o s e

Age 9, 1966 Age 21, 1978 Age 49, 2006

My name is Richard and I've been living, breathing, studying, playing, thinking about, and performing the guitar
since 1964 at age 7. And since 1974 I’ve been teaching “CAGED” fretboard theory and Chord Substitutions. I learned
them from the late great San Francisco guitar teacher Keith Allen, my Blue Bear mentor since 1973.
I learned to play guitar and read music in first grade, practicing two hours a day plus a lesson a week, for 3 years. I
later rebelled, quit the lessons, and explored this early-70s new-to-me music by the Allman Bros, Jeff Beck and Jimi
Hendrix. I would learn the records late at night, note-for-note. They were my new guitar teachers, and I was on fire for
guitar again.
Then at age 17 I went to Blue Bear Waltzes School of Music in San Francisco, the first "Rock & Roll College." It was
there I learned fretboard and music theory, composition, and studied with my practice partner Chris Hayes (Huey Lewis &
The News), Bonnie Hayes (Bonnie Raitt's composer), Keith Allen (Steve Miller Band), and others. Later, I studied jazz and
music theory/composition/arranging at University.
From playing in many loud rock bands to musicals like Pippin and Godspell, from blues to jazz, folk to classical,
CAGED and Chord Subs have made me a better guitarist.
Look for my other instructional eBooks: “Secrets of Scales and Chords Revealed,“ “Secrets of the Guitar Fretboard
Revealed (or, 125 Ways to Play Louie Louie in C),“ and “Secrets of Jazz Arranging Revealed.“ Feel free to email me at
secrets@richardrose.com.

Page 21



As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the
arrows to C or Gb. Why Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord sub rule
#1). The two boxes on the left are mutually exclusive, use one or the other to start the progression, ei-
ther the V of V box or the V of ii box, and you may start with the either the top or the bottom set (the
substitutions). Notice how the chart shows Fourth-wise progression (and their subs). Five of the General
Chord Progression rules are shown in the boxes. NOTE: In each box, you may omit any of the iim7 (or the
sub iim7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of
C/Gb. Notice the last chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb. Leading to
the G7/Db7 is its V, in this case minor 7. Dm7 resolves to G7, but also the tritone sub of G7, Db7. And
vice-versa for Abm7.
Secrets of Jazz Arranging Revealed
Edited by Richard Rose

Table of Contents
Foreword ........................................................................ 1
Chord Progression Rules........................................... 2
Scoring ............................................................................ 2
Simple 4-Way Harmonization ................................. 2
Chart of Unresolved Tensions ................................. 4
Additions to Four-Way Harmonization ............... 4
Alternate Voicings ....................................................... 5
Four-Way Sax Spreads ............................................... 6
Bass Writing in Two .................................................... 7
Bass Writing in Four .................................................... 7
Background Writing ................................................... 7
Low Interval Limits ...................................................... 8
Drop Two ........................................................................ 8
Available Tensions For Drop Two .......................... 9
Concerted Writing - Constant Coupling ............. 9
Concerted Coupling - Variable Alto ...................... 9
Concerted Writing With Saxes Spread................. 9
Tutti Writing ................................................................. 10
Counterpoint Rules .................................................... 10
Two-Part Counterpoint, First Species.................. 11
Three Part Counterpoint, First Species ............... 12
Chord Substitutions................................................... 13
Cadences ....................................................................... 13
Harmony ........................................................................ 14
Flow-chart of 104 Chord Substitutions .............. 17
74 Different “C” Chords ............................................ 18
 ** Print to any printer, 22 pages of 8½x11" letter-size white paper. **
secrets@richardrose.com ∞ www.FretboardRevealed.com
Author and Publisher: Richard Rose (1956). Copyright 2005-2015, all rights reserved. “Secrets of Chord Substitutions
Revealed,” “Secrets of the Guitar Fretboard Revealed,” “Secrets of Jazz Arranging Revealed,” “Secrets of Scales and Chords
Revealed,” and “Circle of Thirds” are trademarks of Richard Rose, all rights reserved. Place of Publication: Boulder, Colorado.
Year of Publication: 2009.
This eBook is not specific to any instrument.

"Secrets of Jazz Arranging Revealed" is edited by Richard Rose, a music teacher who has
played, studied, taught and gigged for 51 years. It is from notes taken in a Jazz Arranging class by Prof Bennet
Friedman at the Santa Rosa Junior College in 1978.

Thank you Keith Allen and Bennet Friedman for your years of friendly instruction.

Dedicated to Regi

See my other Secrets Revealed eBooks:

Other eBooks by Richard Rose:

"Secrets of The Guitar Fretboard Revealed"
"Secrets of Chords and Scales Revealed"
"Secrets of Chord Substitutions Revealed"

This work is licensed under a Creative Commons

Attribution-ShareAlike 4.0 International License.

© 2005-2015 Richard Rose

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@TheHempNut
 Foreword

“Arranging” is the art of harmonizing a melody line, or which notes to use to make up the chord
that’s under the melody note. It’s great tool for all intermediate-to-advanced music students,
composers, songwriters, and musicians.
Use these jazz arranging concepts to create horn charts, vocal harmonies, and parts for any
quartet, even bell ringers and glass squeakers. You can also create cool chord progressions for your
songs, or improve your piano technique, all in any style of music.
A basic understanding of music theory and harmony is necessary to understand these
concepts. Although the Exercises require reading of treble clef and chords, Arranging can be
understood without reading music. However, in practice most Arranging is performed by creating
“charts” for each instrument, in the instrument’s key and range, thus necessitating the ability to write
music.
Symbols

Major chord (C E G in the key of C) = C

Major-7 chord (C E G B in the key of C) = ∆ or M7
Minor chord (C Eb G in the key of C) = m
Minor-7 chord (C Eb G Bb in the key of C) = m7
Dominant-7 chord (C E G Bb in the key of C) = V7
Diminished chord (C Eb Gb A in the key of C)= 
Flat = b Sharp or Augmented= #

Chord Progressions

A. General Rules
1. Any chord may follow the I chord (which is a major-7 t h , 6 t h , minor-6 t h , or
minor-∆ chords; or in the key of C: C∆, C6, Cm6, Cm∆).
2. Any I chord may be preceded by its V7 dom. 7 t h chord
(V7 - I∆; or in the key of C: G7 - C∆).
3. Any V7 chord may be preceded by its V7 of V chord
(V7 – V7 – I∆; or D7 - G7 - C∆).
4. Any V7 chord may be preceded by its IIm7
(IIm7 – V7 - I∆; or Dm7 – G7 - C∆).
5. Any IIm7 may be preceded by its V7 of II
(V7 – IIm7 – V7 - I∆; or A7 – Dm7 – G7 - C∆).
6. IIm7 – V7 may be repeated
(IIm7 – V7 - IIm7 – V7 - I∆; or Em7 – A7 - Dm7 – G7 - C∆).

1
 B. Pacing
1. IIm7 – V7 should normally move from relatively strong (the IIm7 chord) to
relatively weak (the V7) bars or beats.
2. With one chord per bar, move from odd to even bar
(odd bar: IIm7, even bar: V7).
3. With one chord per beat, move from odd to even beat
(odd beat: IIm7, even beat: V7).
C. Substitute Chords
1. Any V7 chord may be replaced by the key’s flat-II7 chord
(replace G7 - C∆ with Db7 - C∆). Note this is a Dominant chord, not a
minor-II chord.
2. IIm7 chord may be replaced by the IIm7 related to the flat-II7 chord
(replace Dm7 – G7 - C∆ with Gm7 – Db7 - C∆).
3. IVm chord may be replaced by the flat-VII7 chord
(replace C – C7 – F – Fm7 - C∆ with C – C7 – F – Bb7 - C∆).
4. Substitute for the I chord:
a. The I chord (C∆) may be replaced by the IIIm7 (Em7) when a final
cadence (ending) is not desired;
b. When used in this manner, the IIIm7 chord must be followed by the
VIm7 (Am7), the V7 of II chord (A7), a substitute-V7 of II chord
(Eb7), the flat-III diminished (Eb), or the flat-IIIm7 (Ebm7) chord.

Look for more Chord Subs later on page 13.

Scoring

Simple Four-Way Harmonization

A. Harmonize chord tones with notes from the chord built directly beneath the
melody. Exception: do not use a minor-2 n d (Db in the key of C) to harmonize, as
it is dissonant. If the chord has no other symbol (C instead of Cm or C7),
harmonize it as a major or minor 6 t h chord (either of which are a I chord).
B. Harmonize non-chord tones with notes from the chord, but omit the nearest
chord tone that would normally appear beneath the melody.
C. Definition of “Anticipation:” a rhythmic device which forces an on-the-beat
note to be attacked prematurely by one-half beat, resulting in melodic and
harmonic syncopation. Any beat may be anticipated, but in 4/4 time
anticipation normally occurs before the first and third beats of the bar. The last
off-beat eighth-note preceding a chord change and followed by a rest is
another form of anticipation. NOTE: if the melody anticipates, the harmony
must anticipate with it.
2
D. Definition of “Approach Note”: An approach note is a non-chord tone that
approaches a chord tone by a whole or half step from above or below, the
duration of which is a quarter-note or less, usually an eighth-note. Also called
“Passing Tone” or “Neighboring Tone.” If it is chromatic tone then it can also be
an approach note.
1. Diminished Approach
a. An approach note must be either the II, the IV, or major-7 of the
major scale of the chord you are approaching. Not necessarily of
the current chord, but the scale of the approached chord.
b. Must approach a chord tone.
c. A diminished chord cannot approach a diminished chord (no two
different diminished chords in a row).
d. Build the diminished chord from the melody note down, by minor-
3rds (C A Gb Eb).
2. Chromatic Approach
a. May approach anything, either chord tone or non-chord tone.
b. Always approach chromatically (a half-step away, from above or
below).
c. First, harmonize the note being approached, then go back and use
chromatic movement in all parts in the same direction as the
melody.
E. General Statements
1. If a non-chord tone can be an approach note, then it is an approach note.
2. If you have two or more repeated eighth-notes, the last one can not be
an approach note.
3. When harmonizing approach notes, use sharps (#) when ascending and
flats (b) when descending. Take advantage of the key signature. Use as
few accidentals as possible but be sure to spell correctly.
4. An anticipation can not be an approach note, and vice-versa.
5. If the approach is scale-wise, normally one would use the diminished
approach, except on the leading tone.
6. An approach note must feel like it is approaching the next chord.
7. Melodic sequence begets harmonic sequence. The harmony is always
determined by the melody.
8. If leading line (melody) moves step-wise (by half-step or whole-step),
then so must the harmony. The harmony must not have repeated notes.
F. Priorities For Scoring Each Chord
1. Anticipation, use a strong note rhythmically and melodically.
2. Chord tones, which chord (Major or minor) to use, chord extensions (7 t h ,
9 t h , 13 t h ).
3. Approach note strategy, Diminished or Chromatic.
3
 4. Non-chord tones, use for tension (2 n d , 4 t h , 6 t h , altereds (b9 #9 b5 #5).
G. Unresolved Tension
1. A non-chord tone which is not an approach note.
2. Unresolved tension occurs in the melody only, not in the harmonization.
The non-chord tone depends on the tension, see the following Chart of
Unresolved Tensions.

Chart of Unresolved Tensions

Chord Possible unresolved Tensions

Major 6 t h the 9 replaces the 1, or the 7 for the 6
Minor 6 t h 9 for 1, or 7 for 6
Dominant 7 t h b13 for 5 (must add the b9), 13 for 5, #11 for 3, 11 for 3, b9
for 1, 9 for 1, #9 for 1 (must add b13, except when used as a
substitute Dominant)
Minor 7 t h 11 for b3, 9 for 1
Augmented 7 t h #11 for 3, 9 for 1
Diminished 7 t h Any scale note one whole step above a chord tone
Minor 7 b5 11 for b3, 9 for 1 (if moving to a Major I chord, usually b9)
Major 7 t h #11 for 3, 9 for 1

Additional Concepts on Four-Way Harmonization

A. Substitute a 9 for the 1 in any and all Dominant-7 t h chords, except when the
1 is in the melody.
B. Introduce the flat-9 on the last rhythmic attack on a V7 to I progression.
1. The I chord can be either a major- or minor-sixth chord
2. Can not be an anticipation note.
3. Once the flat-9 (or other altered chord tone) is introduced into the chord,
you can not go back to a natural-9 (except when moving #9 - 9 - b9).
4. The Dominant-7 t h following a minor seventh flat-5, will have a flat-9.
5. When the melody is #9 – b9 – 5, keep a flat-13 below the flat-9 (unless it
is an approach note). Maintain the altered chord tension.
C. When the 9 is the lead (usually the highest note) of a major- or minor-sixth
chord, a major-7 must be used in the second voice (instead of the sixth).
1. Could also be an approach note.
D. Double Chromatic Approach
1. Two non-chord tones that approach a chord tone from the same
direction, with a duration of an eighth-note or less.
2. Start by harmonizing the same as the Chromatic Approach, then add the
second non-chord tone.
4
E. When the 1 or 9 is in the lead of a Dominant-7 t h chord that is the last rhythmic
attack of V7 – 1, you may introduce the #5 on the last attack. Duration must be
an eighth-note or quarter-note, no longer. If it occurs on the downbeat, change
the chord symbol to “+” (Augmented chord), else it is just a passing note.
F. Delayed Resolution
1. The non-chord tones that approach a chord tone from opposite
directions by whole- or half-steps, the duration of which are eighth-notes
or less.
G. Dominant Approach
1. Is the V7 of the chord you are approaching (not necessarily V7 of the
key).
2. #5 must be used.
3. Duration must be eighth-note or less.
4. Normally turns out to be a substitute Dominant.
5. To be used when
a. 13 goes to the 5 on a Dominant-7 chord.
b. What looks like a Chromatic Approach to the 13.

Alternate Voicings

A. Alternate Voicing for the #11: when the #11 moves up to become the 5, treat it
as a flat-5 instead of a #11.
B. Dominant-7 t h with the 1 in the lead voice (the V7 of I, spelled 1 5 (or 13) 3 flat-
9, top to bottom):
1. Supercedes the “1 must be in the lead” rule.
2. Has a richer sound.
3. May be an anticipation.
4. Must be in a sustained passage, can not be a melodic pick-up.
5. Must not be going to the 1 of the I chord melodically.
6. May be used for climax or end of phrase.
7. Can not be used in a moving passage.
8. Bottom range limit for the lead is F above middle C (note: the low
interval limit for a 9 in the lead is Gb above middle C).
C. If an 11 is the lead of a minor-7 t h chord, and sustains or repeats to become the
1 in the lead of a Dominant-7 t h chord, you may:
1. Use the altered Dominant and conventional minor-7 t h chord if the
Dominant is the V7 of I.
2. Look for forward motion.
3. Use the altered minor-7 t h and conventional Dominant-7 t h if the
Dominant-7 t h is not a V7 of I.
4. Altered minor-7 t h chord is spelled 11 flat-3 1 flat-7.
5
 5. You can not use the alternate Dominant-7 t h on an Augmented Dominant-
7th (1 3 #5 b7) chord, so alter minor-7 t h chord instead.
6. When 11 of the minor-7 t h goes to the 9 of a Dominant-7 t h chord, alter the
minor-7 t h .
Four-Way Sax Spreads
Alto, Tenor I, Tenor II, Bari
Also called “Soli Writing,” used for accompaniment or background

A. You must have the root in the Bari (Baritone sax) at all times. Be aware of the
Bari’s practical range.
B. Tenor II (Second Tenor) may play the 7 or the 3 of the chord. May play 5 on a
Major chord or in a diatonic chord progression (also called parallel movement:
such as C Dm Em F G7 C).
C. Tenor I (First Tenor) plays 3 or 7, whichever one is not used by Tenor II.
D. Alto plays the 5 or a tension (see F.4. above), except on a Dominant-7 t h chord
play the flat-5 instead of the natural-11 (the 4).
1. Do not play the 3 or the 7 on seventh chords in the alto.
2. On a minor-7 t h chord you may have the 1 in the lead except in a diatonic
chord progression (only use in tight spots). Do not double another note
with the alto.
E. Diatonic chord progression must be voiced parallel. Avoid the 9 or 1 in the
lead. The alto may play the 3, 5 or 7.
F. On seventh chords (minor or dominant) the optional note is the 5.
G. You cannot have more than the interval of a seventh between any two adjacent
horns except between the bari and the tenor II, where you may have a tenth.
H. Make voice leading as smooth as possible.
1. On any dominant motion 3 goes to the 7, and 7 goes to the 3. Exception:
in a sub-V7 to I progression (Db7 to Cmaj7), the 7 goes to the 7 and the 3
goes to the 3.
2. Try for contrary or oblique motion (avoid parallel) between outer voices.
3. Watch the low interval limits of each voice or instrument, less important
for alto.
The range for the lead alto on spreads is D4
(the D above middle-C) through C5
(the C an octave above middle-C):

I. For Five-Part writing, use two tensions or the 5 plus a tension.

6
 Bass Writing in Two

A. Put the root of the chord in the bass every time the chord changes.
B. Write on the first and third beats.
C. If there is one chord per bar, use the 1 and 5 of the chord.
D. Change direction of line frequently.
E. Use flat-5 approach on V7 of I (G7 - C would be the notes G D Db C, with Db as
the flat-5 approach note).

Bass Writing in Four

A. Put root in the bass every time chord changes.

B. Use chord tones and scale notes in passing (passing notes).
C. Use occasional chromatic approaches in passing.
D. Change direction frequently.
E. Use flat-5 approach on V7 of I.
F. Do not leap into or out of a non-chord tone.

Background Writing

A. When the melody moves, the background rests or sustains.

B. Conversely, when the melody rests or sustains, the background moves.
C. Keep the background at least a third away (above or below) from the melody at
points of simultaneous attack.
D. Harmonized background melody should range within the octave above middle
C, preferably in the lower middle of the treble clef.
E. The background melody consists of:
1. Chord tones, usually coinciding rhythmically with the melody.
2. Approach notes on different points of attack.
3. Unresolved tensions, when many tensions appear in the harmonized
melody or at different points of attack.
4. Resolving tensions.
5. Chromatic guide tones (natural chromatic lines running through the
chords).
6. Live notes (out of the key notes approached chromatically).
F. Every note of the background melody must “check out” favorably with the
existing melody.
G. Strong intervals at points of simultaneous attack are thirds and sixths; next
best are fourths and fifths.
H. Once you have anticipated a beat in any section, you cannot write on that beat.

7
 Low Interval Limits

Note: Always assume there is a Root on the bottom of the lowest chord function.
(Concert)

(can go lower here if less than a half-note in duration)

M=Major, m=minor, P= Perfect, A= Augmented

Drop Two

A. Drop the second voice an octave; substitute tension for chord tone in the new
space for a second voice.
B. Tensions occur in the top two voices only, except:
1. You may have a 9 or flat-9 on a dominant seventh chord, down to G2 (top
space of the bass clef, G-flat for flat-9).
2. You may substitute a tension in any voice on a major chord, except when
the 1 or the 6 is in the lead.
C. Do not substitute an 11 for a 3 in any chord. All seventh chords must contain a
3 and a 7.
D. In Drop Two there is no altered dominant (b5 #5 b9 #9), but you can alter a
minor seventh.

8
 Available Tensions for Drop Two

Chord Tensions
I 9 for 1, 7 for 6
IIm7 9 for 1
IV 9 for 1, 7 for 6
V7 13 for 5, flat-13 for 5, 9 for 1, flat-9 for 1
VIm7 9 for 1
V7 of V 9 for 1, flat-9 for 1, 13 for 5
V7 of II 9 for 1, flat-9 for 1, flat-13 for 5, flat-5 for 5
flat-II7 ( su bs t i tu te do m in an t) 13 for 5, 9 for 1
flat-VII7 13 for 5, 9 for 1
minor 7 flat-5 9 for 1
IV7 13 for 5, 9 for 1

Concerted Writing – Constant Coupling

A. Harmonize Brass as 4-way Close.

B. Lead Alto may couple (double) any Trumpet or Trombone part as written or an
octave lower. Pick the one that best fits the Alto’s range.
C. Watch Low Interval Limits.
D. Minor Seconds are OK in any two voices as long as it is a result of a double
lead.

Constant Coupling – Variable Alto

A. Harmonize Brass 4-way close, or drop 2.

B. Alto may play any melodic line from the Brass harmony.
C. If Brass are drop 2, the Saxes must be drop 2 also. No open Brass with closed
Saxes.
D. All Sax harmony must coincide at points of simultaneous attack.
E. Do not write tensions in the Saxes that do not occur in the Brass. You may have
tension in the Brass and the related chord tone in Saxes if separated by a Ninth.
1. This does not apply to natural 11 on a Dominant Seventh.
2. All altered tensions and natural 11 on a V7 must be doubled at the lower
octave.
F. Do not use chromatic approach if contrary motion occurs.

Concerted Writing With Saxes Spread

A. Write Brass 4-way close, or drop 2; and

9
B. Write Saxes spread.

Tutti Writing

A. Harmonize Brass 4-way close, or drop 2.

B. Harmonize Saxes in spreads on strong Brass rhythmic attacks:
1. On first note of phrase;
2. On last note of phrase;
3. On changes of a chord; and
4. During anticipations.

Counterpoint Rules

Writing a cantus firmus (the melody line for which a counter melody is written,
the two or more together are the counterpoint melody) needs to have direction,
continuity, variety, balance and completeness, without resorting to rhythmic and
motivic organization (ie., the structure of a melody).
Conditions for cantus firmus:
A. All notes to be of equal length, namely whole notes.
B. The counterpoint is to be a minimum of 8 and a maximum of 16 notes in length;
10 to 12 is the most common.
C. Useable melodic intervals are Major and minor 2nds, 3rds and 6ths, and perfect
4ths, 5ths, and octaves. Do not use 7ths, intervals larger than an octave,
dissonant intervals such as augmented and diminished intervals, or chromatic
half-steps.
Direction is achieved by means of a logical contour and a movement to a single
climax (or anti-climax) tone.
Continuity is achieved through conjunct (step-wise) motion. Melodies with too many
leaps are perceived to be lacking continuity.
Variety is achieved through disjunct motion (2 to 3 leaps maximum) and by means of
several changes of direction.
a. Follow a leap larger than a 3rd by a change of direction, preferably in step-
wise motion.
b. Avoid two leaps in the same direction, except for 3rds.
c. Avoid more than two leaps consecutively.
Balance is achieved when no single element predominates to such an extent that the
stability of the whole is impaired, therefore:
a. Avoid excessive motion in a single direction, whether by step or leap. Limit
yourself to a maximum of 6 step-wise notes in one direction;
b. Avoid unresolved melodic tensions such as either unresolved leading tones
or outlining the tritone of a 7th by changes of direction in the melody;
10
 c. Do not repeat single tones; and
d. Avoid repetition of groups of tones, either exact or in sequence.
Completeness is achieve by beginning and ending on the Tonic and by approaching
the final tone by step from above or below (2-1 or 7-8 ending). The 7-8 ending should
always include the leading tone (which is a half-step below the tonic); therefore it
will sometimes be necessary to raise the lowered 7th degree a half-step by means of
a sharp or natural sign.

Two Part Counterpoint, First Species

Writing another line against the cantus firmus (“C.F.”) which has the same
qualities as the cantus firmus, has melodic independence from it, and yet combines
with the cantus firmus to form a logical, smoothly flowing whole.
Conditions:
A. The melody in counterpoint is to be note-against-note; whole notes only like
the cantus firmus;
B. Only perfect and imperfect consonances may exist as harmonic intervals
between the voices. Major and minor 3rds and 6ths, and perfect 5ths and
octaves. The perfect 4th, all 2nds and 7ths and all augmented and diminished
intervals must be avoided as harmonic intervals.
Use of consonances:
A. Try each first species exercise with octave or unison, approaching the tonic by
a 2-1 line in one voice and by a 7-8 line in the other voice (raising a lowered
7th to a leading tone if necessary). The harmonic interval before the final
octave or unison will therefore either be a 6th or a 3rd; and
B. In the course of the exercise use mostly 3rds and 6ths, rarely 5ths or octaves.
Types of movement between the voices:
A. Use mostly contrary motion as it gives greatest independence
B. Parallel motion is usable only with 3rds and 6ths up to a limit of 3 in
succession. Parallel 5ths and octaves are strictly prohibited as they tend above
all to deny independence between the two voices.
C. Similar motion, though weaker than contrary, is usable with regard to 5ths and
octaves (these two approached by similar motion are term “Direct”). Therefore,
try to approach all perfect intervals (5ths, octaves) through contrary motion.
D. Oblique motion will not occur in two-part first species writing since repeated
tones are forbidden in either part.
Range between the voices should be restricted to a tenth.
Begin with a unison, fifth, or octave if writing a counterpoint above, but
exclude the fifth when writing a counterpoint below a C.F.
Avoid simultaneous leaps in both voices.

11
 Do not let the voices overlap (upper voice momentarily lower than the lower
voice, or vice-versa).
Avoid climax tones in both voices at the same time.
Avoid the unison in the middle of a song.

Three Part Counterpoint, First Species

All rules for good melody writing still apply except that occasional tied tones
may be utilized in either of the counterpoint voices.
The following harmonic combinations are possible (harmonic intervals are
always calculated up from the lowest voice, assume a un-notated bass note):
A. 8 8 1 Unisons and octave above the bass, not usable in parallel motion
8 11

B. 8 3 Unison or octave and a third above the bass

3 1

C. 5 Perfect fifth and a Major or minor third above the bass,

3 is a Root position triad, not usable in parallel motion

D. 8 6 Major or minor sixth above the bass and a unison or octave

6 1

E. 6 Major or minor sixth and Major or minor third above the bass,
3 first inversion Major or minor triad. OK in parallel motion. Note that the
fourth may occur between upper voices, but not between either upper voice
and bass.

F. M6 Forms a first inversion diminished triad. A tritone occurs between the

m3 two upper voices but not between either upper voice and the bass so it is
acceptable

G. 8 8 8 Combinations available for opening and closing sonorities,

8 5 1 none other may be used, not usable in parallel motion.

Note: Do not use the combination 6 or 5.

5 6

12
 Chord Substitutions

A chord substitution (also called a “chord sub” or “sub”) is the use of one or more chords in place
of another in a chord progression (series of chords), with the object of ending in a cadence. A cadence is
the 2 chords which make up the end of the progression, the last one and the chord immediately
before and resolving to it, such as G7 to C. Let’s review the rules for chord progressions, from which
come the chord substitutions to these rules:

General Rules for Chord Progressions

1. Any chord may follow the “I” chord (the Tonic, in key of C= C)
2. Any I may be preceded by its V7 (“Perfect Cadence”= G7 C)
3. Any V7 may be preceded by its V7 (the “V of V”= D7 G7 C)
4. Any V7 may be prec. by its IIm7 (the “II of V”= Dm7 G7 C)
5. Any IIm7 may be prec. by its V7 (the “V of II”= A7 Dm7 G7 C)
6. IIm7 V7 may be repeated (F#m7 B7 Em7 A7 Dm7 G7 C)
7. IIm7 V7 should move from relatively strong to relatively weak beats or bars (IIm7 on odd beat or
bar, V7 on even beat or bar)

Rules #2 thru 6 above are illustrated in the accompanying flow chart “Flow-chart of 104 Chord
Substitution Possibilities”.

Cadences

The most common cadence is V7 – I, or G7 C in the key of C. The V7 chord is called the
Dominant, and the I chord is the Tonic. The Tonic is the main key of the song, especially the key of the
ending. Around 95% of all songs use the Perfect Cadence, including blues, country, rock, pop, classical
and jazz.

The "Sub I" (Substitute I) cadence is Db7 C (Db7 is the b5 sub for G7). The “V” (Five) cadence
resolves to the V from its V, or D7 G7 C (D7 is the V of G7, which is the V of C).
The "sub V" (Substitute V) cadence is D7 Db7 C , since D is the b5 sub for Ab (which is the V of Db), a
tritone substitution.

The third cadence is the “II” (Two), or D7 Gm7, ending in C. The "Sub II" is D7 Dbm7 , since
Dbm7 is the b5 sub of Gm7, also a tritone substitution.

To review the cadences:

I = G7 C sub I = G7 Gb
V = D7 G7 C sub V = D7 Db7 C
II = Dm7 G7 C sub II/V = Abm7 Db7 C
13
 Harmony

To understand chords and chord subs, one must understand Harmony, which is the study of
pitches, and chords made up of those pitches. It’s the "vertical" aspect of music, the notes of the chord
going up and down on the staff, whereas melody is the "horizontal." The distance between two pitches
is called an interval.

Different traditions of music composition, performance and theory have their own specific
rules of harmony. The most basic chord is made of the root, the minor or major third, and the fifth (a C
or Cm chord in the in the key of C= C, Eb or E, and G).

Extended chords include the major 7, Dominant 7 (flat 7), 9th, 11th, and 13th chords (Cmaj7, C7,
C9, C11, C+11, C13), and all combinations thereof.

Altered chords have a b5, #5, b9, and/or a #9 replacing the regular 5th or 9th degree of the scale,
and all combinations thereof.

Extended and Altered chords can have elements of both in them (such as C13b5).

Tension chords include sus2, sus4, add6, add9, and add6/9.

Passing chords, good for making difficult key or chord changes, are C+ (Augmented) and Cº
(diminished). Feel free to mix and match these chords. At the end of the day, the only rule for chords is
that it has to sound good. Honest.

Why Chord Subs?

Chord subs allow movement, variety, hipness, character, or make a certain melody work. It is
used as a songwriting technique, and for composing songs, endings, and solos. It is used in jazz, pop,
musicals, blues and folk. Chord subs can be used for very cool turnarounds in any music, usually blues,
jazz and pop. Chord subs are so hip, even Bach used them, thereby violating the rules of contemporary
harmony of his day.

The sub chords usually have some notes in common with the original chords, such as in a
tritone substitution where the sub shares the 3 and the b7 with the original chord (C7 and Gb7 share
the E and the Bb notes, E is the 3 in C and the b7 of the Gb, vice-versa for the Bb).

Or the sub could be the Relative Minor or Relative Major of the original chord (Am for C or C for
Am). Or a Minor Chord a major third up from a Major chord (Em for C).

14
 In fact, any chord may be substituted for any other chord as long as the new chord supports
the melody. Subs are used in jazz music to give a song sophisticated harmony. It is also commonly
used to make for easier fingering transitions, such as the late great Joe Pass would use in a chord
melody song on guitar.

For example, chord subs can provide smoother voice leading. Using the tritone substitution,
the roots of the “Dm7 G7 Cmaj7” progression move down chromatically by half-steps as “Dm7 Db7
Cmaj7,” instead of ascending Fourths as D G C does. It sounds so much better, especially on guitar.

Another example of chord subs is that the common chord progression “Am7 Cmaj7” could be
played as “Am7 D7 Dm7 G7 Cmaj7” or “Am7 Ab7 Abm7 Db7 Cmaj7”. Chord substitution rules also
allow Gb to sub for C in the examples above, therefore “Am7 D7 Dm7 G7 Gbmaj7” or “Am7 Ab7 Abm7
Db7 Gbmaj7”.

There are certain rules governing how chord subs work, and there are many rules from many
different sources (namely, arrangers, composers, and musicians). One model, the chart on Page 8, has
8 rules which yield 64 possible chord progressions using just 5 chords. Combine with the rules that
allow many Extended and Altered chords, and the number of possible chord progressions from just
those five chords is 3,584! Other chord sub concepts involve tritone substitutions, omitted/added root
substitutions, circle progression additions, planing, and reharmonization.

Despite all the rules, it is not an exact science, but rather more of a black art. Feel free to create
your own subs and rules. Remember, as long as it sounds good to your ear, it’s fine!

The omitted/added root substitution rule exchanges the root of the given chord for a root a
third or fifth higher (occasionally lower.) The substituted chord still retains several pitches of the
original, implying the same harmony, but can also point toward different directions, both in key and
function. Therefore, Cmaj7 (with the notes C E G B) becomes Em (with the notes E G B, all that is
omitted from the original Cmaj7 is the C, the root, usually played by the bass anyway). Or G (G B D) can
substitute, but not always as well, due to the D (the 2nd/9th of C).

Short circle progression additions, usually Circle of Fourths and being fundamental to the
structure of many traditional jazz compositions, may be inserted as turnarounds, or used as a series of
substitute chords in specific parts of a song towards the end of the A section (first part or verse), or
may form the basis of the B section (the second part or chorus). Such as “C E7 A7 D7 G7 C” or “C A7 D7
G7 C.”

Planing (or “stepping-in” or “sliding-in”) is used by both improvisers and arrangers. It refers to
the technique of sliding a chord (or just a chord tone) up or down chromatically (one-half step),
maintaining the shape and voicing of the chord. For example, F7 (F A C Eb ) could slide up to become

15
Gb7 (Gb Bb Db E ). Each note has been "planed" up a half-step. The planing chord is always a short-
duration passing chord.

Planing is used by arrangers to reharmonize melodic passing tones which might clash with the
existing harmony. As well, improvisers use planing effectively, typically as part of a progression. Not all
the planed notes must be played at the same time. Most of the chord tones can sound before the
melody note, or vice-versa, so that the note that clashes with the melody won’t.

Reharmonization is the taking of an existing melody and altering the harmony which
accompanies it, using chord subs. Typically, a melody is reharmonized to provide musical interest or
variety. Also, it is often used to introduce a new section in the music, such as a coda or bridge.
Reharmonizations involve not just a single melody note, but the whole melodic line. As a result, there
are often several melodic tones which might occur over a harmony, and all must be considered when
reharmonizing. The melody note is usually the top note of the harmony.

Arrangers might even use highly dissonant chords when reharmonizing, however it requires a
good ear and thorough understanding of harmony. Reharmonization by adding notes works best
when the new notes are diatonic (scale-wise).

Flow-chart of 104 Chord Substitution Possibilities

As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the
arrows to C or Gb. Why Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord
sub rule #1, above). The two boxes on the left are mutually exclusive, use one or the other to
start the progression, either the V of V box or the V of II box, and you may start with the either
16
the top or the bottom set (the substitutions). Notice how the chart shows Fourth-wise
progression (and their subs). Five of the General Chord Progression rules on Page 1 are shown
in the boxes. NOTE: In each box, you may omit any of the IIm7 (or the sub IIm7), or minor,
chords. For example: D7 G7 C or D7 Dm7 G7 C instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of
C/Gb. Notice the last chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb.
Leading to the G7/Db7 is its V, in this case minor 7. Dm7 resolves to G7, but also the tritone sub
of G7, Db7. And vice-versa for Abm7.

Notice in the chart the classic jazz progression Am7 D7 Dm7 G7 C (called ii-V-ii-V-I or vi-II7-ii-
V-I). Also notice another popular jazz progression Em7 A7 Dm7 G7 C, which is iii-VI7-ii-V-I.
The familiar jazz progression of ii-V-I is obvious in the middle box, as is its subs, the Abm7 for
Dm7 and Db7 for the G7. Notice that they are b5 subs? The question of how do you get to the ii
is answered by 1 of the 2 boxes on the left. The options are playing the V of either the ii or the
V, and starting with the ii of that V. You can get to the “V” box one of two ways, EITHER the V of
V chord, or the V of II chord. The “V of II” box means that A7 is the V of the II (Dm7) chord in the
key of C, or A7 Dm7 G7 C. In the “V of V” box, D7 is the V of the V (G7) in the key of C. Both boxes
are equally valid routes to get to C. Remember the cadences from Page 1? Notice them now on
the right half in the diagram above.

Within each box is the chord leading to a Dominant. Follow the arrows. As the boxes are
written, there are 64 possible chord progressions ((4x4x2)+(4x4x2)=64). Combined with rules
#6, 7, 8 on Page 4, there are 3,584 possible chord progressions just in that one set of 3 boxes
and their resolution to C or Gb! That’s 3,584 possibilities from only 5 chords. Some chords and
progressions will sound dramatically better than others, of course, and some will sound much
worse, but still... 3,584 is alot of possibilities from a 5-chord progression.

Each chord progression path in the chart represents a single rule for chord subs. Therefore it
shows 64 rules, with little overlap with the 43 rules above.

17
 Notes, Spelling and Pronunciations of
74 Different “C” Chords

Basic “C” chords

C = 1 3 5 – C E G “C major“ or “C“
C (no 3) = 1 5 – C G “C power chord”
Cm = 1 b3 5 – C Eb G “C minor”
C6 = 1 3 6 – C E A “C six”
Cmaj7 = 1 3 5 7 – C E G B “C major seven“
C7 = 1 3 5 b7 – C E G Bb “C seven“
Cm7 = 1 b3 5 b7 – C Eb G Bb “C minor seven”
Cm6 = 1 b3 5 6 – C Eb G A “C minor six”
CmMaj7 = 1 b3 5 7 – C Eb G B “C minor major seven” or “C minor major”

Extended “C” chords

C9 = 1 3 5 b7 9 – C E G Bb D “C nine”
C11 = 1 3 5 b7 9 11 – C E G Bb D F “C eleven”
C13 = 1 3 5 b7 9 13 – C E G Bb D A “C thirteen”
C6/9 = 1 3 5 6 9 – C E G A D “C six nine”
C7/6 = 1 3 5 6 b7 – C E G A Bb “C seven six”
Cm9 = 1 b3 5 b7 9 – C Eb G Bb D “C minor nine”
Cm6/9 = 1 b3 5 6 9 – C Eb G A D “C minor six nine”
Cm11 = 1 b3 5 b7 9 11 – C Eb G Bb D F “C minor eleven”
Cm11 (no 5) = 1 b3 b7 9 11 – C Eb Bb D F “C minor eleven no five”
CmMaj7/9 = 1 b3 5 7 9 – C Eb G B D “C minor nine major seven”
CmMaj7/11 = 1 b3 5 7 9 11 – C Eb G B D F “C minor eleven major seven”
Cmaj7/6 = 1 3 5 6 7 – C E G A B “C major seven six”
Cmaj9 = 1 3 5 7 9 – C E G B D “C major nine”
Cmaj11 = 1 3 5 7 9 11 – C E G B D F “C major eleven”
Cmaj13 = 1 3 5 7 9 13 – C E G B D A “C major thirteen”

Altered “C” chords

Cº = 1 b3 b5 bb7 – C Eb Gb A “C diminished” or “C dim”
C+ = 1 3 #5 b7 – C E G# Bb “C augmented” or “C aug”
C#9b13 = 1 3 5 b7 #9 b13 – C E G Bb D# Ab “C raised nine flat thirteen”
C+b9 = 1 3 #5 b7 b9 – C E G# Bb Db “C aug flat nine”
C+#9 = 1 3 #5 b7 #9 – C E G# Bb D# “C aug raised nine”

18
C+9 = 1 3 #5 b7 9 – C E G# Bb D “C aug nine”
C+9/11 = 1 3 5# b7 9 11 – C E G# Bb D F “C aug nine eleven”
C+11 = 1 3 #5 b7 9 11 – C E G# Bb D F “C aug eleven”
C+11/13 = 1 3 #5 b7 9 11 13 – C E G# Bb D F A “C aug eleven thirteen”
C+6/9/11 = 1 3 5# 6 9 11– C E G# A D F “C aug six nine eleven”
C+#9b13 = 1 3 #5 b7 #9 b13 – C E G# Bb D# Ab “C aug raised nine flat thirteen”
C+b9b13 = 1 3 #5 b7 b9 b13 – C E G# Bb Db Ab “C aug flat nine flat thirteen”
C+maj7 = 1 3 #5 7 = C E G# B “C aug major seven”
Cb5 = 1 3 b5 – C E Gb “C flat five”
Cb5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C flat five raised nine”
Cb5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C flat five flat nine”
Cb5#9b13 = 1 3 b5 b7 #9 b13 – C E Gb Bb D# Ab “C flat five raised nine flat thirteen”
Cb5b9b13 = 1 3 b5 b7 b9 b13 – C E Gb Bb Db Ab “C flat five flat nine flat thirteen”
C6#11 = 1 3 5 6 9 #11 – C E G A D F# “C six raised eleven”
C7b5 = 1 3 b5 b7 – C E Gb Bb “C seven flat five”
C7b5#9 = 1 3 b5 b7 #9 – C E Gb Bb D# “C seven flat five raised nine”
C7b5b9 = 1 3 b5 b7 b9 – C E Gb Bb Db “C seven flat five flat nine”
C7b5b9b13 (no 3) = 1 b5 b7 b9 b13 – C Gb Bb Db Ab “C seven flat five flat nine flat thirteen no three”
C9b5 = 1 3 b5 b7 9 – C E Gb Bb D “C nine flat five”
Cb9 = 1 3 5 b7 b9 – C E G Bb Db “C flat nine”
C#9 = 1 3 5 b7 #9 – C E G Bb D# “C raised nine”
Cb9b13 = 1 3 5 b7 b9 b13 – C E G Bb Db Ab “C flat nine flat thirteen”
C#11/13 = 1 3 5 b7 9 #11 13 – C E G Bb D F# A “C thirteen raised eleven”
C13#9 = 1 3 5 b7 #9 13 – C E G Bb D# A “C thirteen raised nine”
C13b5 = 1 3 b5 b7 9 13 – C E Gb Bb D A “C thirteen flat five”
C13b5#9 = 1 3 b5 b7 #9 13 – C E Gb Bb D# A “C thirteen flat five raised nine”
C13b5b9 = 1 3 b5 b7 b9 13 – C E Gb Bb Db A “C thirteen flat five flat nine”
C13b9 = 1 3 5 b7 b9 13 – C E G Bb Db A “C thirteen flat nine”
Cm+ = 1 b3 #5 b7 – C Eb G# Bb “C minor aug”
Cm7b5 = 1 b3 b5 b7 – C Eb Gb Bb “C minor seven flat five” or “C halfdiminished”
(also can be thought of as a Ab9 chord)
Cm7b5/11 = 1 b3 b5 b7 9 11 – C Eb Gb Bb D F “C minor seven flat five eleven”
Cm9+ = 1 b3 #5 b7 9 – C Eb G# Bb D "C minor aug nine"
Cm9b5 = 1 b3 b5 b7 9 – C Eb Gb Bb D “C minor nine flat five”
CmMaj7b13 = 1 b3 5 7 9 b13 – C Eb G B D Ab “C minor major seven flat thirteen”
Cmaj7#11/13 = 1 3 5 7 9 #11 13 – C E G B D F# A “C major seven raised eleven thirteen”

19
 Tension “C” chords
Csus = 1 4 5 – C F G “C suspended” or “C sus”
Csus2 = 1 2 5 – C D G “C suspended two”
Csus6 = 1 4 6 – C F A “C suspended six”
Cadd6 = 1 3 5 6 – C E G A “C add six”
Cadd6/9 = 1 3 5 6 9 – C E G A D “C add six nine”
Cadd9 = 1 3 5 9 – C E G D “C add nine”
Cm6add9 = 1 b3 5 6 9 – C Eb G A D “C minor six add nine”
C7sus = 1 4 5 b7 – C F G Bb “C seven suspended”
C9sus = 1 4 5 b7 9 – C F G Bb D “C nine suspended”
Cm9sus = 1 b3 4 5 b7 9 – C Eb F G Bb D “C minor nine suspended”

20



As you look at this diagram, notice there are 3 boxes, movement is left to right, and follow the
arrows to C or Gb. Why Gb? It’s the tritone sub of C, so you can resolve to it instead of C (chord sub rule
#1). The two boxes on the left are mutually exclusive, use one or the other to start the progression, ei-
ther the V of V box or the V of ii box, and you may start with the either the top or the bottom set (the
substitutions). Notice how the chart shows Fourth-wise progression (and their subs). Five of the General
Chord Progression rules are shown in the boxes. NOTE: In each box, you may omit any of the iim7 (or the
sub iim7), or minor, chords. For example: D7 G7 C or D7 Dm7 G7 C instead of Am7 D7 Dm7 G7 C.
Moving backwards on the diagram from C/Gb is the “V” box, meaning the Dominant (the “V”) of
C/Gb. Notice the last chords in that box before C/Gb is G7, the V of C, and Db7, the V of Gb. Leading to
the G7/Db7 is its V, in this case minor 7. Dm7 resolves to G7, but also the tritone sub of G7, Db7. And
vice-versa for Abm7.
RICHARD ROSE MUSIC HISTORY       
 
  Many styles: jazz, rock'n'roll, blues, rock; duo, solo, slide, electric, acoustic, bass, keys, 
some vocals; casuals, show, background, sit‐in; recording, one‐off or tours; band leader or 
sideman. 
  Write and sight‐read fluently treble clef, chord charts, and scores. Can arrange, score, 
transpose. Have written numerous songs. 
  Teaching since 1974 fretboard theory, slide, modes, styles, bass, advanced. 
 
2009  Shower Me Blue, bassist, guitarist, keyboards, vocals 
2008  Bassist in many blues, rock, and Grateful Dead bands in the Denver CO, including  
Juba Juba!, Colorado Rain, Sammy Dee, Firedog, Blue Sun  
2008  Opened for Johnny Winter, bassist with Detroit Frank, Denver CO 
2005  Developed and recorded Bluestronica, a new genre combining Techno electronic 
dance music with live blues guitar and blues vocals, Amsterdam 
2005  Wrote “Secrets of Chord Substitutions Revealed” eBook 
2005  Wrote “Secrets of Scales and Chords Revealed” eBook 
2005  Wrote “Secrets of Jazz Arranging Revealed” eBook 
2005  Recorded “Sounds of Amsterdam” field recording on the streets of Amsterdam  
2004  Wrote “Secrets of the Guitar Fretboard Revealed” eBook 
2004  Recorded “Amstel River Sessions” as Innerchange, Amsterdam 
2003  Began 8‐track Fostex digital recording and programming in Reason, Amsterdam 
1996  Sound engineer, DJ, music performer, Burning Man Festival 
1995  Artist endorser for Gibson Guitars 
1995  Organic Mechanics band, guitarist 
1994  Pink Flamingos band, guitarist, toured US and Bahamas 
1992  Bachelor's degree (Marketing), Sonoma State University CA 
1982  “Godspell” musical, guitarist, Santa Rosa CA 
1980   Guitar repair tech for 2 years, Ukiah Music Store, Ukiah CA 
1979  Electric Guitar Tech, Fender Music Instruments, Fullerton CA 
1979  Physics of Music class, Sonoma State University CA 
1979  “Pippin” musical, guitarist, Santa Rosa CA 
1978  “In Love Internally” original musical, music director/guitarist, Cotati CA 
1978  Recording/Sound Tech for the music and dance department for 1 year, paid. 
Produced all dance program music and recorded all music performances, Sonoma 
State University CA 
1977  Attended Sonoma State University for 3 years, studied traditional music program 
including piano, vocal, and percussion sight‐reading 
1977  Sound effects artist, dramatic radio program, KSFO‐AM 
1976  KMLS‐FM radio, DJ; KBBF‐FM, News Reader; Santa Rosa CA 
1976  Video Production class, Santa Rosa Junior College CA 
1975  Justice Sound, live sound tech, Sebastopol CA 
1975  Joined American Federation of Musicians union, Local 13, Santa Rosa CA 
1975  Studied arranging, jazz composition, improvisation, and music and jazz theory, AA 
degree, Santa Rosa Junior College CA 
1974  Bristlecone Studios, recording and live sound tech, Monte Rio CA 
1973  Joined first class of Blue Bear Waltzes School of Music, 1st “rock&roll college”.  
Learned fretboard theory, composition. Studied with Chris Hayes, Bonnie Hayes, 
Keith Allen, Marcus Guerin, and others. San Francisco CA 
1970  Began study of contemporary guitar music, rock and mostly blues. Taught myself 
slide, soloing, rhythm, chording 
1967  Began studying 4‐string bass guitar and reading bass clef 
1967  Began regular concerts on lead guitar in a trio 
1966  Played flute in school band for 2 years 
1966  Began recording life using a new Ampex 1/4‐inch tape recorder 
1964  Began studies on guitar. Learned to read Treble Clef from Alfred Books 1‐6, lessons 
weekly for next 3 years, practice 2 hours per day, annual public performances